Amazon.com

Singer and guitarist extraordinaire Jorma Kaukonen was a devoted aficionado of early-20th-century rural music long before he cofounded Jefferson Airplane in 1965 and Hot Tuna some years later. On his new solo album, Kaukonen has found an imaginative setting to remind listeners how a fusion of styles and influences from both black and white musicians defined American country music in its formative decades. Included here are gems, both familiar and obscure, by the likes of Jimmie Rodgers, the Delmore Brothers, Jimmie Davis, Cliff Carlisle, and other country musicians who were clearly inspired by their blues cousins. Backed by the Nashville All-Stars, a supersonic string band comprising bluegrass masters Sam Bush (mandolin), Jerry Douglas (Dobro), Béla Fleck (banjo), and Byron House (stand-up bass), all playing on vintage 1920s and '30s acoustic instruments, Kaukonen revives and vividly reinterprets these blues-drenched country classics for a new generation of listeners. --Bob Allen ... Read more

Reviews (24)

Jorma with All Star Backing
What we have here is GREAT music! Jorma has assembled an All-Star band and given them all room to shine. Kaukonen plays well on guitar and carries the songs with his distinctive easy going vocals, but he also lets the band made up of Nashville Newgrass legends Sam Bush (mandolin and fiddle), Jerry Douglas (dobro and Weissenborn slide), Bela Fleck (banjo) and Byron House (bass), carry the recording and make it their own too. The song selection is GREAT, made up of old depression era hobo and hill-billy songs. The music fits it beautifully. The presentation is playful and fun.

This sounds alot like the next edition of QUAH, with Jorma exploring his (and this nations) acoustic roots.But it is even better than QUAH, and I think this comes both from having an exceptional backup band as well as using tried and true songs to express himself. There is alot of strength gained by playing these classics and using the original instruments. It results in a recording that cuts across classification (wouldn't call it country, as I think that its modern style has gotten too far beyond its roots, this blues/bluegrass grounded tradition), and delivers one jewel after another....perhaps he ends it with the lovely "what are they doing in heaven today.." refering to these musicians of old. With this recording Kaukonen and Band is truely giving them the honor that is due.

This tribute to folk country blues finally won me over
I had mixed feelings about this album the first few times I listened to it, as I expected more from Kaukonen's guitar playing and vocals. What eventually won me over was that Jorma has selected memorable songs from the old-timey country blues tradition and he has surrounded himself with some the finest acoustic musicians on the contemporary music scene. And finally, this recording has a nice live "backporch" feel (as another reviewer stated).

I will admit that I have not followed Kaukonen's career since the early days of Jefferson Airplane ("Takes Off" is still one of my folk-rock favorites), so I really didn't know what to expect. To me his voice is too melodic to sound like Dylan, and too Dylanesque to sound melodic. I also felt like he resorted to too many stock folk blues guitar licks for this recording to considered the work of a "great guitarist."

The magic really happens when Sam Bush (on mandolin), Bela Fleck (on banjo), Jerry Douglas (on Dobro) and Byron House (on string bass) interact with these tunes. These guys are steeped in the tradition of bluegrass, although Bush, Fleck and Douglas are renowned for how they have pushed the definition of bluegrass into new and innovative genres in the past couple of decades.

Since Kaukonen grew out of the Sixties folk scene, it doesn't surprise me that he has put together this tribute to the music that was sung in coffeehouses back then. I was often reminded of the Jim Kweskin Jugband as I listened and played along with these tunes.

In the end, this is an enjoyable album, filled with live energy and affection for American musical roots. Most folksy guitar pickers would have no trouble playing along. Enjoy. It might be your only chance to jam with these master musicians!

Tired blues by a tired old white guy!
Don't waste your time with this tripe. Go get some Charlie Patton, or Gary Davis!

Tired blues by a tired old white guy
Don't waste your time, go buy the original material, Robert Johnson, Son House, Charlie Patton, Gary Davis.

Go Jorma!
This is Jorma's best CD since the original acoustic hot Tuna -- seriously -- he picks a small, solid band, and they just cut loose for 13 songs. No posing or strutting, just an hour of listening to one of the greatest guitarists ever play his current favorite songs with a few friends. The playing rivals Doc Watson, but the melancholy tone is all Jorma's. Great stuff. ... Read more

Reviews (4)

Son House is the real deal. Listen and learn
Son House taught Robert Johnson the slide blues. Son House taught Muddy Waters. When Son House started performing at Blues festivals again in the mid 1960s, some of Muddy's younger band members would start to go off for a smoke or whatever when the old man came on stage. Muddy wouldn't let them. Muddy Waters would tell all his band members to be quiet and pay attention when the man played because even compared with Muddy, this was the real deal.

