Junior Wells : A Partial Discography

This is something I intended to do for the posthumous release of Junior's Live at Theresa's 1975, but life sort of decided it should be postponed. Here is is now...

Junior Wells is rightly considered a Legend of the Blues, and yet he is not considered as high a reference in harmonica circles as, say, Little Walter, Big Walter Horton or even a player of his own generation like James Cotton. The reason, I suspect, is that his harmonica playing was only a facet of his talent, and not the core of his talent. Another reason, possibly, is that quite early on he started looking up to artists outside of the strict blues genre - like James Brown- and therefore some feel he's less of a hardcore blues artist.

For both these reasons, and many more, Junior Wells has been, to me, more influential than any other blues harmonica player. To this day, his good recordings fill me with joy or sorrow, but rarely fail to move me. That's what prompted me to envisage this partial discography. It is partial because I don't own every Junior Wells record out there, even counting only records available on CD, and some of the ones I miss are probably major (although I can't know that for sure until I've heard them.) It's partial also because it's my own opinion on his recording history, and as such is necessarily subjective. You've been warned.

I could have approached this chronologically, and I guess it would have made sense if I did own all, or at least most of Junior Wells' recorded work. As it stands, I felt it would make more sense to approach it from a neophyte's point of view : at first, I'll cover records I consider to be essential, then move on to releases that are maybe less enssential but still very fine, and finally cover these few records that I honestly don't recommend for purchase, for whatever reasons. The indispensable, the excellent and the so-so, if you'll pardon this parody of a famous movie title.

If you're looking for more background on Junior Wells before you move on with your reading, I strongly recommend the succinct but complete biography at Allmusic.com. As always, may I remind you that all the records mentioned here may be purchased through Amazon.com by simply clicking on the record titles. If you acquire them this way, Amazon hands a small percentage of your payment to Harmonica Ramblings, and that's how we finance the maintenance of this website.

Essential Junior

So, where should someone who's heard about Junior Wells and perhaps enjoyed a few tracks on compilations or on the radio get started ? I'd say the essence of Junior's talent lies within three records that span most of his carreer.

Although it wasn't Junior's first release by a long shot, his 1965 Hoodoo Man Blues is the first Junior Wells album to be Junior Wells. Up to that point, Junior was, to me, a hugely talented follower, but a follower still. Hoodoo Man Blues defines Junior Wells' identity in such a way that it can be said there's a before and an after. In fact, I'd go as far as saying that the first two minutes and fifty-four seconds of Hoodoo Man Blues define Junior's style. Snatch it Back and Hold It introduces a funk groove to the blues in a way that would influence artists for years to come (no small thanks to Buddy Guy's guitar backing). His voice is powerful, slightly ironic, and it already displays the soulful accents that Junior would lean on heavier as his carreer surged forward. Last but not least, his harp playing is powerful yet funky, sparse and to the point. Junior was never one to solo for hours. The brevity of early blues records marked him for life and it's all the better that way. Overall, the album is well balanced, alternating rocking numbers, funky grooves and gut-wrencing slow blues. Also, it was beautifully recorded for the time and people weary of sound quality need not worry.

My choice for the next album at the core of Junior's essence may be more contreversial. It's not considered a major reference in blues circles, and yet to me, it's a sadly disregarded gem. In 1975, Delmark released On Tap. The timing was bad (the commercial success of blues declined steadily from the mid-70s to the early 90s), and that may contribute to explain why that record is undervalued, but it showcases Junior at his soulful best, with a fine band of Chicago blues giants. The fact that it's no longer Buddy Guy on guitar may explain why this record sounds so different to Junior's previous studio efforts, and interestingly, the incredibly tasteful guitar playing of Sammy Lawhorn infuses a totally different feel to the music, as showcased on the superb So Long, or on the characteristic Junior's Thing. Junior actually plays little harmonica on this record, which again takes it a further step away from the Chicago sound and more solidly into a territory where it could be compared with say The Meters or other emerging soul-funk sounds. In fact, I'm pretty sure if you did a blindtest listening of Watch me Move, a lot of people would say it's early James Brown.

