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Gospel, Vol. 1: 1926-1942 by Various Artists (CD)
 

Gospel, Vol. 1: 1926-1942 by Various Artists (CD)

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Gospel, Vol. 1: 1926-1942 by Various Artists (CD)
"Gospel, Vol. 1: 1926-1942" (n/a) Blues Various Artists, FremeauxThe first volume of gospel recordings on French label Fremeaux & Associes, titled Gospel, Vol. 1: 1926-1942, is a fantastic collection displaying a wide variety of artists, from the famous (Louis Armstrong's lovely a cappella version of "Nobody Knows the Trouble I've Seen") to the obscure (Arizona Dranes' jaunty "I'll Go Where You Want Me To"). The great deal of care that was put into the selection and sequence of this two-disc set makes it a standout among other labels issuing historical recordings in that this set is a nice listen from start to finish. The following two collections in Fremeaux & Associes' gospel series parallel this one in terms of the timeline but are slightly more focused thematically. ~ Gregory McIntosh

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First Recording Sessions 1941-1946 by Muddy Waters (CD - 02/06/2001)
 

First Recording Sessions 1941-1946 by Muddy ...

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First Recording Sessions 1941-1946 by Muddy Waters (CD - 02/06/2001)
"First Recording Sessions 1941-1946" (02/06/2001) Blues Waters, Muddy, Document (USA)Personnel includes: Muddy Waters, Percy Thomas (vocals, guitar); Baby Face Leroy Foster (vocals, drums); Charles Berry (guitar); Louis Ford (mandolin); Little Walter (harmonica); Sunnyland Slim, James Clark (piano); Ransom Knowling (bass); Judge Riley (drums). Recorded at Stovall's Plantation, Mississippi, Clarksdale, Mississippi and Chicago Illinois between 1941 & 1950. Includes liner notes by Jake Gittes. Personnel: Muddy Waters (vocals, guitar); Leroy Foster (vocals, guitar, drums); Homer Harris, Percy Thomas (vocals, guitar); Louis Ford (vocals, mandolin); Little Walter (vocals, harmonica); Son Simms (guitar, violin); Alex Atkins (soprano saxophone); James Clark , Lee Brown, Sunnyland Slim (piano); Judge Riley (drums). Liner Note Author: Jake Gittes. Recording information: 1941-1946. The landmark sides which comprise Muddy Waters' First Recording Sessions trace the early evolution of one of the blues' most enduring greats, offering invaluable insight into the primal influences which helped shape his musical identity. The profound influence of Waters' idol Son House is most indelibly etched into these early sides, with the bottleneck guitar sound on the first cuts "Country Blues" and "I Be's Troubled" -- both recorded by Alan Lomax in 1941 -- a prime example of the Mississippi blues style of the period. When Lomax returned a year later, he recorded Waters in a string band also including violinist Son Simms, guitarist Percy Thomas and mandolinist Louis Ford; among the tracks they cut is "Take a Walk with Me," in all likelihood inspired by Robert Lockwood. By the final group of songs, dating from 1946, Waters was in Chicago, and here his guitar style began to move toward his future trademark sound, which is most in evidence on the classic closer, the two-part "Rollin' and Tumblin." ~ Jason Ankeny This disc is essential for even casual fans of the legendary bluesman Muddy Waters, because unlike any other recordings in his long and prolific career, the cuts featured here show the roots of his idiosyncratic style of electrified Chicago blues. More to the point, the first 13 tracks, recorded in Mississippi in 1941 and 1942, are neither electric nor Chicago-style full-band blues, but straight-up acoustic country blues in the Delta style. The self-explanatory "Country Blues" is Waters' first recording, and in it, one can already hear his trademark lyrical slide guitar, albeit in nascent form. Blues like "Why Don't You Live So God Can Use You" and "You Got to Take Sick and Die Some of These Days" are as painful and mysterious as their titles. The remaining 11 tracks, which were recorded in Chicago in the mid-'40s and include an early "Rollin' and Tumblin'," show Waters developing his electrified full-band style.

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Lone Ranger by Johnny "Guitar" Watson (CD - 06/30/1995)
 

Lone Ranger by Johnny "Guitar" Watson ...

