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Black Pearls by Eric Sardinas (CD - 08/26/2003)
 

Black Pearls by Eric Sardinas (CD - 08/2...

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Black Pearls by Eric Sardinas (CD - 08/26/2003)
"Black Pearls" (08/26/2003) Blues Sardinas, Eric, Favored Nations Records (USA)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Eric Sardinas (vocals, guitar); Paul Loranger (bass); Mike Dupke (drums); Chris Frazier. Recorded at the Mothership, Los Angeles, California. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Eric Sardinas (vocals, guitar); Mike Duple (drums); Keith Johnson (programming). Audio Mixers: Eddie Kramer; Mauricio Cajueiro. Recording information: Mothership, Los Angelas, CA. Photographer: Neil Zlozower. Eric Sardinas is a good, even great, electric slide player, and his Dobro skills are equally as impressive. His band on Black Pearls, Paul Loranger on bass and Mike Dupke on drums, is also quite good. The songs, all written by Sardinas, sound good and rock hard, although you've heard all this said before. (Granted, blues feeds on recycled lyrics, and it is undoubtedly hard to find a new way to say "I've been down so long I'm gonna leave you.") The highlights here -- the cheerful pop-blues of "Big Red Line," the bluegrass-paced Dobro work on "Old Smyrm Road" -- come on songs that step a little bit outside the blues-boogie template. ~ Steve Leggett Eric Sardinas is a good, even great, electric slide player, and his Dobro skills are equally as impressive. His band on Black Pearls, Paul Loranger on bass and Mike Dupke on drums, is also quite good. The problem here is the material. The songs, all written by Sardinas, are at the worst end of blues clich?. They sound good and rock hard, but in the end, you've heard all this said before, and probably better. Granted, blues feeds on recycled lyrics, and it is undoubtedly hard to find a new way to say "I've been down so long I'm gonna leave you," but it can be done (Otis Taylor comes immediately to mind). The highlights here -- the cheerful pop-blues of "Big Red Line," the bluegrass-paced Dobro work on "Old Smyrm Road" -- come on songs that step a little bit outside the blues-boogie template. ~ Steve Leggett

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My Black Name A-Ringin' by R.L. Burnside (CD - 10/26/1999)
 

My Black Name A-Ringin' by R.L. Burnside...

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My Black Name A-Ringin' by R.L. Burnside (CD - 10/26/1999)
"My Black Name A-Ringin'" (10/26/1999) Blues Burnside, R.L., Genes RecordsPersonnel: R.L. Burnside (vocals, guitar); Jesse Vortis (guitar); Red Ramsey (harmonica). Recorded in Independence, Mississippi and Memphis, Tennessee in October 1969. Includes liner notes by Larry Hoffman & Denise Tapp. Digitally remastered by Larry Packer and Gene Rosenthal (1999, Uncle Punchy Studios). This is part of Genes Records' Blues Vault Series. Personnel: R.L. Burnside (guitar); Jesse Vortis (guitar); Red Ramsey (harmonica). Liner Note Authors: Denise Tapp; Larry Hoffman . Recording information: Independence, MS (10/1969); Memphis, TN (10/1969). Photographers: Gene Rosenthal; G.L. Moore. Arranger: R.L. Burnside. In the '90s Burnside emerged as one of the most authentic and powerful blues artists in the world, gaining international recognition as a flagship artist of the raw, "real" blues label Fat Possum. His fierce electric sound was full of fire and fury, accompanied by bashing drums and frenetic slide guitar. 'Twas not always thus, however. MY BLACK NAME A-RINGIN' contains material from one of Burside's earliest sessions (1969), when he was still an acoustic artist, pounding out unamplified versions of tunes by his heroes Muddy Waters and Lightnin' Hopkins, his style a mixture of the two (in a typical example of confusing blues propietorship, Hopkins' "Last Night Blues" is listed as "Sat Down on My Bed and Cried," credited to Burnside). Burnside was already in his 40s in 1969, with plenty of hard living behind him. Consequently, these early recordings expose a voice full of experience and hard-learned lessons. BLACK NAME is far more focused and intense than the other pre-Fat Possum Burnside releases. Despite the acoustic setting, it's closer in spirit to Burnside's astounding '90s electric recordings.

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I'm the Boss Card in Your Hand, 1937-1960 by Black Ace (CD - 11/03/1992)
 

I'm the Boss Card in Your Hand, 1937-196...

