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|Last of the Great Mississippi Delta Bluesmen - Live in Dallas
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2007 GRAMMY AWARD-WINNING BEST TRADITIONAL BLUES ALBUM OF THE YEAR HISTORY IN THE MAKING Once in a lifetime you may experience a brief moment when the stars align and something truly extraordinary happens. This was the case in October 2004, when four of the greatest living blues legends were assembled in Dallas, Texas for one incomparable night of music. At the time they ranged in age from 89 to 94 and all had received the National Endowment for the Arts Heritage Fellowship Award, the highest honor in the USA for traditional arts. These musicians have devoted their entire life to playing the blues, and staging such an epic event was a once-in-a-lifetime opportunity. Once reunited, the old magic reemerged. It was if they were long lost school buddies. There was a time when Dallas was viewed as an epicenter for the blues. It was home to such legends as Blind Lemon Jefferson, Huddie Ledbelly Ledbetter, T-Bone Walker, Freddie King and others. The Longhorn Ballroom in Dallas and the Magnolia in Fort Worth catered to well-dressed audiences who were transfixed by the soulful shouts of Johnny Taylor, the screaming Telecaster of Albert Collins and the eerie cry of Albert King s Flying V. On October 16th, 2004, Dallas once again reclaimed its place as a blues capitol when the four remaining elders of the blues reunited on the stage of the historic Majestic Theater for a grand performance. It was a night that was 90 years in the making, but will live on for eternity. HENRY JAMES TOWNSEND He goes by the name of Henry James Townsend but his friends call him The Mule . Though the nickname s origin is a mystery, it could refer to his stubborn will to keep playing. At the time of this recording, the dean of St. Louis blues and reigning patriarch of the blues, Henry James never had played Dallas in his 94 years. He is the only American recording artist to have recorded in every decade since the 1920 s. Henry s music is a unique combination of country and city blues, tempered with just the right amount of influences from Lonnie Johnson and Roosevelt Sykes. The best part about Henry is the wisdom he shares with the audience about his life and his music JOE WILLIE "PINETOP&" PERKINS Born July 7, 1913 in Belzoni, Mississippi, Grammy Award winner Joe Willie Pinetop Perkins took up piano mid-career after he was stabbed in the arm. Early on, Perkins accompanied such blues legends as Big Joe Williams and Sonny Boy Williamson. By 1953, he was well known as both a back-up player and solo act. This was also the year he made his first solo recording with Sun Records.... DAVID "HONEYBOY" EDWARDS David "Honeyboy" Edwards was born June 28, 1915 in Shaw, Mississippi. To listen to Mr. Edwards and his skilled slide guitar playing is to journey back in time to the Mississippi Delta and the street corners of Clarksdale, Mississippi. There, Honeyboy played a pivotal role in shaping the seminal moments of blues history. He is sought after by documentary filmmakers for his detailed accounts of blues folklore, especially his recollections of the day Robert Johnson died. He describes Deep Ellum, east of downtown Dallas, as if it were yesterday ROBERT LOCKWOOD, JR. Ninety-year-old Robert Lockwood, Jr. or "Robert Jr." to his friends used to "play" one-month gigs in Fort Worth during the 50's and 60's. He learned to play guitar from the legendary Robert Johnson, who lived with Lockwood's mother during his formative years. He learned his first song, "Sweet Home Chicago", in about three weeks under Johnson's tutelage. Robert is also one of the original King Biscuit Boys who once opened for King Biscuit Time, now the longest running live radio show in America. Today, Mr. Lockwood is recognized as one of the most prolific guitar players in the world...
|The Complete Studio Recordings Mississippi John Hurt
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Vanguard captured the beauty and soul of this Delta bluesman to great effect on The Immortal Mississippi John Hurt, Today! and his last studio recording, Last Sessions . Those three LPs are all here, featuring Moaning the Blues; Poor Boy, Long Ways from Home; I'm Satisfied; Keep On Knocking; All Night Long , and more, with detailed notes.
Gentle, graceful, subtle, sweet--these aren't descriptions generally applied to the blues, but they offer a sense of Mississippi John Hurt's uniqueness and enduring legacy. Rediscovered during the 1960s folk boom after last recording in the late 1920s, Hurt cut the three albums compiled here when he was in his early 70s. His conversational phrasing sounds as natural as breathing, while his ragtime-tinged fingerpicking on acoustic guitar reveals more complexity the closer you listen. Beyond blues classics like "Candy Man" (the sly sensualist wasn't referring to lollipops), Hurt's range encompasses everything from folkish narratives ("Talking Casey," "Spike Driver Blues") to Southern spirituals ("Nearer My God to Thee," "Farther Along"). Though Hurt died in 1966, shortly after the last of these sessions, the music still sounds so fresh, you can almost hear the twinkle in his eye. --Don McLeese
|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
|Canned Heat & John Lee Hooker - Hooker & Heat
Lowest new price: $10.85
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Brand: Hooker, John Lee
Originally issued as a double LP set in 1971, now on CD and digitally remastered with new sleeve notes and housed in a slipcase. BGO. 2005.
|Black Snake Moan [Vinyl]
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|The Complete Plantation Recordings
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Recorded on Stovall Plantation in Clarksdale, MS by Alan Lomax in 1941 and 1942, these 18 tracks represent the first recordings of a sharecropper named McKinley Morganfield a.k.a. Muddy Waters. And, yeah, there's an unreleased track, and four interviews, but really, for something this historic the less said the better. Just listen.
