GDigitally remastered and expanded edition of this legendary 1967 collaboration from Rock 'N' Roll and R&B pioneer Larry Williams and Johnny Guitar Watson, who took his R&B roots into pimp-friendly Funk in the '70s. The album is a Northern Soul classic with three bonafide stompers in the title track, the legendary 'Too Late' and 'A Quitter Never Wins'. Also features the even rarer 45 'Nobody', which the duo recorded with US Psychedelic outfit Kaleidoscope. The package is expanded even more with six tracks from Watson's OKeh album the Fantastic Piano And Guitar of Johnny Watson - BAD! And two tracks from the OKeh album in a Fats Bag - the Johnny Guitar Watson Trio Plays Fats Waller.
Digital reissue of an old Red Lightnin' bootleg covering Watson's 1950s output that was revered back in the pre-CD era but sounds very rough now.
2007 release of compilation of classic recordings by the R&B/Blues legend who had a profound influence on another influential American icon, Frank Zappa. Let The Good Times.
This installment of Johnny "Guitar" Watson's sojourn into 1970s' style funk incorporates Funkadelic-style chants and sophisticated grooves as well as the blues and R&B master's trademark hoarse vocalizing; but, as always, his prickly, jazzy guitar soloing is the main attraction, displayed to its best advantage on burning funk tracks like "Barn Door" and "It's About the Dollar Bill."
As befits a release on a fledgling indie label, Dualtone's tribute to Johnny Cash celebrates the feistier fringes of the Man in Black's catalog, adding a few mainstream milestones. In what is plainly a labor of love for all concerned, highlights extend from the pop innocence of "Ballad of a Teenage Queen" by Rodney Crowell (formerly married to Johnny's daughter Rosanne) to the folkier strains and husband-and-wife harmonies of "Pack Up Your Sorrows" by Bruce Robison and Kelly Willis to the honky-tonk majesty of "I Still Miss Someone" by pianist Earl Poole Ball. Some of the more familiar touchstones don't fare quite as well, with Billy Burnette turning in a tepid "Ring of Fire" and Dale Watson singing in a lower than comfortable register on "I Walk the Line," though James Intveld rises to the challenge of "Folsom Prison Blues." The house band and the largely acoustic arrangements give the 18-cut album more unity than many such projects, as the collection shows why one of the most influential and commercially successful artists in country's history remains an icon of alt-country as well.
This may be the best series of rockabilly compilations I've run across, and I've blown a lot of money on some mediocre crap. You get a ton of solid senders from fairly obscure names that run the gamut from hillbilly to rockin' boppers.