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Lone Ranger by Johnny "Guitar" Watson (CD - 06/30/1995)
"Lone Ranger" (06/30/1995) Blues Watson, Johnny "Guitar", Fantasy (distributor)Personnel: Johnny "Guitar" Watson, Gabriel Fleming, Jimmy Reed, Larry Wilson, Henry "Hank" Redd, Rudy Copeland, Andre Lewis, Emory Thomas, Maxayn. Recorded between 1973 and 1975. Personnel: Johnny "Guitar" Watson (vocals, guitar, electric piano); Rudy Copeland (vocals, organ); Jimmy Reed Jr. (alto saxophone, baritone saxophone); Larry Wilson (tenor saxophone); Gabriel Flemming (trumpet); Andre Lewis (Clavinet, organ, Moog synthesizer, electric bass); Emry Thomas (drums); Maxayn (background vocals). Audio Remixer: Don Cody. Liner Note Author: Lee Hildebrand. Recording information: Fantasy Studios, Berkeley, CA (05/1973/09/1975). Photographer: Phil Bray. Arranger: Johnny "Guitar" Watson. Watson's first two funk-slanted albums, combined conveniently on one disc. Listen dates from 1973, I Don't Want to Be Alone from two years later, and both are very together funk outings with a heady dose of modern blues at their core. ~ Bill Dahl

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The Healer by John Lee Hooker (CD - 08/21/2001)
 

The Healer by John Lee Hooker (CD - 08/21/2001)

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The Healer by John Lee Hooker (CD - 08/21/2001)
"The Healer" (08/21/2001) Blues Hooker, John Lee, Razor & Tie MusicPersonnel: John Lee Hooker (vocals, guitar, 12-string guitar, National Steel guitar); Bonnie Raitt (vocals, slide guitar); Roy Rogers (guitar, slide guitar); David Hidaldo (guitar, accordion); George Thorogood, Robert Cray, Carlos Santana, Cesar Rosas, Henry Vestine (guitar); Charlie Musselwhite (harmonica); Steve Berlin (saxophone); Chester Thompson (keyboards, synthesizer); Larry Taylor, Conrad Lozano, Richard Cousins (bass); Louie Perez, Scott Matthews, Fito de la Parra, Ndugu Chancler (drums); Armando Peraza (congas); Chepito Areas (timbales). Producers: Roy Rogers, Carlos Santana, Jim Gaines. Engineers: Sam Lehmer, Jim Gaines, Mark Lynette. Recorded at Russian Hill Recording Studios, San Francisco, California; The Plant, Sausalito, California; Leon Haywood Studios, Los Angeles, California. Includes liner notes by John Bitzer. Personnel: John Lee Hooker (vocals, guitar); David Hildago (guitar, accordion); Roy Rogers, Henry Vestine, Cesar Rosas (guitar); Steve Berlin (saxophone), Chester Thompson (keyboards, synthesizer); Richard Cousins, Larry Taylor, Conrad Lozano, Steve Ehrmann (bass); Scott Matthews, Fito De La Parra, Louie Perez, Ndugu Chancler (drums); Chepito Areas, Armando Peraza (percussion). Producers: Roy Rogers, Carlos Santana, Jim Gaines. Engineers: Sam Lehmer, Jim Gaines, Mark Lynette. Recorded at Russian Hill Recording Studios, San Francisco; the Plant, Sausalito, California; Leon Heywood Studios, Los Angeles, California. Includes liner notes by John Bitzer. The Healer was a major comeback for John Lee Hooker. Featuring a wide array of guest stars, including Bonnie Raitt, Johnnie Johnson, and Los Lobos, The Healer captured widespread media attention because of all the superstar musicians involved in its production. Unfortunately, that long guest list is what makes the album a fairly unengaging listen. Certainly there are moments were it clicks, but that's usually when the music doesn't greatly expand on his stripped-down boogie. The other moments are professional, but not exciting. It's a pleasant listen, but never quite an engaging one. ~ Thom Owens When popular culture embraced John Lee, purists turned up their noses. They should have been pleased that the world's greatest living Delta bluesman was going to make some money before he turned up his toes. Teaming up with Carlos Santana, Bonnie Raitt, Los Lobos, Canned Heat (not for the first time) and others, lent Hooker's blues a contemporary gloss. It took the album to the upper reaches of the album charts around the world, brought him a number of Grammy awards and a new career in advertising. The blues is not only a healer, it drinks brandy and wears jeans. The Santana guitar solo on the title track is breathtaking and Hooker is the coolest senior citizen in the world.

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Blind Lemon Jefferson [Milestone] by Blind Lemon Jefferson (CD - 1992)
 

Blind Lemon Jefferson [Milestone] by Blind Lemon ...

