At the time this album was recorded, the particularly intense
blues artist
Louisiana Red was a protege of the
Blue Labor/
Labor recording empire, which was actually two guys,
Kent Cooper and
jazz arranger and composer
Heiner Stadler.
Cooper's involvement with
Red led, as in many cases of
blues producers and their clients, to co-authorship on some of the songs recorded.
Cooper and
Stadler regarded
Red as an artist cut from the same cloth as
John Lee Hooker or
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 recording
Red led to several classic
blues albums. The fine studio sound they got on these solo recordings makes for a superior album, and it was the first
Red would 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 of
Red'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. ~ Eugene Chadbourne
![Pulp Fiction [Music from the Motion Picture]](http://prodimage.images-bn.com/pimages/0008811110314_p0_v2_s90x140.jpg "Pulp Fiction [Music from the Motion Picture]")
![Let It Bleed [50th Anniversary Edition]](http://prodimage.images-bn.com/pimages/0018771858416_p0_v3_s90x140.jpg "Let It Bleed [50th Anniversary Edition]")
![Priscilla [Original Motion Picture Soundtrack]](http://prodimage.images-bn.com/pimages/0018771218814_p0_v1_s90x140.jpg "Priscilla [Original Motion Picture Soundtrack]")