The final record I'd recommend to new Junior Wells listeners is his final studio record, his swansong, Come on in this House. In many ways, this a back to the roots thing, but it's back to Junior's roots. His voice is more soulful than ever, deeper and grainier with age, and the fact that it's a little broken at times only adds to the poignancy. The genius of that record was pairing Junior with a bunch of young slide guitar players, who oscillate between a modern sound and a deep respect for the elderly bluesman. They include Sonny Landreth, Derek Trucks, Corey Harris, Alvin Youngblood Hart and more. The songs performed are mostly from the classic pre-war and early post-war repertoire, and this album may be Junior's bluesiest, even if it's his last. Highlights include She wanna sell my monkey, I'm gonna move to Kansas City and Junior's own Come on in this House as well as a superb cover of Tracy Chapman's Give me one reason. Overall, it's a laid-back, fun affair, never somber, with lots of interaction between Junior and his "guests". The arrangements are mostly acoustic, and manage to convey this feeling of timelessness that is the best combination of tradition and modernity.

There you have it. If you want to start slow and discover Junior Wells, Hoodoo Man Blues, On Tap and Come on in this House will give you plenty to enjoy before, hopefully, digging further.

Legitimate contenders 

Obviously, as with any selection of music, individual tastes will come into it and mine is no exception. So I imagine that my selection may ruffle a few feathers. Indeed, there are other albums that could have been considered core Junior Wells. I didn’t, and here’s why:

One of the earliest Junior Wells gems is Blues hit big town, justly considered as a masterpiece. It showcases a very young and fiery Junior backed by Chicago blues luminaries including Otis Spann, Muddy Waters, Elmore James and the Myers Brothers. It features the original version of Hoodoo Man Blues, instrumentals like Junior’s Wail and overall a good mix of fast and slow. Junior’s amplified harp sound is already very accomplished and indeed, he features a level of speed and fluidity that’s rarely to be found on his subsequent recordings. The main reason I didn’t include Blues hit big town in the Essential category is that his harp playing is still very Little Walter derived and the characteristic phrases of his own style are not yet apparent. Indeed, on Lord, Lord, it’s very hard to believe that it’s not Little Walter playing… In other words, on this album, Junior is already a damn good harp player, but he’s still one among a (small) bunch of damn good harp players.

Another album that could have made it but didn’t quite is the 1969 Southside Blues Jam, another Delmark release. This one is a much more intense and somber recording, and, in retrospect, marks the end of an era. As Charles Shaar Murray wrote, in his vital Blues on CD book, "If this had been the last Chicago Blues album ever made, (...) the music would still have gone out with its head held high." In the 70s, blues slowly faded out as a popular genre, only to revive twenty years later. Southside Blues Jam was also the last recording by Otis Spann who didn’t live to see its commercial release. Besides Spann, it features the eternal accomplice Buddy Guy on guitar (who sings a moving Trouble don’t last always) and Fred Below on drums. It’s a gut-wrenching record, but it's very intensity focuses it on only one facet of Junior Wells' talent. No longer is he the joyous, jiving artist showcased on Hoodoo Man Blues. Furthermore, while the album as a whole is extremely solid and consistent, with some of the best and most political lyrics Junior wrote (Blues for Major Daley), it lacks the spark that makes Snatch it back and hold it or Hoodoo Man Blues classics. Still, a superb listen for a somber mood.

The lack of commercial success of Blues in the 70s doesn’t mean that there weren’t some great albums cut in that period. Case in point, and for a long time one of my favourite blues records, the 1974 live recording Drinkin’ TNT and Smokin’ Dynamite. Again, this is a Junior Wells & Buddy Guy team up, with Chicago blues and rock alumni backing them. Truth be told, it’s one of those records where you don’t really hear the backing band. Unless you don’t pay specific attention, you don’t even notice that Pinetop Perkins is playing a horrible electric piano. But Buddy and Junior are on fire, each fronting roughly half of the show (although, in the case of Buddy Guy, it’s only two songs, long and painful slow blues). Junior goes through most of his classics Checking on my Babe, Messing with the Kid and Hoodoo Man Blues among them. So why not an instant slot in the essential section? Well, for one, it’s a live recording, with Buddy stealing about half the show. Also, while Junior’s playing and singing are powerful and his energy is high, his softer, more soulful side is nowhere to be heard. Truth be told, though, it’s still way above a nice to have record.