Rediscovered in Rochester, New York, relearning to play the guitar, (how this country abuses the masters that come from its people, particularly its Black people), put back on the stage by the folk revival's blues section.

People outside of the blues life focus on the guitar playing or the rhythm of the singing, but where the power comes from is the feeling and the words that are put together, the life and the meaning of the blues. Son House in his youth and his old age, on this and his other sides, always gave it.

So Like Muddy Waters, I would like you to know that
Son House is the real deal.
Listen and learn

Son House, King of the Delta
Son House is the most important and influential Delta Bluesman to ever live he was a major influence to Muddy Waters & Robert Johnson and every one else including me. Buy this C.D. it is very essential stuff this is hardcore Delta Blues there are some trks with Son House in a band setting with Willie Brown and others (perfect example of what a DeltaBlues jam session probally sounded like). These are field recordings and I mean they were actually recorded outside on trk.4 "Shetland Pony Blues" you actually hear a steam locomotive (train) go buy in the background. If your a aspiring blues guitar player get this if your a fan of the Blues your C.D. collection is seriously lacking if this is not part of it. also get "Masters of the Delta Blues, The Friends of Charlie Patton" all of Son Houses earliest recorings are on there (1930) with some other Delta Blues Legends

The Real Blues--Raw and Dirty
This collection is essential to any blues collection...you cannot truly appreciate the blues until you've heard these recordings.

Son House is my favorite blues performer. No one--not even his proteges Robert Johnson or Muddy Waters--could match him when it came to the raw emotion. Sure, Robert inspired later blues-rock giants like the Rolling Stones, Eric Clapton, Led Zeppelin, Aerosmith, Stevie Ray Vaughn (to name a few...) and Muddy revolutionized the blues by 'inventing' electricity. But this collection, when coupled with the album "The Complete Recorded Works of Son House & the Great Delta Blues Singers" (ASIN: B000000J26--recorded in 1930; another essential disc), offers the listener a true glimpse into history.

The first few tracks include House singing and playing guitar with his band: Willie Brown (who has since attained legendary status as his name is mentioned in Robert Johnson's lyrics; he was also was the central character in the 1986 movie "Crossroads") on harmonica, and Fiddlin' Joe Martin on mandolin. These songs are amazing. The only word I can use to describe House's slide guitar technique is FEROCIOUS. His mixture of slams and slaps, when combined with the shouts, moans, and grunts of his vocals, is nothing short of frightening. "Walking Blues"--which, of course, was a hit for both Robert Johnson and Muddy Waters but was written by House--is one particular standout. It is nearly seven minutes long (House is famous for his "epic" performances...in concert, his songs were known to exceed twenty minutes), a relentless barrage of blues. "Levee Camp Moan" is another strong point. The rhythms and shouts are incomparable.

Perhaps the best analogy is "a frontal assault on the soul".

The remaining songs are House's solo efforts, although the striking force has not deminished at all. In fact, they may be even more powerful--it's hard to believe that only ONE guy is singing...!

When House was rediscovered during the '60s blues revival, he recorded his first and only studio album in 1965 ("Father of the Delta Blues"--ASIN: B000002877) for the Columbia label. Most who have heard of Son House know him based on these recordings alone. There is no arguement that this is a magnificent album--the emotional quality has only increased with is age. But while the sound quality is definitely better than these early field recordings (mono recordings into a single microphone in the stockyard of a train depot--you can even hear railway sounds in the background!!), House's old age hindered the ferocity of his slide guitar playing, forcing his tempo to slow down. If you want to hear the true capabilities of the man who I think is the greatest bluesman who ever lived, you must listen to these Library of Congress recordings (and then check out "...and the Great Delta Blues Singers").

Son House -- Library of Congress sessions
Son House has, arguably, the best blues voice, ever. (His rivals are his pupil, Robert Johnson, and BB King). This is his best album, ever. Great voice, great words, great guitar, and (on one cut) a train in the background. Recorded sound quality is adequate -- better than most for the period. This is one of the five or ten indispensible blues recordings of the twentieth century--Changed how I thought about music.

