Show Me the Way Home, Honey

Carolina Chocolate Drops - Genuine Negro Jig

Styles: Neo-Traditional Folk, Piedmont Blues, Contemporary Country, Neo-Traditionalist Country, Country Blues, Modern Acoustic Blues, String Bands
Label: Nonesuch
Released: 2010
File: mp3 @320K/s
Size: 89,0 MB
Time: 38:41
Art: front

1. Peace Behind the Bridge - 2:35
2. Trouble in Your Mind - 2:56
3. Your Baby Ain't Sweet Like Mine - 3:00
4. Hit 'Em Up Style - 3:57
5. Cornbread and Butterbeans - 3:10
6. Snowden's Jig (Genuine Negro Jig) - 3:52
7. Why Don't You Do Right? - 3:37
8. Cindy Gal - 2:28
9. Kissin' and Cussin' - 3:21
10. Sandy Boys - 2:25
11. Reynadine - 2:37
12. Trampled Rose - 4:37

Personnel:
Dom Flemons - 4 String Banjo, Drums, Foot Percussion, Guitar, Jug, Throat Singing, Vocals
Rhiannon Giddens - 5 String Banjo, Fiddle, Kazoo, Vocals
Justin Robinson - Autoharp, Beat Box, Fiddle, Foot Percussion, Handclapping, Vocals
Sule Greg Wilson - Frame Drum, Percussion, Tambourine

Notes: Carolina Chocolate Drops are one of the last exponents of Piedmont string’n’jug band music, an African-American rural style dating back to the early 20th century from the Piedmont Plateau, essentially the foothills of the southern Appalachian Mountains.
For the most part this album’s an unashamedly foot-stomping countrified fiddle-and-banjo racket, and with it the trio reclaim what is usually assumed to be exclusively hillbilly property. But this historic black style is mountain music with something more, as these 12 tracks show how it fits between the European quadrilles and the Anglo/Celtic folk that came across the Atlantic and the rural blues and ragtime jazz that grew out the American South, informing so much contemporary music. And in the hands of the Carolina Chocolate Drops this history lesson is far from dry.
The relatively youthful threesome learned their craft from original Piedmont players and swap instruments – banjo, fiddle, jug, harmonica, guitar, snare drum and kazoo – with ease, and although they all sing, the guys, Dom Flemons and Justin Robinson, leave most of the vocals to the opera-trained Rhiannon Giddens. Cleverly, the group mix traditional songs with original compositions and a couple of surprising covers, allowing them to honour the past, then subtly nudge it forward linking it to the modern music they grew up with.
Of the former, Cindy Gal, Cornbread and Butterbeans and Sandy Boys are joyous jigs, with lyrics about life in general, while Snowden’s Jig and the stunning, a cappella Reynadine show the pensive, bluesy side of the original style. New song Kissin’ and Cussin’ arranges the mountain instruments into what becomes an intriguing contemporary ballad, while their turning of Tom Waits’ Trampled Rose into syncopated country blues adds yet another layer of poignancy to an already heart-wrenching number.
The big surprise, though, is the pickin’, fiddlin’ and slappin’ version of Blu Cantrell’s Hit ‘em Up Style, which totally countrifies an urban classic to create a tune that would be just as at home in hoedown as any blinging city nightclub. It’s the highlight of an extraordinary and stylish album. ~ Lloyd Bradley 2010

Genuine Negro Jig



• Carolina Chocolate Drops - Dona Got A Ramblin' Mind
• VA - Violin, Sing The Blues For Me: African-American Fiddlers 1926-1949

Oznake: Contemporary Country, Piedmont Blues, Modern Acoustic Blues, String Bands, Carolina Chocolate Drops, folk, Country

Brownie McGhee - Not Guilty Blues

Styles: Country Blues, East Coast Blues, Piedmont Blues
Label: Magnum America
Released: 1996
File: mp3 @320K/s
Size: 115,2 MB
Time: 50:20
Art: front + back

1. Picking My Tomatoes - 2:49
2. Born For Bad Luck - 2:55
3. I'm Callin' Daisy - 2:41
4. My Barkin' Bulldog Blues - 2:38
5. Let Me Tell You 'Bout My Baby - 2:44
6. Be Good To Me - 2:51
7. Step It Up And Go - 2:48
8. Not Guilty Blues - 2:40
9. Money Spending Woman - 2:55
10. Death Of Blind Boy Fuller - 2:44
11. Barbecue Any Old Time - 2:50
12. Million Lonesome Women - 2:37
13. Workingman's Blues - 2:50
14. Dealing With The Devil - 2:38
15. Key To My Door - 2:51
16. I'm A Black Woman's Man #2 - 2:53
17. Try Me One More Time - 3:05
18. Swing Soldier Swing #2 - 2:43

Notes: Here's an 18-track collection of McGhee's earliest recordings, all of it emanating from sessions held in 1940 and the following year. Brownie's recordings as Blind Boy Fuller #2 are here, as well as the first recordings pairing him with longtime future partner Sonny Terry. His work with washboard player Oh Red and the mysterious Jordan Webb playing harmonica is every bit as effective, though, and tracks like "Picking My Tomatoes" and "Born For Bad Luck" get this set off to a wonderful start; the musical quotient stays high all, the way to the end. Everything is pulled off of old, beat-up 78s, and the quality is up and down on every track, but this as fine an early Brownie McGhee set as you'll come across.

Not Guilty Blues



• Sonny Terry, Brownie McGhee & Big Bill Broonzy - The Bluesmen
• Brownie McGhee - The Story Of The Blues

Oznake: Country Blues, East Coast Blues, Piedmont Blues, Brownie McGhee

Various - Times Ain't Like They Used To Be Vol. 8

Styles: Country Blues, Prewar Blues, Acoustic Blues, Delta Blues, Old-Timey, String Bands, Piedmont Blues, Traditional Folk
Label: Yazoo
Released: 2003
File: mp3 @320K/s
Size: 157,0 MB
Time: 68:36
Art: full

1. Vaughan Quartet - It's Just Like Heaven - 3:12
2. Red Headed Fiddler - The Steeley Rag - 2:36
3. Gitfiddle Jim - Paddlin' Blues - 3:19
4. Dilly & His Dill Pickles - Sand Mountain Drag - 3:23
5. Dock Boggs - Sugar Baby - 3:00
6. King Solomon Hill - My Buddy Blind Papa Lemon - 3:11
7. Stripling Brothers - The Lost Child - 3:07
8. Frank Hutchinson - The Train That Carried My Girl From Town - 3:04
9. Bo Weavil Jackson - You Can't Keep No Brown - 2:52
10. Wright Brothers Quartet - Mother Is With The Angels - 2:59
11. Dick Reinhart - Rambling Lover - 2:53
12. Skip James - 4 O'Clock Blues - 2:52
13. Da Costa Woltz's Southern Broadcasters - Yellow Rose Of Texas - 2:53
14. Johnny Barfield - Gonna Ride Till The Sun Goes Down - 2:54
15. Ed Bell - Mamlish Blues - 2:36
16. Ted Sharp, Hinman and Sharp - Robinson County - 3:10
17. Dennis McGee - Valse Des Vachers - 2:39
18. David Miller - Jailhouse Rag - 2:43
19. Tommy Johnson - I Want Someone To Love Me - 2:57
20. Uncle Dave Macon and McGee Bros. - Tennessee Tornado - 3:16
21. Frank Jenkins - Roving Cowboy - 2:59
22. Shelor Family - Big Bend Gal - 2:49
23. Rev. W.M. Mosley - Yes Tis Me - 3:01

Notes: Each volume in Yazoo Records' Times Ain't Like They Used to Be series (this one is the eighth installment) collects 1920s and '30s commercial 78s that, taken together, project a vital and energetic rural, early 20th century America of jug and string bands, country blues players, fiddlers, banjoists, sacred singers, and musical roustabouts of every conceivable rustic style imaginable. This process makes each volume remarkably similar even as the particular artists and songs included on each may be tremendously different. Volume 8 is a little heavier on the blues side of things and includes such rare gems as Dock Boggs' banjo blues set piece "Sugar Baby," Skip James' haunting rendering of "4 O'Clock Blues" (made especially precious by sounding like it was recorded in a hail storm), Frank Hutchison's sleek and timeless "The Train That Carried My Girl from Town," and Francis Jenkins' ancient sounding fiddle ballad, "Roving Cowboy," which sounds a bit like an inland sea shanty. Since everything is drawn from exceedingly rare 78s, many of which were played to death by their original owners, there is a fair amount of ambient needle noise on most of these tracks, but that only adds to the overall feel of history actually coming alive that is inherent to these kinds of compilations. Well selected, varied, and artfully sequenced, Times Ain't Like They Used to Be, Vol. 8 is a welcome addition to a hopefully never-ending series.

Times Ain't Like They Used To Be Vol. 8



• Pink Anderson - Pink Anderson Vol. 3: Ballad & Folksinger
• Blind Willie McTell - Blind Willie McTell 1927-1933

Oznake: Country Blues, Prewar Blues, Acoustic Blues, Delta Blues, Old-Timey, String Bands, Piedmont Blues, Traditional Folk, Various

Various - Times Ain't Like They Used To Be Vol. 6 of 8

Styles: Country Blues, Prewar Blues, Acoustic Blues, Delta Blues, Old-Timey, String Bands, Piedmont Blues, Traditional Folk
Label: Yazoo
Released: 2002
File: mp3 @320K/s
Size: 157,5 MB
Time: 68:47
Art: full

1. Birkhead & Lane - Robinson County - 3:06
2. Floyd County Ramblers - Aunt Dinah's Quilting Party - 3:09
3. Mississippi Moaner - It's Cold In China - 2:51
4. Parker & Dodd - Sail Away Lady - 2:59
5. Uncle Dave Macon & The Fruit Jar Drinkers - I'm Goin' Away In The Morn - 3:08
6. Tenderfoot Edwards - Seven Sister Blues - 2:55
7. Virginia Mountain Boomers - Cousin Sally Brown - 2:54
8. Girls Of The Golden West - Whoopee-Ti-Yi-Yo Git Along Little Doggies - 2:46
9. Skip James - Cherry Ball Blues - 2:50
10. Roy Harvey & Jess Johnston - Milwaukee Blues - 3:20
11. Weems String Band - Davy - 2:55
12. Eli Framer - God Didn't Make Me No Monkey Man - 3:13
13. Eck Robertson - Sally Gooden - 3:11
14. Jess Johnston & Byrd Moore - My Trouble Blues - 3:10
15. Charley Patton - Prayer Of Death - Part 2 - 2:49
16. Red Headed Fiddlers - Cheat 'Em - 2:33
17. Dewey & Gassie Bassett - Jesus Paved The Way - 2:42
18. Louie Lasky - Caroline - 2:51
19. The Swamp Rooters - Swamp Cat Rag - 3:07
20. Reaves White County Ramblers - Ten Cent Piece - 3:03
21. Blind Joe Reynolds - Ninety Nine Blues - 2:40
22. Jess Hillard & His West Virginia Hillbillies - Rolling River - 3:27
23. Turney Brothers - At The Cross - 2:56

Notes: Each volume in Yazoo Records' Times Ain't Like They Used to Be series (this one is the sixth installment) collects 1920s and '30s commercial 78s, and taken together they project a vital and energetic early-20th century rural America of jug and string bands, country blues players, fiddlers, banjoists, sacred singers, and musical roustabouts of every conceivable rustic style imaginable. This process makes each volume remarkably similar even as the particular artists and songs included on each may be tremendously different. Vol. 6 includes such rare gems as Isaiah Nettles' (listed here under his moniker "the Mississippi Moaner") quirky "It's Cold in China Blues," Skip James' haunting "Cherry Ball Blues," an energetic "Davy" by the Weems String Band, and the second part of Charley Patton's two-part 78-rpm recording of "Prayer of Death." Since everything is drawn from exceedingly rare 78s, many of which were played to death by their original owners, there is a fair amount of ambient needle noise on several of these tracks, but that only adds to the overall feel of history actually coming alive that is inherent to these kinds of compilations. Well selected, varied, and artfully sequenced, Times Ain't Like They Used to Be, Vol. 6 is another welcome addition to a hopefully never-ending series.

