In the seventies and eighties, small London clubs saw many beer drinkers see their potential as musicians fade. Between some excesses and general indifference, some privileged heads have not found a way to channel their good ideas and grounded purposes and have lost themselves among the innocuous immediateness of punk or denatured R&B. But some others have followed a line of good sense and credibility that has led them to achieve a musical career - without leaving the anonymity of the cult - as homogeneous as decisive. This is the case of Jim Jones. The Hypnotics (1985-1999) were a garage-rock band that recorded four albums and left a feeling of unfinished work. The Jim Jones Revue (2005-2014) channeled Jim Jones' superstitions with classic rock'n'roll and R&B with four other albums, patenting their own and cheeky version of the blues halfway between Iggy Pop and Little Richard. With The Jim Jones All Stars he definitively confirms the possibilities of performing neo-Rhthm&Blues from the compatibility of impudence with the inexorable reality of artistic evolution. This guy will never emerge from the darkness that overshadows anyone who proposes radicalism in his proposal, even though his music is among the most interesting on the B side of what is supposed to be linked to roots music. The history of music has always benefited from musicians hiding behind their creative elegance, and this is so even if it does not please many others.