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Blind Lemon Jefferson [Milestone] by Blind Lemon Jefferson (CD - 1992)
"Blind Lemon Jefferson [Milestone]" (1992) Blues Jefferson, Blind Lemon, Milestone RecordsPersonnel: Blind Lemon Jefferson (vocals, guitar), George Perkins (piano). Recorded between 1926-29. This solid collection (73 minutes' worth) features some of Blind Lemon Jefferson's best. "Jack O'Diamond Blues," "Match Box Blues," and "That Black Snake Moan" are all on board, and with the Sonic Solutions System employed on the audio restoration end, the result is about the best these surviving 78s have ever sounded. ~ Cub Koda The scratchy, crackly records that preserve Blind Lemon Jefferson's music have been subject to endless audio treatments and restorations. The sound on this Milestone compilation proves to be quite good, and gives Jefferson's intricate, fleet-fingered guitar technique and plaintive, soulful tenor a clarity and power missing on other collections. The material and performances are, of course, superlative. Jefferson's reputation as one of the most important and influential blues musicians in history is not overstated. A pioneer in every sense of the word, Jefferson is a consummate artist--his highly ornamental playing creates elaborate accompaniment that is at once purely fluid and rhythmically adventurous (he often shifts meters within a song or phrase). His voice typifies the "high lonesome" sound--a keening, often desperate cry. Performances here--including "Broke and Hungry," "Match Box Blues," and "Rabbit Foot Blues"--go beyond expressions of despair to engage the true function of the blues--they offer solace and a deeper understanding of being human.

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Collins Mix: The Best by Albert Collins (CD - 10/05/1993)
 

Collins Mix: The Best by Albert Collins (CD - ...

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Collins Mix: The Best by Albert Collins (CD - 10/05/1993)
"Collins Mix: The Best" (10/05/1993) Blues Collins, Albert, Point BlankPersonnel: Albert Collins (vocals, guitar); Coco Montoya, Niko Lyras, Michael Toles, B.B. King, Gary Moore (guitar); Kim Wilson (harmonica); Jon Smith, Jeff Robbins, Andrew Love, Branford Marsalis (saxophone); Steve Howard, Wayne Jackson (trumpet); The Memphis Horns (horns); Ernest Williamson (piano, Wurlitzer piano, Hammond-B3 organ); Johnny B. Gayden (bass); Marty Binder (drums). Recorded at Cotton Row Studios, Memphis, Tennessee. Includes liner notes by Dan Forte. Personnel: Albert Collins (vocals, guitar); B.B. King, Gary Moore (guitar); Kim Wilson (harmonica); Jeff Robbins (saxophone, baritone saxophone); Jo Smith, Jon Smith , Andrew Love, Branford Marsalis (saxophone); Steve Howard, Wayne Jackson (trumpet); The Memphis Horns (horns); Ernest Williamson (piano, organ); Marty Binder (drums). Audio Mixers: Jim Gaines; Niko Lyras. Liner Note Authors: Dan Forte; Dan Forte. Recording information: Ardent Studios, Memphis, TN; Cotton Row Studios, Memphis, TN; Sarm Studios, London, England; Sony Studios, Santa Monica, CA. Photographers: Bill Reitzel; Marlene Rosenberg. This provided fresh looks at 11 Collins classics, among them such epic numbers as "Don't Lose Your Cool," "Frosty," "Honey Hush" and "Tired Man." There were slow, wailing ballads with blistering solos, electrifying uptempo wailers with a great horn section answering Collins' phrases with their own bleats, and first-rate mastering and production. Guest stars included B.B. King, Branford Marsalis, Kim Wilson and Gary Moore, while Collins injected vitality into numbers he'd already made standards years ago. This set is a wonderful tribute to an incredible guitarist and musician. ~ Ron Wynn

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The Dance of Death & Other Plantation Favorites [CD] by John Fahey (CD - 07/06/1999)
 

The Dance of Death & Other Plantation ...

