Arguably the first great blues album, Reed’s 1958 debut long-player is, on closer inspection, a nifty compilation of his best A- and B-sides from the preceding five years. It’s also testament to the thrilling talent of one of the form’s most influential figures.
A simple yet hypnotic guitar style, a perfectly-pitched and melodic harmonica and a smooth, soulful singing voice: Reed was the real deal. He could kick up a storm on the dancefloor (Boogie In The Dark), lay down powerfully romantic declarations (Ain’t That Lovin’ You Baby) or shed a tear without missing a strut (Can’t Stand To See You Go).
In addition to the original album’s 12 cuts, the second disc adds a whopping 22 tracks of a rarer vintage, such as the finger-clicking State Street Boogie, with Reed’s harmonica facing off against Remo Biondi’s violin, and the laconic shuffle of There’ll Be A Day. In many respects, these are the songs that bridged the gap between blues and pop, Reed’s warm and accessible music paving the way for countless others. A true pioneer, and a terrific package.
