1 	Set The Hook 	2:08
2 	As The Crow Flies 	6:14
3 	Willie And Laura Mae Jones 	6:54
4 	Soul Francisco 	6:49
5 	Run With The Bulls 	2:54
6 	High Sheriff (Of Calhoun Parrish) 	6:07
7 	Aspen, Colorado 	5:35
8 	Homemade Ice Cream 	5:43
9 	Swamp Water 	2:41
10 	Roosevelt & Ira Lee 	6:22

Bass – Earle Simmons, Paul Slivka
Cello – David Henry
Drums – Jeff Hale, Paul Griffith
Guitar, Vocals – Tony Joe White
Piano – Ollie Marland
Piano, Keyboards – Tyson Rogers
Programmed By – Jody White
Violin – Peter Hyrka

Deep Cuts is Tony Joe White's 21st album, and after 40 some years of delivering a delightfully skewed, greasy, swamp-soaked Louisiana pop view to the world, it's amazing that more people don't know about this guy. Oh, he's well known and respected in some quarters, and his hit "Polk Salad Annie" from 1969 bubbles up from time to time on the oldies stations, but White has pretty much spent his whole career flying just beneath the commercial radar. It would be nice to say that this album, which updates White's sound with beats and loops provided by his son Jody White, will change all that, but the truth is, it won't. White's baritone voice, while still effective in spots, is a ragged, hoarse shell of its former self and nothing included in this set is going to bring the world to his doorstep. Not that there isn't a lot to like about Deep Cuts -- White's funky, biting guitar work is all over it, and that's a good thing, particularly on the deep swell groove of "Swamp Water," which sounds thick enough to swim in forever. At the other end of the spectrum, "Homemade Ice Cream" is a joyous, summer-filled harmonica work out that seems as fresh and welcome as wind-dried laundry. White revisits two of his older songs, too, "Willie and Laura Mae Jones" from 1969's Black and White and "High Sheriff (Of Calhoun Parrish)" from 1970's Tony Joe, but unfortunately neither particularly benefits from a new approach, and Deep Cuts ends up being somehow less than it might have been because of it. But it's nice to hear that gritty, vital guitar tone of White's again. The world could never possibly get enough of that. ---Steve Leggett, AllMusic Review

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01 – The Gift
02 – Holed Up
03 – Who You Gonna Hoodoo Now
04 – 9 Foot Sack
05 – Alligator, Mississippi
06 – The Flood
07 – Storm Comin’
08 – Gypsy Epilogue
09 – Sweet Tooth

Musicians:
Tony Joe White - Guitar, Harmonica, Vocals
John Catchings - Cello
Steve Forrest - Bass
Bryan Owings - Drums, Percussion
Tyson Rogers - Organ, Piano
Brady Surface - Bass
Nc Thurman - Keyboards, Organ

There's no mistaking Tony Joe White's signature swamp boogie. Patented in the late '60s, White has been working that same low-down blues grind ever since, taking a long sojourn from recording in the '80s before settling into a regular groove sometime around the time of the new millennium. Usually, these collections of new songs were on tiny labels -- including his aptly named Swamp imprint -- but 2013's Hoodoo appeared on Yep Roc and received an appropriately larger push than its recent predecessors. Apart from that publicity, not much has changed in White's world. He favors thick, laid-back Bayou blues heavy on atmosphere even when the production is bright and clean. He's there, supported by a lanky, languid rhythm section and colored by another guitar and organ or harmonica, sometimes working up a head of boogie but usually settling so far back into the groove it feels like they can't be rousted. Some dread creeps at the edges of Hoodoo -- it surfaces on "The Flood" and "Storm Comin'," references to the storm that washed away large portions of Nashville in 2010, also damaging White's own home -- but White's fondness for spontaneous takes dilutes these ominous undertones and, sometimes, his own groove. As appealing as the lived-in, swampy jams are, there's a laziness that drifts throughout Hoodoo, apparent in the sauntering rhythms and Tony Joe's mush-mouthed vocals. If he were issuing warnings, they'd be hard to hear through his grumble, and the band doesn't work for your attention -- they expect you to either be on board or not. And while they do their voodoo well on Hoodoo, that nonchalant attitude keeps the record from being compelling. ---Stephen Thomas Erlewine