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The Dance of Death & Other Plantation Favorites [CD] by John Fahey (CD - 07/06/1999)
"The Dance of Death & Other Plantation Favorites [CD]" (07/06/1999) Blues Fahey, John, TakomaSolo performer: John Fahey (acoustic guitar). Producer: Ed Denson. Reissue producer: Bill Belmont. Recorded at Adelphi Studios, Silver Spring, Maryland on August 22, 1964. Includes liner notes by Lee Gardner. Digitally remastered by Joe Tarantino (1999, Fantasy Studios, Berkeley, California). Personnel: John Fahey (guitar). Audio Remasterer: Joe Tarantino. Liner Note Author: Lee Gardner. Recording information: Adelphi Studios, Silver Spring, MD (08/22/1964). Listening to this classic 1967 LP, the keen-eared might note that the melody to "On The Banks Of The Wichita" was lifted directly from Ravi Shankar's 1962 "Theme From Pather Panchali." (Which is fine because it's a great melody.) John Fahey's method was always to take themes--sections--movements from the great store of American roots music (folk, blues, Tin Pan alley, even classical) and meld them together in an avant-garde genre of his own making. DANCE OF DEATH (1967) is a representative title in the superior run of albums Fahey recorded (and re-recorded) for his own Takoma label throughout the 60s, and speaks to Fahey's reputation for experimentation and eclecticism. The title The Dance of Death and Other Plantation Favorites might lead some to believe that this is a collection of public-domain items that go back to the Deep South of the 19th century. However, while this 1964 session does contain a song titled "Dance of Death," most of the material (including that tune) was written by Fahey himself in the early 1960s. So an intriguing title is simply that: an intriguing title. Nonetheless, Fahey's music does have strong southern roots. Unaccompanied, the acoustic guitarist/instrumentalist demonstrates his love of African-American blues as well as the Anglo-American country, folk, and hillbilly music of Appalachia. This is essentially a folk album, but a folk album with strong country and blues leanings; in fact, numbers like "Worried Blues" and "Revelation on the Banks of the Pawtuxent" incorporate the slide guitar technique that came from Mississippi Delta blues. Not that Fahey limits himself to American influences -- Appalachian music is a descendent of British, Scottish, and Irish music, and Fahey is hardly unaware of its European heritage. Further, Indian raga is an influence on the Fahey piece "On the Banks of the Owchita." Reissued on CD in 1999 with four bonus tracks (including an interpretation of "Steel Guitar Rag"), this album makes it clear that even back in 1964 Fahey was quite original. ~ Alex Henderson

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Watermelon Slim & The Workers [2/14] *
 

Watermelon Slim & The Workers [2/14] *

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Watermelon Slim & The Workers [2/14] *
"Watermelon Slim & the Workers" (02/14/2006) Blues Watermelon Slim, NorthernBlues MusicPersonnel: Watermelon Slim (vocals, slide guitar, dobro, harp); Ike Lamb (acoustic guitar, electric guitar, background vocals); Cliff Belcher (electric guitar, background vocals); Michael Newberry (drums, percussion, background vocals). Additional personnel: Dennis Borysckl (piano); Chris Wick (electric bass). Recording information: Red Door Studios, Stillwater, OK (04/2005); Southern Sound, Norman, OK (04/2005). Oklahoma blues singer, harp player, and slide guitarist Bill Homans is known to the paying public as Watermelon Slim. He plays a chunky update of traditional blues, performing both self-penned originals like "Hard Times" and well-chosen covers like Mississippi Fred McDowell's train song, "Frisco Line." Slim's voice carries the authentic stamp of a hard-lived life, and he's ably supported by an empathetic stripped-down acoustic and electric combo. You could see this one coming. Watermelon Slim's last album, 2004's sparse and arresting Up Close & Personal, revealed a contemporary bluesman with a scholar's understanding of the genre and a truly skewed, passionate approach to performing it that hinted at even deeper possibilities. Watermelon Slim & the Workers is the payoff. The sound on this record (which was produced by Chris Wick, who also plays bass on one of the tracks) is simply huge, and yet Slim's songs and field holler vocals keep it all appropriately intimate, making this release one of the best contemporary blues albums in years. On the surface Slim (his real name is Bill Homans) seems always to be working on the edge of parody, but this ex-truck driver who is also a member of MENSA (and owns several university degrees) is after bigger things. His passion for the blues makes these songs pulse with a gospel-like joy and intensity, and his new band the Workers gives him the kind of raggedly perfect backdrop to make it all slam home. Beginning with the opener, the shuffling and stomping "Hard Times," things never let up through the loose-limbed "Dumpster Blues," the spooky "Devil's Cadillac" (which sounds a bit like a revamped take on Screamin' Jay Hawkins' "I Put a Spell on You"), the revealing and convincing "Bad Sinner," and the rolling rhythms of "Juke Joint Woman." One of the highlights on an album that is filled with them is a version here of Fred McDowell's "Frisco Line," which Slim and company tackle like they're on a careening blues train, and while Slim isn't quite the fluid slide guitar player that McDowell was, he's still darn good. This remarkable set is capped off by the closing "Eau de Boue," which outlines Slim's passionate devotion and commitment to the blues, and since he is perhaps the smartest ex-truck driver to ever sing this stuff, Slim sings it in French, maybe just because he can. For Watermelon Slim the blues isn't so much a musical genre as it is a calling, and beyond that, a shot at redemption. This guy is the real deal, and this is a great album. ~ Steve Leggett

