Joe Louis Walker Albums (19)
'Between a Rock and the Blues'
Release Date 9/29/2009
Tracks 12
Label Stony Plain
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What The Critics Say
San Francisco blues guitar king Joe Louis Walker has been purveying his biting brand of West Coast blues since the '60s, with time off for good behavior (literally -- he spent years going "straight" attending school and playing gospel). On Between a Rock and the Blues he manages to keep one foot in the L.A. blues he grew up on (T-Bone Walker, Lowell Fulson, et al.) and the other in a more modern sound, both in his songwriting and his impassioned fretwork. On the likes of "Eyes Like a Cat" and "Way Too Expensive," Walker's seasoned band whips up a sassy, swinging, old-school jump blues feel, while "Tell Me Why" leans into a classic-sounding Chicago-style shuffle. Walker's voice, still lithe and clear at 58, rings out authoritatively over it all, and his concise, stinging guitar makes no apologies for asserting its dominion over all it surveys. An unplugged stab at Delta blues on "Send You Back" feels less convincing, but other cuts, such as album-opening "I'm Tide" [sic] and "If There's a Heaven" show off a crunchier, grittier, more rock-inflected guitar tone and a compositional sensibility to match. When Walker taps into this more modern-sounding mode, though, it's important to realize there's no pandering involved. Even though his roots go back way further, he didn't begin establishing his own sound as a solo recording artist until the '80s, so it's entirely natural for his style to have picked up some rock & roll attack along the way. Crucially, he never overdoes it, maintaining just the right balance between the understated and the in-your-face. He hasn't stopped growing as a songwriter either -- Walker's original tunes dominate the album, and they reveal both a strict avoidance of lyrical blues tropes and a knack for deftly inserting thoughtful observations in between burning riffs and gut-level grooves. ~ J. Allen, All Music Guide
'Witness to the Blues'
Release Date 9/30/2008
Tracks 12
Label Stony Plain
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What The Critics Say
Joe Louis Walker deserves all the respect he gets, and he gets a lot -- as a singer, a producer, a guitarist in multiple styles, a songwriter, and a harmonica player. But that doesn't prevent his first album for the Stony Plain label from being something of a mixed bag. One of Walker's great strengths is the authority with which he can play several different varieties of blues: his version of "It's a Shame" is a supremely confident, horn-driven Chicago blues exercise, while "Midnight Train" evokes the subtler chug of a John Lee Hooker song. "Lover's Holiday" (a lovely duet with Shemekia Copeland) is New Orleans-style R&B, and "Hustlin'" features some very fine barrelhouse piano by Bruce Katz. And that's just the first four tracks, in order. When Walker falters, it's in the vocal department, and it happens most egregiously on the excruciating "Witness." But elsewhere he's in fine voice, and the album-closing "Sugar Mama" is both one of the program's finest tracks and an exceptionally powerful vocal performance. His guitar playing is always a treat, and the album is solidly recommendable overall. ~ Rick Anderson, All Music Guide
What The Critics Say
Although the contemporary blues genre can often seem predictable, Joe Louis Walker seldom has been. That has made him one of the freshest and most exciting and volatile players on the scene. Those are also the attributes of this 2006 release, recorded in Paris, which twists and turns just when it seems to be settling into a groove. Blues fans who demand consistency probably should explore elsewhere as Walker shifts from the edgy, swamp-laced "Nobody Wanta to Know Ya" (a thin rewrite of the classic "Nobody Knows You When You're Down and Out") to joyous covers of rock & roll oldies "Barefoot Rock," "I Got Loaded," and Fats Domino's "I'm Ready" (inexplicably titled "Ready and Able"). Walker sounds like he's having a blast, too, especially as he overdubs himself on harmonica and guitar during a slicing slide solo on "Poor Man Plead." He shifts into shuffle style for Elmore James' "Pickin' the Blues," a blazing Freddie King-inspired instrumental. On the slow blues of "Ain't It Nice to Be Loved" he overdubs himself again, this time on piano, then picks up the pace for the jump blues of Rudy Greene's swinging "Juicy Fruit," another track where he lays down multiple guitar parts to impressive effect. The closing jaunty unplugged solo instrumental is the disc's only acoustic offering and shows he's just as accomplished in raw Delta mode. But it's Walker's powerful gospel and soul-infused vocals that make him so unique. He's an underrated singer whose distinctive, soulful voice is the glue holding these songs together. While some might prefer more originals next time out, Walker's covers on Playin' Dirty are loose and vibrant. The result is a blazing set that shows him to be one of the finest and most overlooked artists in contemporary blues. ~ Hal Horowitz, All Music Guide
