01	I've Got Love If You Want It						03:46
	02	Driftin' Blues						05:11
	03	Dreamy Eyed Girl						03:54
	04	Mattie Mae						03:09
	05	You Don't Love Me						04:05
	06	Nadine						03:42
	07	No One Can Forgive Me But My Baby						04:05
	08	You're So Fine						04:31
	09	No Place To Go						04:37
	10	Preachin' Blues						05:44

AMG EXPERT REVIEW: In many ways, Got Love If You Want It is standard-issue John Hammond, Jr. The album is filled with covers by great bluesmen like Son House and Slim Harpo, as well as rock & rollers like Chuck Berry. The difference is ability - Hammond is a professional and is able to pull off convincing performances of these warhorses. Backed by Little Charlie and the Nightcats - who have rarely sounded better, incidentally - Hammond tears through these songs with passion, which makes even the oldest songs sound rather fresh. - Thom Owens

1. I've Got Love If You Want It (Harpo) - 3:41
2. Drifting Blues (Brown/Moore/Williams) - 5:06
3. Dreamy Eyed Girl (Newburn) - 3:50
4. Mattie Mae (Warren) - 3:04
5. You Don't Love Me (Cobbs) - 4:01
6. Nadine (Berry) - 3:39
7. No One Can Forgive Me But My Baby (Waits) - 4:01
8. You're So Fine (Little Walter) - 4:26
9. No Place to Go (Howlin' Wolf) - 4:33
10. Preaching Blues (House) - 5:44

John Hammond
On festival bills, in coffeehouses, nightclubs and concert halls, John Hammond has spent more than 30 years entertaining blues, folk and rock fans around the world. With his acoustic and National steel guitars, harmonicas and an immense repertoire of tunes, Hammond has followed the path of singing poets like Woody Guthrie, Lightnin' Hopkins and Sonny Boy Williamson, taking musical stories of life and love from one regional pocket to another. From coffeehouses to amphitheaters, the most prestigious European festivals to nightclubs in Japan, Hammond is acknowledged as one of the premier blues artists of our time.
Between global tours Hammond has recorded dozens of albums, some alone with just his instruments and voice, others with friends he's made on the journey. This time around Hammond has gone into the studio with a guitar player he has known for more than 20 years, Duke Robillard, and come up with Found True Love, a set of gems mined from Hammond's years of sharing songs on the road. 'When I hear something I like I make a note or imagine myself doing it,' Hammond said. 'Just about all the songs on this album are tunes I've heard over the years and wanted to record.'

The time for these songs was right because Hammond has spent the past two years touring frequently with Robillard's band. To cap off these double-bill shows, Hammond would join Robillard's group at the end of the evening for some rousing, good rockin' tunes. That experience grew into Found True Love, Hammond's third album for pointblank/Virgin which follows two consecutive grammy nominated efforts, Got Love If You Want It and Trouble No More , both produced by JJ Cale and featuring guest appearances by Cale, John Lee Hooker, Little Charlie and The Nightcats, and Charles Brown among others.

Co-produced by Hammond and Robillard, Found True Love swings with easy sensuality on the title cut, a tune written by one of Hammond's early influences, Jimmy Reed. Hammond recaptures the gritty, gutsy, good-time sound of Chicago's South Side in the '50s and early '60s on tunes like Little Walter Jacobs' 'I Hate To See You Go," Howlin' Wolf s "My Mind Is Ramblin' and 'The First Time I Met The Blues," which Buddy Guy made into a classic. Reaching further back into American musical history, Hammond covers Leroy Carr's "Fore Day Rider Blues' and Sleepy John Estes' 'Someday Baby Blues' with the easy rollin' folk blues feel of the early '60s when college students, post-Beat generation coffeehouse hounds and rock 'n' roll players discovered the blues.

It was during those influential times that John Paul Hammond emerged as a performer. Bom in New York City in 1942, Hammond was part of a generation whose life was changed by radio. As a teenager he'd listen to late-night radio. WLAC blasted the blues of Sonny Boy Williamson, Little Walter, and Howlin' Wolf all the way from Nashville, Tennessee to New York City. "When I was becoming a music fanatic, which was in the '50s in my teens, I began to focus on the stuff I thought was great -- Jimmy Reed, Howlin' Wolf, Muddy Waters, John Lee Hooker and many others," Hammond recalled. 'Listening to WLAC was an American phenomena -- the shows were sponsored by Randy's Record Shop. How many people sent away to Randy's for those records? I know I was one." Little did Hammond know that later he would share the stage and win the admiration of artists like Reed, Waters, the Wolf, Willie Dixon and many other blues giants.

Though born and raised in New York, Hammond didn't begin his career there. It wasn't that the city was such a tough town back then, it was that he had to detach from the mythological figure who preceded him. Bom John Paul Hammond, his father was John Henry Hammond, the Columbia A&R executive who brought Bessie Smith, Billie Holiday, Big Joe Turner and eventually Bob Dylan and Bruce Springsteen to America's attention. "People assume I grew up in a musical bonanza, surrounded by it all the time, which was not the case. My parents divorced when I was five and I lived with 'my mother and my brother', Jason Hammond explained. 'I wasn't aware of the significance of my father's position until I was a lot older, until I had gone on the road as a musician myself. Then I had to explain, clarify that in fact I got into this on my own and my dad didn't nurture me. He wasn't thrilled when I began this career."