Times Ain't Like They Used To Be Vol. 6



• Violin, Sing The Blues For Me: African-American Fiddlers 1926-1949
• Emmett Miller - Minstrel Man From Georgia

Oznake: Country Blues, Prewar Blues, Acoustic Blues, Delta Blues, Old-Timey, String Bands, Piedmont Blues, Traditional Folk, Various

Pink Anderson - Pink Anderson Vol. 3: Ballad & Folksinger

Styles: Acoustic Blues, Prewar Country Blues, Piedmont Blues
Label: Original Blues Classics
Released: 1963
File: mp3 @320K/s
Size: 79,6 MB
Time: 34:46
Art: full

1. The Titanic - 4:09
2. Boweevil - 4:03
3. John Henry - 5:03
4. Betty and Dupree - 4:46
5. Sugar Babe - 2:46
6. The Wreck of the Old 97 - 4:42
7. I Will Fly Away - 3:48
8. The Kaiser - 2:07
9. In The Evening - 3:18

Notes: This release contains what is sadly the final volume in Bluesville's trilogy of long-players featuring the highly original Piedmont blues of Pink Anderson. As with the two previous discs, Ballad & Folk Singer was recorded in 1961. It is also notable that Anderson returns to his native South Carolina to document this set. The second installment -- Medicine Show Man -- had been compiled from a New York City session held earlier the same year. Astute listeners will note that three of the titles -- "The Titanic," "John Henry," and "The Wreck of the Old 97" -- were duplicated from Anderson's side-long contribution to Gospel, Blues & Street Songs. The other side featured another Piedmont native, Rev. Gary Davis. However Anderson's delivery is notably different when comparing the two performances. One of the primary discrepancies lies in the pacing. Here, the readings are more definite and seemingly less rushed. The same is true for the phrasing of Anderson's vocals, most notably on "John Henry." The intricate and somewhat advanced guitar-playing -- that became one of Anderson's trademarks -- is arguably more pronounced on these recordings as well. Again, "John Henry" displays the picking and strumming techniques that give his decidedly un-amplified vintage Martin acoustic guitar such a full resonance that it practically sounds electric. The instrumental introduction to "Betty and Dupree" exemplifies the walking blues or stride motif particularly evident and notable among Piedmont blues artists. Enthusiasts should also note that in addition to these latter recordings, Anderson also performed on four tracks with his mentor Simmie Dooley in the late '20s for Columbia Records. Those pieces can be found on the compilation Georgia String Bands (1928-1930). Anderson actively toured until a debilitating stroke forced him to retire in 1964.

Pink Anderson Vol. 3: Ballad & Folksinger



• Various - Ragtime Blues Guitar 1927 - 1930
• Baby Tate - See What You Done Done

Oznake: Pink Anderson, Acoustic Blues, Prewar Blues, Country Blues, Piedmont Blues

Pink Anderson - Pink Anderson Vol. 2: Medicine Show Man

Styles: Acoustic Blues, Prewar Country Blues, Piedmont Blues
Recorded: 1961
Released: 1962/1999
Label: Prestige/Bluesville
File: mp3@320K/s
Size: 85.5 MB
Time: 39:34
Art: Front

1. I Got Mine - 4:05
2. Greasy Greens - 4:43
3. I Got A Woman 'Way Cross Town - 3:06
4. Travelin' Man - 4:40
5. Ain't Nobody Home But Me - 4:19
6. That's No Way To Do - 2:36
7. In The Jailhouse Now - 4:41
8. South Forest Boogie - 4:04
9. Chicken - 4:18
10. I'm Going To Walk Through The Streets Of The City - 2:58

Notes:Like volume one and three of the series of LP's Anderson did for Bluesville, this was recorded in 1961 (though it was recorded in New York City whereas the others were recorded in Spartanburg, SC). Volumes one and three were mostly traditional songs; this is all traditional songs in the public domain. It follows that if you liked volumes one and three, you'd probably like this too; if you want to choose just one, you're about as well off with any of the individual volumes. If you had to split hairs, it seems that Anderson sounds a bit more comfortable in the studio/recording setting on this one than on the others, and a tad less countrified and more urbane. The tone is cheerful and easygoing, like that of a well-loved man entertaining his neighbors. Which is not to say this is a throwaway; the phrasing and rhythms are crisp, and the ragtime-speckled folk/blues guitar accomplished. ~ Richie Unterberger

Pink Anderson Vol. 2: Medicine Show Man



• Lonnie Johnson - Blues Roots, Vol. 8: Swingin' With Lonnie
• Baby Tate - See What You Done Done

Oznake: Pink Anderson, Acoustic Blues, Piedmont Blues, Prewar Blues, Country Blues

Pink Anderson - Pink Anderson Vol. 1: Carolina Bluesman

Styles: Acoustic Blues, Prewar Country Blues, Piedmont Blues
Recorded: 1961
Released: 1961/1992
Label: Prestige/Bluesville
File: mp3 @320
Size: 94.2 MB
Time: 34:12
Art: Front

1. My Baby Left Me This Morning - 3:22
2. Baby, Please Don't Go - 2:31
3. Mama Where Did You Stay Last Night - 2:44
4. Big House Blues - 3:38
5. Meet Me in the Bottom - 4:13
6. Weeping Willow Blues - 3:32
7. Baby I'm Going Away - 3:35
8. Thousand Woman Blues - 3:56
9. I Had My Fun - 3:02
10. Every Day in the Week - 3:34

Notes: Pink Anderson was never a big name on the blues circuit, yet he was perhaps the most polished and personal of all the rural bluesmen who recorded for Prestige's Bluesville subsidiary. He was seldom recorded during his long career which began around 1915 with his first of many associations with traveling medicine shows and ended with his death in 1973. He cut three fine albums for Bluesville during the early Sixties, this 1960 date being the first. Anderson, who had a strong influence on folk guitarists Roy Bookbinder and Paul Geremina, specialized in interpretations of blues standards, bringing to each a gentle, uniquely plaintive quality.
A vast majority of the known professional recordings of Piedmont blues legend Pink Anderson were documented during 1961, the notable exception being the platter he split with Rev. Gary Davis -- Gospel, Blues and Street Songs -- which was documented in the spring of 1950. This is the first of three volumes that were cut for the Prestige Records subsidiary Bluesville. Carolina Blues Man finds Anderson performing solo -- with his own acoustic guitar accompaniment -- during a session cut on his home turf of Spartanburg, SC. Much -- if not all -- of the material Anderson plays has been filtered through and tempered by the unspoken blues edict of taking a familiar (read: traditional) standard and individualizing it enough to make it uniquely one's own creation. Anderson's approach is wholly inventive, as is the attention to detail in his vocal inflections, lyrical alterations, and, perhaps more importantly, Anderson's highly sophisticated implementation of tricky fretwork. His trademark style incorporates a combination of picking and strumming chords interchangeably. This nets Anderson an advanced, seemingly electronically enhanced sound. "Baby I'm Going Away" -- with its walkin' blues rhythms -- contains several notable examples of this technique, as does the introduction to "Every Day of the Week." The track also includes some of the most novel chord changes and progressions to be incorporated into the generally simple style of the street singer/minstrel tradition from which Pink Anderson participated in during the first half of the 20th Century. Listeners can practically hear Anderson crack a smile as he weaves an arid humor with overtly sexual connotations into his storytelling -- especially evident on "Try Some of That" and "Mama Where Did You Stay Last Night." Aficionados and most all students of the blues will inevitably consider this release an invaluable primer into the oft-overlooked southern East Coast Piedmont blues. ~ Lindsay Planer
PINK FLOYD - taken from the names of two Georgia bluesmen Pink Anderson and Floyd Council - from the early days when the band saw itself as a blues band. Just a little something extra for those of you who care.

Pink Anderson Vol. 1: Carolina Bluesman



• Sonny Terry And Brownie McGhee - Hometown Blues
• Larry Johnson - Presenting The Country Blues

Oznake: Pink Anderson, Acoustic Blues, Prewar Blues, Country Blues, Piedmont Blues

Rev. Gary Davis & Pink Anderson - Gospel, Blues and Street Songs

Styles: Piedmont Blues
Label: Original Blues Classics
Released: 1961
File: mp3 @320K/s
Size: 112,3 MB
Time: 49:02
Art: full

1. John Henry - 5:25
2. Every Day In The Week - 3:30
3. The Ship Titanic - 3:15
4. Greasy Greens - 2:56
5. Wreck Of The Old 97 - 3:27
6. I've Got Mine - 3:06
7. He's In The Jailhouse Now - 3:43
8. Blow, Gabriel - 2:15
9. Twelve Gates To The City - 3:23
10. Samson And Delilah - 3:53
11. Oh Lord, Search My Heart - 3:04
12. Get Right Church - 3:04
13. You Got To Go Down - 2:40
14. Keep Your Lamp Trimmed And Burning - 2:36
15. There Was A Time That I Was Blind - 2:37

Personnel:
Reverend Gary Davis - vocals, guitar (8-15)
Pink Anderson - vocals, guitar (1-7)
Jumbo Lewis - washboard (2)

Notes: Prior to the advent of the long-playing medium (read: LPs and/or CDs), the two collections presented here were available in separate packages. Stylistically, the works of both artists remain compelling evidence of the once fertile regional Piedmont Blues scene. In its late 19th and early 20th century heyday, the distinct folk-based music was a common presence throughout the Carolinas, stretching into Virginia, Georgia and Tennessee. Tracks one through seven feature Pink Anderson (guitar/vocals) accompanying himself on vocals and guitar. Not only are his most notable songs given striking renderings, but also Anderson's utterly unique instrumentation is captured to great effect. What stands as most exemplary is the delivery, executed in a half-picking/half-sliding style, rumoured to have been accomplished by using a jack knife blade to bend and manipulate the strings. The derivation of the traditional "John Henry" examines this technique in perhaps the greatest detail. However, the robust tone -- from his trademark and inimitable well-worn Martin guitar -- is likewise capable of a more piercing precision as heard on "Every Day in the Week" and "Wreck of the Old 97." There are some prime examples of Anderson plying his sly wit and goodtime humor during "He's in the Jailhouse Now" and "I Got Mine." They also display otherwise lighthearted observations of the strictly enforced segregated communities in lyrics such as "I remember last election/The white folks was (sic) in action/Trying to get themselves a President... ." Perhaps this was an attempt to redirect any anti-Caucasian sentiment, as Anderson's tale recounts a black man who is "in the jailhouse now" for attempting to vote "not once, but twice." Keen-eared listeners may even pick up on brief verbal inflections and asides thrown in between the lines, further adding to any surreptitiously racial implications. ~ Lindsay Planer

Gospel, Blues and Street Songs



• Mr. Matthew James - Worried Blue
• Archie Edwards - Blues 'n Bones

Oznake: Rev. Gary Davis, Pink Anderson, Piedmont Blues

Blind Willie McTell - Blind Willie McTell 1927-1933: The Early Years

Styles: Prewar Country Blues, Piedmont Blues, East Coast Blues
Label: Yazoo
Released: 1989
File: mp3 @320K/s
Size: 99,0 MB
Time: 43:14
Art: full