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I'm the Boss Card in Your Hand, 1937-1960 by Black Ace (CD - 11/03/1992)
"I'm the Boss Card in Your Hand, 1937-1960" (11/03/1992) Blues Black Ace, ArhoolieContains 23 tracks recorded 1937-1960. B.K. "Black Ace" Turner is a Texas bluesman performing on the Hawaiian-style lap steel guitar. Includes liner notes by Paul Oliver. Personnel: Black Ace (vocals, steel guitar); B.K. Turner (vocals, guitar). Liner Note Author: Paul Oliver. Recording information: Chicago, IL (1937-1960); Ft. Worth, TX (1937-1960). Photographer: B.K. Turner. I'm the Boss Card in Your Hand, 1937-1960 stands as the definitive Black Ace collection to date -- not only does Arhoolie's CD reissue include the entirety of their original 1960 release, but it also appends previously unissued material from the same session and even tosses in a half-dozen tracks from his 1937 Decca label debut. Thanks largely to its steadfast refusal to fit easily into any kind of regional genre pigeonhole, Ace's music possesses a beautifully timeless quality; and though he's a poignant vocalist, the real treat here is his slide guitar mastery, as instrumentals like "Ace's Guitar Blues" and "Bad Times Stomp" reveal a unique hybrid sound successfully bridging the gap between the Delta and Hawaiian styles. ~ Jason Ankeny

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Before the Blues, Vol. 1: The Early American Black Music Scene by Various Artists (CD - 03/19/1996)
 

Before the Blues, Vol. 1: The Early Amer...

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Before the Blues, Vol. 1: The Early American Black Music Scene by Various Artists (CD - 03/19/1996)
"Before the Blues, Vol. 1: The Early American Black Music Scene" (03/19/1996) Blues Various Artists, YazooBEFORE THE BLUES: THE EARLY AMERICAN BLACK MUSIC SCENE, VOLUME 1 chronicles the evolution of blues from early religious music to its more modern form during the 1920s and 1930s. Compilation producers: Richard Nevins, Don Kent. Includes liner notes by Don Kent and Richard Nevins. Personnel: Mississippi John Hurt, Robert Wilkins (vocals, guitar); Walter Beasley (vocals, bottleneck guitar); Reverend Rubin Lacy, Sam Brooks, Lottie Kimbrough, Sam Collins (vocals); Andrew Baxter (guitar, fiddle); Henry Thomas , Little Hat Jones, Papa Harvey Hull, Sylvester Weaver, Teddy Darby, Walter Coleman, Willie Walker, Bayless Rose (guitar); B.F. Shelton, Marion Underwood, Buell Kazee (banjo); Charlie McCoy (mandolin); James Booker (fiddle). Audio Remasterer: Richard Nevins. Liner Note Authors: Don Kent; Richard Nevins. Unknown Contributor Roles: Cincinnati Jug Band; The Denson Quartet; Dick Devall; Joe Evans; Mississippi Mud Steppers; Arthur McClain; Taylor's Kentucky Boys; Weaver & Beasley; Bo Carter. Although the blues is the most renowned form of early 20th century African-American music (other than jazz), it didn't dominate rural Black music to the extent that many listeners often assume. Black and White folk musics mingled extensively before the advent of recorded technology, and Black musicians often performed gospel, religious hymns, folk ballads, and fiddle tunes as well as what we now recognize as the blues. This compilation does a good job of illustrating the diverse ancestry of African-American music with 23 rare sides from the 1920s and 1930s, when records and mass media had yet to fully introduce elements that would standardize musical genres and approaches to some degree. Some of these performers would indeed become classified as blues artists (Mississippi John Hurt, Robert Wilkins, Henry Thomas). But most of these tracks are not explicitly rooted in blues forms, examples being B.F. Shelton's banjo ballad interpretation of "Pretty Polly," Taylor's Kentucky Boys' fiddle breakdown version of "Forked Deer," or the Seventh Day Adventist Choir's "On Jordan's Stormy Banks We Stand." Remastered from old 78s, this may be of more educational than entertainment value to most modern listeners, but it's well done, with extensive liner notes explaining the various forms of Black music preserved on the disc. ~ Richie Unterberger

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Before the Blues, Vol. 3: The Early American Black Music Scene by Various Artists (CD - 03/19/1996)
 

Before the Blues, Vol. 3: The Early Amer...

