of the music he has put together a truly personal and distinctive style that apes no one and expresses his point of view naturally. Guitarist J. Geils, on the other hand, came to R&B only after spending years studying jazz. Like Wolf he has gotten past the purely derivative stage and on this album establishes a distinct identity with his solos and outstanding rhythm playing. His timing is impeccable and he can be as mellow as he is hard.

In many ways the album belongs to harpist Magic Dick. There are only four cuts (out of the 11) that could be called straight blues and on them he displays as broad a grasp of his instrument as I have heard by anyone recently. But even better is his ability to use the harp naturally and intelligently on material that would not normally call for its presence at all. Songs like "Wait" and "Homework" would normally rely on horns, but does the job so skillfully the listener never notes their absence.

Seth Justman plays a real piano as well as organ. Most of it is confined to rhythm playing but it is done expertly and distinctively. Underneath everything Stephen Bladd and Danny Klein provide the kind of loose, unobtrusive drums and bass that are the cornerstone of R&B.

The albums' two instrumentals. "Ice Breaker" (dedicated to Mario Medios) and Albert Collins' "Sno-Cone" are short and to the point. Everyone steps forward, blows a chorus, and steps back and lets the next guy burn. "Sno-Cone" has the shortest and one of the nicest drum breaks I've heard lately.

"Wait" introduces us to the uniqueness of Wolf's singing and song style: "The bartender says you're disengaged, and I thought I saw you look my way . . ." Steve Cropper might well be envious of Geils' rhythm while the arrangement has the kind of sway to it that makes it all sound so easy.

"Cruisin' For A Love" and "Pack Fair and Square" are two straight blues done as good as it can be done. The harp dominates both with its perfect lines and tone while the guitar supports perfectly and takes the lead with force and control when it is called for. All of it happening as Wolf sings us the lyrics of the immortal Juke Joint Jimmy: "I'm back on Broadway, cruisin' for a love again."

"Serves You Right to Suffer" distills the essence of the genius of John Lee Hooker like it has never been done before: "Serves you right to suffer, Serves you right to be alone. You've been livin' in the