Old blues artists in Blues Music

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"Old Town Records Presents City Blues" (03/14/2006) Blues Various Artists, Collectables RecordsIncludes liner notes by Peter Grendysa. Personnel: Lester Young (tenor saxophone). New York-based Old Town Records, run by brothers Hy Weiss and Sam Weiss, made its biggest splash as a doo wop label in the 1950s and early '60s, but the brothers also recorded a fair bit of jump blues, gospel, R&B, and early soul sides as well, and their records have a distinct Southern feel even though they were recorded in the North. This generous single-disc set focuses on jump blues pieces recorded for Old Town during that time span, including Hal Paige's smooth-rolling "My Angel Chile," Ella Johnson's breezy "I Got to Talk to Somebody," Larry Dale's almost rockabilly "Big Muddy," and a thundering "Down to the River" by Lester Young (not the same person as Pres, the legendary tenor sax player). A fine collection. ~ Steve Leggett

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"Not the Same Old Blues Crap, Vol. 2" (12/15/2004) Blues Various Artists, Fat Possum RecordsIncludes liner notes by Chris Morris. Personnel: Junior Kimbrough, R.L. Burnside, Robert Belfour, Scott Dunbar, Asie Payton, T-Model Ford (vocals, guitar); King Ernest (vocals). Audio Mixers: Jim Waters; Robbie Norris; Bruce Watson . Liner Note Authors: Bill Morris; Chris Morris. Recording information: Junior Kimbrough's Place, Holly Springs, MS (1969-2000); Lake Mary, MS (1969-2000); Rhythm Room, Phoenix, AZ (1969-2000). Arrangers: Junior Kimbrough; R.L. Burnside. It worked the first time around, so why not a second offering of Not the Same Old Blues Crap? For volume two, Fat Possum has patched together another riveting collection of hypnotic boogies, wailing guitars, and Mississippi moans -- but lo and behold, there's also a tender side to this album that may surprise both fans and critics of the label. While listeners can still expect to find plenty of electric juke-joint swagger courtesy of R.L. Burnside, Paul "Wine" Jones, and T-Model Ford, a good half of the songs here are statements of subtlety, with Scott Dunbar's falsetto-laden "Easy Rider" (reissued from his 1972 Ahura Mazda LP From Lake Mary) and King Ernest's soul ballad rendering of Tom Waits' "House Where Nobody Lives" leading the way. Fat Possum puts a fat spotlight on its deep lineup of solo performers -- Robert Belfour, Asie Payton, Junior Kimbrough, Dunbar, and Burnside all take relaxed turns inhabiting the role of the lone bluesman, who has perhaps never sounded so alive since the prewar era. But the jewel of this compilation is actually a duet shared by Kimbrough and rockabilly guitarist Charlie Feathers: the lighthearted "I Feel Good Again," which was originally cut in 1969. It's an uncharacteristic but charming blues that marries Feathers' precise, flat-picked strumming with Kimbrough's loping vocals and lead guitar runs. There's absolutely nothing like it -- just like Fat Possum, of course. ~ Ken Chang

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"Not the Same Old Blues Crap" (12/15/2004) Blues Various Artists, Fat Possum RecordsA sampler from the Fat Possum label that, as the title announces, really isn't the same old blues crap. Fat Possum made its name as a home for raw 1990s juke-joint blues, and a lot of that is here in the cuts by Junior Kimbrough, R.L. Burnside, T-Model Ford, and Jelly Roll Kings. It's straight-up electric guitar blues where the groove and spontaneous rhythms are more important than chord changes and tight song construction, which can be both a blessing and a curse; Jelly Roll Kings add some nice texture to the form with whirling organ. You also get some almost punkish blues-rock from 20 Miles and the Neckbones, who sound a little like a bluesy Cramps on "Crack Whore Blues." ~ Richie Unterberger

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"Not the Same Old Blues Crap, Vol. 3 [Digipak]" (12/15/2004) Blues Various Artists, Fat Possum RecordsFat Possum established themselves with the raw, hypnotic Mississippi electric blues of folks like the late, great Junior Kimbrough and R.L. Burnside, but that isn't their only stock in trade, as evidenced by their third label compilation, Not the Same Old Blues Crap, Vol. 3. R.L. Burnside appears a couple times, once in a nice acoustic setting and once in a more modern setting featuring rapper Lyrics Born. Not exactly what you'd expect from Fat Possum, but it works! In addition to the blues offerings, there are some solid rockers, too, from the raw rock of the Black Keys to Iggy & the Stooges covering Junior Kimbrough. Both Thee Shams and Paul Westerberg's Grandpaboy channel the swaggering spirit of the Rolling Stones in their '70s heyday, with Thee Shams singer Zach Gabbard sounding uncannily like a young Mick Jagger. Either you like Bob Log III or you don't, but regardless, he continues with his boob fetish in probably the weakest moment of the album. The real treasure trove is to be found in the recordings of George Mitchell, which Fat Possum acquired the rights to, featuring unreleased performances from the likes of Furry Lewis and Mississippi Fred McDowell. Not the Same Old Blues Crap, Vol. 3 surely lives up to its moniker, and coupled with a budget price, it makes it a good way to check out what Fat Possum is all about. ~ Sean Westergaard

