0 Hound Dog Taylor and the HouseRockers - "Natural Boogie" (Alligator, 1974)

I like to think of Hound Dog Taylor (Theodore Roosevelt Taylor his real name) as the punked up version of Elmore James or John Lee Hooker. I think he equally borrowed things from both. The slide from the first and the economical (at times minimal) boogie of the second. He was unique. Really now, not only in sound. He was six fingered but the extra bone never really utilized for guitar playing. But hey, that's fuckin' cool! He had very difficult child years and the six fingers was an added problem to all the others. And he picked up guitar first time at his twenties. What i go in for Hound Dog is that he had absolutely nothing in terms of musical skills. And that's what i dug always in real rock & roll. Somehow, the best, the rawest and highest in energy levels tracks produced by people who actually didn't know how to really play their instruments. Hound Dog knew this. He knew his advantages were his drawbacks. He used to say "When i die, they'll say i played like shit--but it sure sounded good!". And boy, he sure sounded GOOD!
The House Rockers were the perfect companion. Just another guitar and a drum set. No bass. Pure primitive rawness. Sloppy and drunken, at times in speed an sometimes kinda laid back, were the last of the Mohawks. The last true blues combo. Hound Dog Taylor had virtually nothing before the two CLASSICS he recorded for Alligator (there were more to come after death). A single for Bea & Baby ("Baby is Coming Home" / "Take five"),  another one for Firma ("Christine" / "Alley Music") and a  last for Checker ("Watch Out" / "Down Home" ).  Anyway, for a cool piece on Hound Dog Taylor check Hound's blog. 
What i have to offer it's his second Long Play, "Natural Boogie". As wild as the first, as primitive as few in the blues' history. I must do a t-shirt with his 6 fingered hand immediately... 
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