junior wells / albums

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- Calling All Blues
- - 4,816 plays
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Junior Wells
Released 2000

When The Cat's Gone The Mice Play
02:20
96 plays

You Don't Care
02:20
95 plays

You Sure Look Good To Me
02:25
92 plays

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songs

- 1
- Two Headed Woman
- 02:41
- 198 plays

- 2
- Lovey Dovey Lovey One
- 02:12
- 117 plays

- 3
- I Could Cry
- 03:10
- 172 plays

- 4
- Cha - Cha - Cha In Blue (Cut My Toe Nail)
- 02:22
- 130 plays

- 5
- Little By Little (I'm Losing You)
- 02:33
- 1,445 plays

- 6
- Come On In The House
- 02:22
- 146 plays

- 7
- You Don't Care
- 02:20
- 95 plays

- 8
- Prison Bars All Around Me
- 02:28
- 125 plays

- 9
- Calling All Blues
- 02:34
- 174 plays

- 10
- Galloping Horses A Lazy Mule
- 02:34
- 87 plays

- 11
- Messin' With The Kid
- 02:15
- 127 plays

- 12
- You Sure Look Good To Me
- 02:25
- 92 plays

- 13
- So Tired
- 02:13
- 109 plays

- 14
- Universal Rock
- 02:31
- 82 plays

- 15
- I Could Cry
- 02:53
- 111 plays

- 16
- I'm A Stranger
- 02:41
- 86 plays

- 17
- The Things I Do For You
- 02:19
- 85 plays

- 18
- Love Me
- 02:08
- 68 plays

- 19
- It Hurts Me Too
- 02:40
- 80 plays

- 20
- I Need Me A Car
- 02:21
- 68 plays

- 21
- I'll Get You Too
- 03:04
- 87 plays

- 22
- One Day (Every Goodbye Ain't Gone)
- 02:51
- 70 plays

- 23
- She's A Sweet One
- 03:01
- 71 plays

- 24
- When The Cat's Gone The Mice Play
- 02:20
- 96 plays

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album review

Following his recorded debut as a leader for States Records, Junior Wells signed with Mel London, producing a number of sides for the producer's Chief and Profile imprints. Perhaps best-known for his spectacular harmonica playing, this period, documented on Calling All Blues, saw Wells emerging as an outstanding vocalist as well. A consummate performer with a firm grasp of the range of emotions the music can produce, Wells wrings every drop of feeling out of the lyrics. The singer growls, shouts, howls, moans across these 24 tracks including two versions of his great "I Could Cry" and other classics like "Little By Little," "Cha-Cha-Cha in Blue," and "Lovey Dovey Lovey One." While it has a great deal of overlap with the collections from Paula Records, Calling All Blues remains a fine introduction with no glaring omissions. The bulk of the compositions come from three sources: his employer, London; the "poet of the blues," Willie Dixon; and Wells himself. While the recording quality may be shaky at times, it's to be expected and in fact only adds to the feeling of authenticity emanating from the music. It's like stepping inside a hot, sweaty room for a forbidden peek at a late-night jam session. Wells and company imbue the material with such intensity, it can almost be overwhelming at times. For the most part, the singer leaves his harp alone, but the handful of harmonica moments are memorable. On the instrumental title track, he lays into his instrument, battling for space amongst piercing guitar and piano leads. Only when the music is tempered by the more popular forms of rock & roll and R&B on songs like "I'll Get You Too," "One Day (Every Goodbye Ain't Gone)," and "I Need a Car" does it begin to lose its potency. Leading up to the sessions that produced Wells' classic 1966 album Hoodoo Man Blues, this is electric blues at its fiery best. ~ Nathan Bush, All Music Guide