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"Old Town Country Blues" (03/14/2006) Blues Various Artists, Collectables RecordsOld Town isn't a label most folks think of when classic blues recordings come to mind. But for a brief period in the 1950s, this R&B-oriented label released some pretty potent discs, and the best are collected here. Featuring wild performances by Sonny Terry and Brownie McGhee (who cover ten of the 25 tracks aboard), the set also includes super-rare sides from Willie Dixon, James Wayne, Little Willie, and Bob Gaddy. New York blues isn't all that well documented, so this set is a most welcome addition to blues history. ~ Cub Koda

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"Please Warm My Weiner: Old Time Hokum Blues" (1992) Blues Various Artists, YazooPerformers include: Bo Carter, Memphis Minnie, Buddie Burton, Butterbean, Susie. This collection consists of bawdy and vaudeville-inspired songs and routines. Liner Note Author: Stephen Calt.

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"Old Town Blues, Vol. 2: The Uptown Sides" (05/31/1994) Blues Various Artists, Ace Records (UK)A grab bag of blues sides with a strong R&B influence, recorded for New York's Old Town label between the mid-'50s and mid-'60s. This is aimed squarely at the blues collector/completist: there's nothing especially inept about these sides, but nothing especially captivating either. Nor is there a strong stylistic or instrumental thread connecting the tracks. It's period stuff, by obscure artists like Hal Paige, Ursula Reed, Lester Young (not the jazz great!), Larry Dale, and Sam Baker; Wild Bill Moore and Buddy & Ella Johnson, represented by some of their least known work, are the most recognizable of the bunch. ~ Richie Unterberger

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"Old Friends" (02/22/2000) Blues Various Artists, Orchard (Distributor)Performers include: Sunnyland Slim, Honeyboy Edwards, Walter Horton. Includes 6 previously unreleased tracks. While this meeting of blues greats should be an important document, the sad fact is that the group sounds unrehearsed and past their prime. While some tunes, such as "43rd Street Jump" and "Freedom Train" have some real drive and feeling, much of the material is sloppy at best. The one thing that stands out on the album is the vocals, with each of these giants taking lead on several tracks. The variety of styles in their blues singing is a treat. ~ Tim Sheridan

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"Old-Time Music From West Virginia (1927-1929)" (09/2000) Blues Various Artists, Document (USA)Personnel: Dick Justice, Frank Hutchison (vocals, guitar); Irving Williamson, Curry (guitar, banjo); Arnold Williamson (fiddle). Audio Remasterer: Gerhard Wessely. Liner Note Author: Tony Russell. Recording information: Chicago, IL (04/??/1927-07/09/1929); N.Y.C., NY (04/??/1927-07/09/1929); St. Louis, MO (04/??/1927-07/09/1929). Old-Time Music From West Virginia features the complete recordings of Dick Justice and the Williamson Brothers and Curry, along with eight sides by Frank Hutchison, whose earlier work is collected on Document's Complete Recorded Works, Vol. 1 (1926-1929). This set is consistently worthwhile, though only Hutchison is well known among the performers; the Williamson Brothers and Curry only produced six obscure records, but these sides reveal extensive performance experience and vintage string band style. Justice is an able guitarist who plays rags and ballads with equal skill, also producing a couple of decent waltzes with fiddler Reese Jarvis. Several of his sides demonstrate obvious familiarity with black musical styles: his "Brown Skin Blues" entirely transcends the conventions of racial classification, while the excellent "Cocaine" is clearly derived from an earlier recording of "Cocaine Blues" by black singer and fellow West Virginian Luke Jordan. Frank Hutchison was allegedly a friend of the Williamson Brothers and Curry as well as Justice, though his recorded output and subsequent influence far outweighed those of his associates. While in his earlier sessions Hutchison recorded with harmonica and guitar, these sides from July of 1929 only include the latter instrument, which the player gracefully leads through a range of genres. In "Cumberland Gap," his guitar skillfully evokes the sound and style of a claw-hammer banjo; for his two final performances, Hutchison adopts a slide and produces a couple of genuine blues. Though Hutchison's recordings provide a substantive closure to this set and to the career of a talented musician, his work is available elsewhere, and this is not the place to start a Frank Hutchison collection. What makes this CD most worth owning is instead the presence of the lesser-known figures. These men stand out on their own as able and experienced (if under-recorded) artists; their performances are additionally interesting for their insight into West Virginia's most engaging musical community on record. Recommended to fans of the genre. ~ Burgin Mathews