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01. Stud-Spider - 5:33
02. High Sheriff Of Calhoun Parrish - 3:45
03. Widow Wimberly - 3:36
04. Conjure Woman - 3:53
05. Save Your Sugar For Me - 2:15
06. Groupy Girl - 3:01									play
07. Hard To Handle (Otis Redding, Alvertis Isbell, Allen Jones) - 2:49
08. What Does It Take (To Win Your Love) (Vernon Bullock, Johnny Bristol, Harvey Fuqua) - 3:35
09. My Friend (Donnie Fritts, Dewey Oldham) - 3:06
10. Stockholm Blues - 3:24								play
11. Boom Boom (John Lee Hooker) - 7:54

Personnel:
- Tony Joe White - guitar, harmonica, Whomper Stomper and Box, producer
- Norbert Putnam - bass (01,02,07-09,11)
- Tommy McClure - bass (04)
- Mike Utley - organ (04,05)
- David Briggs - organ (01,07,08,11), piano (09)
- Jerry Carrigan - drums (01,07-09,11)
- Sammy Creason - drums (04,05)
- The Nashville Horns & Strings - horns, strings
- Billy Swan – producer

Tony Joe White has parlayed his songwriting talent into a modestly successful country and rock career in Europe as well as America. Born July 23, 1943, in Goodwill, LA, White was born into a part-Cherokee family. He began working clubs in Texas during the mid-'60s and moved to Nashville by 1968. White's 1969 debut album for Monument, Black and White, featured his Top Ten pop hit "Polk Salad Annie" and another charting single, "Roosevelt and Ira Lee (Night of the Moccasin)." That same year, Dusty Springfield reached the charts with White's "Willie and Laura Mae Jones." Brook Benton recorded a version of White's "Rainy Night in Georgia" that hit number four early in 1970; the song has since become a near-standard with more than 100 credits. White's own "Groupie Girl" began his European success with a short stay on the British charts in 1970.

White moved to Warner Bros. in 1971, but success eluded him on his three albums: Tony Joe White, The Train I'm On, and Homemade Ice Cream. Other stars, however, continued to keep his name on the charts during the 1970s: Elvis charted with "For Ol' Times Sake" and "I've Got a Thing About You Baby" (Top Five on the country charts), and Hank Williams, Jr. took "Rainy Night in Georgia" to number 13 on the country charts. White himself recorded Eyes for 20th Century Fox in 1976, but then disappeared for four years. He signed to Casablanca for 1980's The Real Thang but moved to Columbia in 1983 for Dangerous, which included the modest country hits "The Lady in My Life" and "We Belong Together."

White was inactive through much of the '80s, but worked with Tina Turner on her 1989 Foreign Affair album, writing four songs and playing guitar and harmonica. He released Closer to the Truth a year later for his own Swamp label and toured with Eric Clapton and Joe Cocker to very receptive French crowds (Closer to the Truth has sold 100,000 copies in that country alone). His 1993 album Path of a Decent Groove was released only in France, though Warner's The Best of Tony Joe White earned an American release the same year. Lake Placid Blues (1995) and One Hot July (1998) were Europe-only efforts until 2000, when Hip-O Records brought out One Hot July in the U.S., giving White his first new major-label domestic release in 17 years. But White was just beginning to roll, or re-roll, as the case may be. The critically acclaimed The Beginning appeared from Swamp Records in 2001, followed by Heroines, featuring several duets with female vocalists, from Sanctuary in 2004, and a live Austin City Limits concert, Live from Austin, TX, from New West Records in 2006. In 2007 White released another live recording, Take Home the Swamp, as well as the compilation Introduction to Tony Joe White. In the summer of 2010 Rhino Handmade released a previously unissued live date from 1971 entitled That On the Road Look; later that fall, White's latest studio offering, Shine, appeared through his Swamp Records imprint. ---John Bush, Rovi