1. Broke Down Engine Blues - 3:09
2. Mamma, Tain't Long Fo' Day - 3:01
3. Georgia Rag - 3:05
4. Love Changing Blues - 3:08
5. Statesboro Blues - 2:33
6. Stomp Down Rider - 3:08
7. Savannah Mama - 3:18
8. Travelin' Blues - 3:15
9. Drive Away Blues - 3:13
10. Warm It Up To Me - 2:57
11. Three Women Blues - 2:43
12. Writing Paper Blues - 3:12
13. Southern Can Is Mine - 3:15
14. Talkin' To Myself - 3:12

Personnel:
Guitar, Vocals – Blind Willie McTell
Artwork By, Mastered By – Nick Perls
Mastered By – Robert Vosgien
Liner Notes – David Evans

Notes: This album is here because I wanted to fill out a collection of the first ten issues of Yazoo Records that are posted by mark(fr) in the garret.
These issues are among those which explains how did we get here, 21st century Blues scene.
Unfortunately this is not a vinyl rip but Cd, edition of 1989.
More about this album you can read here

Blind Willie McTell 1927-1933: The Early Years (Yazoo L-1005)



• Blind Willie McTell - Statesboro Blues: Secret History Of Rock 'n' Roll
• Blind Willie McTell - Searching The Desert For The Blues

Oznake: Blind Willie McTell, Prewar Blues, Piedmont Blues, East Coast Blues

The Blue Rider Trio - Early Morning Blues (Discs 1 & 2)

Ben Andrews, a talented guitarist and singer who performed in the North Carolina-Virginia-Maryland area, emerged in 1990 to make this superior set. Teamed in a trio with Mark Wenner on harmonica and bassist Jeff Sarli, Andrews performs vintage country blues by the likes of Robert Johnson, Blind Willie McTell, Leadbelly, Blind Blake, Mississippi John Hurt, and others, contributing two songs of his own ("Freight Train Boogie" and "She Don't Do Me Wrong"). Andrews captures the magic of the early era without merely copying the past, creating a set that fans of early country blues will definitely want to acquire. ~ Scott Yanow

Ben Andrews (vocals, acoustic guitar); Mark Wenner (harmonica); Jeff Sarli (bass).

Recording information: Mapleshade Studios. Personnel: Ben Andrews (vocals, guitar); Mark Wenner (harmonica); Jeff Sarli (electric bass).

Album: Early Morning Blues (Disc 1)
Bitrate: 320K/s
Time: 49:43
Size: 113.8 MB
Styles: Country blues
Year: 2010
Art: Front

[4:29] 1. Gallows Pole
[4:18] 2. Preachin' The Blues
[4:40] 3. Stomp Down Rider
[2:56] 4. Old Blue Goose
[5:03] 5. Early Morning Blues
[3:59] 6. Cincinnati Rag
[6:15] 7. Pay Day
[3:30] 8. Walkin' Blues
[2:48] 9. Georgia Rag
[3:45] 10. Freight Train Boogie
[3:32] 11. Statesboro Blues
[4:24] 12. She Don't Do Me Wrong

Early Morning Blues (Disc 1)

Oznake: Blue Rider Trio, Piedmont Blues, Delta Blues

Lonnie Johnson - Blues Roots, Vol. 8: Swingin' With Lonnie

Styles: Jazz Blues, Piedmont Blues, Pre-War Country Blues
Label: Storyville
Released: 1964
File: mp3 @320K/s (from vinyl)
Size: 89,6 MB
Time: 39:07
Art: full

1. Call Me Darling - 3:17
2. Clementine Blues - 6:10
3. Jelly Jelly - 3:27
4. Please Help Me - 3:32
5. Raining On The Cold Ground - 4:55
6. See See Rider - 3:00
7. Swingin' With Lonnie - 3:19
8. Tomorrow Night - 2:55
9. Too Late To Cry - 3:43
10. Why Do You Go - 4:44

Personnel:
Lonnie Johnson - guitar, vocals
Otis Spann - piano (all except on #1)

Notes: Backed by pianist Otis Spann, singer/guitarist Lonnie Johnson performs blues and ballads on this well-rounded set. Included are such numbers as his old hit "Tomorrow Night," "See See Rider," "Jelly, Jelly" and a lone instrumental, "Swingin' With Lonnie." An above-average outing by the veteran bluesman.

Blues Roots, Vol. 8: Swingin' With Lonnie



• Carl Leyland & Kim Cusack - Stompin' Upstairs (With Beau Sample & Alex Hall)
• Lonnie Johnson & Elmer Snowden - Blues And Ballads

Oznake: Lonnie Johnson, Blues Jazz, Piedmont Blues, Pre-War Blues

Various - Living Country Blues USA: An Antology (3 Disc set)

Styles: Country Blues, Delta Blues, Piedmont Blues, Pre-War Country Blues
Label: Evidence Music
Released: 1999
File: mp3 @320K/s
Size: 170,5 MB
Time: 73:35
Art: full

Distilled from a 14 record anthology originally issued only in Germany during the early 80’s the story behind this reissue is almost as intriguing as the music contained on its three silver platters. On a fall day in 1980, two Germans hopped into an old battered station wagon crammed full of portable recording equipment and a few borrowed guitars. Heading south they embarked on an odyssey (echoing Alan Lomax) to record the startling number of blues and gospel musicians contained on this set wherever they could find them. Their travels took them from vacant fields to cramped clapboard shacks, from rickety back porches to ramshackle juke joints. The majority of tunes were taped on Mississippi soil, but artists from D.C., Maryland, Louisiana, North Carolina and Tennessee also make appearances. Best of all many of the musicians have direct lineal connections to the early giants of the pre-War blues era and aren’t shy about showing off the influences.
There are the requisite guitar pickers, but also fife and drum bands, field hollers and a fair share of oddities including Lonnie Pitchford master of the one-string amplified diddley bow (basically a wooden plank twisted with baling wire and plugged into a tiny guitar amp). He crafts an incredible trance-inducing version of Hooker’s “Boogie Chillun” on his primordial axe. Several other tunes feature the jangling lead guitar and throaty vocals of one James “Son” Thomas backed by the scraping bass lines of Cleveland “Broom Man” Jones on broom handle. Other obscure but equally brilliant stylists abound. There’s raucous street corner testifying from the likes Cora Fluker, a woman who erected a wooden church in her front yard solely for the purpose of spreading the Lord’s message, and from Flora Molton and Her Truth Band, a motley aggregate that delivers the down-home message of brotherly love via guitar, casaba, tambourine, and harmonica. The impressive array of string stylists that populate the majority of selections are rounded out by the kitchen knife wielding slide lunatic Cedell Davis and a cantankerous backwoods preacher who answers to the name Boyd Rivers.
Overall, the set is akin to a prodigious sideshow for the more arcane realms of the blues bizarre. Many of the tunes are familiar but under the passionate labors of these musician they are recast in weird and wonderful ways. These are raw and primitive renderings to be sure, but ones that are brimming with plenty of the bare veracity that make the blues so contagious in the first place. The liners are magnificent and paint the colorful lives of these performers with vividly descriptive prose. The three and a half hours and 60 tracks housed on these discs may sound like a generous helping, but the into this deep river of song for an enlightening (and sometimes harrowing) swim down the realization that there were hundreds of hours taped will leave you craving to hear more. I could go on gushing praise about these discs, but it’s just as easy to offer up this summary advice. Shell out the thirty or so bucks; shuck down to your skivvies and dive lesser traveled tributaries of the blues. By DEREK TAYLOR

Oznake: Various, Pre-War Blues, Country Blues, Delta Blues, Piedmont Blues

Yank Rachell's Tennessee Jug Busters - Mandolin Blues

Bitrate: 320K/s
Time: 57:12
Size: 131.0 MB
Styles: Piedmont blues, Mandolin blues
Year: 1986/1998
Art: Front

[3:39] 1. Texas Tony
[5:03] 2. Girl Of My Dreams
[2:43] 3. Do The Boogie (Take 3)
[4:28] 4. Starvation In My Kitchen
[3:54] 5. I'm Gonna Get Up In The Morning
[2:18] 6. Lonesome Blues
[3:04] 7. Shout Baby Shout
[4:12] 8. Rocky Mountain Blues
[2:34] 9. Do The Boogie (Take 2)
[2:54] 10. Stop Knocking On My Door
[4:22] 11. Doorbell Blues
[3:44] 12. Move Your Hand
[2:28] 13. Get Your Morning Exercise
[3:42] 14. When My Baby Come Back Home
[4:12] 15. Up And Down The Line
[3:48] 16. Bye Bye Baby

Yank Rachell has long been a legend in the blues world. One of the few blues mandolin players, Rachell recorded several notable sessions during 1929-1941 and then was off record for 22 years. After spending time outside of music, he was rediscovered and in 1963 he performed the music on this CD reissue. Rachell (who was in his fifties at the time), is in excellent voice throughout the date although it is his mandolin work that makes this set particularly special. He is reunited with two notable friends from the 1930s (guitarist Sleepy John Estes and Hammie Nixon who is heard on harmonica and jug) and is assisted on some numbers by both Big Joe Williams and the up-and-coming Mike Bloomfield on guitars; several numbers find Rachell backed by three guitars. Yank Rachell would remain active until shortly before his death on Apr. 9, 1997. This comeback set (which adds six previously unreleased tracks to the original ten-song program) is one of his definitive recordings and is a perfect showcase of the great bluesman's talents. ~Scott Yanow

Mandolin Blues

Mo' Albums...
• Sippie Wallace - Mighty Tight Woman
• King Curtis - Soul Meeting

Oznake: Yank Rachell, Piedmont Blues

Baby Tate - See What You Done Done

Styles: Prewar Country Blues, Piedmont Blues
Recorded: 1961
Released: 1994
Label: Prestige/Bluesville
File: mp3 @320kbps
Size: 86.3 MB
Time: 34:35
Art: full

1. See What You Done Done - 3:05
2. Dupree Blues - 4:04
3. What Have I Done To You - 2:41
4. Baby, I'm Going - 3:05
5. Hey Mama, Hey Pretty Girl - 2:16
6. When Your Woman Don't Want You Around - 2:40
7. My Baby Don't Treat Me Kind - 2:48
8. Trucking Them Blues Away - 2:08
9. Baby, You Just Don't Know - 3:18
10. Lonesome Over There - 2:24
11. Thousand Woman Blues - 2:43
12. I Ain't Got No Loving Baby Now - 2:37

Personnel:
Baby Tate - Guitar, Vocal


Notes: Charles Henry Tate was born in Georgia, but moved as a child to Greenville, South Carolina, where he knew Blind Boy Fuller. After serving in the Army in WW II, he moved to Spartanburg, and was active in that city's blues scene when not poursing his trade as a bricklader. Tate recorded in the '60s through his association with Pink Anderson, and again in 1970, although few titles from the later sessions have been issued, and none on CD. Tate wasn't an originator, and he'd learned most of his song two or three decades before he recorded them, but his version are lively, meaningful and personalized; even at his most Fullerish he wasn't a mindless imitator. It's easy to identify the bricks that Baby Tate used to built his music, but the mortar which binds them together is his considerable talent as singer and picker alike.