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#1s [7/19] *
 

#1s [7/19] *

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#1s [7/19] *
"Number Ones" (07/19/2005) Blues Jordan, Louis, Geffen Records (USA)Personnel: Louis Jordan (vocals, alto saxophone, tenor saxophone); Eddie Roane (vocals, trumpet); Aaron Izenhall (vocals); Freddie Simon (tenor saxophone); William Austin, Arnold Thomas (piano); Dallas Bartley, Jessie Simpkins (bass instrument); Joe Morris , Walter Martin, Alex Mitchell , Rossiere Wilson, Wilmore Jones (drums). Liner Note Author: Gene Sculatti. Number Ones is a fun sampling of 18 chart-toppers by Louis Jordan & His Tympany 5 recorded for Decca between 1942 and 1950. These songs dominated the Billboard R&B charts (or jukebox race charts as they were known then) between 1942 and 1950. Number Ones includes the original versions of such early R&B tracks as "Caldonia," "Beans and Corn Bread," "Saturday Night Fish Fry," "Buzz Me," "Ain't Nobody Here But Us Chickens," and "Jack, You're Dead!" Granted, this was the prime era of Louis Jordan's jump blues hitmaking, but it isn't a good place to start for those unfamiliar with his joyous work. Unfortunately, timeless favorites like "Five Guys Named Moe," "Is You Is or Is You Ain't My Baby?," and "Let the Good Times Roll" have been excluded. The single-disc 1977 MCA compilation The Best of Louis Jordan still contains the best and most well-rounded selections. ~ Al Campbell A hugely popular performer in the 1940s, vocalist/saxophonist Louis Jordan won over World War II-era audiences with his swinging jump-blues style, which proved to be a direct link between '30s jazz and '50s rock & roll. True to its title, #1S includes the 18 songs that Jordan took to Number One on the Billboard R&B charts during his stint with Decca Records. This chronologically ordered collection begins with 1942's silly and appropriately swaying "What's the Use of Getting Sober (When You Gonna Get Drunk Again)." Also featured are Jordan hits that crossed over into the pop charts, including his rollicking take on Johnny Mercer's "G.I. Jive" (Number One on both pop and R&B charts) and the proto-rock tune "Caldonia," which hinted at what was to come in the following decade from Little Richard and Chuck Berry. Throughout the compilation, Jordan's fun-loving persona is at the fore, with his smooth, deft vocals and always-grooving sax lines revealing the reasons behind his remarkably wide appeal. (Leave it to Jordan to have a hit with "Stone Cold Dead in the Market," a bizarrely catchy tale of murder that also featured Ella Fitzgerald on vocals.) For an excellent introduction to Jordan's peak years, #1S can't be beat.

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An Anthology: The Elektra Years by The Paul Butterfield Blues Band (CD - 01/20/1998)
 

An Anthology: The Elektra Years by The Paul ...

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An Anthology: The Elektra Years by The Paul Butterfield Blues Band (CD - 01/20/1998)
"An Anthology: The Elektra Years" (01/20/1998) Blues Butterfield, Paul, Elektra EntertainmentPersonnel: Paul Butterfield (vocals, harp, flute, harmonica, piano); Gene Dinwiddie (vocals, flute, tenor saxophone); Bugsy Maugh (vocals, bass); Phillip Wilson (vocals, drums, percussion); Mike Bloomfield (guitar, slide guitar, piano, Hammond organ); Elvin Bishop, Buzz Feiten (guitar, French horn); Ralph Wash (guitar, background vocals); David Sanborn (soprano, alto & baritone saxophones); Trevor Lawrence (baritone saxophone); Steve Madaio, Keith Johnson (trumpet); Mark Naftalin (piano, keyboards, organ); Ted Harris (piano, keyboards); Al Kooper (organ); Rod Hicks (bass, background vocals); Jerome Arnold (bass); Billy Davenport (drums, percussion); Dennis Whitted, Sam Lay (drums); Bobby Hall (congas, bongos); Big Black (congas); John Court, Clydie King, Merry Clayton, Venetta Fields, Oma Drake (background vocals). Includes liner notes by Tom Ellis III. All tracks have been digitally remastered. An Anthology -- The Elektra Years is a double-disc, 33-song set that offers a comprehensive overview of Paul Butterfield's eight years with the label. His first two albums, Paul Butterfield Blues Band and East-West, were seminal, groundbreaking records that blurred the boundaries between blues, jazz and rock, suggesting everything from blues-rock to psychedelia. They were stunning achievements which proved difficult to match, but Butterfield's remaining albums for the label all had a few good cuts. An Anthology does a nice job of rounding up those highlights, picking the best moments from uneven records; consequently, it's quite a valuable package for listeners who simply want a sampling from those later albums instead of purchasing them individually. Butterfield's first two albums remain necessary listens in their own right, but this set offers an excellent summary of his entire stint with Elektra. ~ Stephen Thomas Erlewine Everyone should own the Paul Butterfield Blues Band's first two albums, groundbreaking works that are among the most important and influential of the '60s. This two-disc distillation of the band's entire eight-year oeuvre is nonetheless a terrific overview, with a generous selection of tracks from those first two seminal efforts, plus all the crucial stuff from the band's inconsistent-but-still-worthy later LPs, along with a couple of early rarities making their CD debut. Disc One is by the original band, a musical powerhouse that began as the toughest blues band in the world and eventually evolved into a free-form psychedelic jam outfit. Disc Two collects the best stuff from Butterfield's late '60s horn band albums; this incarnation was the obvious model for both Blood Sweat & Tears and Chicago, but Butterfield's ensemble was far grittier and more musically adventurous.