'New Direction'
Release Date 8/17/2004
Tracks 10
Label Blues Bureau Int'l
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What The Critics Say
Joe Louis Walker is quite the triple threat. Not only is he a superb blues guitarist, with remarkable fluency and imagination, he's also an excellent singer (as you might expect from someone who came up through gospel groups), and an excellent writer with a strong penchant for soul music. For the most part, his blues isn't the heart-wrenching type, but deals with mistrust and double-dealing ("Messed My Mind Up") and good times ("Custom Cars, Gibson Guitars"). Throughout he blurs the line between blues and soul, which effectively makes this one of the best soul albums in a long time, as he shows on "Do You Love Me" and "You Don't Love Me Girl." With "Soldier for Jesus" his blues mixes with gospel, and some wonderful guitar work. With a small band -- bass, drums keys -- that truly swings, he keeps center stage, which is what he needs. Whether keeping rhythm guitar gliding behind his vocals, or shining as he does on "Mr. G's Boogie," his fretwork is fresh, wonderfully clean, and played with the kind of style and imagination all too often missing these days. Indeed, about the only misstep on the record is "Tempting Me," which talks up how much he's loved by the women when he's on the stage. Maybe it's tongue in cheek, but it also comes across as filler next to the other songs. And the closer, "Lena," tails everything off with a lyrical joy. A superb record from someone who might just be the best contemporary bluesman. ~ Chris Nickson, All Music Guide
What The Critics Say
She's My Money Maker finds blues guitarist Joe Louis Walker returning to his soul/blues roots following the release of the jazz/Latin Pasa Tiempo. Most of the material was written (or co-written) by Walker except for the Nick Gravenites classic "Born in Chicago." Walker works with a stripped-down lineup consisting of Robert Watson on bass, Geno Blacknell Jr. on keyboards, and Willy Jordan on drums. This is a mainly up-tempo disc with lots of Walker's slide guitar which is especially strong on "Slow Down GTO," "Borrowed Time," and "Slide Her Up and Down" (a silly title but, you get the drift). Without a doubt, the two strongest moments are the final two tracks. "My Judgment Day" is a gritty solo vehicle for Walker and slide, and "Eight Years of Loving" features Walker on harp and Blacknell playing boogie woogie-style piano. ~ Al Campbell, All Music Guide
What The Critics Say
As one of the few roots bluesmen not afraid to experiment with different musical forms, Joe Louis Walker takes a substantial departure from the rest of his catalog on his third album in little over a year. Pasa Tiempo maintains Walker's blues roots, but infuses them with jazz, R&B and soul -- most underpinned by a strong Latin vibe, as the title indicates -- with stirring results. Much of Walker's contributions to this project rely on his gospel-hued vocals, with his guitar taking a decidedly supporting role. Certainly early Van Morrison is an influence, and the disc's opening track is a stirring soul-drenched version of the Irishman's "Sweet Thing." The singer/songwriter/R&B/jazz direction continues with covers of Boz Scaggs' "I've Got Your Love," John Hiatt's "Love Like Blood," and Otis Redding's "Direct Me," all relatively obscure tracks from these artists that Walker makes his own. Guest musicians like saxist Ernie Watts -- who turns in a tour de force performance on Walker's nearly eight-minute soul/gospel tune "You Get What You Give" -- trumpeter Wallace Roney, along with the vibrant percussion section of legendary Santana/George Duke drummer Leon "Ndugu" Chancler, and Master Henry Gibson, push all the right Latin/jazz buttons. The bluesiest turn on the album comes with an instrumental slide guitar dominated take on Elmore James' "It Hurts Me Too." Interestingly, although a fine performance, it's the one track that doesn't mesh with the overall vibe. Originals such as the light, loungy cha cha of the instrumentals "Barcelona" and the title track -- both featuring Roney's magnificent horn, really push Walker on a path listeners haven't heard from him previously. Even the Booker T. groove of the set, closing oldie "You Can't Sit Down," works, if only as one of the few showcases for Walker's guitar. It all adds up to a successful side project that will please the artist's old fans along with hopefully expanding his audience. Pasa Tiempo is a unique entry into Joe Louis Walker's already eclectic catalog, proving that bluesmen can work in other genres while maintaining the integrity and enthusiasm of their musical love. ~ Hal Horowitz, All Music Guide