- Blues ain't nothin'but a lowsown shakin' chill, - If you ain't had them, I hope you never will. ... Read more

Amazon.com

This 2 CD set represents the best introduction to Hooker's trademark sound: one- and two-chord vamps delivered with a hypnotic, perpetual boogie rhythm and accented by reverberating staccato runs and intense foot-stomping. With his deep, rich voice, Hooker electrified the blues of the Delta, bringing the stark, brooding sound to the city and influencing scores of rock musicians. Most of his highlights are here: from early Modern classics "Boogie Chillen," "Crawlin' King Snake," and "House Rent Boogie"; to Vee-Jay singles "Boom Boom" and "Dimples"; to 1966 Chess work with Chicagoans Lafayette Leake and Willie Dixon;to 1971 collaborations with rockers Canned Heat;to performances with modern blues stars Roy Rogers and Bonnie Raitt. --Marc Greilsamer ... Read more

Reviews (9)

As Close as It Gets!
Let's get one thing straight: as of today 09/15/03, there is no "ultimate" John Lee Hooker collection. But with 31 of his best tracks, this Rhino mini-box comes the closest to Hooker nirvana. (There is a 10-CD set, Epitath, but since it would take a week to listen to it once, I'll pass.) The problem with compiling such a collection is implied in Boogie Man, Charles Shaar Murray's fine biography. Hooker recorded for a number of different labels, especially in his early days, and also under a variety of different names (John Lee Booker, John Lee Cooker, Little Pork Chop, etc.), so it takes a lot of legwork to figure out just which recordings were made by Hooker at all, much less obtain the rights to rerelease them. (Murray spends almost half the book on such detective work.) Therefore, such classic gems as "The Flood" and "Whiskey and Wimmen" are not included in this set. Still, it's a very good attempt. Rhino has chosen to start the collection with the track "Teachin' the Blues," which is an aural primer on how he created his unique sound. Thus educated, the listener can then move on to such primal tunes as "Boogie Chillun" (A live staple for virtually every major blues band from Canned Heat to Savoy Brown, this was the number Hooker chose to perform in a guest spot on the Rolling Stones Steel Wheels tour in the eighties.), "Crawling King Snake" (covered wonderfully by the Doors), "Boom, Boom" (the Animals), and his reinterpretation of an Amos Milburn song, here entitled "One Bourbon, One Scotch, One Beer (which, when combined with John L's House Rent Boogie, was very well covered by George Thorogood). He recorded several such reinterpretations, most notably "Frisco Blues" (In this case, he reportedly didn't try to get the correct lyrics to Tony Bennett's famed "I Left My Heart in San Francisco;" he just sat down and recorded his own off-the-cuff rendition.). In conclusion, there is plenty of John Lee Hooker's best stuff here to warrant a recommendation; it's just not as "ultimate" as his most devoted fans would want it to be.

One of the best available overviews of the Hook's career
So why "only" four stars?
Well, the music is great, but Rhino could certainly have found room for more than 31 songs on two compact discs. And why include two versions of "In The Mood" when songs like "I'll Never Get Out Of These Blues Alive", "Onions" and "Old Time Shimmy" are missing?

The sad thing is that there are really no John Lee Hooker-compilations on the market that truly get it right. Either they're too short, or they're limited by the fact that the compilers were only able to chose from recordings made for one particular record company.
This one is the best of the lot in my view, though. It almost gets it right (although the missing "Never Get Out Of These Blues Alive" is a pretty big minus), and the sound quality is very, very good.

(If you're not against spending a little extra, you might want to look for the fine Vee-Jay compilation "The Early Years", which also spans 31 tracks, and MCA's "The Best Of John Lee Hooker 1965-1974" instead of this album. Those two will satisfy almost everyone. And if it doesn't, there's always the ten-CD "Epitaph" box set.)

Rhino Captures the Hooker.
This is such a nice set.

Almost a primer for the new fan, and a refresher course for seasoned vetrans...John Lee is well portrayed on these very nicely remastered cuts.

Disc 1 starts with his solo accoustic stuff...

"Teachin' the Blues" is a classic blues gem, and this is a great cut of it.

Disc 2 features gritty, rocking cuts of legendary blues tracks including Hooker staples like "Boom Boom," and "One Bourbon, One Scotch, and one Beer."

If you think you like Hooker, this is your starter kit.

If you love him, this little portable collection completes the set.

There is also a 2CD set from Tomato Records that closely mirrors the titles on the Rhino collection but uses different cuts. It is grittier, and poorly produced, but makes a wonderful companion peice to the Rhino set.

Boogie, Chillun.