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All The Classic Sides 1928-1937 [Box]
 

All The Classic Sides 1928-1937 [Box]

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All The Classic Sides 1928-1937 [Box]
"All the Classic Sides 1928-1937 [Box]" (01/27/2004) Blues Broonzy, Big Bill, JSP (UK)Of all the pre-war Delta bluesman, no one achieved the popular status of Big Bill Broonzy. Indeed, as Neil Slaven states in his liner notes to Volume One of this collection, Broonzy had been issuing recordings for over 20 years before his last name was attached to the labels; only "Big Bill" appeared under the track listing. This five-CD collection by JSP is astonishing in its scope. There are 128 tracks here from the first decade of Broonzy's recording career, featuring every 78 recorded during the period, for labels such as Paramount, Jewel, ARC, Perfect, Romeo, and others. His sides with Frank Brasswell and Georgia Tom, as well as other incarnations of his own band, called the Famous Hokum Boys, the Chicago Black Swans, or the Midnight Ramblers (Broonzy is listed as Bill Williams, Big Bill Johnson, Sammy Sampson, etc.) are all here, and many more. The great irony here is that Broonzy had been recording for a decade before his big hits ever came to be. The material here is a prologue of what was to come until his death in 1958. These sides are for hardcore fans certainly, but they are also for those who have been taken with the '40s and '50s material by Broonzy when he was a living American folk-blues legend. These tracks, then, are a treasure-trove, a journey into a largely unnoticed but stunningly creative archive of Broonzy, who arrived fully formed onto the scene. The audiophiles might have trouble with the sound quality of some of this material, but for those with less discriminating sonic palettes, this is an essential purchase, one rooted in history, mystery, and enjoyment -- and its' budget price makes it even more so. ~ Thom Jurek

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Flying Home [LRC] by Lionel Hampton (CD - 08/28/2001)
 

Flying Home [LRC] by Lionel Hampton (CD - ...

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Flying Home [LRC] by Lionel Hampton (CD - 08/28/2001)
"Flying Home [LRC]" (08/28/2001) Blues Hampton, Lionel, Lester Recording CatalogOne of myriad Lionel Hampton releases titled in honor of his signature performance, this particular Flying Home is a relatively obscure live effort recorded in 1969. Hamp's in full-on crowd-pleaser mode here, adapting contemporary material and rhythms to create a lively, soulful sound that dovetails nicely with his warm vibes. The band -- guitarist Billy Mackel, bassist Lawrence Burgan, pianist John Sprull, Jr., saxophonists Pete Yellin and Charles McLinden, trumpeter Wallace Davenport, and drummer Kenneth Bolds -- is loose and lively, shifting effortlessly between standards both old ("Stardust") and new ("Yesterday"). It's the kind of performance that boils the blood of jazz purists, but the groove is irresistible. ~ Jason Ankeny

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Roll Away the Stone by Kelly Joe Phelps (CD - 08/26/1997)
 

Roll Away the Stone by Kelly Joe Phelps (CD - ...