See What You Done Done



• John Dee Holeman - John Dee Holeman & The Waifs Band •
• Smoky Babe - Hottest Brand Goin' •

Oznake: Baby Tate, Prewar Blues, Piedmont Blues

Brownie McGhee - Brownie's Blues

Styles: Country Blues, East Coast Blues, Piedmont Blues
Label: Bluesville
Released: 1960
File: mp3 @320K/s
Size: 89,7 MB
Time: 39:12
Art: full

Digital Remastering, 1990 Kirk Felton
Fantasy Studios, Berkley

1. Jump, Little Children - 4:36
2. Lonesome Day - 5:25
3. One Thing For Sure - 3:20
4. The Killin' Floor - 3:41
5. Little Black Engine - 3:44
6. I Don't Know The Reason - 4:03
7. Trouble In Mind - 4:55
8. Everyday I Have The Blues - 5:15
9. Door To Success - 4:09


Notes: Brownie's Blues was originally released by Bluesville Records in 1962. Supported by his longtime accompanist Sonny Terry, as well as second guitarist Benny Foster, Brownie turns in a nicely understated record that's distinguished by surprisingly harmonically complex and jazzy guitar work. AMG

An interesting album in a number of ways. First of all, it's one of the few albums that have both Brownie and Sonny Terry on it in which only Brownie sings - not even a "whooop" from Sonny. One wonders why. You have to go back to a Savoy date from 1955 to see that happening again, and all the way back to 1952 date for Jackson to find Sonny singing and Brownie only accompanying on guitar. (Wonder how this made Sonny feel.)
It also marks the only time I know of when a second guitar was added when Sonny and Brownie were working alone together. Bennie Foster's guitar bolsters Brownie's work, but since such an addition was never used before or afterwards, it makes you wonder what made them try it here.
Anyway, some great tracks went down on this date. ONE THING FOR SURE reworks the "Gonna reap what you sow" idea in an 8-bar format. Memphis Slim's TROUBLE IN MIND is taken just a tad too slow and begins to drag a bit, but LITTLE BLACK ENGINE, a 24-bar blues taken in cut time, is a train song that is captivating and even swings nicely. A fine addition to the Brownie McGhee repertory. ~ Bomojaz

Brownie's Blues



• Archie Edwards - Blues 'n Bones •
• Sonny Terry And Brownie McGhee - Hometown Blues •

Oznake: Brownie McGhee, Sonny Terry, Country Blues, East Coast Blues, Piedmont Blues

Blind Willie McTell - Statesboro Blues: Secret History Of Rock 'n' Roll

Styles: Prewar Country Blues, Piedmont Blues, East Coast Blues, Country Blues, Acoustic Blues
Recorded: Oct 18, 1927-Feb 22, 1932
Released: 2003
Label: RCA Victor
File: mp3@160K/s
Size: 57,3 MB
Time: 50:06
Art: Full covers

1. Statesboro Blues - 2:38
2. Mama, 'Tain't Long Fo' Day - 3:06
3. Drive Away Blues - 3:23
4. Loving Talking Blues - 2:39
5. Lonesome Day Blues - 3:17
6. Mama, Let Me Scoop For You - 3:15
7. Love Changing Blues - 3:17
8. Dark Night Blues - 2:55
9. Stole Rider Blues - 3:12
10. Mr McTell Got The Blues - 2:21
11. Three Women Blues - 2:47
12. Rollin' Mama Blues - 3:04
13. Writin' Paper Blues - 3:15
14. Searching The Desert For The Blues - 3:07
15. Teasing Brown - 2:43
16. This is not the Stove to Brown your Bread - 2:33
17. Mr McTell Got the Blues (Take 2) - 2:26

Personnel:
Blind Willie McTell - Guitar, Vocals, Guitar (12 String)
Bethenea & Alfoncy Harris - Vocals (15, 16)
Ruby Glaze - Vocals (11-14)
Willie Shorter - Banjo (15)
Curley Weaver - Guitar (11, 12)


Note: "Statesboro Blues" is the ninth item in the "Secret History Of Rock n' Roll" series, and it presents 17 classic performances by singer/guitarist Blind Willie McTell.
These tracks were recorded between late 1927 through February 1932 for RCA Victor, and while there are other more comprehensive Willie McTell-compilations, this one is a very good starting place for anyone not familiar with the prewar blues master.

McTell was a magnificent guitarist and a fine, expressive singer, and songs like "Writin' Paper Blues", "Stole Rider Blues", "Love Changing Blues", and the classic "Statesboro Blues" are not just among his best singles, they're simply some of the finest, most sophisticated prewar blues singles ever recorded. And the beautiful slide guitar-workout "Mama 't'Ain't Long Fo' Day" is perhaps the most inspired song of the lot, one of the most remarkable blues tunes you'll ever hear, played by a true master of his craft.
This is an excellent appetizer. And no, there aren't two or three guitarists playing, just Blind Willie McTell.

Statesboro Blues: Secret History Of Rock 'n' Roll



• The Blue Rider Trio - Harp, Steel And Guts •
• Mick Martin - Revelator •

Oznake: Blind Willie McTell, Prewar Blues, Piedmont Blues

Archie Edwards - Blues 'n Bones

Styles: Piedmont Blues
Released: 1994
Label: Mapleshade
File: mp3 @320K/s
Size: 79.4 MB
Time: 51:21
Art: front + back

1. John Henry (Traditional) - 4:16
2. Meet Me in the Bottom (Traditional) - 4:32
3. I Called My Baby Long Distance (Edwards) - 3:34
4. That Won't Do - 3:30
5. My Old Schoolmates (Edwards) - 5:25
6. Hen's Cackle - 2:02
7. Saturday Night Hop - 3:50
8. Baby, Please Gimme a Break - 3:34
9. T for Texas (Blue Yodel N°. 1) (Rodgers) - 3:45
10. Sitting on Top of the World (Chatmon, Vinson) - 4:10
11. Payday - 3:15
12. Take Me Back, Baby - 3:37
13. Little Girl - 5:51

Recorded at Mapleshade Studio, Upper Marlboro, Maryland from April to October, 1989. Includes liner notes by Dr. Barry Lee Pearson.


Personnel:
Archie Edwards - Guitar, Ukulele, Vocals, Voices
Richard "Mr. Bones" Thomas - Bones
Mark Wenner - Harmonica

Notes: Guitarist Archie Edwards, one of the rare blues ukulele players and surviving Piedmont stylists, didn't have an abundance of recordings in print when he stepped to the microphone in 1989 for this session. But the few dates he made had long ago outlined his boisterous style, exuberant manner, and defiant attitude. These qualities help make Blues 'n Bones something more than just a respectful date; it's got a vitality and freshness that are even more apparent when harmonica player Mark Wenner steps forward and provides some youthful energy and enthusiasm, along with the resourceful drumming of Vernell Fournier. The prickly, dry, rhythmically terse sounds Richard Thomas gets from his "bones" are alone worth the price of the platter.
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Blues 'n Bones



• Mr. Matthew James - Worried Blue •
• Blind Willie McTell - Searching The Desert For The Blues •

Oznake: Archie Edwards, Piedmont Blues

John Jackson - Don't Let Your Deal Go Down

Styles:Acoustic Blues, Country Blues, Prewar Country Blues, Piedmont Blues
Recorded: Apr 19, 1965-Oct 23, 1969
Release: 1995
Label: Arhoolie
File: mp3 @320kbps
Size: 166 MB
Time: 69:56
Art: front + back

1. Going Down in Georgia on a Horn (Odum) - 2:34
2. Black Snake Moan - 2:13
3. John Henry (Traditional) - 3:56
4. If Hattie Wants to Lu, Let Her Lu Like a Man - 2:03
5. Nobody's Business But My Own - 3:02
6. John's Rag (Jackson ) - 2:35
7. Boat's Up the River - 3:31
8. Rattlesnakin' Daddy - 2:30
9. Flat Foot and Buck Dance (Traditional) - 3:05
10. Bear Cat Blues (Public Domain) - 2:41
11. Reuben (Public Domain) - 1:51
12. Rocks and Gravel (Carter) - 3:20
13. Going Down the Road Feelin' Bad - 3:53
14. Police Dog Blues (Blind Blake, Jackson) - 3:33
15. Don't Let Your Deal Go Down (Jackson) - 2:07
16. Mule Skinner Blues (Jackson) - 3:29
17. I Bring My Money (Jackson) - 2:14
18. John's Ragtime (Jackson) - 1:55
19. Red River Blues (Jackson) - 3:05
20. Knife Blues (Jackson) - 2:14
21. Trucking Little Baby (Jackson) - 3:09
22. Blind Blake's Rag (Blind Blake, Jackson) - 2:26
23. Goodbye Booze (Jackson) - 2:04
24. Graveyard Blues (Jackson) - 2:50
25. Early Morning Blues (Jackson) - 3:42
26. You Ain't No Woman (Jackson) - 1:54


Notes: Twenty-six tracks running over 70 minutes, recorded by John Jackson between 1965 and 1969 and featuring the rural blues legend at the very top of his form on vocals, guitar, and even banjo on one instrumental ("If Hattie Wants to Lu, Let Her Lu Like a Man"). Jackson's repertory here includes standards like "John Henry" (in one of the most exciting versions ever done, with some killer slide) and "Muleskinner Blues," established parts of other bluesmen's repertories (Blind Boy Fuller's "Rattlesnakin' Daddy," Blind Arthur Blake's "Police Dog Blues" and "Early Morning Blues"), as well as originals, such as the dazzling acoustic pyrotechnic displays on "John's Rag," "Graveyard Blues," and "Knife Blues" (the latter a slide guitar showcase worth the price of the disc by itself), and adaptations of popular songs ("Blind Blake's Rag," which borrows at one point from "Has Anybody Seen My Gal"). Good as his playing is, Jackson's singing is also to be admired, as his baritone voice surges with a quiet power and forcefulness, and a rich tone -- "Boats Up the River," a children's song adapted from various traditional sources, is probably the vocal standout on this collection. The fidelity is excellent, these being modern recordings, and overall this CD is the best single overview of John Jackson's music, its value enhanced by the presence of detailed notes that have been updated to the 1990s. It's records like this that humble lots of young white bluesmen.

