Hound Dog Taylor and the HouseRockers Natural Boogie Christgau's Record Guide. A— . We even get to hear Taylor and his rhythm guitar player Brewer Phillips play a small bit of a fine guitar weave on "44 Blues". Makes you wish the whole song was played that way as it sounds so fine. Only John Lee Hooker is as unselfconsciously inelegant, and Hooker doesn't have Brewer Phillips 's bass and Ted Harvey's drums to turn his blues into rock and roll.
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. The Illustrated Encyclopedia of Music. Fulham, London: Flame Tree Publishing. Blues Who's Who. New York: Da Capo Press. As the debut act on the fledgling Alligator label, Hound Dog Taylor obviously holds a hallowed place in owner Bruce Iglauer 's heart. That has resulted in more posthumous albums three from the raw boogie-blues man than "official" ones two released in his lifetime.
And that's not including the Alligator tribute disc. Iglauer has returned to raid what must be some pretty threadbare vaults by now, to cobble together this minute collection of live tracks, outtakes, and general leftovers. Fortunately, this barrel-scraping has turned up some real gems, although they are far rougher than what is already in Taylor 's gritty, gutbucket rocking catalog. Certainly existing fans won't mind. The rawer than raw -- but still far better than bootleg -- quality tapes are only for those already in Hound Dog 's house.
Versions of "Sadie" and a wild, half-drunken ten-plus minute romp through a slow and bluesy "Things Don't Work Out Right," complete with a rambling soliloquy, guitar buzz, and feedback in all the right places, have to be heard to be appreciated.
Experiencing Hound Dog at his loosest is a fly-on-the-wall proposition as he seems unaware tapes were rolling for many of these tracks. That makes for some wonderfully open and uninhibited music from the bassless Taylor trio, playing with the usual reckless abandon. Hound Dog was incredibly proud. He was just thrilled about the whole thing. To make an album, to see his picture on it, to have people come up to him and ask him to autograph it.
He was sitting on top of the world. He was flabbergasted when I paid him royalties. That was a very successful record. We've done about , copies of that record over the years. The first year, it sold 9, copies, which was absolutely unheard of for a blues record on an independent label. It was a huge number of sales. Delmark at that time would sell 1, copies of a new release. I began getting offers for him to travel for tours. After I began to realize that he couldn't read maps or road signs and couldn't get anywhere himself, I began doing the booking, negotiating deals, issuing contracts.
I still had my day job at Delmark at the time. He started going out to shows on a weekend then during the week for a day or two at a time, sometimes with me. He played some clubs, college dates and rock and roll shows. I remember him opening up for Mitch Ryder and Detroit.
We did one tour of Australia with Freddie King and did a lot of big venues. He worked quite a bit. Not as much as he wanted to- he would have been on the road all the time. The problem was that there weren't enough places for blues musicians to work.
It was a very fallow time for blues. Every gig was like a God send. It sounds a little bit different, relatively speaking. I hear it- I don't know if other people would. Hound Dog changed amps, there's a little more kick drum in the mix, different 50 dollars Japanese Kingston guitar with more knobs and switches which he liked a lot.
He didn't read and write to speak of but he put together a song called "Sadie" when we were on the first East coast tour. We were at a gig at Yale and stayed at the home of the student promoting the concert.
Hound Dog sat up the night with an acoustic guitar and came down to breakfast the next day and sang "Sadie. He was VERY proud of himself. That and "See Me In the Evening" were two songs that were really his creations. Those he felt great about. So he liked Natural Boogie a little better. The songs on the first album he had just put together and evolved on the bandstand, which was very typical for the way his music went.
He'd play a riff and it would be an instrumental for a while and then he'd put some words to it then he'd change them around. A song would develop over five years and grow and become something. Those other two songs were actually conscious efforts to be a songwriter.
He liked Natural Boogie better because it represented more creativity on his part. PSF: Was he part of the Chicago scene at that time or getting well known? Well-known is a strong word. There weren't a lot of well-known blues performers at that time. You had B. After that, the list was damn short of the people that were on the college circuit. Luther Allison made a little noise after that and Magic Sam had died.
It wasn't a big crowd. Hound Dog wasn't at the level of any of the people that I mentioned. He was a club artist who did some concert work. I literally had to break into a liquor store and steal some bottles of whiskey for them because they were too shaky to perform.Watch the video for Give Me Back My Wig from Hound Dog Taylor & the House Rockers's Hound Dog Taylor And The Houserockers for free, and see the artwork, lyrics and similar artists.
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