'An Introduction to Johnny Copeland'
What The Critics Say
An Introduction to Johnny Copeland is a satisfying compilation focusing on 16 of the Texas bluesman's rare sides waxed for independent labels in the '50s and '60s. Long before Copeland began releasing popular soul-blues on the Rounder label in the '80s and (albeit briefly) with Verve in the early '90s, he recorded umpteen regionally distributed singles. Sweat-drenched ballads alternated with gritty, greasy R&B workouts, usually augmented by a horn section and sounding very similar to what Junior Parker or Bobby "Blue" Bland were releasing at the time. Please note that this reissue includes the majority of cuts from Fuel 2000's Collection: Working Man's Blues issued in 2002, but for some reason three cuts were omitted: "Funny Feeling," "It's My Own Tears That's Being Wasted," and "I Got to Go Home." ~ Al Campbell, All Music Guide
What The Critics Say
A collection of good old Texas electric blues tracks mostly recorded by Johnny Copeland in the early '60s through the mid-'70s, between his first flush of youth and his Rounder Records-sponsored artistic renaissance, Working Man Blues is a portrait of an undeniably talented electric guitarist and singer floundering a bit in terms of career direction. As a result, this 19-track compilation is filled with nuggets of prime electric blues, but they range from workmanlike renditions of Ray Charles standards ("Night Time Pts. 1 & 2") to Atlantic Records-style early rock & roll ("Hear What I Said") to slinky Albert King-style workouts ("Your Game Is Working"). It's a bit all over the map, but there are surprisingly few duff tracks, and no stylistic experiments that simply don't work, à la Surfin' With Bo Diddley. This is a fine introduction to an oft-overlooked period in Johnny Copeland's career. ~ Stewart Mason, All Music Guide
'Live in Australia 1990'
What The Critics Say
This is no hastily assembled disc to cash in on the late Johnny Copeland's unfortunately early demise, but one of his finest recordings. Whether in the studio or live, Copeland always pours a lot of sweat into his playing and singing. The band is tight behind him, giving him the freedom to soar. From the devastation of "Cut Off My Right Arm" to the joy in Nappy Brown's signature tune "Wella Wella Baby," all of the songs are filled with amazingly good vocals and tasteful guitar fills. This album is a fitting tribute to a man who gave his all to every performance. ~ Bob Gottlieb, All Music Guide
What The Critics Say
Johnny Copeland's eclectic nature is on display on Jungle Swing, an ambitious collaboration with jazz pianist Randy Weston. Weston brings a selection of African rhythms and melodic textures to the table, which are incorporated subtly into the rhythmic underpinnings of each song. In no sense is Jungle Swing a worldbeat experiment -- it's just a small, affectionate tribute. Even so, the African flourishes don't dominate the sound of the record. Like always, Copeland takes center stage with his clean, precise licks. At this point in his career, he knows exactly what to play and the guitarist never overplays throughout the course of the disc. There are a few weak moments on the disc, but the sheer strength of Copeland's musicianship -- and his willingness to stretch out ever so slightly -- make it worth the time for any of his fans. ~ Thom Owens, All Music Guide
'Catch up with the Blues'
What The Critics Say
This live Australian import is a no-frills Texas guitar feast. ~ Bill Dahl, All Music Guide
'Make My Home Where I Hang My Hat'
What The Critics Say
This second Rounder Records album has its share of incendiary moments. ~ Bill Dahl, All Music Guide
What The Critics Say
This immaculate collection put the veteran Houston axeman among the blues elite; it features searing guitar and soulful vocals. ~ Bill Dahl, All Music Guide
'Bringin' It All Back Home'
What The Critics Say
Imaginative hybrid of blues and African idioms. ~ Bill Dahl, All Music Guide
What The Critics Say
Sometimes Copeland's Texas shuffle blues just don't have any bite. He came perilously close on this set to having to depend on gimmicks and experience. Copeland couldn't find anyway to refresh material like "Beat the Boom Boom Baby" and "Pie in the Sky," although he tried hard with shouts, cries, and moans. He was more successful on "Nobody But You," "I Was Born All Over," and "Blues Ain't Nothin'," where his soul and gospel roots helped inject some life into the lyrics. His band tried to help matters, but really couldn't elevate the proceedings. If you're only a mild to casual fan, this wasn't one of Copeland's greatest. ~ Ron Wynn, All Music Guide
