01. Big Boy 
02. Down in the Hole 
03. She Belongs to Me 
04. Matchbox 
05. Where Do You Go 
06. Try It Baby 
07. Jana Lea 
08. Made Up My Mind 
09. Don't Turn Your Heater Down 
10. Most Likely You Go Your Way and I'll Go Mine 
11. Standing in the Way 
12. Fishin' Hole Theme

Musicians:
Paul Bell - Guitar, Vocals
Johnny Castle - Bass, Bass Instrument, Percussion, Vocals
Pete Ragusa - Drums, Percussion, Vocals
Mark Wenner - 	Harmonica, Vocals

The Nighthawks probably find their music classed in the blues section of the record store most of the time, which makes a certain kind of sense -- if your lead singer plays harmonica and your lead guitarist plays a lot of slide, you have to expect that. But in fact, things aren't as simple as that; what this band shows is an admirable breadth of tonal and stylistic range within the broad constraints of the blues-rock idiom. American Landscape presents a nice mixture of covers and originals, and in this case the originals are sometimes better -- bassist Johnny Castle's rollicking "Jana Lea" is easily one of the high points on this disc. But their jazzy take on the Tom Waits composition "Down in the Hole" (from the Franks Wild Years stage show) is brilliant, as is their nicely chugging arrangement of Ike Turner's "Matchbox." The Nighthawks can rock out like nobody's business, as they demonstrate on barnburners like "Big Boy" (listen to Mark Wenner singing through his overdriven harp mike) and the classic meat-and-potatoes R&B of Dan Penn's "Standing in the Way," but they also demonstrate their range and subtlety on the funky swagger of "Where Do You Go" and a startlingly gentle but insistent rendition of "Try It Baby." The closest thing to a misstep on this album is a puzzling one -- a loving but ultimately rather wooden version of Steve Cropper's funky "Don't Turn Your Heater Down," a song that seems like it would be a can't-miss proposition for a band with this particular set of skills. --- Rick Anderson

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01. Backtrack 
02. Pretty Girls And Cadillacs 
03. Screamin' And Cryin' 
04. Pinetop's Boogie Woogie 
05. On My Job 
06. Sugar Mama 
07. Hip Shake Mama 
08. Sad And Lonesome 
09. Nine Below Zero

Line-up: 
Mark Wenner - Harmonica, Vocals
Jimmy Thackery - Guitar, Vocals
Jan Zukowski - Bass
Pete Ragusa - Drums
with:
Bob Margolin - Guitar, Vocal
Pinetop Perkins - Piano, Vocals
Luther'Guitar Jr'Johnson - Guitar, Vocals
John Hammond - Guitar, Vocals
Toru Oki - Vocals

Before Jimmy Thackery left, the band hit the road for a 'Farewell For Now' tour through the Northeast, including a show at Carnegie Hall in New York and a trek to Canada. For these shows they shared the bill with the likes of John Lee Hooker, Charlie Musselwhite, Elvin Bishop and Robert Cray.

This U.S. tour concluded with a July 5 show at D.C.’s Carter Barron Amphitheatre in Washington, that paid tribute to The Nighthawks role as stage partner and supporting cast for some of the blues world’s best. This concert featured guests Bob Margolin, Pinetop Perkins and Luther 'Guitar Jr.' Johnson from the Muddy Waters band, along with John Hammond and Toru Oki. It would be the basis for the live album 'Backtrack'. The album is a great showcase of how The Nighthawks could bring a consistent sound and lively performance to a variety of material. --- kickass.to

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01. For You, My Love 
02. Come Baby 
03. Love Me or Leave Me 
04. Dust My Broom 
05. (Thank You) Sugar Mama 
06. The Sky Is Crying 
07. Pinetop’s Boogie Woogie 
08. Floyd’s Guitar Blues 
09. Walkin’ by Myself 
10. Little Queenie 
11. Born in Chigago 
12. Anna Lee 
13. Two Bugs & a Roach 
14. Lickin’ Gravy 
15. Sea Cruise 
16. Nervous Breakdown 
17. Rockin’ the Boogie 
18. After Hours 
19. Mother-in-Law Blues 
20. Gotta Get My Baby Back

