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NEW Combo BLUWAVS CD and FLAC FILE
Every few years, an acoustic guitar player decides he wants to be the next Robert Johnson and endears himself to the blues world--Rory Block, John Hammond Jr., and Taj Mahal have crossed this road in the past. Veteran backup guitarist Kevin "Keb' Mo'" Moore has the freshest approach to pulling it off, turning Johnson's devil-obsessed classics "Come on in My Kitchen" and "Kindhearted Woman Blues" into friendly folk music on this 1994 debut. Unlike many of the great bluesmen, the personable Moore doesn't aspire to be evil or even rebellious; he writes terrific songs (most notably the opening "Every Morning" and "Dirty Low Down and Bad") and performs them with talent and charisma. --Steve Knopper
|Born Under A Bad Sign [Stax Remasters]
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The Rock-n-Roll Hall Of Fame guitarist's most celebrated album re-mastered and expanded with 5 previously unreleased bonus tracks!
|The Original Delta Blues (Mojo Working': Blues For The Next Generation)
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Brand: Sbme Special Mkts.
This album-a 1998 Rolling Stone Top 25 all-time blues title-features the guitar and vocal style that helped define Delta blues, generations before it moved north to Chicago. Includes Death Letter; Preachin' Blues; Levee Camp Moan; Downhearted Blues , and more of the most influential blues recordings ever made.
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Brand: Muddy Waters
Muddy returned to his acoustic roots on this 1964 LP, expanded with five bonus tracks from Muddy's next two Chess sessions!
Muddy Waters started out playing acoustic blues in the Delta, and it shows on this return to his roots, designed to appeal to the mid-1960s surge of interest in folk music. The back of the CD includes a photo of Waters with bassist and songwriter Willie Dixon, as well as a very young Buddy Guy, gathered around a single microphone. This particular CD reissue includes five bonus tracks, among which are "The Same Thing" and "Short Dress Woman," which take advantage of the longer CD running time. All of the other reasons to hear this one remain--Waters's strong, confident voice, the relaxed smoothness of the material, and the surprisingly clean recording, made even cleaner by the digital remastering. --Genevieve Williams
|You Better Run: The Essential Junior Kimbrough
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David Junior Kimbrough, quite possibly the most important blues guitarists of the second half of the 20th century, redefined blues. Junior s approach to music is so hugely different from anything that came before him that he ranks among the three greatest bluesmen of all: Son House, Bukka White, and Fred McDowell. An originator, Junior did more than build on certain tradition or perfect a certain style. Junior re-imagined the blues; he made a sound for himself. If Junior s sister has been any kind of babysitter he might not have picked up the guitar. When Junior was too small to help his father work the fields his eldest sister stayed home with him. She was supposedly watching him the day he took his father s guitar off the high shelf, where his father kept everything he didn t want his children fooling with. It became routine: when his father left for the fields, Junior carefully took down the guitar. He learned fast and well, well enough to teach a local white boy, Charlie Feathers, how to play.
Junior was six years old, and his sister was doing her usual bang-up job of babysitting the day he took a gallon jug of corn off the high shelf. His mother found him in an alcohol-induced coma; she thought Junior was dead. Junior s father recognized the problem and knew the solution: his daughter needed a whipping and Junior belonged in the field. After two years of high school Junior was lured into Holly Springs by a job at the John Deere dealership.
Junior couldn t remember the exact date he deliberately set out to create music but knew the reasons. He was still a young man and had gone as far as he could go at John Deere. If Junior was gonna make his mark in the world, he d have to do it with a guitar. Up until then he d been playing the same country blues standards, as well as the contemporary hits of Little Milton and Albert King, in the same jukes and clubs that his long-time friend and rival R.L. Burnside played. And then Junior stopped playing covers and stopped taking requests. Determined not to become just another entertainer or performer, Junior realized playing covers only helped the composers or the artists who first recorded the song. He wasn t going to help anybody ever again. Junior would only play Junior
He might ve been the first person in his family to work off the farm, but Junior never gave up his rural habits like throwing parties every Sunday night with his furniture dragged out in the yard so more people could fit. Before long Junior had to rent a one-bedroom apartment to get a break from the chaos he d started at home. Junior s old house became more than a club. It was an entity: it was Junior s Place and without help from a sign or telephone locals gathered on Sunday nights to drink and dance. Junior understood music, and had a gift for songwriting, and began developing the music that was first recorded in the mid- 80 s for a Memphis State single.
Unfortunately, David Junior Kimbrough didn t release his first album until 1992, when he was 62, but when he finally made his first album, All Night Long (produced by Robert Palmer for Fat Possum Records), the world took notice. Rolling Stone was the first to acknowledge Junior and awarded the album four stars. In addition to giving his music long overdue exposure, All Night Long gave the Fat Possum label hope. Junior, for the most part, was not physically able to tour, now that he finally had the support of a record company. There were notable exceptions: a string of dates with Iggy Pop and several tours with the Fat Possum Circus (a package deal). But the news traveled- to hear Junior you had to go to Mississippi, Rock bands such as the Rolling Stones, Sonic Youth and U2 made pilgrimages to Holly Springs to experience his club and hear Junior with his son Kinney Malone on drums and Garry Bu
|The American Folk Blues Festival 1962-1969, Vol. 3
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Taken from the European tours organised for American blues musicians between 1962 and 1969, this release features performances by several popular blues artists, including: Big Mama Thornton, Roosevelt Sykes, Buddy Guy, Dr. Isaiah Ross, Big Joe Turner, Skip James, Bukka White, Son House, Hound Dog Taylor and Little Walter, Koko Taylor and Little Walter, Sonny Terry and Brownie McGhee, Helen Humes, Earl Hooker, and Muddy Waters.