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"Old Town Blues, Vol. 1: Downtown Sides" (09/27/1993) Blues Various Artists, Ace Records (UK)Twenty-two blues tracks recorded in the 1950s for New York's Old Town label, most of which were unissued at the time. The core of this anthology is the 11 songs by Sonny Terry & Brownie McGhee, who do electrified city blues with an audible influence from Chicago performers like Bo Diddley and Jimmy Reed. It's not the style they're most renowned for, perhaps, but the results are pretty good. The rest of the CD is a hodgepodge of miscellany, including decent raw electric blues from James Wayne, fairly anonymous sides by Little Willie and Bob Gaddy, and a couple of rare Willie Dixon items from an unissued acetate of demos. ~ Richie Unterberger
 
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"Blues Crossroads: Acoustic Blues, Old & New" (06/09/1998) Blues Various Artists, EasydiscPersonnel: Roy Book Binder (vocals, guitar, National guitar); Mississippi Fred McDowell, Rory Block (vocals, guitar); Robert Lockwood, Jr. (guitar). Unknown Contributor Roles: Etta Baker; George Thorogood; Roy Book Binder; Johnny Shines; Kenny Sultan; Mississippi Fred McDowell; Paul Geremia; Angela Strehli; Robert Lockwood, Jr.; Rory Block; Tom Ball; Tony Furtado; Cephas & Wiggins.
 
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"Blues Crossroads: Acoustic Blues, Old & New" (06/09/1998) Blues Various Artists, EasydiscPersonnel: Roy Book Binder (vocals, guitar, National guitar); Mississippi Fred McDowell, Rory Block (vocals, guitar); Robert Lockwood, Jr. (guitar). Unknown Contributor Roles: Etta Baker; George Thorogood; Roy Book Binder; Johnny Shines; Kenny Sultan; Mississippi Fred McDowell; Paul Geremia; Angela Strehli; Robert Lockwood, Jr.; Rory Block; Tom Ball; Tony Furtado; Cephas & Wiggins.
 
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"Old Original Spiritual Blues" (03/14/2006) Blues Various Artists, Collectables Records
 
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"Old Fashioned Blues" (03/14/2006) Blues Various Artists, Collectables Records
 
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"Old Friends" (12/15/1993) Blues Various Artists, EarwigPerformers include: Sunnyland Slim, Honeyboy Edwards, Walter Horton. Includes 6 previously unreleased tracks. Personnel: David Honeyboy Edwards, Kansas City Red, Floyd Jones , Sunnyland Slim, Big Walter Horton (vocals). Liner Note Author: Jim O'Neal. Recording information: Chicago, IL (06/08/1979/06/09/1979). While this meeting of blues greats should be an important document, the sad fact is that the group sounds unrehearsed and past their prime. While some tunes, such as "43rd Street Jump" and "Freedom Train" have some real drive and feeling, much of the material is sloppy at best. The one thing that stands out on the album is the vocals, with each of these giants taking lead on several tracks. The variety of styles in their blues singing is a treat. ~ Tim Sheridan
 
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"Old Friends" (12/15/1993) Blues Various Artists, EarwigPerformers include: Sunnyland Slim, Honeyboy Edwards, Walter Horton. Includes 6 previously unreleased tracks. Personnel: David Honeyboy Edwards, Kansas City Red, Floyd Jones , Sunnyland Slim, Big Walter Horton (vocals). Liner Note Author: Jim O'Neal. Recording information: Chicago, IL (06/08/1979/06/09/1979). While this meeting of blues greats should be an important document, the sad fact is that the group sounds unrehearsed and past their prime. While some tunes, such as "43rd Street Jump" and "Freedom Train" have some real drive and feeling, much of the material is sloppy at best. The one thing that stands out on the album is the vocals, with each of these giants taking lead on several tracks. The variety of styles in their blues singing is a treat. ~ Tim Sheridan
 
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"Legends of Old Time Music" (04/25/1995) Blues Various Artists, Vestapol VideoPerformers include: The Four Marys, Roscoe Holcomb.
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