Personnel: 
Jimmy Thackery - Guitar, Vocals
Mark Wenner - Harmonica, Vocals
Jan Zukowski - Bass
Pete Ragusa - Drums
+
Bob Margolin - Guitar
Luther 'Guitar Junior' Johnson - Guitar, Vocals
Pinetop Perkins - Piano, Vocals
Dave Maxwell - Piano, Organ
Calvin Jones – Vocals

The Rhythm Kings Horns
The Phantom Horns

Classic material and stirring playing. A must-find. The Nighthawks were playing with Muddy Waters at the Cellar Door at the time, so they invited his band to come into the studio after hours to record some classic Chicago blues tunes. The result was a classic—a showcase of inspired playing of outstanding blues, titled 'Jacks & Kings.' The band to this day regards this as one of their finest moments, and it became probably their best selling album. In 1979, Adelphi created 'Jacks & Kings, Volume 2: Full House.' This featured some quality, previously unreleased material from 'Side Pocket Shot' and the Jacks & Kings sessions. It was another solid showcase of classic blues mixed with rock and roll, and has been re-released as the combined CD 'Jacks & Kings Volume I & II.'

This CD is a little tough to review in that it is really two albums combined. The first is a classic bar band blues set with backing provided by regulars from the Muddy Waters band. The second veers more toward R&B and rock. The first album is definitely superior but since it is sold at single CD prices, the second album is really just a bonus. One other quibble is that an excellent slow blues number, 'Got A Mind To Travel', was dropped from the original Volume One vinyl and also 'Before You Accuse Me' was dropped from Volume Two. What's left is mostly uptempo good-time blues by a band that loves its work. ---amazon.com

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01. Trouble Comin’ Every Day 
02. Shade Tree Mechanic 
03. Same Thing 
04. The Soul of a Man 
05. High Temperature 
06. Pain & Paradise 
07. Is Love Enough 
08. Trouble on the Way 
09. I Told You So 
10. Snap It

Musicians:
Mark Wenner (vocals, harmonica); 
Peter Kanaras (guitar); 
Steuart Smith (keyboards); 
Jan Zukowski (bass, background vocals);
+
The Orioles (background vocals)

The Nighthawks' history is extensive, beginning in the '70s when the band criss-crossed the country playing clubs and colleges then dominated by the sounds of country rock and disco. The band spread their version of roots rock, soul, and rockabilly and blues that was hardly the standard fare. In addition The Nighthawks were considered touring pioneers, since only a handful of Chicago blues stars were touring nationally, and the west coast blues bands stayed on their side of the Great Divide.

The Nighthawks continued to perform through-out the country, when in 1986 they performed their hugely successful "Farewell-For-Now-Tour". After long-timer Jim Thackery departed for a solo career and short-timer Greg Wetzel returned to Nashville, The Nighthawks stopped just long enough to catch their breath. They reformed a few times over the next several years while continuing to tour relentlessly. The first line-up featured Jimmy Hall (lead vocals and saxophone and harp) and Jimmy Nalls (lead guitar and back-up vocals) and lasted through 1990. When those two left, Danny Morris (lead guitar and vocals) and Mike Cowen (keyboards and back-up vocals) joined the group. In 1992, Mike left the group to go to college and at the end of 1994 Danny left to pursue a solo career. Thereafter, Pete Kanaras joined the band in January of 1995 and continues with the band to this date.

Over the years the Nighthawks acquired a reputation as a solid back-up band. The band helped attract great Chicago blues artists to Washington, D.C., and gained national respect as the backing band or support act for Muddy Waters, Otis Rush, Big Walter Horton and other legends. In addition, Jan, Pete and Mark went on a series of tours with Elvin Bishop and participated in the Rosebud Agency's blues all-star tours, which combined such illustrious front men as Pinetop Perkins, John Hammond, Charlie Musselwhite and John Lee Hooker. The list of guitarists the band collaborated with reads like a Who's Who of great pickers including Bob Margolin, Steuard Smith, Warren Haynes, James Solberg, Pete Kennedy, Phil Petroff and Ratso.

