When I listen to this album, my initial reaction is that the material is older and far more raw than that which appeared on the previous year's Shotgun, the group's debut offering.
I would be right, because this is a collection of early, all instrumental workouts of from Walker and his All Stars, with no replacement Motown session musicians involved. Without wishing to sound unfair on The All Stars, I have to say that the Motown musicians' sound is probably better, fuller. The sound on Shotgun is slightly superior to this album, both in production and delivery and the vocals add something more to the overall more expansive feel of that album. There is still some fine material on here, though, all the same. Just as their Motown counterparts could play, so could The All Stars.
There is a rock 'n' roll style beat to the opening Good Rockin', a sort of Shakin' All Over groove. Walker's wailing saxophone soars all over it as well. It is a good track. Hewbie Steps Out features some sublime jazzy guitar soloing. Shake Everything is a sax-driven (there's a surprise!), lively toe-tapper, with a few sights hints of The Champs' Tequila in places. Everybody Get Together is packed full of rhythm and excellent, crystal-clear percussion.
Mark Anthony (Speaks) (an odd title) is a more laid-back, jazzy groove with some superb Walker saxophone. US rocks, big time, in a rock 'n' roll-swing way, the saxophone merrily driving it along. Moonlight In Vermont finds Walker going all late night jazz on a track that sounds far more beginning of the sixties than 1966. Decidedly is a bit lo-fi, compared to some of the others, but it chugs along pleasantly enough, sounding very much like a backing track, however.
Eight Hour Drag is a nice piece of the blues and is one of the album's best cuts. The lively Brainwasher was a double "A" side single but Cleo's Mood was the one that got played, probably correctly.
Three Four Three has some soulful sax throughout, while Satan's Blues is one of those that often appears on Jr. Walker compilations. That does not surprise me, it is the album's longest track at over four minutes, and it is an impressive slow-burning, atmospheric blues. The best track on the album finishes it.
Jr. Walker & The All Stars were at their best, though, when they interspersed vocal cuts with the instrumental ones. They would do just that on their next offering.
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