Finally, there’s an off the track gem that Junior fans should get even if - again - it’s not necessarily representative of the breadth of his talent. On tour in Europe in 1981, Guy and Wells stopped one day in the studio near Paris, France for an unrehearsed, loose acoustic recording. A vinyl was released in France but it was only in 1992 that the rest of the world discovered Alone & Acoustic. This record might surprise those who know Junior mostly as a Chicago blues artists, since it sounds country as hell. Buddy’s 12-string backing on many of the tracks give it an unusual, relaxed sound. Buddy (Sweet Black Girl, Don’t Leave Me) and Junior (Big Boat, Wrong Doing Woman) both sing and play songs from their respective repertoires and also cover blues classics like Diggin’ my Potatoes or High Heel Sneakers. Again, it’s too much of a collaboration to be considered essential Junior, but it’s a damn fine acoustic album, much more spontaneous and authentic sounding than, for example, Buddy’s recent acoustic solo album Blues Singer.

The rest of the best

Junior’s got many other albums out there, most of which are enjoyable in their own right, if not necessarily stunning. Here’s the mixed bag:

It's My Life, Baby! which is half studio recording (with Buddy Guy again) and half live recording. The studio sides are fine but nothing to write home about, with the exception of Checking on my Babe and the strange and funky (I got a) Stomach Ache. The live selection is more intense but the sound quality is well below par. Still, the tortured It's so sad to be lonely alone makes it worth. All in all, an album worth owning, even if it's uneven.

The same era (and similar line-up) produced Coming at You, thankfully better than the psychedelic cover suggests. It’s mostly blues classics, with a lot of Sonny Boy Williamson(s) material, but also showcasing a number of Junior’s classic covers like Mystery Train, Little by Little and Worried Life Blues. It's not as distinctive as the good bots on It's my life, Baby! but more even overall.
 

Closing the 60s is Live at the Golden Bear, a fine but not stunning horn-laden performance. Junior is in fine form and steers towards James Brown-esque soul, going as far as covering Please, please, please. The band is solid but lacks brilliance, despite the horns. Still, probably the most solid Junior Wells live besides Drinkin’ TNT and Smokin’ Dynamite.

The few records that Junior cut in the 70s have been mentioned above with the exception of the recently released Live at Theresa's 1975. It’s an adequate  live record, and unusual because it features the abundant stage banter that Junior was famous for. It’s a good immersion into what a night of blues at Theresa’s must have been like, but it’s not the best recording in terms of quality and repertoire. Still worth giving a good listen to.

Finally, although it's not a Junior Wells release exclusively, Chicago-The Blues Today!, Vol. 1 features Junior Wells' Chicago Blues Band on five tracks including the heavily political Vietcong Blues and other smoking songs. Since the other artists featured are JB Hutto and Otis Spann, it's not a bad deal for a blues fan !

The unnecessary

The 70s weren’t exactly a prolific era for blues, and apart from the lackluster 1972 release Buddy Guy & Junior Wells Play the Blues with rock guests like Eric Clapton and Magic Dick, there's little in the way of studio material under Junior Wells' name, and even less worthwhile. The 1970 acoustic set Buddy and the Juniors (featuring pianist Junior Mance) had the potential to be as good as Alone & Acoustic except it lacks the focus, and the repertoire is of the done-to-death variety.

Junior didn't release anything in the 80s and you have to wait for the 1993 album Better Off with the Blues to find a post-60s solo studio release under the name of Junior Wells. Unfortunately, like most of Telarc's blues production, it's severely hampered by an excessively formatted backing band and poor production values. The title track is a moving slow blues but it suffers from over long solos and a B3 (by none other than Lucky Peterson) that's way too low in the mix. And the rest isn't even as good as that.

The follow-up Everybody's Gettin' Some is even poorer, if at all possible. The guests (Bonnie Raitt, Santana, etc.) are superfluous at best and, apart from possibly a couple of good acoustic duets with Sonny Landreth, there really is nothing to save. Again, the production tried to emulate the John Lee Hooker vein of "guest album" successes, but in doing so they totally diluted Junior's own identity. Thank the gods Telarc figured out for Come on in this House (see above) that they needed to do a Junior Wells album !

There are a couple of 90s live albums as well, but none really worth considering: Live at Buddy Guy's Legends (which, strangely enough, doesn't feature Buddy Guy) showcases a fine backing band, but by then Junior was definetely spent out. The concert was recorded during his last tour, and he passed away only a few months later. The music is fine, the singing pretty adequate, but despite this, it's still far from the Junior we all know and love. Last Time Around-Live At Legends is an acoustic Buddy Guy and Junior Wells set that showed promise on paper but is wrecked by the in-song stage banter between the two and the bland repertoire.

