Blues

John Mooney - Telephone King (1991)

2010-03-29T20:02:58Z

John Mooney - Telephone King (1991)


1. Wibble Whim She When She Walk - 4:17
2. What'cha Gonna Do? - 3:16
3. Telephone King - 3:51
4. Let Me Go - 2:59
5. Please Baby Please - 3:22
6. Oh Louise - 3:23
7. Rainin' Down on My Broken Hea - 3:51
8. Ain't Done Wrong - 3:11
9. Coal Stove Mama/Please Please - 4:01
10. Please Please Please - 3:36
All songs written by Mooney


Kenneth Blevins - Drums
Bob Cooper - Piano
Doug James - Sax (Baritone)
Nick Langan - Harp
Rich Lataille - Sax (Alto)
John Mooney - Guitar, Guitar (Steel), Vocals, Producer, Slide Guitar
Greg Piccolo - Sax (Tenor)
Roomful of Blues - Horn
Mark Wenner - Harp
Brian Williams - Bass Fiddle

Contemporary blues musicians tend to sound more reverential than stirring, but not John Mooney. He's not doing tributes, he's having a party, and that's the spirit that makes this session both intriguing and enjoyable. ---Ron Wynn, allmusic.com

Although he is widely know among blues fans as an electric guitarist, Mooney began his career as strictly an acoustic player. This CD is a reissue of some of his early work on a small label. All in all, not quite as dark as his later work. Some good music here, though, despite a piano that overpowers the guitar on some tracks. And that voice ... ---T. Burke, amazon.com

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John Mooney – Late Last Night (1990)

2009-12-28T12:33:23Z

John Mooney – Late Last Night (1990)


1. 89late Last Night
2. Rip
3. Country Girl
4. Baby Please Don't Go
5. Travelin' On
6. Lovin' Mood
7. It Don't Matter
8. Out That Door
9. Late on in the Evening
10. Coma Mama
11. Country Boy

John Mooney - Composer, Guitar, Piano, Producer, Slide Guitar
Jon Cleary - Organ, Organ (Hammond), Piano
David Ranson – Bass
Kenneth Blevins - Drums, Tabla, Tambourine

Bluesman John Mooney has a very appealing tone in his slide guitar work, a relatively strong voice and, by varying moods, subject matter and grooves, he put together a particularly strong program for his Bullseye Blues debut. Influenced by both the country blues and country music, Mooney's guitar acts as both a contrasting and a complementary voice to his vocals, sometimes functioning in unison and other times as an equal partner in a musical "conversation." Enjoyable music. ---Scott Yanow, allmusisc.com

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John Mooney – Gone To Hell (2000)

2009-12-27T11:38:07Z

John Mooney – Gone To Hell (2000)


01. Gone To Hell 3:41
02. No 2:49  
03. That's What Lovers Do 3:19  
04. Dry Spell Blues 2:50  
05. Made Up My Mind 3:54 
06. Funky Arkansas 3:46 
07. Indian Lea 2:52 
08. I Wonder Blues 4:32 
09. Glass House 3:31  
10. Cypress Grove 3:12  
11. How Long Blues 3:54  
12. Grab A Hold 3:59 
13. Down South Blues 2:49

John Mooney (vocals, electric & steel guitars); 
Dr. John (piano); 
Jeff Sarli (bass); 
Kerry Brown (drums, shakers); 
Alfred "Uganda" Roberts (congas, percussion).

This disc by John Mooney stretches his boundaries without compromising his music at all. He adds some New Orleans rhythm & blues/funk to the solid, deep Delta blues foundation on which his music is based. It works yet he doesn't seem quite comfortable with it all yet even though he wrote nine of the 13 songs (some of his strongest songs yet). Of course, he has enlisted some of the finest, such as Dr. John to plink the ivories, and some friendly familiar faces like Jeff Sarli on bass, to assist him in this endeavor. This is more a group-orientated effort and it is excellent in that respect, however, that means Mooney's guitar work is not as prominent in the mix and, thus, it requires more attention by the listener because he has not lost any of his ferocity at all. His guitar playing is some of the most savage and ferocious ever. A big plus on this disc is Mooney's singing because he is sounding more comfortable each time out and he has a voice perfectly matched in passion to the raw and fervid nature of his Delta-based material. Even his R&B is anchored in the mud of the mighty river that feeds the area. The blues are associated with the devil and passion and if you are dealing with the devil it is assumed you generally wind up down in Hell. What many people forget is that the same passion that can take you down to Hell can also raise you up to Heaven. The disc is titled Gone to Hell, and it is filled with the fierceness that takes you on the express train to whatever your destination. Where ever John Mooney is going he is riding that express with the type of dedication that is a force and fury that show a total dedication and must be reckoned with. A must for all interested in the blues and honest music that is played from the heart. ---Bob Gottlieb, allmusic.com

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John Mooney - Against The Wall (1996)

2009-12-26T12:50:39Z

John Mooney - Against The Wall (1996)


   1. Sacred Ground
   2. Doggone Thing
   3. Sweat'n Bones
   4. Broken Mold
   5. Late On In The Evening
   6. 3 Sides (2 Every Story)
   7. The Bitter Pill
   8. U Tol' Me
   9. One Step Forward
  10. Somebody Been Missing Somebody (2 Long)

John Mooney - Composer, Guitar, Vocals
Bob Andrews - Organ (Hammond), Piano
Tony Hall - Bass, Guitar (Bass)
David Lee Watson - Guitar (Bass)
Jeff Sarli - Bass (Acoustic)
George Recile - 7-String Bass, Drums, Percussion
Carlo Nuccio – Drums
Michael Ward - Congas

Mooney is one of a handful of younger blues players who has forged his own style, a jarring juxtaposition of angular Delta guitar and funky New Orleans backbeats. He explores the dark sides of those traditions in Against the Wall, a harrowing and stark work. Mooney's voice and guitar, both quivering, conjure up the image of a lost soul at a Delta crossroads at midnight; his shadowy bass- and-drum rhythm section evokes the ominous powers of voodoo. Standouts include "Sacred Ground," awhich opens the set, and "Somebody Been Missing Somebody (2 Long)," which closes it. On "Late on in the Evening," a mournful blues about a marital breakup, if the verse about his little boy begging him not to go doesn't get you, the stinging, Muddy Waters-style slide guitar break surely will. Very minimalist production throughout illustrates the principle that, in roots music, less equals more.--- Steve Hoffman, allmusic.com

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