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Roll Away the Stone by Kelly Joe Phelps (CD - 08/26/1997)
"Roll Away the Stone" (08/26/1997) Blues Phelps, Kelly Joe, RykodiscSolo performer: Kelly Joe Phelps (vocals, 6- & 12-string lap slide guitars, 6-string guitar). Includes liner notes by Kelly Joe Phelps. Personnel: Kelly Joe Phelps (vocals). Liner Note Author: Kelly Joe Phelps. Recording information: Northeast Portland (1996). If anything, Roll Away the Stone is an even better record than Kelly Joe Phelps' debut, Lead Me On. Phelps continues to grow as both a musician and songwriter, and his interpretations of classic blues songs show increased imagination. Although it's based in classic blues, this music doesn't sound ancient -- it sounds vital and alive, like any great music should. ~ Thom Owens Phelps, a Washington State native who began as a jazz bassist, plays Delta-style country blues as well as anyone did in the '90s, but not just because so few did--he'd be a standout in the genre no matter the decade. ROLL AWAY THE STONE, only his second album, is startling in its deceptive simplicity. Playing acoustic lap-steel, six-string, and 12-string guitar, Phelps teases remarkable melodies out of the simplest notes. His songs are mostly originals, but they resonate like half-remembered Mississippi country-blues standards without sounding derivative in the least. From the full-bodied gospel moan of "When the Roll Is Called Up Yonder" to the oblique, mysterious "Doxology," this is country blues at its finest.

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Secret Handshake by Geoff Muldaur (CD - 11/03/1998)
 

Secret Handshake by Geoff Muldaur (CD - ...

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Secret Handshake by Geoff Muldaur (CD - 11/03/1998)
"Secret Handshake" (11/03/1998) Blues Muldaur, Geoff, HightonePersonnel includes: Geoff Muldaur (vocals, guitar, pennywhistle, tambourine); Amos Garrett, Stephen Bruton (guitar); Eric Levine (fiddle); John Nicholas (piano); Bill Rich (bass); Larry Thompson (drums); Kester Smith (congas). Engineers include: James Tuttle, Jay Hudson, Paul Wickliff. Geoff Muldaur, alumnus of Jim Kweskin & the Jug Band and Paul Butterfield's Better Days, came back in 1998 with his first solo album in several years, and the self-assuredness that permeates Secret Handshake was well worth the wait. Muldaur, always an eccentric interpreter of other people's material (his version of "Brazil" pervades the soundtrack of the Terry Gilliam film with the same name), takes on a batch of his favorite old country-blues tunes and adds a couple of atmospheric originals to the mix as well. But rather than the standard, reverent solo acoustic approach, Muldaur definitely puts his own touch on each and every obscure chestnut that's here, with nary a one resembling the original version. Recorded over the course of a year in a variety of studios across the U.S.A., he has assembled a first-rank cast of players including Turner Stephen Bruton on guitar, Bill Rich on bass, and Larry Thompson on drums, with Hal Ketchum, Sean Hopper, Lenny Pickett, David Grisman, Amos Garrett and John Magnie all making guest appearances. Highlights include "The Wild Ox Moan," "This World Is Not My Home," "Alberta," "Mistreated Mama," and a pair of Muldaur originals, "Got to Find Blind Lemon, Pt. 1" and "I Believe I'll Go Back Home." Muldaur has created something unique and original with this disc; your standard-fare white country-blues album this is not. ~ Cub Koda Geoff Muldaur recorded THE SECRET HANDSHAKE over the course of a year in different places across America, after a 17-year absence from the music scene. The album flows like one long, well-paced, and multi-faceted story; the common thread through it all is Muldaur himself, who has been exploring various American musics since the mid-'60s. This album is rich with character and confidence, in a way that only someone with deep and broad experience can accomplish. Muldaur has never been a pop musician; he's followed his own impulses, exploring various strains of American blues, folk, and gospel. From Southern churches to Delta crossroads to New Orleans parades, Muldaur chases it down, gets inside it, and makes it his own.

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Pink * by Robert "Mojo" Elem (CD - 02/09/2001)
 

Pink * by Robert "Mojo" Elem (CD - ...

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Pink * by Robert "Mojo" Elem (CD - 02/09/2001)
"Pink *" (02/09/2001) Blues Robert "Mojo" Elem, CD Baby (distributor)

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Blues Kingpins [Digipak] by John Lee Hooker (CD - 08/05/2003)
 

Blues Kingpins [Digipak] by John Lee Hooker (CD - ...