What The Critics Say
Rootsier than Robert Cray, more soulful than Jimmie Vaughan, and boasting a gospel background similar to the great Sam Cooke, Joe Louis Walker is a contemporary soul/bluesman who flawlessly and effortlessly mixes his diverse influences. On his first album in three years (and Telarc label debut), Walker proves he's an artist capable of terse, searing guitar solos, as on the R&B "Do You Wanna' Be With Me?"; mid-tempo, jazzy soul such as "Leave that Girl Alone"; or rugged acoustic Delta blues like the appropriate album-closing "Strangers in Our House." Walker -- who began his career playing religious music -- not surprisingly proves himself a more than adequate soul/gospel vocalist in the Al Green vein on the spiritual "Where Jesus Leads." In fact, the Memphis groove is infused through much of this album, with Walker's simmering version of the Stones' "2120 South Michigan Avenue" sounding like a lost Booker T. & the MG's B-side. But he's at his strongest when plowing through gritty, Southern-styled swamp-rocking R&B, as on "Strange Love," the album's strongest track, where he shouts, growls, howls, and testifies like Wilson Pickett in his prime. Walker is in full control throughout, moaning and crooning in a honey-and-grits style that is immediately recognizable. Even when he plays it straight on "Joe's Jump," Walker sounds invigorated, whipping off piercing leads even in a timeworn shuffle style. The opening tracks, "You're Just About to Lose Your Crown" with its bubbling Latin percussion, and the easygoing groove of the title tune smoothly coalesce Walker's soul, blues, and gospel roots. One of the versatile musician's most consistently successful albums, this is convincing proof that Joe Louis Walker is one of the most overlooked and distinctive artists working in the soul/blues genre. ~ Hal Horowitz, All Music Guide
What The Critics Say
Some critics have tagged this the best blues release of 1999; others weren't nearly as kind. It's a beauty-is-in-the-ear-of-the-beholder situation. Blues "purists" who lament the fact that very few artists today are playing down-home, traditional blues will very much enjoy and appreciate this return to the roots. Fans of more contemporary styles might quickly grow tired of the intense, piercing vocals and upper-register slide guitar work. There are ten originals and two covers (Robert Nighthawk's "Crying Won't Help You" and Sunnyland Slim's "It's You Baby"). Most of the tunes are sparse, gritty duets with either James Cotton on harp, Alvin Youngblood Hart on guitar/vocals, or Kenny "Blues Boss" Wayne on piano. Walker sings and plays dobro on the only solo track "Talk to Me." If you long for a modern-day artist with the delivery of a Robert Johnson or a Howlin' Wolf and you like your blues pure and raw, Silvertone Blues is right up your alley. ~ Ann Wickstrom, All Music Guide
'Preacher & The President'
Release Date 8/25/1998
Tracks 10
Label Verve
See Album Tracklist and Review
What The Critics Say
San Francisco blues pilgrim Joe Louis Walker documents an eclectic career with a landmark album, assembling elements from his productive stabs at Delta and Chicago blues, slide acoustic and funk-rock, motor jazz and gospel. He even throws a taste of social commentary into the mix with the title cut of The Preacher and the President, which is mostly a tribute to (and graduation from) his preferred (and stricter) urban-pulpit forms of late. Sure to be criticized by some as lacking in depth, Walker makes up for it in range, with viable demonstrations of influence by Buddy Guy, B.B. King, and old roommate Mike Bloomfield. Those in the need of a smidge of convincing should cut directly to the way-down "Uhhh!" and the reassuringly lustful "Yveline," since "Repay My Love" wouldn't offend a fan of easy listening, and the oddly colorless "I Ain't Messin' Around" speaks accurately of itself: it ain't. Too bad -- Walker's restraint reminds many blues fans of the glossy filler of Robert Cray rather than the gritty business of Otis Rush or T-Bone Walker, all considered influences of Walker's. A sturdy example of the multiple flavors of the modern blues. ~ Becky Byrkit, All Music Guide
