Eugene Chadbourne: At the time this album was recorded, the particularly intense blues artistLouisiana Redwas a protégé of the Blue Labor/Labor recording empire, which was actually two guys,Kent Cooperand jazz arranger and composerHeiner Stadler. Cooper's involvement withRedled, as in many cases of blues producers and their clients, to co-authorship on some of the songs recorded. Cooper and Stadler regardedRedas an artist cut from the same cloth asJohn Lee Hookeror Lightning Hopkins, and of the same quality -- meaning an intense, mood-setter of a bluesman with a sizzling improvisatory style. They were certainly accurate in their appraisal of his talent, and their interest in recordingRedled to several classic blues albums. The fine studio sound they got on these solo recordings makes for a superior album, and it was the firstRedwould record unencumbered by a combo backing him up. Every nuance of his playing is captured, and he is definitely the type of blues player who thrives on solo work. He rarely sticks to a formula bar structure and likes to stretch out his licks as if casting out a line for fish, but he isn't a player who just stays on one chord like Hooker often did. One ofRed's original blues, in which he describes how his wife died of cancer, has got to set some kind of a record for misery described in a blues song, meaning it is the saddest of the sad.
1. The Whole World 2. Had A Date With Barbara Last Night 3. First Degree 4. Sweetblood Call 5. I Was Out Walking 6. Thirty Dirty Women 7. King Bee 8. Death of Ealase 9. Who Been Fooling You 10. Going Home 11. Too Poor To Die