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01. They Caught The Devil And Put Him In Jail In Eudora, Arkansas - 3:47
02. The Change - 5:50
03. My Kind Of Woman - 3:43				play
04. The Daddy - 4:43
05. Black Panther Swamps - 3:01
06. Five Summers For Jimmy - 3:44
07. A Night In The Life Of A Swamp Fox - 4:37
08. Traveling Bone - 2:52
09. I Just Walked Away - 4:41
10. Copper Kettle (The Pale Moonlight) (Albert Beddoe) - 4:12
11. Voodoo Village (Le Ann White) - 3:05   	play

Personnel:
- Tony Joe White - guitar, harmonica, vocals
- Robert McGuffie - bass
- Sammy Creason - drums
- Mike Utley - piano, organ
The Memphis Horns:
- Wayne Jackson, Roger Hopps - trumpet
- Andrew Love, Louis Collins - tenor saxophone
- James Mitchell - baritone saxophone
- Jack Hale - trombone

Tony Joe White's self-titled third album, Tony Joe White, finds the self-proclaimed swamp fox tempering his bluesy swamp rockers with a handful of introspective, soul-dripping ballads and introducing horn and string arrangements for the first time. The album -- White's 1971 debut for Warner Bros. -- was recorded over a two-week period in December 1970, in two different Memphis studios (one was Ardent Studios, where Big Star later recorded their influential power pop albums). His producer was none other than London-born Peter Asher, who had just produced James Taylor's early hits for the label (he would continue to produce hits for Taylor and Linda Ronstadt on his way to becoming one of the most successful producers of the '70s). One can surmise that Warner Bros. may have put White and Asher together as a way for the producer to work his magic with an artist who had much promise. White had already scored big with 1969's "Polk Salad Annie" for Monument, and he was having success as a songwriter too: "Rainy Night in Georgia" was a huge hit for Brook Benton in 1970. As you might expect, there aren't really too many surprises here, despite the addition of the Memphis Horns and other Muscle Shoals sessioners.

The songs are fairly standard and straightforward, nothing too out of place or experimental, and White's husky southern warble remains the album's key focus. Many of the songs will remind the listener just how turbulent the cultural climate of the late '60s and early '70s was in the U.S. White's soulful southern-tinged spoken drawl introduces "The Change" (as in a "change is gonna come"), then a potent theme and oft-spoke clarion call that, indeed, the times they were a changin'. "Black Panther Swamps" and "I Just Walked Away" (the album's first single) are also successful at what they attempt. Meanwhile, over on the more sentimental side, "The Daddy" concerns itself with the generation gap between father and son, and mentions the son cutting his long hair ("a little respect will never hurt you"). The mawkish "Five Summers for Jimmy" will appeal to fans who liked Bobby Goldsboro's "Honey." On a more positive note, "A Night in the Life of a Swamp Fox" was White's somewhat-frustrating look at what was going on in his life, playing his sole hit for fans but wanting something more out of his career.

Unfortunately, this album never did bring him the success he craved, although it deserves another listen. In 2002, Tony Joe White was reissued for the first time in the U.S. on CD by the Sepia Tone label. ---Bryan Thomas, allmusic.com

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01. Season Man
02. Ain't Doing Nobody No Good
03. Paintings on the Mountain
04. Tell Me Why
05. All
06. Long Way from the River
07. Strange Night                         play
08. Something to Soften the Blow
09. Roll Train Roll
10. A Place to Watch the Sun Go Down      play

Personnel:
Tony Joe White (vocals, guitar, harmonica)
John Catchings (cello)
Tyson Rogers (piano, organ, Wurlitzer organ)
Jack Bruno (drums, percussion)