It wasn't until after Hammond was an established recording artist that his father saw how serious his son was about music. He started his life as a troubadour on the West Coast at age 19. "I hitchhiked across the United States to Los Angeles, got a job in a gas station and would go around to various coffeehouses and clubs and audition at night, hoping to get a gig," Hammond said. Singer/songwriter Hoyt Axton was on the L.A. scene at that time, and he got Hammond his first paying gig at the Satire Club which was such a hit that he was held over for another week. Then came the Insomniac, the Troubadour, the Cat's Pajamas and other night spots in southern California. 'It was a fantastic scene -- you could hear blues, bluegrass, every kind of folk style -- it was a Mecca,' Hammond remembered. 'I even did a TV show with the Chambers Brothers, who where then a gospel group, and Long Gone Miles, a blues artist from Texas.'

And he made enough money to buy a car and head back east. Along the way he stopped to play in Minneapolis, home of the folk blues trio Koerner, Ray and Glover, and Chicago, where he met Mike Bloomfield and Sonny Boy Williamson. Finally in November of 1962 he was back in New York, auditioning for clubs. He got a gig at Gerde's Folk City, on the bill with Phil Ochs. Both artists were signed to one of the most important labels of the era, Vanguard Records.

During the '60s Hammond became part of a burgeoning Greenwich Village scene that included Bob Dylan, Jose Feliciano, John Sebastian and Richie Havens. Even Jimi Hendrix, then known as Jimmy James, came through and joined Hammond for a 2 week stint at the Cafe Au Go Go. It turned out to be the gig that took Hendrix to England where he first became famous. "Jimi had been fired from Curtis Knight's band and had his guitar stolen," Hammond recalled. "He was desperate to make something happen. I was flabbergasted at the guy's talent, and when he asked me to get him some kind of gig, we put a band together. He backed me up and did some tunes himself. At the Cafe Au Go Go, that's where he was discovered. Off he went to England and the rest is history."

Hammond himself would soon tour England. While there in 1965 he taped a "Ready, Steady, Go' television show backed by John Mayall and the Bluesbreakers. A young Eric Clapton was on guitar.

Though John Hammond's career has not been as star-studded as either Clapton or Hendrix's was, he' too has become a part of history. Through the '70s, as disco sent many blues and folk artists onto the lounge circuit, and the '80s when hard rock had the nation's attention, Hammond continued to thrive, recording with Duane Allman, The Rolling Stones' Bill Wyman, Roosevelt Sykes, Dr. John, Michael Bloomfield and Robbie Robertson. Blues Explosion, the 1984 disc that featured Hammond, Stevie Ray Vaughan, Koko Taylor and a number of other blues artists performing live at the Montreux Jazz Festival, won a Grammy. And Hammond continued to tour, circling the globe to play up to 200 dates every year. "There were folk festivals in the summer, coffeehouses colleges that weren't dependent on the radio or media," Hammond said. 'And blues has never gone out of style, it's always been there.'

His mastery of the Delta Blues style made him the natural choice as the on screen guide and performer in the Search for Robert Johnson, a British documentary now on Sony video and airing regularly on cable in the US. After all, as John notes, he has now been performing Robert Johnson songs longer than Robert Johnson was alive. Other milestones include his performance of the soundtrack to the Dustin Hoffman classic Little Big Man as well as contributions to the soundtrack for Matewan.

It was during the '70s that Hammond met Duke Robillard, who was then playing guitar with Roomful of Blues. From the start the admiration was mutual. 'I was impressed by Duke's singing and guitar playing immediately,' said Hammond. 'His feeling, his choice of material - I think overall as a musician he's got- fantastic taste.' And Robillard appreciates where Hammond is coming from'. 'When I was in high school I came back raving about John after seeing him at Newport,' Robillard said. 'Even though he wasn't doing what I was, I learned from John, he struck an emotional chord and it grabbed me.'

That emotional chord is still ringing in Hammond's music, and expressed with great empathy on Found True Love by Robillard's guitar. After leaving Roomful of Blues, leading his own groups and then touring with the Fabulous Thunderbirds, Robillard started his own band again and also began recording for pointblank.

The bond that grew during Hammond and Robillard's touring in '94 and '95 further tightens on Found True Love. Robillard's group adds night club ambiance to the Chicago tunes. The band leader's appreciation of earlier blues forms adds vaudeville humor to double entendre ditties like 'You Had Too Much,' which features Hammond dueting with vocalist Soozie Tyrell, a New York artist who has sung backup with Bruce Springsteen and Buster Poindexter.

Two other figures from John's life on the road also appear on Found True Love. The boogie woogie blues and old timey pianist Mr. B. is featured on 'You Had Too Much' and 'Evolution Blues.' And harmonica ace Charlie Musselwhite plays on 'Someday Baby Blues' and the evocative Baby Boy Warren tune 'Hello Stranger.' 'I met Charlie in 1964 with Mike Bloomfield and we hit if off right away,' Hammond said. 'To be recording with him again 31 years later is fantastic.'

From his early days studying the masters on record and radio, Hammond went on to share bills and learn directly from some of the genre's greatest like Muddy Waters, Willie Dixon and Howlin' Wolf. As Hammond developed his craft he won the admiration of the figures he once idolized. For over 30 years he has been circling the globe, but now it's Hammond who is educating and influencing younger generations about the music he has devoted his life to. 'I was very happy to get into blues as my career,' he said. 'This was not a way to make a quick buck, this was not ever going to be hit record time. It was a career for the long term as opposed to the pop fad thing. Going with the blues; I knew it was forever. I knew that this is what I wanted to do for my life.'