The missing links

To the best of my knowledge, this discography is missing four albums. The earliest one recorded, and also the most recenttly released is the compilation of Junior's early pre-Delmark material Calling All Blues. Most of these sides can also be found on Messin' with the Kid: The Complete Chief/Profile/USA sessions 1975-1963. Not having heard either of them it's hard to recommend one over the other although the latter has a few more tracks, for what it's worth. I'm missing another studio album from the 60s, the controversial You're Tuff Enough, which - depending on who's reviews you read - is either considered a staple of early funk or an awful disco-blues experiment. I'm also missing the 1979 Pleading the Blues, with Buddy Guy, and an obscure early 90s release called The Unidsputed Godfather of the Blues. Obviously these have not been reviewed. From what I've read, I suspect that the true gem among the four is Calling All Blues/Messin' with the Kid.

And that brings my partial discography of Amos Blackmore, aka Junior Wells - one of the major blues artists of the XXth century - to a close. I hope it's been interesting to you, don't hesitate to post comments to signal your dissagreement if you have any, and please let me know if the format is interesting to you, in which case I could envisage doing similar discographies for other artists.

Comments

[Murray]

Well well well, ain't it always the way. Only one Junior Wells record in my collection, and a personal favourite, and the master pans it. Buddy and The Juniors : for me it's an unbeatably evocative and powerful live in the studio number, for the connoisseurs it's unnecessary. Well beggars can't be choosers when they're fourteen years old and rifling through their friends' dads' record collection for something funky. Maybe time to update the JW section here.

[Murray]

And I forgot to say : of course this is extremely useful. I have a book that does this for jazz artists, which has been excessively valuable throughout my collecting days and beyond. Keep up the knowledge....

[Benoît F.]

Hey Murray !

I could have bet good money that you would make this comment. In fact I remembered you loved Buddy and the Juniors for the simple reason that it was your comments that made me purchase it.

As always, a dose of subjectiveness as well as a dose of comparability have been injected. Buddy and the Juniors is way better than Everybody's Gettin' Some, and way below Hoodoo Man Blues.

Is that better ?

;-)

[Joe]

This was a nice write up.

You missed the Chief sessions with Earl Hooker. That's the real album that really establishes Junior Wells as an artist. Junior's 1950's recordings for Chief feature no harp playing. They are some of the baddest vocals and songs that Junior ever laid to wax. They are classic songs that have been covered by hordes of people.

The States and United recordings on Blues Hit Big Town are classic 1950's Chicago Blues. Listen to his phrasing again, his harp style was already on display. The recordings are amplified, but that's about the only similarity to Little Walter.

Buddy Guy & Junior Wells Play the Blues actually has some really listenable stuff on it. The Live At Buddy Guy's Legends features his touring band.

Junior is also on a soundtrack from the movie Chicago Blues. His work is real strong on that. He also backs Muddy Waters and Buddy Guy on it.

I saw Junior a bunch of times. He could play harp as well as anyone and for as he wanted. He had phenomenal tone and technique. He could get down in the alley or go uptown. There was nobody like him. He was deep.

[Benoît F.]

Hey Joe !

Thanks for the comments !

Apparently, the Chief sessions are, for the most part, on Calling All Blues (which, indeed, is in my "missing" section) but there is another release which escaped me and has a few additional tracks called Messin with the Kid: The Complete Chief/Profile/U.S.A. Sessions 1957-1963. I'll amend the article.

On Blues Hit Big Town i beg to differ. I'm not saying he was a pure copycat, just that to me, his style was maturing but not quite his own yet. I will give it another listen though ;)

Play the Blues is not a catastrophy it's just not anything they hadn't done before, and the Claptons and J. Geils don't make it anymore interesting...

I'll investigate the soundrack from Chicago Blues. I guess this is where the Buddy Guy and Junior Wells backing Muddy Waters video footing comes from.

I never saw Junior live, i came to blues too late for that, but he's been hugely influential to me and I wish I could have seen him at his prime...

Again, thanks for the support !

