The Original Peacock Recordings

1	Midnight Hour 2:45
2	Sad Hour 2:45
3	Ain't That Dandy 2:51
4	That's Your Daddy Yaddy Yo 2:41
5	Dirty Work at the Crossroads 2:48
6	Hurry Back Good News 2:48
7	Okie Dokie Stomp 2:31
8	Good Looking Woman 2:34
9	Gate's Salty Blues 2:38
10	Just Before Dawn 2:06
11	Depression Blues 2:53
12	For Now So Long 2:43

Barnes & Noble

Nothing against certain upstarts who are all the rage, but for mo' better swing dig what Gatemouth Brown did for the legendary Peacock label of Houston. This package collects vintage work from Mr. Brown and proves he's one of the most eclectic, pop-savvy bluesmen ever. Usually backed by a swanky horn section, Gate knocked out stompers ("Depression Blues"), smokers ("Sad Hour"), and irrepressible boogies. Guitarwise, he played a blues-jazz hybrid in the T-Bone Walker school, but his leads were more aggressive and brightly toned than 'Bone's, and his chords hit like karate chops. Gate sang well, with a seasoned, pack-a-day voice, but it was his instrumental "Okie Dokie Stomp," with its runaway pace and dizzying guitar, that became his best-known contribution to the subgenre of Texas blues. Tim Schuller

All Music Guide

Only 12 songs long, this collection remains the best place to begin appreciating why so many young Texas blues guitarists fell in love with Gatemouth Brown's style (until MCA decides to compile the ultimate Brown package, anyway). Listen to the way his blazing axe darts and weaves through trombonist Pluma Davis' jazzy horn chart on 1954's "Okie Dokie Stomp," and/or the stratospheric licks drenching "Dirty Work at the Crossroads." Brown proves that a violin can adapt marvelously to the blues (in the right hands, anyway) on "Just Before Dawn," and blows a little atmospheric harp on "Gate's Salty Blues." Bill Dahl