Don't Let Your Deal Go Down



• Harlem Slim - Delta Blues & Piedmont Ragtime •
• Mick Martin - Revelator •

Oznake: Acoustic Blues, Country Blues, John Jackson, Piedmont Blues, Prewar Blues

The Blue Rider Trio - Harp, Steel And Guts

Bitrate: 320K/s
Time: 47:15
Size: 108.2 MB
Styles: Country blues, Delta blues, Piedmont blues
Year: 2000/2010
Art: Front

[2:42] 1. Salty Dog
[4:02] 2. Easy Rider
[3:43] 3. Last Fair Deal Goin' Down
[4:22] 4. Death Have No Mercy In This Land
[4:29] 5. Ride Till I Die
[3:34] 6. Make Me A Pallet On The Floor
[3:05] 7. Black Betty
[4:13] 8. Stagolee
[5:06] 9. Sweet Home Kokomo
[3:50] 10. Silver City Bound
[2:26] 11. Long Tall Momma
[2:47] 12. See See Rider
[2:49] 13. Diddy Wa Diddy


Mix in a few measures of folk country blues with Georgia red clay with an occasional rock rhythm and you have the Blue Rider Trio's first album in nine years. They have come a long way, showing greater confidence and ease with the music. They're tough when they have to be, and tender, too. The program is a conglomerate of traditional tunes mixed in with original material. All of them are handled by the rough, down-to-earth voice of Ben Andrews. He also employs a mournful howl from time to time for emphasis. The traditional material is delivered with imagination and given new character. Don't think of Ray Charles as you listen to Andrews do "See See Rider." The version here has an almost Western country gait to it rather than the mournful blues feeling often heard with this tune. A favorite of New Orleans jazz musicians, "Make Me a Down Pallett" takes on a different meaning when done with that good old country boy feel to it. There can be a lot of fun in the blues, which seems to be a contradiction in terms. But the bouncy "Diddy Wa Diddy" is just that -- a good time. There seems to be stronger story telling ingredients than in the traditional blues as in Andrews' vocal recitation of the downfall of the mean "Stagolee." The entire proceeding is bounded by Andrews' hard-sounding steel guitar and Mark Wenner's crying harmonica weaving in, out, and around the melody. English piano player Larry Willis sits in with the group for three cuts. His piano takes the edge off some of the trio's roughness. Eight years is a long time to wait for a second album. But here the hanging in there was worth it. Recommended. ~Dave Nathan

Harp, Steel And Guts

Mo' Albums...
• Sleepy John Estes - Broke And Hungry
• Dion - Bronx Blues: The Columbia Recordings (1962-1965)

Oznake: Blue Rider Trio, Country Blues, Delta Blues, Piedmont Blues

Harlem Slim - Delta Blues & Piedmont Ragtime

Styles: Delta Blues, Piedmont Blues, Rag
Label: Independent
Released: 1999
File: mp3 @320K/s
Size: 104,8 MB
Time: 45:46
Art: full

1. Delta Thug Shakedown - 3:33
2. Cross Road Blues - 4:41
3. Harlem Rag - 2:03
4. Poor Boy - 3:04
5. Walkin Blues - 3:58
6. St. Louis Blues - 1:42
7. Milk Cow Troubles - 2:56
8. Me & The Devil Blues - 4:41
9. Amazing Grace - 1:50
10. Dyin Crapshooters Blues - 3:56
11. When You Got A Good Friend - 4:27
12. Bicycle Built For Two - 2:26
13. Pal O' Mine - 3:59
14. Trailer Park Rag - 2:25

Oznake: Harlem Slim, Delta Blues, Piedmont Blues, Rag

John Dee Holeman - John Dee Holeman & The Waifs Band

Styles: Piedmont Blues, Modern Acoustic Blues, Texas Blues
Label: Music Maker
Released: 2007
File: mp3 @320K/s
Size: 118,3 MB
Time: 51:41
Art: full

1. John Henry - 2:31
2. Country Gal - 7:22
3. Mojo Hand - 3:05
4. Give Me Back My Wig - 5:36
5. I'm A Pilgrim - 2:28
6. Comin' Home To You - 7:39
7. Dust My Broom - 4:29
8. Little Queenie - 4:24
9. I Miss You Huggin' - 6:03
10. Looking Yonder Comin' - 3:21
11. Baby Please Don't Go - 4:38


Personnel:
John Dee Holeman - Guitar, Vocals
Josh Cunningham - Guitar
Ben Franz - Bass, Guitar (Bass)
Dave MacDonald - Drums
Donna Simpson - Drums (10)
Vikki Thorn - Harp, Vocals

Notes: "All you have to do is start listening to the music the Waifs and John Dee recorded and you’ll see how special a player and singer Mr. Holeman is." -Richard Marcus, Blogcritics

"The Waifs had converged at Music Maker studios in North Carolina for a week’s rehearsal before our US tour started. Toward the end of the week Tim Duffy suggested he invite some of the Foundations artists over to make some music. John Dee Holeman turned up. He's a real gentleman, very gracious & after a quick round of introductions he picked up an old guitar and started to play like ...well like he'd been doing it all his life.
We were in awe. There are rare occasions when one sits in the presence of living legend and experiences one of the last true forms of authentic music. Tentatively we joined in. I remember being nervous about playing harmonica. I was trying to play Sonny Terry licks, to be bluesy, to feel it. You can hear that...me trying.
That’s the thing you see. All week we had been going over songs, arrangements. Arguing over this and that. Trying to create our final version. When John Dee picked up that guitar and started playing it was the most natural thing in the world. Not something you thought about, or planned, or crafted. Just something you felt, as natural and easy as taking a walk.
So here it is. That afternoon at Music Maker studios when John Dee Holeman took a walk with his guitar and the Waifs tagged along, sometimes in step, sometimes a step behind. But the closest step we'd ever taken toward the blues.
We wish to thank John Dee Holeman for the music and Tim & Denise Duffy for putting us up & bringing it together." -Vikki Thorn
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John Dee Holeman & The Waifs Band



• John Dee Holeman - Bull Durham Blues •
• Lightnin' Hopkins - The Complete Aladdin Recordings •

Oznake: John Dee Holeman, Piedmont Blues, Modern Acoustic Blues, Texas Blues, The Waifs Band, australia

Mr. Matthew James - Worried Blue

Size: 96,7 MB
Time: 41:33
File: MP3 @ 320K/s
Released: 2013
Styles: Acoustic Blues, Piedmont Blues, Folk Blues
Label: Get Bent Records
Art: Front

01. The Definite Blues (3:00)
02. 2012 Sidestreet Blues (2:49)
03. Grow Cold (4:39)
04. I Wish I Was In Heaven (2:56)
05. Knocking At My Door (3:18)
06. Solid Ground (4:42)
07. God Moves On The Water (3:20)
08. The Prodigal Son (3:58)
09. Pyramid Blues (3:35)
10. Delia (5:00)
11. Water Runs Dry (4:10)

Members: Matthew Sullivan, Sean Simpson on harmonicas, washboards, various percussions. Luke Molica on the bass drum and sticks from time to time.

Equipped with resonaters, finger picks, stomp boxes and harmonicas, one may expect a night of dancin', good ol dancin.

Mr. Matthew James resides one hour East of Toronto, Ontario. HHe’s influenced by a wide range of genres, specifically early folk-blues including artists like Charlie Parr, Fred McDowell, and Blind Willie McTell. With a style that forces ones foot to stomp, his music is easy to listen to. Fast pickin' rolls like one would see on a banjo, played on a steel guitar. Mr. Matthew James gains inspiration from everything around him, writing folks tales of loss, tragedy and happiness.

Worried Blue



• Sonny Terry And Brownie McGhee - Hometown Blues •
• Smoky Babe - Hottest Brand Goin' •

---

Posted by kamane

Oznake: Mr. Matthew James, Acoustic Blues, Piedmont Blues, Folk-Blues, Canada

Blind Willie McTell - Searching The Desert For The Blues

Styles: Acoustic Blues, Country Blues, East Coast Blues, Piedmont Blues, Pre-War Blues, Songster
Label: Pristone Audio
Released: 2009
File: mp3 @320K/s
Size: 182,3 MB
Time: 79:36
Art: front

1. Stole Rider Blues - 3:12
2. Mama, Tain't Long Fo' Day - 3:06
3. Mr. McTell Got The Blues (take 2) - 2:18
4. Three Women Blues - 2:49
5. Dark Night Blues - 2:53
6. Statesboro Blues - 2:39
7. Loving Talking Blues - 2:41
8. Come On Around To My House Mama - 3:07
9. Kind Mama - 2:59
10. Drive Away Blues - 3:21
11. Talkin' To Myself - 3:12
12. Southern Can Is Mine - 3:16
13. Broke Down Engine Blues - 3:10
14. Painful Blues - 3:01
15. Scarey Day Blues - 3:08
16. Low Rider's Blues - 3:18
17. Georgia Rag - 3:06
18. Rollin' Mama Blues - 3:04
19. Lonesome Day Blues - 3:12
20. Mama Let Me Scoop For You - 3:17
21. Searching The Desert For The Blues - 3:11
22. Warm It Up To Me - 2:54
23. Savannah Mama - 3:21
24. Love-Makin' Mama - 2:59
25. Lord, Send Me An Angel - 2:50
26. Lay Some Flowers On My Grave - 3:19


Notes: The king of 12-string acoustic blues - 26 of the very best.
In astonishing newly XR-remastered sound quality - surely the best ever!

Like many pre-war Blues artists, Blind Willie McTell recorded for a number of record companies, often at the same time, under a variety of pseudonyms. Fortunately for the lover of vintage blues, none of these was the notorious Paramount record company, and as a result we have a body of work which not only stands up musically, but in terms of recording and pressing quality as well - unlike the recordings of the likes of Charley Patton, Blind Blake and Blind Lemon Jefferson, for example.
In some respects this ought to make the audio restorer's job easier, you might think. Alas, life is rarely that simple - with higher quality originals to begin with, one inevitably aims higher and is less able to settle for anything less than excellence.
In compiling this CD, I initially worked on some 40 tracks by Blind Willie McTell, in many cases from two or three different sources. Each was taken a considerable way along the road of restoration and remastering in order that a judgment could be made (a) between different copies of the same recording, and then (b) between the complete set to narrow it down to a full CD (and I apologise here both for having to leave some excellent material out, and for leaving some rather small gaps between tracks in order to squeeze as much on as possible).
Then comes the painstaking job of "finishing" - a near-forensic examination of each track, looking for individual clicks, surface swishes and other extraneous noises, and attempting to remove or reduce them, one by one, as well as varrying out further final noise and hiss reduction. For a set such as this, which had already taken several weeks to assemble, this finishing work took a further three full days of intensive effort to complete.
What do I hope to achieve with all this effort? The finest-sounding a most representative collection of pre-war recordings by McTell ever assembled. No doubt some will dispute the track selections - especially some are here on musical merit., others on sonic merit - but put together as a whole I do feel this considerably improves on all previous issues of this material that it's been my pleasure to listen to over the years. I hope you'll feel similarly!

Searching The Desert For The Blues

Covers pdf



• Leadbelly - Take This Hammer •
• Mance Lipscomb - Texas Songster •

Oznake: Blind Willie McTell, Acoustic Blues, Country Blues, East Coast Blues, Piedmont Blues, Prewar Blues, Songster

Mick Martin - Revelator

Bitrate: 320K/s
Time: 38:53
Size: 89.0 MB
Styles: Country blues, Piedmont blues
Year: 2010
Art: Front

[3:57] 1. Pay Day
[4:32] 2. Bye Bye Blackbird
[4:52] 3. St. James Infirmary
[3:41] 4. Broke Down Engine
[2:59] 5. Parchman Farm
[5:33] 6. Ramblin' On My Mind
[4:25] 7. John The Revelator
[3:06] 8. Whinin' Boy Blues
[2:58] 9. My Babe
[2:47] 10. Mama, 't'ain't Long 'fore Day


Mick Martin is an acoustic guitar solo artist. He plays "Traditional American Folk", music on an acoustic guitar. The styles that Mick plays include "Country Blues" and "Appalachain Folk" music. Mick has shared the stage with Sonny Terry and Brownie Mc Gee, Bill Monroe, Keith Whitley, Tom Rush, Noman Blake, Robin and Linda Williams, Barbra Mandrell, Vince Gill and many others in the music industry over the years. Since then, Mick had taken a hiatus from music and performing to persue a career in education- Now he's back! He's back with his first CD/Instructional DVD entitled, "REVELATOR".