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Before the Blues, Vol. 3: The Early American Black Music Scene by Various Artists (CD - 03/19/1996)
"Before the Blues, Vol. 3: The Early American Black Music Scene" (03/19/1996) Blues Various Artists, YazooBEFORE THE BLUES: THE EARLY AMERICAN BLACK MUSIC SCENE, VOLUME 3 chronicles black musical forms from the 1920s and 1930s. Compilation producers: Richard Nevins, Don Kent. Includes liner notes by Richard Nevins and Don Kent. Personnel: Barbecue Bob, Blind Boy Fuller (vocals, guitar); Rev. Moses Mason (vocals, banjo); Joe Evans, Arthur McClain, Alger "Texas" Alexander (vocals); Furry Lewis, Nap Hayes, Lil McClintock, Lonnie Johnson, Luke Jordan, Mississippi John Hurt, Bob Grant (guitar); Gus Cannon (banjo); Matthew Prater (mandolin); Doc Roberts, James Booker (fiddle); Charles "Cow Cow" Davenport (piano). Audio Remasterer: Richard Nevins. Liner Note Authors: Don Kent; Richard Nevins. Unknown Contributor Roles: Clarence Ashley; Frank Stokes; John Hammond, Jr.; Henry Thomas ; Gus Cannon; Memphis Minnie; Preston Young; Taylor's Kentucky Boys; Biddleville Quintette; The Blue Boys; Buster Carter. This final volume in an indispensable series collects work by better-known artists like Memphis Minnie and Mississippi John Hurt as well as more obscure geniuses like Henry Thomas and Texas Alexander. What stands out is the amazingly consistent level of quality of the recordings. While some preservation efforts such as this might fill spaces with padding, all the music here is heartbreakingly beautiful. ~ Tim Sheridan

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Before the Blues, Vol. 2: The Early American Black Music Scene by Various Artists (CD - 03/19/1996)
 

Before the Blues, Vol. 2: The Early Amer...

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Before the Blues, Vol. 2: The Early American Black Music Scene by Various Artists (CD - 03/19/1996)
"Before the Blues, Vol. 2: The Early American Black Music Scene" (03/19/1996) Blues Various Artists, YazooBEFORE THE BLUES: THE EARLY AMERICAN BLACK MUSIC SCENE, VOLUME 2 chronicles black musical forms from the 1920s and 1930s. Compilation producers: Richard Nevins, Don Kent. Includes liner notes by Don Kent and Richard Nevins. The title of this compilation, Before the Blues, may be a deceiving one, particularly as it comes from Yazoo Records, a label that specializes in the earliest music of the genre. While the performances here date back to the first commercial recordings (made during the mid-'20s), the blues, as a musical form, was probably born a good 20 years earlier, at the turn of the century. Maintaining a looser format than many of their compilations, Before the Blues follows the music from the juke joint on a Saturday night to church the next morning. Included are tracks from some of the most popular musicians of the period (Charlie Patton, Blind Lemon Jefferson, the Memphis Jug Band, and Frank Stokes), as well as curios from little-known performers. At one end of the spectrum, there is the raw, earthy mountain music of Frank Jenkins' "Roving Cowboy," the violin and vocal performance that closes the collection. At the other is Tommy McClennan's "Deep Sea Blues," the song Muddy Waters and Jimi Hendrix (among many others) would record as "Catfish Blues." Though his performance is loose, McClennan's guitar sounds ripe for urban electrification. In the process of migrating to the city, the music witnessed the extinction of rural string combos like the Memphis Jug Band. "K.C. Moan" is an example of the type of material they recorded before the pressure to adapt brought jazz influences into their music. By the 1940s, the commercial heyday of this music had come and gone. Never again would companies seek out recordings like "Cold Morning Shout" (an otherworldly blend of fiddle, banjo, and guitar by the Southside Trio) or the deep gospel of slide guitar master Blind Willie Johnson. Thanks to Yazoo, the music has been preserved with the best possible fidelity. As always, songs have been arranged according to listenability. Boundaries of style and chronology are ignored, with the gaps filled in by extensive liner notes. ~ Nathan Bush

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The Black Godfather by Andre Williams (CD - 04/25/2000)
 

The Black Godfather by Andre Williams (C...