Good tunes, but compilers show lack of respect for music
This is the first John Lee Hooker album I've ever bought. I love the music, but as a product, it's not worth the price. Originally, I couldn't decide between this and a couple other compilations. I went for this one because it had good reviews and seemed the most complete. I was dismayed to find out that, although there are lots of tunes, many of them fade out right in the middle of the song for no good reason. There was plenty of room left on the disc to have the songs in their entirety (less than 50 minutes of music out of a possible 75?). Personally, I think that fading out tunes like that shows a complete lack of respect for soloing and arrangement. In addition to this, the liner notes are are less than thorough and not too interesting. I would recommend finding another recording of this fine artist.

Now I got this rent, let's have a ball!
People who know nothing about any kind of blues and blues afficionados alike will have a ball with this collection of some of the finest moments of Hooker's long career.

Many different styles and a whole array of production values are laid down chronologically in order to give one a linear idea of Hooker's output.

So many great moments exist on this puppy that I will not begin to list them. There is lots of treasure here - that's for sure. ... Read more

Reviews (11)

Great, but not unique
Robert Johnson's stuff is terrific, no doubt about it; I've been listening to it for 25 years. But the previous reviewer's claim that it is atypical of country blues is completely off-base. Johnson may have been the greatest of the Delta bluesmen. I happen to think he was, though that's a matter of personal preference. But we shouldn't lose sight of the fact that he worked within an established tradition. And that's a matter of fact for anyone with a pair of ears who is willing to listen and learn.

I would recommend that Johnson fans check out the slightly earlier work of bluesmen like Son House, Tommy Johnson and Skip James, to name just three. Moreover, a compilation CD called "The Roots of Robert Johnson" would be a real eye-opener for people who want to understand the origins of Johnson's music.

Isn't it enough for Johnson to be appreciated on his own, real merits? Is it really necessary to make ludricrous claims that he was a total original, at the expense of other wonderful bluesmen from whom Johnson learned? If we want to understand Delta blues and the context of Johnson's work, we need a little less hyperbole and a little more understanding.

Just one of dozens of compilations
If I had to pick sixteen out of Robert Johnson's 29 singles, I would end up with pretty much the same ones that Sony has chosen for this collection.
But having said that, I also have to add that there are dozens of Robert Johnson-compilations like this one on the market, and no good reason to get anything other than Columbia's double-disc "The Complete Recordings". And if you really want a single-disc compilation, go for "King Of The Delta Blues Singers", which, although it misses out on a couple of Johnson's best songs, features the most amazing sound you'll ever hear, thanks to a masterful remastering job.

Contains The Missing Song
The Complete Recordings of Robert Johnson is technically NOT complete as this recording includes the alternative version of Travelling Riverside Blues which was discovered in the Library of Congress collection making a total of 41 versions of 28 songs. Incidently the "missing song" mentioned in the movie Crossroads was "Mr. Downchild" recorded first on Trumpet Records by Sonny Boy Williamson II and found on King Biscuit Time.
'fessor Mojo www.sonnyboy.com

In The Beginning...
All the acclaim and legend surrounding this collection is true, and anyone who is interested in American music really should start here.

A word of caution to the uninitiated, though: Robert Johnson did not play the electric blues which are the staple of modern American blues and the roots of Rock n Roll. This is acoustic blues music, solo vocal with (incredible) acoustic guitar accompaniment. It is amazing, amazing stuff--just try to duplicate the guitar parts and you'll understand what a master Johnson was--but don't be looking for rockin' rhythm sections or the big bass sound of later bluesmen.

Pretty good single disc collection
If you must buy a single disc Robert Johnson collection, and not opt for The Complete Recordings, then this is the one to get. This CD is superior to The King of the Delta Blues Singers. Don't be fooled by the similar titles. This one has a much better song selection than the other, containing more of Johnson's most famous classics. It would still be better to get The Complete Recordings which contains all of Johnson's 29 recorded songs plus alternate takes, but this CD is the best single disc collection of Robert Johnson's music currently available. ... Read more

Reviews (1)

Absolutely!
This re-mastered version contains some of the finest riffs from Sonny. The quality of the sound is unparalleled. Accompanying Sonny and Brownie on 3 tracks are Lightnin' Hopkins and Big Joe Williams. Tremendous enthusiasm and great teamwork! Sonny was born in my adopted hometown. Probably the best product that this city produced. ... Read more

