Junior Wells Albums (15)
'Junior Wells & Friends'
Release Date 4/1/1999
Tracks 14
Label Charly
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'Live at Buddy Guy's Legends'
Release Date 6/24/1997
Tracks 11
Label Telarc
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What The Critics Say
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 love of the Godfather's soul/funk innovations without letting us forget that he's a bluesman first and foremost. Although this CD doesn't offer a lot of surprises, it's an invigorating documentation of the energy and passion Wells brings to the stage. ~ Alex Henderson, All Music Guide
'Come on in This House'
Release Date 9/24/1996
Tracks 14
Label Telarc
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What The Critics Say
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 blues guitarists -- Corey Harris, Alvin Youngblood Hart, Sonny Landreth, Bob Margolin, and John Mooney; to have those musicians, in various combinations, accompany Wells on a variety of slide guitars; and to concentrate on vintage Chicago and Delta blues from the repertoires of Rice Miller, Little Walter, Tampa Red, Arthur Crudup, and Wells himself. The result is a virtual slide-guitar mini-fest and a demonstration of the timeless appeal of classic blues done well. Wells' vocals are deep and manly; his harp playing is high-pitched, like a child's pleading. A surprising highlight is the only contemporary tune on the disc, Tracy Chapman's "Give Me One Reason." New Orleans drummer Herman Ernest III, who appears on 11 of the 14 cuts, does a masterful job laying down understated rhythmic grooves. ~ Steve Hoffman, All Music Guide
'Everybody's Gettin' Some'
Release Date 3/28/1995
Tracks 12
Label Telarc
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What The Critics Say
Makes his prior Telarc offering look like a masterpiece by comparison. A passel of superfluous guest stars -- Bonnie Raitt, Carlos Santana, Sonny Landreth -- unite to produce the most worthless Wells album ever down in Louisiana rather than in Wells's Chicago stomping grounds. Why he wanted to remake songs from the songbooks of WAR and Bill Withers is a mystery better left for future generations to ponder. ~ Bill Dahl, All Music Guide
'Better Off with the Blues'
Release Date 8/24/1993
Tracks 10
Label Telarc
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What The Critics Say
Wells sings with a salty edge and clarity that are convincing and engaging, and he maintains his good humor even when saddled with less than first-rate material. He provides winning renditions of Ray Charles' "The Train," Merle Haggard's "Today I Started Loving You Again" and Jimmy Reed's "Honest I Do," plus a good reworking of his own "Messin' With The Kid" and "Goin' Home." But the song that tears the house down is "Oh, Pretty Woman," featuring flashy, exciting guitar from Rico McFarland and Wells' swirling harmonica adding secondary fire. Indeed, Wells' harp playing's another bonus; it's focused and aggressive here. This is pretty good for a 1990s session. ~ Ron Wynn, All Music Guide
What The Critics Say
Underrated mid-'70s collection boasting a contemporary, funky edge driven by guitarists Phil Guy and Sammy Lawhorn, keyboardist Big Moose Walker, and saxman A.C. Reed. Especially potent is the crackling "The Train I Ride," a kissin' cousin to Little Junior Parker's "Mystery Train." ~ Bill Dahl, All Music Guide
What The Critics Say
Recorded on Halloween night in 1979, this pairs up Wells and Guy in a fashion that hasn't been heard since Hoodoo Man Blues, their first, and best collaboration. Solid backing by the Philip Guy band (Buddy's brother) makes this album a rare treat. ~ Cub Koda, All Music Guide
What The Critics Say
Enjoyable but less electrifying follow-up to Hoodoo Man Blues, cut in 1969-1970 -- looser, with longer songs that afford more room to stretch out instrumentally but don't quite equal the stunning precision of what came before. Buddy Guy returns on guitar; Otis Spann is the pianist, and Fred Below keeps superb time. ~ Bill Dahl, All Music Guide
What The Critics Say
This 1998 CD reissue of Wells' debut recordings for the States label adds four previously unheard tracks along with the original 13-track vinyl lineup. Wells' legacy begins with these landmark sides, featuring Elmore James, Muddy Waters, Johnnie Jones, Otis Spann, Willie Dixon, and the Aces in the lineup at various points. Whether it's a slow one like his original take on "Hoodoo Man" or a jump number like "Cut That Out," the grooves are classic Chicago and a mile deep. Most telling are the acoustic duets with Louis Myers recorded between the 1953 and 1954 studio sessions and the fine instrumentals like "Junior's Wail" and "Eagle Rock." Although at the start of a long career, it's obvious that Junior Wells was already a young man with a style all his own, ready to make blues history. File under essential. ~ Cub Koda, All Music Guide
'Live at the Golden Bear'
Release Date 1/1/1968
Tracks 10
Label Blue Rock
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What The Critics Say
The swaggering harpman took his act on the road to Huntington Beach, CA to do this live set with his touring quartet of the moment. Virtually nothing but blues and soul standards that show his wide stylistic range -- alongside tunes by Muddy Waters, both Sonny Boys and the Wolf resides an impassioned reading of James Brown's "Please, Please, Please." ~ Bill Dahl, All Music Guide