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The Black Godfather by Andre Williams (CD - 04/25/2000)
"The Black Godfather" (04/25/2000) Blues Williams, Andre, In The Red RecordsPersonnel includes: Andre Williams (vocals); Steve Mackay (saxophone); Jon Spencer Blues Explosion, The Countdowns, The Dirtbombs, The Compulsive Gamblers, Cheater Slicks. Engineers include: Mick Collins, Mike McHugh, Scott Waters. Recorded at The Distillery, Costa Mesa, California and Ghetto Records, Detroit, Michigan. Personnel: Andre Williams (vocals); Jon Spencer (vocals, guitar); Russell Simins (vocals, drums); Dave Shannon, Tom Shannon, Greg Oblivian, Brian Waters, Judah Bauer (guitar); Steve MacKay (saxophone); Craig Waters, Ewolf, Dana Hatch, Jack Oblivian & Impala, Patrick Pantano (drums); The Compulsive Gamblers, The Dirtbombs (background vocals). Audio Mixer: Mike McHugh. Recording information: Chillocothe, OH; Ghetto Recorders, Detroit, MI; The Distillary, Costa Mesa, CA. Photographers: Devil Jones; Jimmy Hole. A crazed, dirty, raw blend of blues, funk, soul, and gritty garage rock, THE BLACK GODFATHER finds the eternally eccentric R&B wildman Andre Williams at his most intense. Backed by a cast of characters that includes appropriately scrappy rockers like Dirtbombs leader Mick Collins (who also produced the album) and Jon Spencer, Williams generates a towering, unhinged wail that's easily the equal of the raucous din created by the aforementioned axemeisters. From the James Brown-meets-Captain Beefheart freak-funk of the title track to the trashy, in-your-face surf/garage-rock stomp of the gloriously sleazy "Whip the Booty" and the Tom Waits-goes-to-Memphis soul-blues of "Nasty Women," this is Williams at his loosest and toughest simultaneously, pushing it to the limit and well beyond. And that's not even mentioning the insane, psychedelic-tinged, extended version of the Cramps' mind-bending classic "I Cant Find My Mind" that closes out the album. Even by Williams's standards, it's a pretty twisted affair.

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Lightnin's Love [Black Label] by Lightnin' Hopkins (CD)
 

Lightnin's Love [Black Label] by Lightni...

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Lightnin's Love [Black Label] by Lightnin' Hopkins (CD)
"Lightnin's Love [Black Label]" (n/a) Blues Hopkins, Lightnin', Laserlight (USA)Solo performer: Samuel "Ligtnin'" Hopkins (vocals, guitar).

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Black Jack: 21 Essential Classics
 

Black Jack: 21 Essential Classics

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Black Jack: 21 Essential Classics
"Black Jack 21 Essential Classics" (08/12/2003) Blues King, B.B., Stardust RecordsPersonnel: B.B. King (vocals, guitar); Sonny Boy Williamson (vocals). Includes liner notes by Athan Maroulis. Editor: Liz Ohanesian. Photographers: Cisco Houston; Woody Guthrie.

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Black Widow Stinger: The Essential Recordings...
 

Black Widow Stinger: The Essential Recor...

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Black Widow Stinger: The Essential Recordings...
"Black Widow Stinger: Essential" (11/23/1999) Blues Memphis Minnie, IndigoRecorded between 1935 and 1941. All tracks have been digitally remastered.

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Black Snake Moan
 

Black Snake Moan

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Black Snake Moan
"Black Snake Moan [Digipak]" (03/09/2004) Blues Jefferson, Blind Lemon, SnapperPersonnel: Blind Lemon Jefferson (vocals, guitar); Blind Lemon Jefferson; George Perkins (piano). Recording information: Atlanta, GA (05/??/1926-09/24/1929); Chicago, IL (05/??/1926-09/24/1929); Richmond, IN (05/??/1926-09/24/1929). Blind Lemon Jefferson was a street singer with a wide and varied repertoire, although he is best known for his straight-ahead blues pieces like the title track here, "Black Snake Moan." As this sampler of Jefferson's 1920s and 1930s 78s from Snapper Records shows, however, he was equally at home doing hillbilly spirituals ("He Arose from the Dead") and folk-blues ("See That My Grave Is Kept Clean"), and he also had a fine slide sound ("Jack O'Diamond Blues"). Immensely popular, Jefferson's 78s were poorly pressed and frequently played, so these tracks have a good deal of surface hiss, which may be bothersome to some listeners. ~ Steve Leggett

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Old Time Black Southern String Band Music [2/7]
 

Old Time Black Southern String Band Musi...