Amazon.com

For the last century and more, the only place in a black American's world safe from the bossman's grasp has been the bedroom. A sense of this freedom in all its audacious raunch and hilarity fairly leaps from this brilliant anthology of bawdy blues recordings from the late 1920s through the 1930s. There are many raw delights to savor, such as Sidney Bechet's thrilling clarinet on "Preachin' Blues"; Tampa Red's Hokum Jazz Band with horny little Frankie Jaxon vamping his lead vocals on "My Daddy Rocks Me with One Steady Roll"; "Don't You Make Me High" by Merline Johnson, the Yas-Yas Girl; and "Get Off with Me" by Coot Grant and Kid Wesley Wilson. The most outrageous gem in the trove is "Winin' Boy" by Jelly Roll Morton, who, in black tie and tails, performed this vulgar masterpiece before unsuspecting governmental dignitaries in the Library of Congress just before World War II. --Alan Greenberg ... Read more

Reviews (4)

Hey there all you Hound Dawgs and Houndettes!
Get your mojo working with this CD from Mojo Records. "The Copulatin' Blues" is bound to put some of ya'll in heat.

This CD contains tracks spanning from 1929-1947. I've only heard of one of the songs before, but there are legendary artists like Jelly Roll Morton, Alberta Hunter, and Sidney Bechet & his New Orchestra.

While the recording quality isn't as good as on "Risqué Rhythms: Nasty 50's R& B", I think it would loose its charm if it was. These songs are rough and gritty. The recording studio did not (or could not) over produce the rawness out of the music so the edges are sharp. These are "race records" being saved from complete obscurity.

The songs offer varying degrees of subtlety from the play-on-words in the song "Yas! Yas! Yas!" by Jimmy Strange, the Yas Yas Yas Man to the explicit version of "Shave 'Em Dry" by Lucille Bogan and the downright X-rated "Winin' Boy" by Mr. Jelly Roll Morton.

"Sissy Man Blues" records the lamentations of a man so hard up for sex, he'll take on a sissy man. And you have to be kin to Hard-Hearted Hannah to pass up Bo Carter's plea in "Please Warm My Weiner." He sounds so pitiful you just want to throw him a bun-or two.

One of my favorite tracks is "New Rubbin' On That Darn Old Thing" by Oscar's Chicago Swingers. It's not as edgy as the other songs, but it gets you be-boppin' to the beat. "Get Off With Me" by Coot Grant and Kid Wesley Wilson wins points not only for being evocative, but for Coot's charming, beguiling voice. She may sound like an innocent girl, but the sailors know better.

Alberta Hunter's "You Can't Tell The Difference After Dark" is the one tune I have heard before. This CD has the original 1935 release and Hunter's torch performance makes me think of Marlene Dietrich. But my first encounter with this song was on "The Glory of Alberta Hunter" album recorded in 1982 a few years before her death when her voice is older and more mature. Lesbian or not, at the time Hunter sounds like a grandmother who knows that there may be snow on the roof but grandpa still keeps the home fires burning. Frankly, I prefer this later version rather than the original on this CD.

Overall there is inconsistency in the CD because of the range of years it covers. You can hear the changes in recording quality and even songwriting ability. "Risqué Rhythms" is a more cohesive compilation because its scope is better defined. But the purpose of this copulatin' blues CD is aptly presented.

Anyway, as a whole "The Copulatin' Blues" is a good investment.

Great Old Blues Album
This is really great material. The lyrics and music are fantastic and really transport you to another time and place. I highly recommend this and related albums including "Reefer Songs" which was also reprinted on this label and anything on the Jass or Stash labels if you can find them.

Raw Blue
A must have for Blues lovers. All the rawness of old blues, celebrating sex or the lack of it, with humor, passion and the sincerity of the true blues singer. Fine audio quality with all the cracks and pops preserverd far behind the vocals. Everything you'd expect from a great label.

It is the Blues
If you like blues I advise you to listen it! They just made it how it must be! ... Read more

Amazon.com

According to legend, it was Son House's blistering bottleneck guitar that prompted Robert Johnson to pick up a six string. House's potent early recordings from 1930 and 1941 to 1942 showcased his raw, emotionally powerful style, but never received the acclaim of Johnson's. When he was rediscovered during the '60s blues revivalist movement, House's voice still possessed wall-shaking intensity and his idiosyncratic slide guitar still had bite. These 21 recordings (including five alternate takes) offer superior fidelity and significant room for House to stretch out. The first disc features his classic "Preachin' Blues," a stirring a capella "Grinning in Your Face," and a nine-minute "Levee Camp Moan," with Canned Heat's Al Wilson on harp. Disc two (outtakes and alternates) includes an odd homage to President Kennedy and a riveting version of the spiritual "Motherless Children." --Marc Greilsamer ... Read more

Reviews (18)

Better Son House Exists
These 1965 recordings by Blues elder Son House are decent. This powerful and compelling singer is aged, but still at the top of his form. The song selection is great, and the sound quality is also good, but better recordings exist. Fans should specifically look at the 1941 Library of Congress recordings capture a younger Son House, and Masters of the Delta Blues, for even earlier Son House songs.

