A bankrupt studio schemes the government to finance a sexploitation mermaids film. Casting couches thus join the already exploitive studio. Meanwhile, the Secretary of State arranges an affair with the studio head's buxom wife Henrietta.
Buddy Guy coaxes the audience to go along with him and Junior Wells way down deep, and way back to the rawest roots of urban blues in a tribute to Muddy Waters. The tune begins with silence – the room is dead. And you suddenly realize that Guy is plucking out barely audible chordal accompaniment on his guitar, anticipating Wells’ murderously bittersweet harmonica bends and subtle lines. They slink along together as the rest of the band comes in to offer support. Wells’ voice emerges quietly, but right from the beginning it seems to traverse the full range of a blues voice, as if multiple bluesmen were all being channeled at once – we get soft and sweetly melancholy, gut-wrenching scoops, growls, shouts and all the rest you can imagine.
A singer and demon guitarist whose raucous blend of country and rock & roll helped make him a successful crossover act, Junior Brown was born in 1952 and raised in the backwoods of Kirksville, IN. He first learned to play the piano from his father, and was exposed to country through radio and TV, becoming a fan of Ernest Tubb's music and television program. He became a professional musician at the tail end of the '60s, while still in his teens.After honing his guitar skills in relative anonymity throughout the '70s, Brown became an instructor at the Hank Thompson School of Country Music, an affiliate of Rogers State College in Oklahoma. There, while teaching under the auspices of steel guitar legend Leon McAuliffe, a onetime member of Bob Wills & His Texas Playboys, Brown met "the lovely Miss Tanya Rae," a student whom he would later marry in 1988 and who eventually joined his band as a rhythm guitarist and backing vocalist…….
A beautifully packaged edition of Junior Kimbrough's first album, recorded live in the converted church that replaced Kimbrough's original wooden shack juke joint. The lineup is Kimbrough on vocals and guitar, Garry Burnside on bass, and Kenny Malone on drums (it's a family business around this area, and you'll find Burnsides and Malones all over Fat Possum's releases). All Night Long is a big, scruffy racket of an electric blues album, and it's fantastic material, a mix of charging, biting rhythms, intense slow blues, hollerin', stompin' and moanin'. The lack of studio polish is a big plus here – producer Robert Palmer was absolutely right to give this to us flubs and all – and the energy is wonderful. A great electric blues portrait that's getting widespread attention at last – and deserves it all.