Revelator

Mo' Albums...
• Rick Randlett - Nothing To Do
• Bob Brozman Orchestra - Lumiere

Oznake: Mick Martin, Country Blues, Piedmont Blues

Sonny Terry And Brownie McGhee - Hometown Blues

Styles: Country Blues, East Coast Blues, Folk-Blues, Piedmont Blues
Label: Mainstream/Legacy
Released: 1993
File: mp3 @320K/s
Size: 112,4 MB
Time: 49:04
Art: front

1. Mean Old Frisco - 2:44
2. Man Ain't Nothin' But A Fool - 3:06
3. The Woman Is Killing Me - 2:44
4. Meet You In The Morning - 2:35
5. Stranger Blues - 2:24
6. Feel So Good - 2:33
7. Forgive Me - 2:20
8. Sittin' On Top Of The World - 2:47
9. Crying The Blues - 3:05
10. Key To The Highway - 2:17
11. Ease My Worried Mind - 2:49
12. Bulldog Blues - 2:31
13. C.C. Rider - Where Did She Go - 2:14
14. Going Down Slow - 3:18
15. Bad Blood - 3:20
16. Lightnin's Blues - 3:04
17. Dissatisfied Woman - 2:27
18. Pawn Shop Blues - 2:37


Notes: Harmonica player Sonny Terry and guitarist Brownie McGhee formed one of the most enduring partnerships in the blues, lasting from before the second world war into the 1970's. Although their partnership had some ups and downs, they were certainly on an upswing when they recorded these sides for the Sittin' In With label during the years 1948-1952. Later re-released on the Mainstream label on compact disc and mp3 this compilation finds the duo playing a nice mix of electric R&B and acoustic duo tracks. They draw on traditional blues standards for the bulk of the material on this album, but with Terry's swooping harp and distinctive yodel and McGhee's deftly plucked guitar, they add a new spin on tracks like “Mean Old Frisco" and “Sittin' On Top of the World." After years of just knowing this partnership as an acoustic duo, it is fascinating to hear them play in an electric blues context with with addition of bass, drums and occasionally piano. It turns them into a rollicking little combo that could have held their own at any juke joint in post-war Chicago. This is a great introductory album for those who are interested in the duo as it presents them in a couple of different contexts and allows the listener to enjoy the full range of their talents. Definitely one to keep an eye out for. ~ allaboutjazz.com
Plenty of delightful interplay between McGhee and Terry recommends these 18 1948-1951 sides for producer Bobby Shad for his Sittin' in With label, but they predate the duo's later folk period by a longshot. Back then, they were still aiming their output solely at the R&B crowd -- meaning "Man Ain't Nothin' But a Fool," "Bad Blood," "The Woman Is Killing Me," and "Dissatisfied Woman" are straightahead, uncompromising New York-style blues. ~ AMG

This album has so many issues
Mainstream Records – S/6049 (1965) (first one)
Ace Of Hearts - AHT 182 (1969)
Festival Records - L 35074 (1974)
Decca - ND 472 (1974)
BGO Records - BGOLP 75 (1989)
Mainstream Records - JK 53625 (1993)

Hometown Blues



• Smoky Babe - Hottest Brand Goin' •
• Doug Quattlebaum - Softee Man Blues •

Oznake: Sonny Terry, Brownie McGhee, Country Blues, East Coast Blues, Folk-Blues, Piedmont Blues

John Dee Holeman - Bull Durham Blues

Styles: Piedmont Blues, Acoustic Blues, Modern Acoustic Blues, Texas Blues
Released: Jun 8, 1999
Label: Music Maker
File: mp3 @320k/s
Size: 103 MB
Art: full

1. Give Me Back My Wig (Hopkins, Taylor) - 4:12
2. Step It up and Go (Traditional) - 3:11
3. Little Country Gal (Spann) - 3:15
4. Sweet Home Chicago (Johnson) - 3:53
5. Hello Central (Hopkins) - 3:12
6. Early Morning Blues (Morganfield) - 3:06
7. Crow Jane (Traditional) - 2:26
8. Mistreated Blues (Traditional) - 4:51
9. Big Boss Man (Dixon, Smith) - 3:40
10. Stranger Blues (Traditional) - 3:16
11. Hambone (Traditional) - 2:20
12. God Loves His Children (Flatt, Scruggs) - 2:48
13. Chapel Hill Boogie (Holeman) - 2:56

Personnel:
All songs performed by
John Dee Holeman - Guitar, Vocals, Hambone
Täj Mähäl - Bass (4), Guitar (13), Piano (8), Hambone (11)

Notes: Piedmont bluesman John Dee Holeman mixes a little Texas into his North Carolina guitar approach, even covering Lightnin' Hopkins' "Give Me Back My Wig" as the first track of Bull Durham Blues, his debut album. Holeman isn't as irascible as Hopkins, with a gentle vocal approach that's closer to Mississippi John Hurt in demeanor, and his guitar playing isn't as distinctive as either Hopkins or Hurt, but he gets the job done with a good deal of charm. On songs like the easy, relaxed "Crow Jane" (a wonderful example of how to use the floating verses that are in every good bluesman's tool kit), the gentle "Little Country Gal," and the slightly paranoid "Stranger Blues," Holeman conjures up a timeless, back porch feel without getting too about it. The half-spoken, half-rapped "Hambone" is a clear highlight, with Holeman doing the hambone with a buckdancer's grace. Recorded in 1998 in Pinnacle, N.C., Bull Durham features Taj Mahal on several tracks helping out on bass, guitar, piano and the hambone, too.

Bull Durham Blues



• Smoky Babe - Hottest Brand Goin' •
• Lightnin' Hopkins - The Complete Aladdin Recordings (2-disc set) •

Oznake: John Dee Holeman, Piedmont Blues, Acoustic Blues, Modern Acoustic Blues, Texas Blues

Smoky Babe - Hottest Brand Goin'

Styles: Acoustic Country Blues, Piedmont Blues
Recorded: 1961
Released: 1989
Label: Prestige/Bluesville
File: mp3 @256kbps
Size: 77.62 MB
Time: 42:01
Art: Front

1. Now Your Man Done Gone - 3:12
2. Hottest Brand Goin' - 4:04
3. Something Wrong With My Machine - 3:37
4. Insect Blues - 3:50
5. Long Way From Home - 3:14
6. I'm Goin' Back To Mississippi - 3:19
7. Melvanie Blues - 2:34
8. Locomotive Blues - 3:58
9. Ocean Blues - 3:09
10. Boogy Woogy Rag - 2:34
11. Coon Hunt - 3:41
12. Cold, Cold Snow - 4:00

Personnel:
Robert Brown 'Smoky Babe' - Guitar, Vocals
Clyde Causey - Harmonica tr.8,11
Henry Thomas - Harmonica tr.3

Notes: Born in Itta Bena, Mississippi, Robert Brown had found his way by the age of 20 to Scotlandville, Louisiana. The folklorist Harry Oster recorded him on numerous occasions in 1959-61 for his own Folk-Lyric label and for Storyville and Prestige/Bluesville. His subseguent life is obscure.
In 'Hottest Brand Goin'', a song that provided the title for the original LP issue of 'The Blues Of Smoky Babe' Smoky cheerfully promotes the Cocono gas station where he was employed. As Harry Oster remarks in his notes, 'his lyrics follow the natural flow of talk...he shifts smoothly back and forth between speaking and singing'. Autobiography is also the impulse behind 'Long Way From Home' and 'I'm Goin' Back To Mississippi', and even blues with less specific resonance like 'Cold, Cold Snow' or 'Insect Blues' blend the commonplace and the personal to striking effect, emphasized by guitar playing that is unfailingly muscular, confident and rhythmically sure.

Hottest Brand Goin'

Originally posted by Bluebird Jun 2009 at 'On muddy Sava riverbank'



• The Blue Rider Trio - Preachin' The Blues •
• Brownie McGhee - The Story Of The Blues •

Oznake: Smoky Babe, Acoustic Blues, Piedmont Blues

The Blue Rider Trio - Preachin' The Blues

Styles: Piedmont Blues, Delta Blues, Acoustic Blues
Released: 1990
Label: Mapleshade
File: mp3@320K/s
Size: 115 MB
Time: 50:09
Art: full

1. Preachin' the Blues - 4:20
2. Stomp Down Rider - 4:41
3. Gallows Pole - 4:31
4. Old Blue Goose - 2:57
5. Early Morning Blues - 5:05
6. Cincinnati Rag - 4:02
7. Pay Day - 6:17
8. Walkin' Blues - 3:32
9. Georgia Rag - 2:50
10. Freight Train Boogie - 3:47
11. Statesboro Blues - 3:35
12. She Don't Do Me Wrong - 4:25

Personnel:
Ben Andrews (vocals, acoustic guitar)
Mark Wenner (harmonica)
Jeff Sarli (bass)


Notes: Blues Revue says “…one of the best acoustic blues albums of the year comes from three white boys from Maryland.” Serious blues lovers and recent converts alike rave to us about the Trio’s first CD, Preachin’ the Blues. Eight years in the making, this follow-up was worth the wait. Ben Andrew’s voice has gained that seared-by-life bluesiness; Mark Wenner’s harmonica cuts even deeper; and Jeff Sarli’s bass adds layers of subtlety to his knock-you-down drive. The first CD has become a legend among lovers of good sound in blues. A tough act to follow, the richer vocal detail, stronger dynamics and cleaner overtones of this recording are startling. All that adds extra excitement and authenticity to this tasty collection of Chicago, Delta and Texas acoustic blues.

Preachin' The Blues



• Doug Quattlebaum - Softee Man Blues •
• Bill Sheffield - Journal on a Shelf •

Oznake: Blue Rider Trio, Piedmont Blues, Delta Blues, Acoustic Blues

Brownie McGhee - The Story Of The Blues

Styles: Folk-Blues, Piedmont Blues, Blues Revival
Label: Harmonic
Released: 2004
File: mp3 @320K/s
Size: 110,3 + 129,8 MB
Time: 70:50 + 59:31
Art: full

Disc 1: Born For Bad Luck
1. Picking My Tomatoes - 2:42
2. I'm Calling Daisy - 2:35
3. Me And My Dog Blues - 2:41
4. Born For Bad Luck - 2:49
5. Step It Up And Go - 25:12
6. Let Me Tell You 'bout My Baby - 2:39
7. Prison Woman Blues - 2:33
8. Be Good To Me - 2:45
9. My Barkin' Bulldog Blues - 2:33
10. Not Guilty Blues - 2:34
11. Coal Miner Blues - 2:42
12. Back Door Stranger - 2:40
13. Step It Up And Go N:2 - 2:42
14. Got To Find My Little Woman - 2:28
15. Dealing With The Devil - 2:32
16. I'm A Black Woman's Man - 2:48
17. Woman, I'm Done - 2:51
18. Death Of Blind Boy Fuller - 2:57

Disc 2: Back Home Blues
1. Key To My Door - 2:45
2. Million Lonesome Woman - 2:31
3. Ain't No Tellin' - 5:40
4. Try Me One More Time - 2:59
5. I Want To See Jesus - 2:28
6. Done What My Lord Said - 2:29
7. I Want King Jesus - 2:43
8. What Will I Do (Without The Lord) - 2:32
9. Key To The Highway - 2:37
10. I Don't Believe In Love - 2:59
11. So Much Trouble - 2:40
12. Good-Bye Now - 2:48
13. Jealous Of My Woman - 2:46
14. Unfair Blues - 2:44
15. Barbecue Any Old Time - 2:44
16. Workingman's Blues - 2:44
17. Sinful Disposition Woman - 2:31
18. Back Home Blues - 2:53
19. Deep Sea River - 2:36
20. It Must Be Love - 2:51
21. Swing, Soldier, Swing - 2:21


Notes: Brownie McGhee was born in Knoxville, Tennessee and grew up in Kingsport, Tennessee.[3] As a child he had polio, which incapacitated his leg. His brother Granville "Sticks" or "Stick" McGhee was nicknamed for pushing young Brownie around in a cart. His father, George McGhee, was a factory worker known around University Avenue for playing guitar and singing. Brownie's uncle made him a guitar from a tin marshmallow box and a piece of board.[4] McGhee spent much of his youth immersed in music, singing with local harmony group the Golden Voices Gospel Quartet and teaching himself to play guitar. A March of Dimes-funded leg operation enabled McGhee to walk. Read more

