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AMG Review by Bruce Eder  [-]

This 14-song collection, consisting of tracks recorded on July 12, 1951, and October 25, 1952, completely transforms the landscape where Robert Nighthawk's music is concerned. Up to now, apart from seeking out his prewar, unamplified work as Robert Lee McCoy (or McCullum) on Bluebird or grabbing a few tracks from some Chess reissues, there hasn't been a lot of Robert Nighthawk in one place. Now there are 14 hard-rocking tracks, cut for United Records in Chicago and showing Nighthawk in his prime and loving it, playing a mean slide underneath some boldly provocative singing that could have given Muddy Waters a run for his money. The style is there, and the voice and the guitar are there, so why didn't Nighthawk hit it big? Based on this collection, his style with an electric guitar just wasn't as distinctive as Waters' playing; additionally, he just didn't have Waters' (or Chess songwriter Willie Dixon's) way with a catch phrase -- there are some OK songs here ("Kansas City," "You Missed a Good Man," "Bricks in My Pillow"), but nothing as catchy or instantly memorable as "I Can't Be Satisfied," "Hoochie Coochie Man," or "Got My Mojo Working." A pair of instrumentals, "Nighthawk Boogie" and "U/S Boogie," both driven by Nighthawk's guitar and a romping piano, pretty much make this collection worthwhile and show the man in his peak form. Included on this collection are a pair of previously unissued tracks, an alternate take of "Seventy-Four," and a loud, crunchy, but, alas, unfinished version of "The Moon Is Rising." The sound is surprisingly clean and rich, especially given the 1951-1952 origins of the tapes.

Robert Nighthawk ?– Bricks In My Pillow

Tracklist

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GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.