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The Band

Moondog Matinee

Robert Ludwig Master

Sterling

Original Two Part Poster Cover

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Check the picture and the feedback for the nicest copy available !!!

Record Information

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Original Thick Heavy Vinyl

Stored In Heavy Plastic Outer Sleeve Since Purchase

Disc Condition

Near Mint

Visual Inspection

No visable flaws -  Looks unplayed

Cover Condition

Near Mint

Visual Inspection 

Clean and bright! Stored in heavy duty poly sleeve since new!

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Shipment Information

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All records are carefully packaged and shipped in heavy duty commercial grade #200 corrugated Record shipping boxes!

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                    Artist Information

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Earl Hooker (January 15, 1929 – April 21, 1970) was an American Chicago blues guitarist, perhaps best known for his slide guitar playing. Considered a "musician's musician", Hooker performed with blues artists such as Sonny Boy Williamson II, Junior Wells, and John Lee Hooker (a cousin) as well as fronting his own bands. An early player of the electric guitar, Hooker was influenced by the modern urban styles of T-Bone Walker and Robert Nighthawk. As a band leader, he recorded several singles and albums, in addition to recording with well-known artists. His "Blue Guitar", a popular Chicago area slide-guitar instrumental single, was later overdubbed with vocals by Muddy Waters and became the popular "You Shook Me".

In the late 1960s, Hooker began performing on the college and concert circuit and had several recording contracts. Just as his career was on an upswing, Earl Hooker died in 1970 at age 41 after a life-long struggle with tuberculosis. His guitar playing has been acknowledged by many of his peers, including B.B. King, who commented: "to me he is the best of modern guitarists. Period. With the slide he was the best. It was nobody else like him, he was just one of a kind".

Earl Zebedee Hooker was born in 1929 in rural Quitman County, Mississippi, outside of Clarksdale. In 1930, when he was one-year old, his parents moved to Chicago. His family was musically inclined (John Lee Hooker was a cousin) and Earl was exposed to music at home at a very early age. About age ten, he started playing guitar. Hooker was self-taught and picked up what he could from those around him. Although Hooker was gaining proficiency on guitar, he did not show an interest in singing. This has been explained by a speech impediment, i.e., pronounced stuttering, which afflicted him all his life. Hooker also contracted tuberculosis when he was young. Although his condition did not become critical until the mid-1950s, it required periodic hospital visits beginning at an early age.

By 1942, Hooker was performing on Chicago street corners with childhood friends including Bo Diddley. From the beginning, the blues were Hooker's favorites, but this when the more country-influenced blues was giving way to swing-influenced and jump-blues styles, which often featured the electric guitar. T-Bone Walker was popular and in 1942 began a three-month club stint at the Rhumboogie Club in Chicago. He had a considerable impact on Hooker, with both his playing and showmanship. Walker's swing-influenced blues guitar, including "the jazzy way he would sometimes run the blues scales" and intricate chord work, appealed to Hooker. Walker's stage dynamics, which included playing the guitar behind his neck and with his teeth, influenced Hooker's own later stage act.

Also around this time, he developed a friendship with Robert Nighthawk, one of the first guitarists in Chicago to switch to electric guitar. Nighthawk taught Hooker slide-guitar techniques, including various tunings and his highly articulated approach; Nighthawk had a lasting influence on Hooker's playing. Junior Wells, another important figure in Hooker's career, entered his life at this time. The two were frequent street performers and sometimes to avoid foul weather (or truancy officers), they played in streetcars, riding one line to another across Chicago. The harmonica player, Little Arthur Duncan, often accompanied Hooker over this period.

The year 1969 was an important one in Earl Hooker's career. He again teamed up with Junior Wells and they performed at higher-paying college dates and concerts, including Chicago's Kinetic Playground. This pairing did not last long and in May 1969, and after assembling new players, Hooker recorded material that was later released as Funk. Last of the Late Great Earl Hooker. Also in May, after being recommended by Ike Turner (with whom he first toured in 1952), he went to Los Angeles to record the album Sweet Black Angel for Blue Thumb Records with arrangements and piano by Turner. It included Hooker's interpretations of several blues standards, such as "Sweet Home Chicago" (with Hooker on vocal), "Drivin' Wheel", "Cross Cut Saw", "Catfish Blues", and the title track. While in Los Angeles, Hooker visited the clubs and sat in with Albert Collins at the Ash Grove several times and jammed with others, including Jimi Hendrix.

After the Blue Thumb recording session, Earl Hooker and his band backed his cousin John Lee Hooker on a series of club dates in California; afterwards John Lee used them for his Bluesway Records recording session. The resulting album, John Lee Hooker Featuring Earl Hooker – If You Miss 'Im ... I Got 'Im, was Earl Hooker's introduction to the Bluesway label, an ABC subsidiary and home to B.B. King. This led to recording six more Earl Hooker-involved albums for Bluesway in 1969: Earl Hooker's Don't Have to Worry and albums by Andrew Odom, Johnny "Big Moose" Walker, Charles Brown, Jimmy Witherspoon, and Brownie McGhee and Sonny Terry.

Hooker's Don't Have to Worry included vocal performances by Walker, Odom, and Hooker as well as instrumental selections. The session had a "coherence and consistency" that help make the album another part of Hooker's "finest musical legacy". Touring with his band in California took Hooker to the San Francisco Bay area in July 1969, where he played club and college dates as well as rock venues, such as The Matrix and the Fillmore West. In Berkeley, he and his band, billed as "Earl Hooker and His Chicago Blues Band", performed at Mandrake's, a local club, for two weeks as he recorded a second album for Arhoolie. Titled Hooker and Steve, the album was recorded with Louis Myers on harmonica, blues keyboard player Steve Miller, Geno Skaggs on bass, and Bobby Robinson on drums. Hooker shared the vocals with Miller and Skaggs.

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A Brief Discussion On Condition

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Sealed albums are in many cases a later pressing bought in some bargain bin. Not always but quite frequently. Rarely did the first pressing make it to the bargain bin unless the record was a flop. Back in the day every record distributor had a sealing machine and would reseal albums. These would end up in the bargain bins. That is why you see the stretching on the corners of many of them offered on eBay. Unless you plan on leaving the album sealed and reselling it, you are better off with a true Near Mint to Mint pressing from a reputable record dealer. You know what you get.

 All of these claims regarding complicated record cleaning systems mean you are getting records that have not had the care they should have had. If the record was cared for properly it won't need these complicated cleanings! A wipe with a Parastat or Discwasher with a few drops of cleaning solution will remove any soiling that is not from abuse.

A properly cared for album (NM or M) should look as close as possible to the record that came out when it was first opened.

Many were never played!

I rate rather conservatively but work closely with Goldmine standards. My Near Mint ratings are generally what everybody else rates as Mint or Brand New.

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