The Story Of The Blues



• Markus James - Snakeskin Violin •
• Terry Garland - Whistling in the Dark •

Oznake: Folk-Blues, Piedmont Blues, Blues Revival, Brownie McGhee

Sonny Terry, Brownie McGhee & Big Bill Broonzy - The Bluesmen

Styles: Chicago Blues, Country Blues, Piedmont Blues, Acoustic Blues
Label: Castle
Released: 1992
File: mp3 @320K/s
Size: 179,1 MB
Time: 78:15
Art: front + back

1. I Love You Baby - 2:00
2. Cornbread, Peas And Black Molasses - 2:30
3. That's How I Feel - 3:52
4. Gone But Not Forgotten - 2:30
5. Treated Wrong - 3:26
6. Brownie's Blues - 5:24
7. Southern Train - 2:43
8. Just A Dream - 4:42
9. Sonny's Blues - 3:19
10. You'd Better Mind - 2:09
11. Change The Lock On My Door - 3:23
12. Climbing On The Top Of The Hill - 3:01
13. When Do I Get To Be Called A Man - 3:18
14. Mindin' My Own Business - 2:51
15. Partnership Woman - 2:44
16. St. Louis Blues - 2:35
17. Southern Saga (Inc. Joe Turner Blues) - 8:09
18. Southbound Train - 3:15
19. Saturday Evening - 3:26
20. Glory Of Love - 2:39
21. It Feels So Good - 2:42
22. When The Sun Goes Down/Going Down This Road Feeling Bad - 7:28


Personnel:
Sonny Terry & Brownie McGhee tracks 1-12
Big Bill Broonzy tracks 13-22

Notes: The joyous whoop that Sonny Terry naturally emitted between raucous harp blasts was as distinctive a signature sound as can possibly be imagined. Only a handful of blues harmonica players wielded as much of a lasting influence on the genre as did the sightless Terry (Buster Brown, for one, copied the whoop and all), who recorded some fine urban blues as a bandleader in addition to serving as guitarist Brownie McGhee's longtime duet partner.
Saunders Terrell's father was a folk-styled harmonica player who performed locally at dances, but blues wasn't part of his repertoire (he blew reels and jigs). Terry wasn't born blind, he lost sight in one eye when he was five, the other at age 18. That left him with extremely limited options for making any sort of feasible living, so he took to the streets armed with his trusty harmonicas. Terry soon joined forces with Piedmont pioneer Blind Boy Fuller, first recording with the guitarist in 1937 for Vocalion.
Terry's unique talents were given an extremely classy airing in 1938 when he was invited to perform at New York's Carnegie Hall at the fabled From Spirituals to Swing concert. He recorded for the Library of Congress that same year and cut his first commercial sides in 1940. Terry had met McGhee in 1939, and upon the death of Fuller, they joined forces, playing together on a 1941 McGhee date for OKeh and settling in New York as a duo in 1942. There they broke into the folk scene, working alongside Leadbelly, Josh White, and Woody Guthrie.

Big Bill Broonzy was born William Lee Conley Broonzy in the tiny town of Scott, Mississippi, just across the river from Arkansas. During his childhood, Broonzy's family -- itinerant sharecroppers and the descendants of ex-slaves -- moved to Pine Bluff to work the fields there. Broonzy learned to play a cigar box fiddle from his uncle, and as a teenager, he played violin in local churches, at community dances, and in a country string band. During World War I, Broonzy enlisted in the U.S. Army, and in 1920 he moved to Chicago and worked in the factories for several years. In 1924 he met Papa Charlie Jackson, a New Orleans native and pioneer blues recording artist for Paramount. Jackson took Broonzy under his wing, taught him guitar, and used him as an accompanist. Broonzy's entire first session at Paramount in 1926 was rejected, but he returned in November 1927 and succeeded in getting his first record, House Rent Stomp, onto Paramount wax. As one of his early records came out with the garbled moniker of Big Bill Broomsley, he decided to shorten his recording name to Big Bill, and this served as his handle on records until after the second World War. Among aliases used for Big Bill on his early releases were Big Bill Johnson, Sammy Sampson, and Slim Hunter.

The Bluesmen



• Dan Pickett - His Chicago Blues •
• John Lee Granderson - Hard Luck John •

Oznake: Sonny Terry, Brownie McGhee, Big Bill Broonzy, Chicago Blues, Country Blues, Piedmont Blues, Acoustic Blues

Big Boy Henry - Carolina Blues Jam

Styles:Country Blues, Piedmont Blues, Folk-Blues
Release:Mar 1993
Label:Erwin
File:mp3 @320K/s
Size:113 MB
Time:47:55
Art: Full

1. The New Mr. President (Traditional, Henry) - 2:24
2. Corrine (Traditional, Henry) - 3:28
3. John Henry (Traditional, Henry) - 5:23
4. My Baby Won't Let Me In (Henry, Hall) - 2:21
5. Airport Blues (Traditional, Henry) - 3:26
6. Lookin' For My Woman (Traditional, Henry) - 3:13
7. Holland Boogie (Traditional, Henry) - 4:15
8. My Little Dog (Traditional, Henry) - 4:53
9. Goodbye Little Girl (Traditional, Henry) - 2:33
10. Talkin' With Mr. Henry (Henry, Peabody) - 3:32
11. Rockin' Little Woman (Traditional, Henry) - 3:04
12. Just Like My Child (Traditional, Henry) - 4:49
13. Big Boy's Jump (Traditional, Henry) - 2:10
14. Do Lord (Traditional, Henry) - 2:24

Notes: After appearing at the 1993 Lowcountry Blues Bash in Charleston, South Carolina, septagenarian blues singer Big Boy Henry retreated to a local recording studio with some of his musical buddies to record an impromptu album of Piedmont blues classics and new original numbers. Chicago Bob Nelson added his formidable harmonica; Dave Peabody (visiting from London) dazzled on acoustic guitar & backing vocals; Shrimp City Slim (Gary Erwin, who also produced the album) rocked the house on piano and washboard, with an ace rhythm section of Jay Niver on drums (from Blue Light Special) and Ted Donlon on bass (from The Flatcats). A further bonus: blues diva Sandra Hall makes her very first CD appearance, singing with Big Boy on several numbers. The fun lasted for two days and the CD was released in April, 1993. Considered to be the quintessential document of this beloved and influential bluesman, "Carolina Blues Jam" belongs in any serious collection of downhome blues.

Carolina Blues Jam



• Bill Sheffield - Journal on a Shelf •
• Josh White - Bluesman, Guitar Evangelist, Folksinger •

Oznake: Big Boy Henry, Country Blues, Piedmont Blues, Folk-Blues

Doug Quattlebaum - Softee Man Blues

Styles: Country Blues, Gospel, Piedmont Blues
Released: 1994
Label: Fantasy
File: mp3 @320 K/s
Size: 97.7 MB
Time: 41:50
Art: Full

1. Sweet Little Woman - 3:52
2. Whiskey Headed Woman - 2:31
3. Trouble In Mind - 3:44
4. You Is One Black Rat - 2:55
5. On My Way To School - 2:55
6. You Ain't No Good - 1:25
7. Come Back Blues - 3:26
8. Mama Don't Allow Me To Stay Ou - 3:47
9. Big Leg Woman - 2:44
10. Love Me Baby - 2:46
11. Black Night Is Falling - 3:01
12. Baby Take A Chance With Me - 2:45
13. So Sweet - 2:17
14. Worried Mind Blues - 3:30
Doug Quattlebaum - Guitar & Vocals

Recorded in Philadelphia, November 27, 1961.
Produced by Kenneth Godstein & Pete Welding
© 1962 Prestige-Bluesville Records

During the 1940s, Douglas Elijah Quattlebaum (1927) toured with a number of gospel groups, such as the Bells of Joy. In 1952, he recorded solo as a blues singer for the Gotham label. He was a forceful singer and guitarist, having been influenced by Blind Boy Fuller. In 1961, he was rediscovered in Philadelphia, singing and playing blues over the public address system of his ice-cream van, hence the title of his last recording, Softee Man Blues.
The forteen gripping, impassioned blues in this album will serve admirably to introduce the impressive talents of this singer and guitarist whose vital, fervently emotional performances restore to currency the art of the urban blues shouter in all its rousing, urgent intensity.

Softee Man Blues



• Rev. Gary Davis - Denver Colorado, 1968 •
• Memphis Willie B. - Hardworking Man Blues •

Oznake: Doug Quattlebaum, Country Blues, Gospel, Piedmont Blues

Bill Sheffield - Journal on a Shelf

Styles: Folk-Blues, Piedmont Blues
Released: 2006
Label: American Roots
File: mp3@320K/s
Size: 116,1 MB
Time: 50:43
Art: front + back

1. Cherry Blossom Time (Sheffield) - 2:52
2. Black Bottom (Sheffield) - 3:48
3. Back in My Baby's Arms (Sheffield) - 2:46
4. Trouble (When It Starts) (Pead, Sheffield) - 3:05
5. New Tattoo (Sheffield) - 2:55
6. An Invitation to the Blues (Waits) - 5:24
7. I Don't Hate Nobody (Sheffield) - 3:13
8. It Don't Bother Me (Sheffield) - 3:13
9. Comes Easy, Goes Easy (Harlem Blues Serenaders, Odin) - 4:38
10. You're Still on My Mind (Luttrell, Sheffield, Webb) - 2:51
11. Holy Mother (Sheffield) - 3:25
12. Shooky Come Home (Gray) - 3:14
13. The Ballad of Brer Rabbit (Sheffield) - 4:49
14. Journal on a Shelf (Sheffield) - 4:23


Personnel:
Bill Sheffield - Guitar, Vocals
Roger Gregory - Standup Bass
Lamar Jones - Vocals (bckgr)
Dave Saunders - Bass (Acoustic)
and
Simon Kenevan (1,2,5)
Paul Linden (3,10,13)
Sean Costello & Stephen Talkovich (4)
Sean Costello (9)
Deb Gerace (14)

Note: Bill Sheffield, remember the name.
There are a bazillion folks out there, trying to pass themselves off as blues musicians, trying to pretend that they really understand what the blues are and trying to sell you the notion that they carry the very essence of the blues deeply buried inside their souls.
Once in a great while you are fortunate enough to discover someone who is not a pretender; you hear someone who understands the full range of the blues; someone who appreciates that, as Willie Dixon said, blues is just a slice of life. It is a rare treat to hear someone who knows that the blues encompass the full range emotions and experience that comes with life.
Bill Sheffield, remember the name, is one of those people.
I popped Journal On A Shelf in the CD player expecting to give a casual first listening while I puttered around with other chores. What I heard was such a surprise, was so true and honest, that I sat down and listened. I didn't get up until I had listened to the entire CD. Starting with Cherry Blossom Time, a crisp and clean Piedmont style piece with lyrics that celebrate the joy of being alive and ending up with the title cut, there isn't a throw-away cut in the whole set of tunes.
With 14 solid tracks it is difficult to identify two or three as the strongest for fear of giving the others short shrift but I have to mention New Tattoo" and I Don't Hate Nobody. New Tattoo is another tune that shows the blues can be up-tempo, humorous and light-hearted. I Don't Hate Nobody is as nearly a perfectly written song as you will ever find. The music is solid and skillful. The lyrics are tight and poignant. This song stands on it's own and justifies that entire CD.
One more tune that has to be mentioned is The Ballad of Brer Rabbit. This cut is something of a departure from the rest of the CD, with it's heavier electric sound using effects on the guitar and harp, but this updated retelling of Brer Rabbit is a great treat.
This is a mostly acoustic collection of blues and blues-based songs featuring mostly original tunes backed up by a group of musicians that know when to step out and when to lay back. Too often acoustic blues musicians try to fill out the sound with backing musicians that get in the way of the song. The resulting sound covers up some otherwise good songs but that is definitely not the case here. The arrangements and musicianship all work to let the jewels shine.
Mostly acoustic, some electric, mostly originals, some covers, Piedmont, slide, great vocals and excellent sidemen. If you want to hear what the blues can be today, then you need to hear Journal On A Shelf. ~ by Tampa Blue