HoosierDaddy
When it comes to the delta blues,this is it!Son House(Eddie James House Jr.)These recordings are a major plus for your collection.I'm trying too find the words to express this review but I can't, just buy it and injoy!

Son House is the real deal. Listen and learn
Son House taught Robert Johnson the slide blues. Son House taught Muddy Waters. When Son House started performing at Blues festivals again in the mid 1960s, some of Muddy's younger band members would start to go off for a smoke or whatever when the old man came on stage. Muddy wouldn't let them. Muddy Waters would tell all his band members to be quiet and pay attention when the man played because even compared with Muddy, this was the real deal.

Rediscovered in Rochester, New York, relearning to play the guitar, (how this country abuses the masters that come from its people, particularly its Black people), put back on the stage by the folk revival's blues section.

People outside of the blues life focus on the guitar playing or the rhythm of the singing, but where the power comes from is the feeling and the words that are put together, the life and the meaning of the blues. Son House in his youth and his old age, on this and his other sides, always gave it.

So Like Muddy Waters, I would like you to know that
Son House is the real deal.
Listen and learn

Essential listening of the highest order
First of all, this is not a pop record. I give it five stars, not because it makes you want to dance and party all night long, but because these recordings are so incredibly intense and so essential to anyone who want to learn about the origins of modern popular music.
Son House was an elderly gentleman in his sixties when these recordings were made, in the spring of 1965 in New York City. Some of these songs were first recorded in 1930, and most people claim that these "rediscovery" recordings do not quite match the power and ferocity of House's earlier sides.
Maybe they don't, quite, and maybe Son House's guitar playing has slowed down a bit, although his health was still quite good when these songs were comitted to tape.
But to me this is still the best place to start. The sound is clean an clear, unlike House's 1941-42 recordings and very much unlike his original 1930 Paramount masters. Son's voice is clear and strong, without the slur that marrs some of his 60s and 70s recordings. And his guitar playing is solid and powerful.

Most of these tracks features just Son House and his large steel-bodied National guitar, played usually with a metal slide, but on a few cuts, House is accompanied by Alan Wilson (later of Canned Heat) on either guitar or harmonica. This pairing works especially well on the 9½-minute "Levee Camp Moan" where Wilson plays harmonica fills which bolster the sound without ever becoming obtrusive.

This man is without a doubt the most intense performer I have ever heard, overshadowing even the might of the Howlin' Wolf. Son House's voice cuts through the air like a knife, belying his age, and he plays his guitar like a stringed drum, snapping the strings and coaxing mornful wails from the copper slide.

The nine tracks on disc 1 were the ones originally issued. They feature the incredible intensity of "Death Letter" and "Grinnin' In Your Face", the powerful call-and-response slide guitar workout "Pearline", and of course "Preachin' Blues", "John The Revelator" and the epic "Levee Camp Moan".
Disc 2 contains alternate takes of all of these tracks, plus several previously unissued recordings such as House's rendition of Charley Patton's "Shake It And Break It" and the tracitionals "Motherless Children" and "Yonder Comes My Mother (when the roll is called up yonder)", as well as a re-recording of "Pony Blues" and Son House originals "Downhearted Blues" and "'A' Down The Staff".

The fact that this two-disc set features several alternate takes, and a total of 21 songs, should deter no-one. This is one of the very few totally essential albums for anyone with even the remotest interest in traditional Delta blues, and this is the very best place to start appreciating the power and glory of the great Son House.

Skip the single disk version. Get the whole thing.
The problem is after listening to Son House everything else seems decidedly low-wattage. Look at how Death Letter Blues bludgeons your psyche:

I got a letter this morning
How do you think it read?
It said the gal you love is dead.

I got up my suitcase,
took off down the road.
When I got there she's layin'
On a cooling board.

I walked up right close,
looked down in her face.
Said "Farewell honey,
I'll see you Judgement Day."

After that sort of thing, Dave Matthews and his "angst" isn't really something for a reasonable person to get worked up about.

His lyrics always obey the "show 'em, don't tell 'em" aesthetic. When he sings "Late in the evening, I went out on the outskirts of town; I choose me a seat, and watch the evening sun go down" you know exactly how he's feeling. And the guitar playing? Good Lord.