The 21st century saw Tony Joe White resume his recording and performing career, and experience a resurgence of critical interest in his older music as well. Since 2002, "the Swamp Fox" has recorded sporadically for his own Swamp imprint, and also had his back catalog remastered and reissued. Earlier in 2010, Rhino Handmade made available That On the Road Look, a previously unreleased live date. The Shine is a (mostly) low-key, basic affair. White wrote or co-wrote everything here with his wife, Leann. The band is a quintet: White plays guitars and harmonica with drummer Jack Bruno, cellist John Catchings, bassist George Hawkins, and Tyson Rogers on piano, organ, and Wurlitzer. The sound is warm and raw; the album feels like it was cut mostly live from the floor (with guitar and vocal overdubs added) and it's full of natural atmospherics. White's acoustic nylon-string guitar is prevalent, sometimes more so than his quavering, downright spooky baritone. His electric six-string work paints the backdrop. The only real exceptions are the downright rocker "Strange Night," where White displays everything that Mark Knopfler copped from his style inside of five minutes. The levels feel off, overloaded; the vocals come from the backdrop as the guitars and drums smoulder, smoke, and bubble. A broken love song, everything in it bleeds into everything else: it expresses pain as an immediate, crushing experience; it evokes everything from anger to tenderness. "Something to Soften the Blow" is an electric country waltz, sad, beautiful, and lonely. The protagonist is desperate for comfort in seeking a one-night stand from what is perhaps a sympathetic other. White somehow manages to pull off his plea without coming off as pathetic; he wears his brokenness with dignity. "Season Man" is a classic White minor-key narrative about a drifter. "Ain't Doing Nobody No Good" is a droning swamp blues, full of dread and sinister purpose. "Long Way from the River" is a backbeat-driven deeply atmospheric folk song that contains a classic White line: "When you're running with the swamp, the rain is gonna fall." "Roll Train Toll" is pure Delta-style folk-blues, played solo on a steel-string acoustic guitar; it's loaded with a quiet yet ever-present menace ready to break the surface, though it never does, and is all the more effective as a result. Ultimately, The Shine is White's most consistent and gratifying offering since he began recording again.

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01 - Polk Salad Annie
02 - Soul Fransisco
03 - Willie And Laura Mae Jones
04 - Rainy Night In Georgia
05 - Roosevelt And Ira Lee (Night Of The Mossacin)
06 - Stockholm Blues
07 - High Sheriff Of Calhoun Parrish
08 - Old Man Willis
09 - The Train I'm On
10 - If I Ever Saw A Good Thing
11 - As The Crow Flies
12 - Even Trolls Love Rock And Roll
13 - Backwoods Preacher Man
14 - Takin' The Midnight Train
15 - Did Somebody Make A Fool Out Of You
16 - They Caught The Devil And Put Him In Jail In Eudora, Arkansas
17 - Saturday Night In Oak Grove, Louisiana
18 - I've Got A Thing About You Baby
19 - For Ol' Times Sake
20 - Ol' Mother Earth

Personnel
Kenny Malone - Drums
Jerry Masters - Vocals (Background)
Tommy McClure - Bass
James Milhart - Drums
James Mitchell - Sax (Baritone), Baritone
Norbert Putnam - Bass
Donna Rhodes - Vocals (Background)
Sandy Rhoads - Vocals (Background)
Sandra Rhodes - Vocals (Background)
George Soulé - Vocals (Background)
Mike Utley - Organ
Terry Woodford - Vocals (Background)
Reggie Young - Guitar
Jeri Heiden - Art Direction
Louis Collins - Tenor (Vocal)
Robert McGuffie - Bass
REY International - Design
David Briggs - Organ, Keyboards, Piano
Ronnie Barron - Organ, Conga, Piano (Electric), Vibraphone
Billy Swan - Producer
Tony Joe White - Guitar (Acoustic), Guitar, Harmonica, Vocals, Producer, Main Performer
Tippy Armstrong - Guitar (Acoustic)

Twenty tracks from 1969-1973, the period of Tony Joe White's greatest success, including "Polk Salad Annie" and White's own version of his composition "Rainy Night in Georgia." Most of this is quality swamp rock with pop-soul-conscious production; on cuts like "High Sheriff of Calhoun Parrish," it sounds very much like he was trying to achieve a groove in the mold of Bobbie Joe Gentry's "Ode to Billie Joe." Sometimes he gets real down-home in a stomping backwoods blues style that makes him sound a little like a White counterpart to John Lee Hooker, as on "Stockholm Blues." If there's any criticism to be levied against this music, it's in its occasional lack of variety, White mining staple swamp rock boogie riffs for all they're worth. However, few, if any, performers and writers were as skilled as White in doing so, and he has a fine knack for sharp storytelling lyrics. ---Richie Unterberger, Rovi

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