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Old Time Black Southern String Band Music [2/7]
"Old Time Black Southern String Band Music" (02/07/2006) Blues Cage, Butch, ArhoolieButch Cage: James "Butch" Cage (vocals, fiddle); Rosalie Wilkerson, Willie B. Thomas, Robert Jenkins. Personnel: Butch Cage (vocals, fiddle); Willie B. Thomas, Robert Jenkins (vocals, guitar); Rosalie Wilkerson (vocals). Liner Note Authors: Chris Strachwitz; Harry Oster. Recording information: Zachary, Louisana (1960). Photographer: Harry Oster. Louisiana fiddle and guitar duo Butch Cage and Willie B. Thomas were recorded in 1959 by folklorist Harry Oster, who sought to capture a record of the fast-vanishing tradition of string bands who played dance and worship music for parties and church services. Primitive-sounding yet compelling, Cage and Thomas's versions of rarely heard ancient country blues songs like "I Had a Dream Last Night" and "It Ain't Gonna Rain No More" are a window into a bygone age, while their performance of "The Dirty Dozen" brings to light a song that, like the blues itself, has been constantly evolving for generations.

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My Black Mama - Part 1&2 by Various Artists (CD - 09/20/2005)
 

My Black Mama - Part 1&2 by Various ...

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My Black Mama - Part 1&2 by Various Artists (CD - 09/20/2005)
"My Black Mama - Part 1&2" (09/20/2005) Blues Various Artists, Blues Images

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Black Forrest by Jimmy Forrest (CD - 04/20/1999)
 

Black Forrest by Jimmy Forrest (CD - 04/...

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Black Forrest by Jimmy Forrest (CD - 04/20/1999)
"Black Forrest" (04/20/1999) Blues Forrest, Jimmy, DelmarkPersonnel: Jimmy Forrest (tenor saxophone); Harold Mabern (piano); Grant Green (guitar); Gene Ramey (bass); Elvin Jones (drums). Recorded at Hall Recording Studio, Chicago, Illinois on December 10 & 12, 1959. Includes liner notes by Joe Segal. Personnel: Grant Green (guitar); Jimmy Forrest (tenor saxophone); Harold Mabern (piano); Elvin Jones (drums). Liner Note Author: Joe Segal. Recording information: Hall Recording Studios (12/10/1959/12/12/1959). Photographer: Jeff Lowenthal. This 1972 LP, a complement to All the Gin Is Gone, released the remainder of tenor saxophonist Jimmy Forrest's two Delmark sessions, including four alternate takes and five other songs. Forrest sounds fine, guitarist Grant Green was making his debut on record, and the rhythm section (pianist Harold Mabern, bassist Gene Ramey and drummer Elvin Jones) plays up to par. Get All the Gin Is Gone first, and then, if one wants to hear the rest of the story, this set. ~ Scott Yanow

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Black Night by Charles Brown (CD - 11/15/2005)
 

Black Night by Charles Brown (CD - 11/15...

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Black Night by Charles Brown (CD - 11/15/2005)
"Black Night" (11/15/2005) Blues Brown, Charles Trio, Masked WeaselLiner Note Author: Kurt Wolff. Charles Brown was more a crooner than a blues singer in the classic sense, but everything he did was based in the blues, and he almost single-handedly created the cool, jazz-inflected West Coast blues style in the mid-'40s. This attractive little set collects his earliest recordings on Philo Records while he was a member of Johnny Moore's Three Blazers combo, including the influential "Driftin' Blues" from 1945 and the holiday classic "Merry Christmas Baby" from 1947, along with Brown's subsequent solo records after Philo morphed into Aladdin Records, most notably his definitive take on Jessie Mae Robinson's stark "Black Night" from 1951, as well as a couple of early-'60s holiday recordings from King Records. The rhythmically interesting "Rockin' Blues" is also worth pointing out here, sounding as it does like an improbable mix of Slim Harpo and Nat King Cole. The later King recordings sound sonically a little out of place, but the overall feel of this set makes it a decent introduction to Brown's jazzy take on the blues. Oh, and pay attention to his piano playing. He was the complete package. ~ Steve Leggett

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Deals on Black blues music in Blues Music. Visit BizRate to find the best deals on Blues Music. See which Music stores have the Black blues music that you want. Read reviews on Music merchants and buy with confidence. Find savings on Black Pearls by Eric Sardinas (CD - 08/26/2003) - Black Snake Moan [Original Soundtrack] by Original Soundtrack (CD - 01/30/2007).