So Son House is a must. The only question is what to buy first. House recorded three times: seven sides for Paramount in the 1930's, nineteen songs for Alan Lomax in the 1940's, and then this session in the 1960's. I'd say that this two disk version of the Vanguard stuff is essential. (I bought the single disk version and regretted it.) The complete Alan Lomax field recordings are on a disk called "Complete Library of Congress Recordings 1941-1942". The Paramount stuff is best heard on the Document CD "Complete Recorded Works". There are some other compilations (Delta Blues, Preachin' The Blues, etc.) but they don't give you the complete picture.

I'd say buy this Vanguard stuff first. As you move back in time the performances get more fiery, but the sound quality gets much, much worse. So start here until you get yourself acclimatized.

(Also check out his buddy Charley Patton.) ... Read more

Amazon.com

This impressive album assures that New Orleans music will live strong and healthy into the next generation. A collaboration between a couple of once upstarts, now stalwarts of the new roots-music generation, this is good-time music. Corey Harris plays slide-steel guitar and about 90 other styles, slipping his strings between the 88 piano keys that Henry Butler dances across. On the collaborative tracks, which make up most of the album, their two instruments leave no room for others. They're tight as yarn, weaving together like a Mardi Gras Indian headdress. Each also makes solo performances. They've been compared to great partnerships like Tampa Red and Georgia Tom, but this suggests too much of a historical sound; Harris and Butler are thoroughly modern. Comparing them to Professor Longhair and Snooks Eaglin is accurate in spirit, but Vü-Dü Menz is so fun, no background is needed to enjoy it; even Martians would shake their hips to this much swing. --Robert Gordon ... Read more

Reviews (6)

Innovative!
Corey Harris, perhaps the most innovative new artist on the blues scene today, traveled from his Charlottesville, VA home to team with Louisiana jazz pianist Henry Butler for an album that fuses delta and Crescent City blues and jazz styles. The subject matter ranges from political to spiritual to social to just plain fun. This cd is fresh and smart, and forges new territory in roots music.

Truly Special Blues Contrast and Interaction
Henry Butler being little known outside of blues circles and New Orleans, where he is slowly but surely approaching legendary status, my friends often ask me to describe this music of which I am always speaking so highly. My standard reply has become, "If Mozart had decided to go into blues and funk, he would play the piano like Henry Butler." His voice might be described in a similar manner, replacing "Mozart" and "play the piano" with "Pavarotti" and "sing" (the voice comparison is more appropriate than one might think--he has a very unique, powerful, and loud classically-trained voice). If the word about him escaped to the mainstream, his pure technical mastery, knowledge, and creativity could very well turn him into a household name almost overnight, which would be saying something for a blues artist in this day and age.

Butler's blues style is centered around taking standard, irrestible New Orleans piano riffs made famous by artists like Professor Longhair, James Booker, and Dr. John, and attacking them with a strong, unbelievably rythmic left hand, then putting a jazz-influenced right hand with no limitations on top. As George Winston describes him in the liner notes to "Orleans Inspiration," he is easily a "one-man band" The result is a very new, exciting, downhome, funky, and very often "out-there" style of blues.

When I saw that Alligator paired him with Corey Harris, an artist whom one could transplant right into the age of Robert Johnson and never know that he didn't belong, my first reaction was one of pure curiousity.

The music and guitar playing of Corey Harris, in a way, can be considered just as "modern" as the artistry of Butler. While Butler is attempting to take the blues places it never imagined it could go, Harris is taking the blues right back to where it started, and in a way which few other artists, if any, have been able. Whatever the exact ingredients are that made up classic delta blues around the 1920s, Harris knows them all backwards and forwards. On the other hand, many artists attempting to accomplish a similar feat either come off as indecisive as to how to put a modern spin on it, or simply "pretenders".

And yet, despite each artist being so different from the other, on "Vu-Du Menz," they both hit upon a common ground which allows them to create an intense, funky, and often very introspective take on traditional blues which could not be equaled by a pairing of any other two musicians. It's Delta Blues meets Professor Longhair meets The Meters. The only complaint one could have about this album is that they are not paired up for every song on the CD, opting to do some solo performances. Those songs are outstanding and intriguing as well, but we can get those when those two are not busy creating a classic album together.