Journal on a Shelf



• Beige Fish - Wildcat Cafe •
• John 'Spider John' Koerner - Spider Blues •

Oznake: Bill Sheffield, Folk-Blues, Piedmont Blues

Doug Quattlebaum - If You've Ever Been Mistreated

Styles: Country Blues, Gospel, Piedmont Blues
Released: 1997
Label: Testament
File: mp3 @320K/s
Size: 130.0 MB
Time: 52:13
Art: full

1. Hard Luck Blues - 3:16
2. Good Woman Blues - 5:06
3. Baby, Please Don't Go - 1:33
4. Come Back, Baby - 2:58
5. Baby, What You Want Me to Do - 2:14
6. If You've Ever Been Mistreated - 4:50
7. Lizzie Lou - 1:49
8. Driftin' Blues - 3:23
9. What'd I Say - 2:17
10. Kiddio - 2:38
11. It's Nobody's Fault But Mine - 2:57
12. The Story of Adam and Eve - 3:53
13. Come Over Here - 4:09
14. The Honeydripper - 1:13
15. I've Been Working on My Baby - 1:31
16. Touch the Hem of His Garment - 2:11
17. He May Not Come When You Want Him - 2:04
18. How Great Thou Art - 2:47
19. Quattlebaum's Boogie - 1:46

Recorded in Philadelphia, July 6, 1961.
Produced by Pete Welding
© 1997 Testament Records

Doug Quattlebaum - Guitar & Vocals


Notes: Doug Quattlebaum has spent most of his life outside the music business, and those times that he was in were spent mainly singing gospel. Born in South Carolina in 1927, he came to Philadelphia in the early 1940s. In 1953 he cut three sides for Gotham records; two of them appeared on a Gotham 78, but the third was only rediscovered years later by Bruce Bastin and released on LP: it's the best of the three (Foolin' Me). In 1961 Pete Welding recorded Quattlebaum again, after hearing that he was still around - singing and playing for potential Mr. Softee ice cream customers on the streets of Philly, Doug's employment at the time. Scheduled for issue on a Testament album, the sides remained unissued until the release of this CD. A few months later Quattlebaum recorded for Bluesville, but to my knowledge that LP was never reissued on CD as were most Bluesvilles and is difficult to come by.

Quattlebaum's years singing gospel are reflected in this CD in that about half the tracks are gospel pieces. Among the best are He May Not Come When You Want Him, Sam Cooke's Touch the Hem of His Garment, and the gorgeous Come Over Here. It's Nobody's Fault But Mine is an 8-bar gospel tune, while Come Back, Baby sounds like a gospel song but is actually a blues. Doug inflects just about everything he sings with gospel mannerism, and his voice is melodic and strong. He often invaded the repertory of other blues-r&b-pop artists, and here sings stuff made famous by Brook Benton (Kidido), Charles Brown (Drifting Blues), and Ray Charles (Come Back Baby). A couple of tracks are short guitar instrumentals, though they are not that impressive. Quattlebaum played in the country blues format, accompanying himself on guitar, a style that urban Philadelphia probably didn't appreciate. But his singing and guitar playing are excellent, and his material quite varied despite the gospel influence. Country blues and gospel fans should enjoy this CD. ~ amazon

If You've Ever Been Mistreated



• Memphis Willie B. - Hardworking Man Blues •
• Big Jack Johnson - The Memphis Barbecue Sessions •

Oznake: Country Blues, Doug Quattlebaum, Gospel, Pete Welding, Piedmont Blues

Memphis Willie B. - Hardworking Man Blues (Remastered)

Bitrate: 320K/s
Time: 40:24
Size: 93.5 MB
Styles: Acoustic Memphis blues, Piedmont blues
Year: 1995/2007
Art: Front

[3:25] 1. Lonesome Home Blues
[3:33] 2. L & N Blues
[3:27] 3. Hardworking Man Blues
[3:41] 4. Dying Mother Blues
[3:08] 5. Honey Maker Blues
[3:33] 6. P 38 Blues
[3:19] 7. Funny Caper Blues
[2:20] 8. Good Potatoes
[3:16] 9. I Have Found Somebody New
[3:40] 10. Uncle Sam Blues
[3:36] 11. Wine Drinking Women
[3:20] 12. Car Machine Blues


Willie Borum, better known under his recording sobriquet of Memphis Willie B., was a mainstay of the Memphis blues and jug band circuit. Adept at both harmonica and guitar, Borum could add pep to any combination he worked in, as well as leaving a striking impression as a solo artist.

He was born in 1911 in Shelby County, Tennessee. He took to the guitar early in his childhood, being principally taught by his father and Memphis medicine show star Jim Jackson. By his late teens, he was working with Jack Kelly's Jug Busters, working for tips on the street with the occasional house party and country supper rounding out his meager paycheck. This didn't last long, as Borum joined up with the Memphis Jug Band, one of two outfits in existence at that time. The group frequently worked what later became W.C. Handy Park in Memphis, with touring stretching all the way down to New Orleans during the Mardi Gras. Sometime in the '30s he learned to play harmonica, being taught by no less a master than Noah Lewis, the best harp blower in Memphis and mainstay of Gus Cannon's Jug Stompers.

As his style began to move further away from a strict jug band approach, Willie B. began working on and off with various traveling Delta bluesmen, performing at various functions with Rice Miller, Willie Brown, Garfield Akers, and Robert Johnson. He finally got to make some records in New York under his own name in 1934 for Vocalion, but quickly moved back into playing juke joints and gambling houses with Son Joe, Joe Hill Louis, and Will Shade until around 1943, when he became a member of the U.S. Army.

It was a much different world he returned to and after a brief fling at trying to pick up where he left off, Borum soon cashed in his chips and started looking for a day job. That would have been the end of the story, except in 1961 -- with the folk and blues revival in full hootenanny steam -- Borum was tracked down and recorded an absolutely marvelous session at the Sun studios for Prestige's Bluesville label. It turned into a little bit of a career upswing for the next few years; Willie B. started working the festival and coffeehouse circuit with old Memphis buddies Gus Cannon and Furry Lewis. But then just as quickly, he dropped out of the music scene and eventually out of sight altogether. Willie B. reportedly died in Memphis during the early '70s. ~bio by Cub Koda

Recorded on August 12, 1961.

Memphis Willie B. (vocals, guitar, harmonica). Audio Remasterer: Phil DeLancie.

Hardworking Man Blues (Remastered)

Mo' Albums...
• Scott Palmer - Ruckus
• Jimmy Witherspoon with Jay McShann & His Band - Goin' To Kansas City Blues

Oznake: Memphis Blues, Piedmont Blues, Memphis Willie B.

Josh White - Bluesman, Guitar Evangelist, Folksinger

Styles: Piedmont Blues, Folk-Blues, Pre-War Blues
Released: 2007
Label: Saga Blues
File: mp3@320K/s
Size: 153.2 MB
Time: 66:56
Art: full

Part I - The Bluesman
1. Black and Evil Blues - 3:15
2. Howling Wolf Blues - 3:04
3. Greenville Sheik - 3:08
4. Low Cotton - 3:02
5. Blood Red River - 2:50
6. Defense Factory Blues - 2:46
7. Jelly, jelly! - 5:55
8. Careless love - 5:38
9. I Know how to do it - 2:58
10. Prison Bound Blues - 2:39

Part II - The Singing Christian and The Folk Singer
11. Motherless Children - 2:41
12. Paul and Silas Bound to Jail - 3:03
13. Strange Fruit - 3:03
14. The House of the Rising Son - 3:19
15. John Henry - 3:14
16. Saint James Infirmary - 3:40
17. Jesus Gonna make up my Dying Bed - 4:16
18. Jerry the Mule (Timber) - 2:16
19. Midnight Special - 3:13
20. Jim Crow Train - 2:46

Notes: Album from Saga Blues Collection, Vol. 34
Josh White and Blind Blake were the fathers and pioneers of Piedmont blues. The ten first songs included on the CD show this excellent musician on his most bluesy side, only playing his own guitar or backed by Al Hall, Jack Fallon, Sonny Greer or Phil Seamen, all them reputed musicians at that particular time. The other ten songs that that complete the CD, give us White’s most religious aspect he used to combine with folk singer skills in songs like “John Henry”, “Saint James Infirmary” or “The House Of The Rising Sun”, all them recorded between 1933 and 1956. GREAT Dusty Blues CD review
Josh White was a key figure in the evolution of the folk and blues music revivals, a brilliant guitarist and dashingly sexy cabaret star who for three decades was the world's most popular acoustic blues performer. After a childhood leading blind street singers through the South, Josh was a popular recording artist in the 1930s golden age of acoustic blues; then in the 1940s he became the first bluesman to capture a large mainstream audience. Though his smooth, polished style is quite unlike the harder-edged approach that many people now consider basic to blues, his unique, lyrical guitar work and soulful singing made him a formative influence on the international folk scene.
Born in South Carolina, White spent his childhood as a "lead boy" for traveling blind bluesmen. In the early '30s he moved to New York and became a popular blues star, then introduced folk-blues to a mass white audience in the 1940s. He was famed both for his strong Civil Rights songs, which made him a favorite of the Roosevelts, and for his sexy stage persona. The king of Café Society-also home to Billie Holiday--he was the one bluesman to consistently pack the New York nightspots, and the first black singer-guitarist to act in Hollywood films and star on Broadway. In the 1950s, White's bitter compromise with the blacklisters left him with few friends on either end of the political spectrum. He spent much of the decade in Europe, then came back strong in the 1960s folk revival. By 1963, he was voted one of America's top three male folk stars, but his health was failing and he did not survive the decade.

Bluesman, Guitar Evangelist, Folksinger

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Posted by muddy

Oznake: Josh White, Piedmont Blues, Folk-Blues, Prewar Blues

Carolina Slim - Blues From The Cotton Fields

Styles: Piedmont Blues, Pre-War Country Blues
Label: Sharp Record Co
Released: 1960
File: mp3 @320K/s (from vinyl)
Size: 74,7 MB
Time: 32:36
Art: front + back

1. Rag Mama - 2:22
2. Sugaree - 2:24
3. Blues Go Away From Me - 2:24
4. Shake Boogie - 2:49
5. Worrying Blues - 2:31
6. Slow Freight Blues - 2:26
7. Wine Head Baby - 1:50
8. Pour Me One More Drink - 2:49
9. Carolina Boogie - 4:29
10. I'll Get By Somehow - 2:32
11. Blues Knockin At My Door - 3:02
12. Worry You Off My Mind - 2:53

Notes: Fine collection of country blues by Carolina bluesman whose music was partly in the tradition of the Carolina and partly influenced by Texas bluesman Lightnin’ Hopkins. Tracks feature Slim alone with his guitar and sometimes with a second guitar. Material includes sides originally issued on Savoy 78s along with some previously unissued tracks. ~ popsike.com

Blues From The Cotton Fields

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Posted by muddy

Oznake: Carolina Slim, Piedmont Blues, Prewar Blues, Acoustic Blues