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Blues Kingpins [Digipak] by John Lee Hooker (CD - 08/05/2003)
"Blues Kingpins [Digipak]" (08/05/2003) Blues Hooker, John Lee, Virgin Records (USA)Includes liner notes by Bill Dahl. Liner Note Authors: Patty Mitchell ; Bill Dahl. If John Lee Hooker hadn't existed, the blues would have had to invent him, because he provides a perfect bridge between prewar country blues from the south and the urban electric blues that took form in Chicago and other Northern cities following the war. Hooker's first big hit, the primeval "Boogie Chillen'" from 1948, is a case in point, with its driving Mississippi rhythm and intangible Detroit ambience. This succinct anthology collects "Boogie Chillen'" along with 1949's equally as influential "Crawlin' King Snake" and 16 other tracks drawn from Hooker's run with Modern Records between 1948 and 1954. The familiar sides are here, but so too are relatively rare tracks like "Hug and Squeeze" and "The Syndicator," making this a nice introduction to Hooker's early (and arguably best) recording period. ~ Steve Leggett

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Crawling Kingsnake by David Honeyboy Edwards (CD - 07/22/1997)
 

Crawling Kingsnake by David Honeyboy Edwards (CD ...

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Crawling Kingsnake by David Honeyboy Edwards (CD - 07/22/1997)
"Crawling Kingsnake" (07/22/1997) Blues Edwards, David "Honeyboy", Testament (label)Personnel: David Honeyboy Edwards (vocals, guitar); John Lee Henley (vocals, harmonica). Liner Note Author: Frank Scott. Recording information: Chicago, IL (03/17/1964-07/29/1967). Photographer: Pete Welding. Any fan of Delta blues should grab this reissue as fast they can get to it. These are vintage recordings, mostly from 1967, made by scholar-producer Pete Welding when Edwards was 51 years old. Edwards' itinerant lifestyle resulted in his missing many opportunities to record, so that this was only the fifth session he'd had in over 30 years in music, performing solo, with an acoustic guitar on eight of the 13 cuts here. Edwards cuts a daunting figure on the guitar, making the strings sing in several voices at once (check out the playing on "Love Me Over Slow"), and his singing is a match for his playing. The eight solo numbers, dating from 1967, feature the music he was most familiar with, including Robert Johnson's "Sweet Home Chicago" and the title track of this collection. The rest date from a March 1964 session on which Edwards shares the spotlight with singer-harpist John Lee Henley. As a bonus, the last track is an interview from his 1967 solo session in which Edwards talks about Robert Johnson and Tommy Johnson, both of whom he knew personally. The background ambient sound does nothing to detract from the worth of the music, which has a wonderful raw quality. ~ Bruce Eder

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Arhoolie Presents American Masters, Vol. 8: 15 Piano Blues & Boogie Classics by Various Artists (CD
 

Arhoolie Presents American Masters, Vol. 8: 15 ...

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Arhoolie Presents American Masters, Vol. 8: 15 Piano Blues & Boogie Classics by Various Artists (CD
"Arhoolie Presents American Masters, Vol. 8: 15 Piano Blues & Boogie Classics" (02/25/1997) Blues Various Artists, ArhooliePersonnel: Charlie Musselwhite (vocals, harmonica); Clifton Chenier (vocals, accordion); Henry Gray, Katie Webster, Mercy Dee, Mercy Dee Walton, Pete Johnson , Piano Red, Thunder Smith , Whistlin' Alex Moore, Big Joe Duskin, Bukka White (vocals, piano); Elmore Nixon, Lafayette Leake, Otis Spann, Pinetop Perkins (piano). Recording information: 1949-1991. Editors: Chris Strachwitz; Chris Stracbwitz; Tom Diamant. Photographers: Dix Bruce; Mercy Dee. For Volume Eight of its American Masters budget series, Arhoolie tackles the "blues piano" theme, with a crushing emphasis on the boogie-woogie styles of various Chicago, Kansas City, Texas, Louisiana, and Delta players. The pacing of this album does get predictable after a while (fast boogie, slow blues, fast boogie, slow blues...), but there's so much stylistic diversity here that the formula never gets tiresome. Producer Chris Strachwitz wisely avoids instrumental overkill (the trademark of most blues piano anthologies) by including several outstanding vocal performances by the likes of Mercy Dee Walton, Omar Sharriff, Johnny Young (who duets with Otis Spann), and Clifton Chenier (backed by Elmore Nixon). But in the end, the speed demons get to flaunt plenty of their pounding instrumental fare -- the main culprits being Pete Johnson, Big Joe Duskin, Katie Webster, and Lafayette Leake. This is a no-frills package (no liner notes whatsoever and minimal track info), but the music is without a doubt spectacular. ~ Ken Chang

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Blues Music calling your name? Find all of the top Music gear that you want at BizRate. Compare prices from top brands like as well as . Browse ratings from merchants that sell Blues Music and other Music. Narrow your choices down by price range, brand, merchant, and more. Find the product that's right for you: Gospel, Vol. 1: 1926-1942 by Various Artists (CD) - First Recording Sessions 1941-1946 by Muddy Waters (CD - 02/06/2001).