This is a treasure trove--for the Muddy Waters fan, for the blues historian, for the country-blues enthusiast. Alan Lomax, searching for Robert Johnson (recently deceased), came through and recorded a young McKinley Morganfield. The rest is history. Early versions of future classics can be found on these field recordings from 1941-42, and the guitar and voice that would have unimaginable influence on blues and rock & roll. There's no Chicago yet in these often-scratchy recordings, but if you listen, you can hear where it came from. --Genevieve Williams
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Few blues partnerships were ever as successful and satisfying as the union of Sonny Terry's down-home harmonica work and Brownie McGhee's polished guitar lines. This generous, 18-tune live session catches the late acoustic blues brothers in their physical prime and at their musical best, rolling through an energetic set of conversational blues with casual virtuosity and seemingly telepathic interplay. Terry, a stone-cold traditionalist, contributes a raw-boned, backwoods feel with his heavily textured singing and harp solos while the modern McGhee's smooth vocals and clean picking provide a perfectly compatible counterpoint and complement. Either artist could carry the show by himself, but when the divergent styles musically intertwine they create a wonderful blues synthesis unlike any other the blues has known. The dynamic duo jumps right in with a reconfigured rendition of "Sittin' on Top of the World" and doesn't let up until the end. With Terry whooping and hollering between harp breaks and McGhee opening songs with comic asides the session is an unusually personable one. It's all undeniably authentic and eminently enjoyable, as well as positive blues proof that on very rare and fortunate occasions the whole is much greater than just the sum of the two parts. --Michael Point
|The Complete Recordingss 1929-1934
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Brand: Patton, Charlie
Charley Patton lived only into his 40s, but he left a large body of recorded work, which reveals a broad repertoire, much self-written. He came to his first recording session - in June 1929, for Paramount - with an established reputation. It was said his voice could be heard 500 yards away. The songs he recorded that day include some he had been honing for 20 years around the Delta. Pony Blues is usually cited as a masterpiece. He cut two versions. Both are good, the first is finer: he growls the lyrics, his guitar lopes and bucks. Patton's rhythms are one of his trademarks - complex, intricate, powerful, his fingering always precise. Listen to his playing on Down The Dirt Road Blues - he puts brilliant guitar phrases at the end of each stanza. Songs like Banty Rooster, with its beautiful slide work, and the idiosyncratic Spoonful represent the essence of Mississippi blues and are typical of Patton fast-and-loose approach to blues structures (there's not a standard 12-bar in Patton's recorded output) and rhythmic conventions. Even those who have studied Patton's lyrics find areas to dispute. The voice is gruff, the phrasing eccentric and his Mississippi accent can be impenetrable. But it's worth paying attention - Patton's songs evoke a world that has vanished. We hear of characters like Sheriff Tom Rushen, a lawman whom Patton knew well, for the wrong reasons. He did exist, although his name was actually Rushing. Other songs evoke things like the whistle of the Pea Vine train, or the boll weavil, which threatened the cotton crop - as Patton sings: ... (it) sucks all the blossom and leaves your hedges square. In each case, Patton's playing is crafted to the song. Throughout his career, Patton recorded religious material. Prayer Of Death, from the first session (sacred tunes, and a sermon whose words are as obscure as his song lyrics), is a powerful example. Patton died in 1934, still in demand. His reputation has burgeoned since.
|The Paramount Masters 1924-1932
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The Wisconsin Chair Company was established in 1888. The business expanded into timberland and sawmills. After making cabinets for the Edison Company's phonographs, they decided to make phonographs and phonograph records, under two brand names, Puritan and Paramount. In 1919, Art Satherly was put in overall charge of recording. Paramount's early releases stayed in the mainstream, with performances of the Star Spangled Banner featuring. To defray losses, they moved into the 'race' market. In the first half of the year, they leased material from the Black Swan label. J. Mayo Williams, a young black man with connections to Black Swan, convinced Paramount that they needed him to supervise their 'race' recordings. Williams was able to parlayed himself into a pivotal role within the company, creating his own empire and eclipsing Art Satherley'. Paramount was able to embark on a recovery program that brought a wealth of valuable music. Unfortunately, for many reasons, the label never succeeded as well as it might have done. That said, Paramount saw off most of its competition when it came to recording the blues that formed the greater part of its catalogue. Other labels had varying degrees of success and but ultimately went out of business or were absorbed into larger organisations. Although it had its fair share of 'classic' blues singers such as Ida Cox, Alberta Hunter, Trixie Smith, and the magnificent Gertrude 'Ma' Rainey, the area in which Paramount held most of its riches was its comprehensive list of country blues musicians, of every sex and stripe . What this compilation seeks to do is reflect the enormous scope of country and urban blues on Paramount. It's fair to assume that most of these 100 sides sold few copies when first issued. What's indisputable more than 70 years later is the uniformly high quality of the music these men and women made before they disappeared into history's backwaters.
|Muddy Waters: The Anthology, 1947-1972
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No Description Available
No Track Information Available
Media Type: CD
Title: ANTHOLOGY 1947-72
Street Release Date: 08/28/2001
Genre: BLUES TRADITIONAL
Muddy Waters should need no introduction. Not only did he provide a name for the world's greatest rock & roll band, but he also created the Chicago electric blues sound that's dominated the genre since he first hit the windy city in the late 1940s. His bands also featured what would become a who's who of electric blues: Little Walter, Jimmy Rogers, Otis Spann, James Cotton, Junior Wells, Buddy Guy, and the list goes on. The Anthology covers Waters's most important period: his first years at Chess through the late 1960s. All his best-known songs are featured in their definitive versions, providing the perfect introduction to a blues master who doesn't need one. --Mike Johnson
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