2 of 2 people found the following review helpful:
4.0 out of 5 stars
Fine collection of Snooks Eaglin's early-60s sides, October 12, 2004
This review is from: Complete Imperial Recordings (Audio CD)
Wow, look at the price for a used copy of this CD. I think I paid about ten for a new one...
Oh well ;-)
This 1995 collection brings together eclectic singer/guitarist Ford "Snooks" Eaglin's 1960-1963 Imperial recordings, New Orleans-style R&B with a bluesy flavour.
This is very solid stuff, some of it influenced by men like Eddie "Guitar Slim" Jones and Ray Charles Robinson...Eaglin's style is sometimes compared to the latter, but it isn't extremely similar, with sparer arrangements and a distinct Creole vocal slur.
Here he tackles blues ("Mama Talk To Your Daughter", "C.C. Rider"), spirituals ("Nobody Knows The Trouble I've Seen"), pop ("Cover Girl", an utterly charming "You Call Everybody Sweetheart But Me"), and lots and lots of juicy rhythm & blues, from the upbeat "I've Been Walkin'" to the smooth swing of "Yours Truly".
Seven of these twenty-six songs are previously unreleased, and most of them are only available on this album. Why the hell is it out of print anyway?!
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1 of 1 people found the following review helpful:
4.0 out of 5 stars
Local Boy Makes Good?, February 23, 2009
This review is from: Complete Imperial Recordings (Audio CD)
One of the themes that have animated the musical reviews in this space is how and why some perfectly competent performer, either through his or her own limitations, predilections or just plain happenstance does not attain the kind of recognition that they deserve. That is the case of local New Orleans singer and instrumentalist Snooks Englin who, as this CD demonstrates, had the capacity to make a big name for himself in the blues world. Certainly his history of accompanying many other musicians who did go on to greater fame makes one wonder about the fickle fates that the musical gods have in store for those who challenge them.
In any case, one knows that Snooks' pedigree as a premier New Orleans player, with its intersection of Cajun, Zydeco, electric and country blues and jazz, as reflected in his work should have led to greater success. Listen to his very nice covers of "C.C. Rider", "Little Eva", "Long Gone" and "Willy Lee" for proof of that proposition or his own works such as "Is It True" or "Down Yonder" and see what I mean.
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