Various Artists, Scratchin’: The Wild Jimmy Spruill Story (GVC Records)

Relatively obscure, yet no less prolific, Wild (and the emphasis here is on wild) Jimmy Spruill was one of the most distinctive blues guitarists of the last century.

Scratchin' the Wild Jimmy Spruill Story, album coverA New York session musician from the mid-1950s to mid-1960s, he recorded a handful of mind-boggling instrumentals under his own name in between sessions with scores of NYC recording (not all blues) artists. Immediately recognizable, he was capable of sounding like two guitars playing simultaneously. His style included back-and-forth rhythms and reverb (he referred to this as scratchin’), then at the appropriate time, ripped off explosive single note clusters. He was rather a hybrid of fellow NYC session player Mickey Baker, Ike Turner and Guitar Slim.

Obviously, Jimi Hendrix was diggin’ some Wild Jimmy back when he was slumming in the Village. This amazing 61-track double CD is a well-deserved, overdue tribute to his talent. Among the hits Spruill played on here are Wilbert Harrison’s “Kansas City” (now that’s a guitar break!), Bobby Marchan’s “There’s Something on Your Mind,” Maxine Brown’s “All in My Mind,” Solomon Burke‘s “Down in the Valley,” Buster Brown’s “Fannie Mae,” The Shirelles’ “Dedicated to the One I Love,” The Charts “Deserie,” Bobby Lewis’ “Tossin’ and Turnin’” and Dave “Baby” Cortez’s “The Happy Organ.”

However, his most aggressive playing is reserved for more obscure sides. Highlights include Tarheel Slim’s “Wildcat Tamer,” where Spruill cops some Scotty Moore rockabilly licks. Conversely, Tarheel’s duet with Little Ann—”It’s Too Late”—is one of the most mournful blues of the era. Among the other numerous bangers here are Chuck Bradford’s “You’re Going to Miss Me (When I’m Gone),” Hal Paige’s “Going Back to My Hometown” and Thin Man Watts’ “Jookin’.” Of his own tracks, chalk up “Hard Grind,” “Country Boy,” “Memphis” and “Kansas City March” as blues guitar classics. Just to be correct, Lee Dorsey‘s “Ya Ya” is in the mix here, and we all know that it’s a New Orleans recording.

Odd that despite playing on scores of sessions in NYC, a vintage photo of Spruill couldn’t be tracked down for this release. Also, the sleeve notes are abbreviated but are available online. That’s a new one. However, this is one hell of a collection and worth the time tracking down.