Cold As Ice - Premium Cooling Gel Face Mask for Headaches & Stress Relief | Perfect for Migraines, Yoga, and Relaxation

Product description John Lee Hooker, Jr., heir to one of the most prestigious names in the history of blues and a leader in ushering this deeply rooted American art form into the new century, makes his Telarc debut with a rollicking, straight-to-the gut recording, 'Cold As Ice'. Hooker, whose father was an architect of modern American blues, has evolved into a formidable blues figure in his own right--as evidenced by a GRAMMY nomination (Traditional Blues Album) and a Handy Award (Best New Artist Debut) for his 2004 release, 'Blues with a Vengeance'. Armed with a clever and topical sense of songcraft, a compelling vocal attack and a solid backup crew, Hooker infuses 'Cold As Ice' with the best elements of the old school and recasts them for newer, younger, 21st century audiences. The results are traditional and edgy at the same time. Personnel: John Lee Hooker Jr. - vocals, Will "Roc" Griffin - keyboards, Frank "Tebo" Thibeaux - bass, Michael Skinner - drums, Michael Rogers - drums, John Garcia Jr. - guitar, Jeffery James Horan - guitar, Ric "Mighty Bone" Feliciano - trombone, Frankie "B" Bailey - trumpet, Alphonso "AG" Guillory - saxophone, Background Vocals: The O'Town Passion Singers. Amazon.com This son of the legendary Mississippi blues giant doesn't have his father's aura of brooding mystery, raw baritone voice, or choogling guitar style, yet he is an original nevertheless. On the follow-up to his 2004 Grammy-nominated Blues with a Vengeance, the laconic singer and lyricist mixes straight-up Chicago blues and smooth Southern soul with flourishes of funk and contemporary R&B. He's not an outright modernist; the traditional rhythms and horn charts see to that. Nonetheless, in the medley "Four Hours Straight/Blues Man" and "Got to Be Me," Hooker's nearly rapping. And references to text messaging and the couplet "her sexual modus operandi was that of a freak / it was so addictive it would make you tweak" could work for OutKast. Of course, there are nods to his father, like the touching reminiscence "Do Daddy (Requiem for John Lee Hooker)" and a lackluster reading of his "In the Mood." But the junior Hooker seems determined to make a name for himself, rather than merely capitalize on Dad's. --Ted Drozdowski