Create account Log in

Calling All Blues


Download links and information about Calling All Blues by Junior Wells. This album was released in 2000 and it belongs to Blues genres. It contains 24 tracks with total duration of 01:00:58 minutes.

Artist: Junior Wells
Release date: 2000
Genre: Blues
Tracks: 24
Duration: 01:00:58
Buy on iTunes $11.99
Buy on Amazon $15.99


No. Title Length
1. Two Headed Woman 2:41
2. Lovey Dovey Lovey One 2:12
3. I Could Cry (1957 Version) 3:10
4. Cha - Cha - Cha In Blue (Cut My Toe Nail) 2:22
5. Little By Little (I'm Losing You) 2:33
6. Come On In the House 2:22
7. You Don't Care 2:20
8. Prison Bars All Around Me 2:28
9. Calling All Blues 2:34
10. Galloping Horses a Lazy Mule 2:34
11. Messin' With the Kid 2:15
12. You Sure Look Good to Me 2:25
13. So Tired 2:13
14. Universal Rock 2:31
15. I Could Cry (1961 Version) 2:53
16. I'm a Stranger 2:41
17. The Things I Do for You 2:19
18. Love Me 2:08
19. It Hurts Me Too 2:40
20. I Need Me a Car 2:21
21. I'll Get You Too 3:04
22. One Day (Every Goodbye Ain't Gone) 2:51
23. She's a Sweet One 3:01
24. When the Cat's Gone the Mice Play 2:20



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.