1 	Gangster Of Love 	2:57
2 	Broke And Lonely 	3:05
3 	You Can't Take It With You 	2:37
4 	H'way Go 	2:23
5 	Embraceable You 	2:36
6 	Cuttin' In 	3:12
7 	That's The Chance You've Got To Take 	3:07
8 	I Just Wants Me Some Love 	2:39
9 	Sweet Lovin' Mama 	3:05
10 	Those Lonely, Lonely Feelings 	2:45

One day, Watson and company co-owner Joe Bihari went to see the 1954 Sterling Hayden film "Johnny Guitar," and Watson acquired the nickname that would stick with him for his entire performing career. During this period he also began to style himself as the "Gangster of Love," after the title of a 1957 single Watson cut for the Keen label. First recorded by Johnny "Guitar" Watson as a demo in 1956. This version was not released. He recorded the song again for the Keen label who released it on a single in 1957 and on an LP in 1958. Watson recorded the song again for the King label in 1962. This blues piece was successfully covered by rock musician Steve Miller in 1968 and again by Watson himself in 1978.

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A1 	I Need It 	4:44
A2 	I Want To Ta-Ta You Baby 	5:47
A3 	Superman Lover 	5:43
B1 	Ain't That A Bitch 	5:02
B2 	Since I Met You Baby 	3:29
B3 	We're No Exception 	4:15
B4 	Won't You Forgive Me Baby 	5:17

Johnny "Guitar" Watson – organ, synthesizer, bass, guitar, piano, conga, drums, keyboards and vocals
Paul Dunmall – saxophone
Bruce Fowler – trombone, horn
Peter Martin - trumpet
Tommy Robertson – trombone
Emry Thomas – drums, backing vocals

Coming out of Houston's fertile blues scene with Albert Collins and Johnny Copeland, Johnny "Guitar" Watson trod the same route to fame that his peers did in the latter half of the '50s and for most of the '60s. Unlike Collins and Copeland, though, Watson found his biggest success as a funkster in the '70s. And lest one thinks of an aging blues legend embarrassing himself aping the innovations of George Clinton and Sly Stone, Watson found a singular groove by slicking up his already urbane blues style with lots of tasty horn arrangements, plenty of fat basslines, and wah-wah-issue guitar licks. The latter element, of course, was to be expected from a virtuoso such as Watson. And whether reeling off one of his subtle solos or blending in with the band, the reborn blues star was never less than compelling. Ain't That a Bitch, from 1976, heralded Watson's new funk era with plenty of guitar treats and one of the best batch of songs he ever cooked up. The variety here is stunning, ranging from the calypso-based blues swinger "I Need It" to the quiet storm soul ballad "Since I Met You Baby." In between, Watson goes widescreen with the comic book funk of "Superman Lover" and eases into an after-hours mood on the organ-driven jazz and blues gem "I Want to Ta-Ta You Baby." Besides the fine Watson roundups on the Rhino and Charly labels, Ain't That a Bitch works beautifully as a first-disc choice for newcomers, especially those who want to hear the '70s funk material. ---Stephen Cook, allmusic.com

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1 Booty Ooty 5:06 
2 Love Jones 4:44 
3 Going Up In Smoke 4:31 
4 Close Encounters 6:35 
5 Asante Sana 0:53 		play
6 Telephone Bill 4:45 
7 Lone Ranger 6:32 
8 Jet Plane 3:38 		play
9 Children Of The Universe 5:10

Johnny Guitar Watson plays guitar like no other. Got to, since he's a blues man. What? you'd say, didn't he do "Real Mother For Ya". Sure he did, he also did Booty Ooty (which is on this one), Gangster Of Love (on Giant - and which Steve Miller borrowed for The Joker), I Don't Wanna Be President (on What The Hell Is This? - on fuel shortage), I even dare to say he was one of the first rappers around when nobody except maybe Isaac Hayes did things like that. So WHAT is Johnny Guitar - or better was, since he died in Japan in the middle of a performance.