[Peter Ellenbruch]

Hi there,

Many, many thanks for this Junior Wells discography.
I’ve been looking for something like this for some time now as Junior Wells has become one of my favourite blues artists over the last few years (I’ve been a (1960’s) folk/electric-folk collector for over twenty years but my focus on blues recordings is kinda new, so I’m glad to find annotated discographies by enthusiastic people).
Having collected most of Junior’s 60’s material I can only agree that “Hoodoo Man Blues” is definitely essential – but I’d like to stress that the five tracks on “Chicago the Blues Today, Vol. 1” (recorded shortly after the release of the Delmark LP in December 1965) are the continuation of the first album and equally essential (especially since the 20 minutes of out-takes from “Hoodoo Man Blues” have been tragically erased – see Bob Koester’s comment on the Delmark homepage.).
Missing from the discography are two live recordings from the 1960’s. The first one was released on LP as “Buddy Guy and Junior Wells – the Original Blues Brothers”. These sides were recorded at the Chicago Blues Festival 1964 (this seems to be the wrong year as the recording features some gimmick performance of “I Can’t Get No Satisfaction” – and the Rolling Stones song was released in June, 1965…). What you get here sounds like a live version of Junior’s pre-Delmark stuff, incl. two saxophones. The sound quality is listenable at best (especially the vocals are sounding crappy) and of the ten tracks only five feature Junior Wells. Making things worse, four of the five songs are incomplete performances which fade in or out – this leaves a storming version of “Messing With the Kid” as the only complete track here (as I only know the LP I don’t know if the CD is any better). The liner notes try to convince you that it is a legitimate release, but I guess this is some kind of bootleg.
The other live recording was made in East-Berlin on November, 16th 1966 when Junior Wells was part of the American Folk Blues Festival tour. Six tracks are scattered on several releases (about 30 minutes in total which could be the complete set). You can find “A Tribute to Sonny Boy Williamson”, “Checking on My Babe”, “Vietcong Blues” (titled “Vietnam Blues” here) and “Over Yonder Wall” on the LPs “American Folk Blues Festival 1966 - 1” and “American Folk Blues Festival 1966 - 2” on Amiga as well as on several other LP and CD releases featuring recordings of the AFBF tours. The song “Shake My Hand” can be found exclusively on the compilation LP “Look out Sam” (Scout Records) and “Hoodoo Man Blues” was released on the first volume of the AFBF-DVDs (I’ve noticed that this performance has recently been pirated on youTube.com – as well as some other Junior Wells TV-appearances from the 70’s). Though the surroundings of the Berlin-concert may not have been perfect for any good blues performance, everything grooves well. The sound quality is excellent, and it’s a shame this hasn’t been released in one piece.
Speaking of live recordings: I’ve always wondered if there wouldn’t be some live tapes from the 60’s shows Junior Wells played in San Francisco? As a collector of S.F. folk-rock I know that there are many unreleased tapes from the S.F.-ballrooms. Junior Wells played many times at the Matrix, the Avalon and at the Fillmore West between 1966 and 1968. A lot of stuff was recorded at the Matrix and at the Fillmore – who knows what is sitting on the shelves somewhere… Does anyone have any information on this?
However – many thanks for all the “partial discography” again – now I know which post-60’s recordings by Junior Wells I should watch for!

[Peter E.]

When I bashed out my thanks, my comment and the additions to the discography yesterday, two little mistakes crept in: The Berlin-concert was recorded one month earlier than I stated, the correct date is October, 16th 1966. And there were only 15 (not 20) minutes of out-takes from "Hoodoo Man Blues" - but they are gone anyway...
I forgot to say that I really like the subjectiveness of the discography. In the end, this style says more about the music than some feuilleton tatter... so, tahnks again.

[Benoît F.]

Peter (and Joe earlier),

Thanks for your comments! These are the kinds of contributions that make me want to write more!

[Wm Larry Dodd]

Hey! Great web page. Thanks for posting it. The information on this has helped me with some pieces missing from my JW collection. One album I have that is not mentioned is "Keep On Steppin': The Best Of Junior Wells."

The track list is: 1. Oh, Pretty Woman; 2. Sweet Sixteen; 3. Give Me One Reason; 4. Get Down; 5. Keep On Steppin'; 6. Broke And Hungry; 7. Mystery Train; 8. Use Me; 9. King Fish Blues; 10. Why Are People Like This?; 11. The Train; 12. Messin' With The Kid.

I have all my JW music in a single playlist on my iPod and generally listen to it almost all the time! Have a great one!

Larry
The Woodlands TX

[Jann Denoncourt]

I knew Junior back in the 70's when he and Buddy used to come play in Beverly, Mass. Saw Buddy on tour a couple weeks ago and it really made me miss Junior. Have been watching alot on youtube and bought a new CD. One of my favorite memories about Junior is the hats. I really loved the hats.

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