1 	You Left Me In The Dark 	
2 	I Can't Get You Off My Mind 	
3 	Don't Get Caught Sleeping In My Bed 	
4 	She's Got A Spell On Me 	
5 	I'll Be There 	
6 	Good Things 	
7 	What Kind Of Gal Is That 	
8 	Hideout 	
9 	Young Men Don't Know 	
10 	Someone Else 	
11 	I Make Money 	
12 	Looking For My Baby 	
13 	Nothing Can Change This Love 	
14 	I've Been Watching You

Kenny Anderson - Horn, Trumpet
Lonnie Brooks - Guitar, Vocals
Billy Flynn - Guitar
Hank Ford - Horn, Sax (Tenor)
Willie Hayes - Drums, Percussion
Willie Henderson - Horn, Sax (Baritone)
Chris James - Guitar
Robert Lockwood, Jr. - Guitar, Vocals
Patrick Rynn - Bass (Electric)
Rob Waters - Organ, Piano
Jody Williams - Guitar, Vocals

Proving that 2002's appropriately titled Return of a Legend was no one-off fluke, semi-legendary Chicago guitarist Jody Williams cements his comeback with this invigorating follow-up. Producer Dick Shurman, who worked on the previous disc, frames Williams' expressive voice and clean, jazzy guitar in a subtle, frills-free environment that brings out his best. The album's 13 originals (and one Sam Cooke cover) showcase Williams' talents as a fluid, understated, yet soulful guitarist; witty songwriter; and, more importantly, a singer of surprising passion. Esteemed horn arranger Willie Henderson also returns from the last album to add his arrangements to four tracks, highlighted by the simmering, staccato touches on a remake of Williams' "Hideout," originally recorded in 1962. Part Freddie King's "Hideaway," part Earl King's "Come On," it's an accurate, updated example of Williams' six-string prowess. Although the majority of the tracks are straightforward Chicago shuffles and slow blues, the guitarist infuses his upbeat personality to the proceedings, which makes the album so consistently refreshing. Stellar accompaniment by keyboardist Rob Walters and guest shots from Robert Jr. Lockwood and Lonnie Brooks certainly don't hurt (Brooks' vocals and guitar sizzle on "Someone Else," one of the album's highlights), but this remains Williams' show. Aggressive, supple, good-humored, and -- above all -- jubilant, this album finds Williams playing to his strengths. He's one of the blues' few come-from-behind success stories and, at nearly 70, an artist who returned from self-imposed retirement to release some of his best, most impassioned, and exciting music, albeit in his waning years. --- Hal Horowitz, allmusic.com

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1 	Lucky You 	
2 	Come Over To My House 	
3 	Lifelong Lover 	
4 	You May 	
5 	Moanin' For Molasses 	
6 	Monkey Business 	
7 	I'm Coming Back In Again 	
8 	She Found A Fool And Bumped His Head 	
9 	Jive Spot 	
10 	Brown Eyes And Big Thighs 	
11 	Wham Bam Thank You Ma'am 	
12 	What You Gonna Do? 	
13 	Henpecked And Happy

Kenny Anderson - Trumpet
Billy Boy Arnold - Harp, Vocals
Allen Batts - Organ, Piano
Ronnie Baker Brooks - Guitars
Sean Costello - Guitar, Vocals, Voices
Tinsley Ellis - Guitar, Vocals, Voices
Hank Ford - Sax (Tenor)
Willie Henderson - Sax (Baritone)
Kenny Smith - Drums
Harlan Terson - Bass
Jody Williams - Guitar, Maracas, Vocals
Rusty Zinn - Guitar, Vocals

The boastful title is no exaggeration; this is a welcome return for the classic Chicago blues sideman, who, primarily because of the misfortune of his music being exploited by other musicians, took a self-imposed retirement for nearly 30 years. It's especially rewarding since Williams -- whose work you hear on early Howlin' Wolf, Otis Spann, Bo Diddley, Billy Boy Arnold (who guests here) sides -- hadn't played a lick during that time, keeping his guitar stashed under his bed. He sounds like he never put the instrument away on this album, the first cohesive disc under his own name ever. Aided by comparative youngsters Tinsley Ellis, Ronnie Baker Brooks, and Rusty Zinn, along with a 21-year-old Sean Costello, Williams holds the spotlight like the pro his is. Though well into his sixties when this was recorded in 2001, he sounds remarkably vibrant, completely confident, and totally in his element. Whether reprising past glories like the magnificent instrumental "Moanin' for Molasses" along with Costello (who had revived the tune as the title track to his third release) or "Lucky Lou," which most blues fans will immediately recognize as the opening to Otis Rush's "All Your Love" (but was nicked from Williams), or writing new originals like the slow blues of "She Found a Fool and Bumped His Head," the guitarist sounds like he's thrilled to be recording again. That enthusiasm infects the band and pervades this album with a glow all too seldom felt when bluesmen attempt comebacks, especially after laying low as long as Williams has. Between his clean, jazzy yet direct blues style, the remarkably sympathetic band, and wonderfully understated production from Dick Shurman (the man heavily credited with enticing Williams back from obscurity), there are no missteps on this return. It's a tasteful showcase for one of the blues' lesser-known yet classic stars, and will hopefully be the beginning of a new lease on life for Jody Williams. --- Hal Horowitz, allmusic.com

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