Johnny was one of the best, period. He played the guitar - and most other instruments, composed, arranged and produced. He was funny as hell: You Can Stay But The Noise Must Go (come on, who else would come up with that?). Check out the covers, one better than the other. You want to dance, take Johnny, you want to love, same thing. In for a laugh, go for Johnny. Anything else on your mind? Johnny delivers. ---Andre Heeger

One of the last great records by Johnny Guitar Watson – and an album that's got some wonderfully subdued moments, which is a real relief after some of the too-funky bits on some of his other sets from the late 70s! Johnny returns to the tight soul of the mid 70s Fantasy LPs – still keeping the guitar up in the mix, but also really focusing on his wonderfully compressed style of vocals – a slightly tripped out mode that dances along beautifully with the guitar – ta-ta-ing us to some great mellow grooves, and really letting Watson's personality shine! Titles include "Love Jones", "Asante Sana", "Lone Ranger", and "Children of the Universe". CD features 2 previously unissued bonus tracks – "Funky Blues" and "Untitled Mix".

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01 - Hot Little Mama (Watson, Davis, Taub)
02 - I Love to Love You (Watson, Davis, Taub)
03 - Hot Little Mama (Watson, Davis, Taub)
04 - Don't Touch Me (I'm Gonna Hit the Highway) (Watson, Davis, Josea)
05 - Too Tired (Watson, Davis, Ling)
06 - Lonely Girl (De Milo)
07 - Ain't Gonna Hush (De Milo)
08 - Those Lonely, Lonely Nights (King, Vincent)
09 - Oh Baby (Watson, Davis, Taub, Josea)
10 - Someone Cares for Me (Watson, Davis, Taub)
11 - Ruben [Piano Version] (Watson)
12 - Give a Little (Watson, Davis, Bihari)
13 - Love Me Baby (Booker, Josea)
14 - She Moves Me (Watson, Ling)
15 - Ruben [Guitar Version] (Watson)
16 - Three Hours Past Midnight (Watson, Ling)
17 - Love Bandit (Gangster of Love) (Watson)
18 - Telephone Boogie (Otis)
19 - Dee's Boogie
20 - I Got a Girl (That Lives over Yonder) (Otis)
21 - Gangster of Love (Watson)
22 - One Room Country Shack (Watson)
23 - Deana Baby (Adler,Alpert)
24 - Honey (Watson)
25 - Come on Baby [Saxophone Version] (Watson)
26 - My Baby and Me (Watson)
27 - You've Been Gone Too Long (Watson)
28 - Come on Baby [Guitar Version] (Watson)

Johnny "Guitar" Watson (vocals, guitar)

This generous serving of 28 tracks focuses on Watson's mid-1950s recordings (both released and unissued) for RPM, throwing in some songs by singers Devonia Williams, Jeannie Barnes, and Crodella de Milo (on whose songs he was accompanist); a couple of 1957-58 singles for Keen; and some previously unavailable tracks he recorded for Johnny Otis, probably dating from the late 1950s and early 1960s. This is worthwhile for fans of Watson in particular as well as fans of the R&B-blues crossover sound of the '50s in general. It's a patchy set, however, in which Watson and his associates try on several different styles for size, but not always with memorable success. Watson's stinging guitar is satisfying on cuts like "Hot Little Mama," and one can tell that it was probably played at a volume that challenged the limitations of 1950s engineering technology; but his playing is sometimes less to the fore in the arrangement than is desirable. For the most part, the material is adequate but not exciting. Sometimes it follows the lead of Watson's avowed hero Ray Charles, while other times it is shaded with doo wop and New Orleans R&B. On the Keen tracks he ventures into Larry Willliams-styled rock; on "Gangster of Love" (one of the standouts on the disc), he accomplishes swinging and boasting first-person-narrative blues. The tunes certainly aren't as impressive as the instrumental skills of Watson and the RPM/Modern house bands overseen by Maxwell Davis. Among the tracks, one will find the 1956 single "Three Hours Past Midnight" -- a slow blues that, according to the liner notes, the teenaged Frank Zappa considered "his number one record which had a big influence on his own guitar playing." --- Richie Unterberger, allmusic.com

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