Touring and recording for three decades, The Nighthawks have certainly gained cult standing on the east coast where fans, who regard them as "The World's Greatest Bar Band," loyally follow them from show to show and are eagerly anticipating the release of Still Wild. ---hotburrito.nl

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01. Introduction/Metropolitan Avenue 
02. Guard Your Heart 
03. Push and Shove 
04. Jenny Lou 
05. Moving up in Class
06. If You Go 
07. Back Stabbing Woman 
08. Destination 
09. No Secrets/Exit

Musicians:
Pete Ragusa - Drums, Percussion, Vocals
Jimmy Thackery - Guitar, Vocals
Mark Wenner - 	Harmonica, Liner Notes, Vocals
Jan Zukowski - Bass, Vocals

Anyone who saw these guys in their prime in the early '80s (when this set was recorded) knows what they could do - and this CD shows it. One of the best live boogie/blues/rock bands ever, puts out a collection without one weak song. Mark Wenner is unsurpassed on harmonicas and Jimmy Thackery's guitar is high energy all the way. While almost all their other CDs are a mix of some great and some OK tracks, this one is great all the way through. Crank this up and picture yourself in a small smoke filled club like the old "Double Door" in Charlotte, with these guys so close that Thackery would actually walk out into the audience for some songs as they shook the walls. If you don't find yourself stompin' your foot to this CD, you're older than I am (maybe dead). ---amazon.com

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01. Nine Below Zero 
02. Help Me 
03. Shake Your Money Maker 
04. Big Boss Man 
05. Little By Little 
06. Madison Blues 
07. Next Time You See Me 
08. That’s Alright 
09. Long Distance Call 
10. Red Hot Mama

Musicians:
Mark Wenner – Harmonica, vocals
Jimmy Thackery – guitar, vocals, bass
Jan Zukowski  - bass
Pete Ragusa – drums
+
Pinetop Perkins - piano

When Open All Nite was first released on LP in 1976, the Nighthawks had only been together for four years -- little did they know that they would still be together in the 21st century and would celebrate their 30th anniversary in 2002. Some young bands sound like they still have some growing and developing to do, but the Nighthawks never sound the least bit undeveloped on Open All Nite. The blues-rockers always sound focused, and they know exactly what they're going for on gritty performances of "Nine Below Zero," Jimmy Reed's "Big Boss Man," and other Chicago blues staples. the Nighthawks were never innovative, but they were always sincere and honest, which is why they bring so much enthusiasm to these performances. Over the years, the Nighthawks have often been described as a "bar band" -- and most of the time, it is meant as a compliment. In most cases, people who call the Nighthawks a "bar band" are celebrating their rawness and lack of pretense. In fact, Open All Nite and other Nighthawks albums of the '70s sound like a rebellion against slickness -- the blues-rockers sound like they're downright proud of their raw, rugged, bare-bones approach, and they seem oblivious to the glossier sounds of the '70s. In that sense, one can see some parallels between Open All Nite and the punk bands that were starting to make their presence felt in 1976. the Nighthawks were never a punk band, but they did share punk's love of rawness and believed in keeping things simple, emotionally direct, and straightforward. This album, which Mobile Fidelity Sound Lab reissued on CD in the '90s, is a fine document of the Nighthawks' early period. ---Alex Henderson, Rovi

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01. Red Hot Mama (Fine Little Mama) 
02. Can't Get Next To You 
03. Keep Cool 
04. Bring It On Home 
05. Tell The Truth 
06. Stop Breakin' Down 
07. Shake And Finger Pop 
08. Bright Lights 
09. Little Sister 
10. Heat Wave 
11. Memo From Turner 
12. Teenage Nervous Breakdown

Musicians:
Mark Wenner (vocals, guitar)
Jimmy Thackery (guitar)
Don Monihan (bass)
Larry Bolet (drums)
Bill Holland (keyboards)

Rock ‘N’ Roll, The Nighthawks first album, was recorded at Paragon Studio in Silver Spring, MD. The band went with strong but simple arrangements that covered a variety of musical influences and styles—mostly blues classics along with two contemporary songs. Among the highlights were the Rolling Stones song “Memo to Turner,” Little Feat’s “Teenage Nervous Breakdown,” the soul song “Heatwave” and the rockabilly of “Little Sister.” With the commercial successes of the J. Geils Band and Bonnie Raitt, it seemed like the time was right. And it was a very strong debut that the band basically handed over to Aladdin already complete. It was released in 1974—and it’s still as powerful and engaging now as it was then.

Their first single was the famous Elmore James song “Red Hot Mama,” b/w “Keep Cool,” in 1975. The songs got airplay on WHFS and WEAM in D.C. and praise in music trade publications including Billboard, Downbeat and Record World. --- whoisthemonk.wordpress.com

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