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I'm a Jockey
I'm a Jockey is an album by the American musician Jimmy Johnson, released in 1994.[1][2] It was Johnson's first album in a decade; he took a break to recover from a 1988 van crash that injured him and killed members of his band.[3] Johnson supported the album with a North American tour.[4] I'm a Jockey won a 1996 W. C. Handy Award for "Comeback Blues Album".[5] The album was reissued in 2003.[6] ProductionThe songs were arranged by Gene Barge.[7] Lucky Peterson contributed on Hammond B-3; Billy Branch played harmonica.[8][9] A four-piece horn section was used on some of the tracks.[10] "My Ring" is a reflection on life with Johnson's first wife.[11] "Black & White Wall" is about race relations.[12] "End of a Rainbow" is a cover of the McKinley Mitchell song.[3] "As the Years Go Passing By" is a version of the song purportedly written by Deadric Malone.[13] "The Highway Is Like a Woman" is a cover of the Percy Mayfield song.[8] "Engine Number 9" and "In the Midnight Hour" are versions of songs most associated with Wilson Pickett.[9] "That Will Never Do" was written by Little Milton.[10] Critical reception
The Times Colonist stated that the collection "is a stone gem... Great organ and horn-driven arrangements by Barge frame Johnson's spare, biting guitar attack and equally terse, powerfully emotive vocals."[7] The Washington Post concluded that "the problem lies in Johnson's vocals... Though he's indebted to B.B. King and Wilson Pickett—to name just two obvious influences—he's strictly a second-tier singer."[17] The Tulsa World determined that "Johnson's solo style is more laid-back than typical Chicago guitarists, sometimes to the point that you can't hear him amid the swinging, funky rhythm section; but he sends a good message without knocking you over the head with his guitar."[18] Guitar Player praised the "hopping horn arrangements and ... late-night-for-lovers feel."[19] The Ottawa Citizen said that "with his fluid, jazzy playing, a high-pitched, soulful tenor and smartly crafted songs, Johnson has become one of Chicago's most vital and distinctive blues artists, always putting the unity of the band's groove ahead of individual glory."[20] The Toronto Star praised Johnson's "gospel-inflected vocals and busy guitar style".[21] Track listing
References
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