Robert Nighthawk ‎– Prowling With The Nighthawk (2004)

2018-04-24T15:10:58Z

Robert Nighthawk ‎– Prowling With The Nighthawk (2004)


1 	–Robert Lee McCoy 	Tough Luck	3:12
2 	–Robert Nighthawk 	Six Three O		2:53
3 	–Robert Lee McCoy 	Take It Easy Baby 	2:36
4 	–Robert Lee McCoy 	Lonesome World 	2:41
5 	–Peetie's Boy 	Friar's Point Blues 	2:54
6 	–Rambling Bob 	Ol Mose 	3:22
7 	–Robert Lee McCoy 	Sweet Pepper Mama 	2:49
8 	–Robert Nighthawk 	Return Mail Blues 	3:15
9 	–Robert Lee McCoy 	My Friend Has Forsaken Me 	3:13
10 	–Robert Lee McCoy 	G-Man 	2:40
11 	–Rambling Bob 	Every Day And Night 	3:24
12 	–Robert Nighthawk 	The Moon Is Rising 	2:44
13 	–Robert Nighthawk 	Kansas City Blues 	2:40
14 	–Robert Nighthawk 	Crying Won't Help You 	3:19
15 	–Robert Lee McCoy 	CNA 	3:21
16 	–Robert Nighthawk 	Black Angel Blues 	3:04
17 	–Robert Nighthawk 	My Sweet Lovin' Woman 	2:54
18 	–Robert Lee McCoy 	Don't Mistreat Your Woman 	2:32
19 	–Robert Nighthawk 	Maggie Campbell - 1 	2:50
20 	–Robert Lee McCoy 	Prowling Nighthawk 	3:10
21	-Robert Nighthawk 	Jackson Town Girl	2:52
22 	–Robert Nighthawk 	Feel So Bad 	2:47
23 	–Robert Lee McCoy 	Mamie Lee 	3:10
24 	–Rambling Bob 	Freight Train Blues 	3:12
25 	–Robert Nighthawk 	Take It Easy Baby 	2:43
26 	–Robert Nighthawk 	Annie Lee Blues	3:11

Robert Lee McCoy - Guitar, Vocals 
Bass – Ransom Knowling (tracks: 12 to 14, 19,22,25),
 Willie Dixon (tracks: 2, 8, 16, 17, 21, 26)
Drums [Probably] – Jump Jackson (tracks: 13,14,22,25)
Guitar – Joe Williams (tracks: 1,3,4,7,9,10,15,18,20,23)
Harmonica – Sonny Boy Williamson
Piano – Ernest Lane (tracks: 8, 16, 17), Bob Call (tracks: 13,14,22,25),
 Roosevelt Sykes (tracks: 13, 14, 22, 25),
  Pinetop Perkins (tracks: 2,21,26), Walter Davis (track 1)
Vocals, Guitar – Robert Lee McCoy
Vocals – Ethel Mae (tracks: 2,21,26)

Robert Nighthawk's restless, itinerant spirit led to great gaps in his recording career, and as a result, he's not nearly as well known as he should be. He learned guitar from Houston Stackhouse, knew Peetie Wheatstraw, was playing with Sonny Boy Williamson and Big Joe Williams in the '30s, and has even been credited with teaching Muddy Waters how to play slide, yet his name is probably unknown to most casual blues fans. Another problem is that previous Nighthawk recordings tended to focus on a specific recording session or label affiliation, so mainly only blues scholars and fanatics understood what a pivotal personality Robert Nighthawk was to the development of electric blues from the acoustic Delta sounds. Prowling With the Nighthawk is the first major overview of Nighthawk and his various performing aliases, covering a 15-year time span and recordings on several different labels. Chronologically, these recordings start out in the Mississippi Delta (though they were all recorded in Illinois) with acoustic guitars and harmonica, then start to move into modern blues territory when Nighthawk electrified his guitar in the early '40s and began to develop his signature style of slide playing. The most recent recordings, dating to the early '50s, add a full rhythm section and even approach the sound of rock & roll on a couple cuts. Rather than present it chronologically, however, the folks at Document made the decision to program this as an album rather than a scholarly review of singles. So while the sound quality jumps around a bit (and this is the best most of this material has ever sounded), the variety of material from different times ultimately makes for a better listen than presenting each session in order. Once you've heard Nighthawk's mature slide style, there's no mistaking it for anyone else, and it's quite interesting to trace his development as a player over time, from the acoustic forays of the '30s to the fantastic electrified solo on "Return Mail Blues" in the late '40s. Despite his lack of name recognition, Robert Nighthawk was one of the greats, and Prowling With the Nighthawk is a great collection of some truly vital material. ---Sean Westergaard, AllMusic Review

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Robert Nighthawk - Bricks in My Pillow (1977)

2010-02-22T15:26:00Z

Robert Nighthawk - Bricks in My Pillow (1977)


1. Crying Won't Help You 
2. Take It Easy Baby 	
3. Seventy-Four 
4. Maggie Campbell Blues [Alternate Take] 
5. Moon Is Rising 
6. Nighthawk Boogie 	
7. Kansas City 
8. You Missed a Good Man 
9. Bricks in My Pillow 
10. Seventy-Four [Alternate Take] 
11. U/S Boogie 
12. Feel So Bad 
13. Maggie Campbell Blues 
14. Moon Is Rising [Incomplete Take]

Musicians:
Robert Nighthawk (vocals, guitar); 
Curtis Jones, Roosevelt Sykes, Bob Call (piano); 
Armand Jump Jackson (drums).

This 14-song collection, consisting of tracks recorded on July 12, 1951, and October 25, 1952, completely transforms the landscape where Robert Nighthawk's music is concerned. Up to now, apart from seeking out his prewar, unamplified work as Robert Lee McCoy (or McCullum) on Bluebird or grabbing a few tracks from some Chess reissues, there hasn't been a lot of Robert Nighthawk in one place. Now there are 14 hard-rocking tracks, cut for United Records in Chicago and showing Nighthawk in his prime and loving it, playing a mean slide underneath some boldly provocative singing that could have given Muddy Waters a run for his money. The style is there, and the voice and the guitar are there, so why didn't Nighthawk hit it big? Based on this collection, his style with an electric guitar just wasn't as distinctive as Waters' playing; additionally, he just didn't have Waters' (or Chess songwriter Willie Dixon's) way with a catch phrase -- there are some OK songs here ("Kansas City," "You Missed a Good Man," "Bricks in My Pillow"), but nothing as catchy or instantly memorable as "I Can't Be Satisfied," "Hoochie Coochie Man," or "Got My Mojo Working." A pair of instrumentals, "Nighthawk Boogie" and "U/S Boogie," both driven by Nighthawk's guitar and a romping piano, pretty much make this collection worthwhile and show the man in his peak form. Included on this collection are a pair of previously unissued tracks, an alternate take of "Seventy-Four," and a loud, crunchy, but, alas, unfinished version of "The Moon Is Rising." The sound is surprisingly clean and rich, especially given the 1951-1952 origins of the tapes. ---Bruce Eder, Rovi

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