They called 2003 "the year of the blues," but any year that sees another release in the American Folk Blues Festival series is one worth savoring. There's no lack of star power on this, the third volume (the first two were released in, yes, '03) taken from the European tours organized for American blues musicians between 1962 and '69; two fiery tunes by Muddy Waters are included as bonus tracks, Joe Turner is well known from his days with Count Basie, and the finale brings together such estimable perfomers as vocalist Helen Humes, pianist Memphis Slim, guitarist T-Bone Walker, bassist Willie Dixon, and longtime partners Sonny Terry & Brownie McGhee. If names like Skip James, Bukka White, Dr. Isaiah Ross, and Son House (all playing in the acoustic Delta style, a sound that's about as raw and real as the blues gets) ring a bell only with serious blues fans, no matter. The performances (including what's purported to be the only extant audio-video footage of harmonica legend Little Walter) are uniformly strong, and the black & white images and strikingly clear sound are once again extraordinary. But this footage is not only a treat in and of itself. It's also music that changed our culture forever, as members of bands like the Rolling Stones, the Yardbirds, and Led Zeppelin were there to witness it in person.--Sam Graham
|Anthology of American Folk Music (Edited by Harry Smith)
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Over 50 years after its original 1952 vinyl release, this is still the best American roots music collection around! Musicologist Harry Smith assembled the anthology from 78 rpm discs issued between 1927 and 1935. This 6-CD reissue was painstakingly researched, annotated and packaged to perfection. With 84 rare tracks, this one is a library all by itself! Includes Drunkard's Special Coley Jones; Peg and Awl Carolina Tar Heels; Frankie Mississippi John Hurt; Engine 143 Carter Family; Indian War Whoop Hoyt Ming & His Pep-Steppers; Newport Blues Cincinnati Jug Band; John the Revelator Blind Willie Johnson; Fifty Miles of Elbow Room Rev. F.W. McGee; Sugar Baby Dock Boggs; See That My Grave Is Kept Clean Blind Lemon Jefferson; The Lone Star Trail Ken Maynard, and many more!
This impressive--and frankly, fun--musical document is still sending out shock waves almost 50 years after its original 1952 vinyl release. The Smithsonian's six-CD reissue is painstakingly researched, annotated, and packaged (even boasting an enhanced disc for the techno-capable). Unlike field recorders, eccentric filmmaker/collector/musicologist Harry Smith assembled the Anthology from commercially released (though obscure) 78 rpm discs issued between 1927 and 1935. Its broad scope--from country blues to Cajun social music to Appalachian murder ballads--was monumentally influential, setting musicians like Bob Dylan down the path to folk fandom. The White House started its own national music library with the Anthology; anyone with more than a passing interest in American roots music should do the same. --Michael Ruby
More from Smithsonian Folkways
The Harry Smith Connection: A Live Tribute To The Anthology Of American Folk Music
Classic Maritime Music from Smithsonian Folkways Recordings
Smithsonian Folkways American Roots Collection
Classic Mountain Songs from Smithsonian Folkways
Classic Blues From Smithsonian Folkways
Folkways: The Original Vision
|The Best of Charlie Patton
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23 tracks from the man generally considered to be the founder of the delta blues! Sharecroppers would put down their farm tools and gather from miles around to see this guy play; includes Mississippi Bo Weevil Blues; Screamin' and Hollerin' the Blues; High Water Everywhere Part 1; Pony Blues; Pea Vine Blues; I'm Goin' Home; Rattlesnake Blues; Down the Dirt Road Blues; I Shall Not Be Moved; Banty Rooster Blues, and more.
|Hooker 'N Heat
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Brand: HOOKER,J/CANNED HEA
A milestone in the careers of all involved. For the Hook, this was the venerable bluesman's first time on the pop-album charts. For Canned Heat, it was, sadly, the last recording with Alan "Blind Owl" Wilson, who'd be dead of a drug overdose just months later. This 1971 double LP is here on 2 CDs, and it's a blues-boogie masterpiece.
This 1971 collaboration between primal one-part-Delta/one-part-Detroit singer-guitarist John Lee Hooker and Southern California blues revivalists Canned Heat works in large part because all parties involved are a little off. Hooker, the most unsystematic of the major bluesmen of his generation, isn't a good fit for disciplined players; rather, he requires sidemen who play by feel. In harp player-guitarist Alan Wilson, the Crawling King Snake found a particularly sympathetic foil; sadly, Wilson died shortly after these sessions were completed. Roughly divided into spare, gritty Delta exercises and full-on boogie stomps featuring the full band, Hooker 'n' Heat is surely one of Canned Heat's crowning moments, which isn't saying that much. But that it stands as a milestone in Hooker's oeuvre is quite a statement indeed! --Steven Stolder
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Brand: Dr Dry
No Description AvailableTrack: 1: Gris-Gris Gumbo Ya Ya,Track: 2: Danse Kalinda Ba Doom,Track: 3: Mam Roux,Track: 4: Danse Fambeaux,Track: 5: Croker Coutbullion,Track: 6: Jump Sturdy,Track: 7: I Walk On Guilded Splinters
Media Type: CD
Artist: DR. JOHN
Title: GRIS GRIS
Street Release Date: 03/27/2007
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