While every song on this album can be considered "a highlight" as well as an entity unto itself (the variety was carefully and perfectly thought out), there are three songs which deserve three asteriks instead of just two. "Mulberry Row" is a mean-sounding, funky blues tribute to Sally Hemmings (how many other songs could one describe in the same manner?). "If You Let a Man Kick You Once" is a light, dixieland-influenced piece that might leave one wondering exactly how a song with such a classic, catchy melody and lyric made it through almost an entire century of blues without somebody else writing it. "Didn't My Lord Deliver Daniel?", in which Harris takes a solo turn, is a quiet and slow yet powerful take on a traditional tune that might lead the listener to shut off every thought and sound around except for the rough beauty of Harris' voice and understated guitar playing.

This album has already been received by many in the industry with rave reviews. As with all classic albums, as times goes on, all will probably realize just how truly special a pairing "Vu-Du Menz" represents.

**Also recommended for Henry Butler fans: the out-of-print, larger-than-life "Orleans Inspiration," live from Tipitina's in 1989**

Great From Start To Finish
Being a big Henry Butler fan, I was very interested to hear that he had collaborated on an album with Corey Harris. I wasn't sure what to expect, but what I didn't expect was an album that is a joy to listen to from the first song to the last. With a very generous 15 cuts, there is barely a weak moment on the disc. The songs on the album are at the same time soulful, upbeat, and catchy. Stand-outs include: "Mullberry Row", "If You Let A man Kick You Once", and "No Substitute For Love". The production is crisp and clean. Corey Harris' voice is strong and forceful and Henry Butler's piano is crystal clear and mixed just right. If you are a fan of Blues piano, this is a must have album. I love it more and more every day. You can play it loud or as background music.

NEW ORLEANS BLUES
VU DU MENZ COMBINES THE PIANO PROWNESS OF HENRY BUTLER AND THE NATIONAL RESONATOR GUITAR OF COREY HARRIS WITH BOTH MEN SHARING AND ALTERNATING THE VOCALS. THOSE UNFAMILIAR WITH THE VOCALS OF HENRY BUTLER SHOULD CLICK ON "LET 'EM ROLL" OR CHECK OUT ONE OF BUTLERS PREVIOUS CD'S SUCH AS "BLUES AFTER SUNSET". PRIOR TO THIS CD THESE TWO INDIVIDUALS COLLABORATED ON A COUPLE OF TUNES ON COREY'S "GREENS FROM THE GARDEN" CD. APPARENTLY AT THAT TIME THEY DECIDED TO RECORD AN ENTIRE CD TOGETHER. THE RESULT IS VU DU MENZ AND THE DUO PERFORMS VERY WELL TOGETHER. BUTLERS PIANO PLAYING GIVES THIS CD AN OVERALL FAMILIAR NEW ORLEANS BLUES SOUND. THIS CD WILL APPEAL TO FANS OF DR. JOHN, PROFESSOR LONGHAIR, JAMES BOOKER, AND OTHER PIANO ORIENTED BLUES BANDS. OVERALL A GOOD EFFORT. MY ACTUAL RATING IS 4.5!

very authentic sound
Yet another masterful recording from Corey Harris! This album includes Harris and pianist Henry Butler. Henry Butler is an extraordinary player, and his playing and Corey's accompany each other excellently. High points on this recording include "Let Em' Roll," "Mulberry Lane," and Shake What Your Mame Gave You." Harris once again has crafted an excellent recording with many fine songs.A must-get! ... Read more

Reviews (8)

Awesome
"Son House & The Great Delta Blues Singers" isn't entirely devoted to Son House. There are cuts by several other musicians, including Rube Lacy, Joe Calicott, and House's onetime playing partner Willie Brown, but this disc, which contains Son House's complete 1930 session, is the best place to get his earliest songs.
The sound quality is not excactly stellar, mainly due to the inferior quality of Columbia Records' original masters and horrible quality pressings, yet the power and intensity of Son House's huge voice and slashing slide guitar playing cuts through the pops and hisses like...well, a cutting thing. Knife and butter, brick and window, you make the choice.
Also, this CD is one of the very few which features both the previously unreleased test acetate of "Walking Blues" (the basis for Robert Johnson's song, not the other way around), and the second parts of House's three two-part singles. Listen to "My Black Mama part II", and you'll recognize it as the original version of "Death Letter Blues", complete with House's magnificent, wailing slide guitar riff.

House's seven songs are the highlights of this collection, but there is a lot of other stuff here which is certainly of interest to fans of classic Delta blues. The gruff-voiced Willie Brown's two cuts are almost as powerful as Son House's, particularly the great "Future Blues" (listen to Brown snapping the bass strings).
And fine waxings by Kid Bailey and Joe Reynolds in particular makes this a great collection of Delta blues as recorded by Paramount Records in 1929-30.

A COLLECTION OF SOME OF THE FINEST DELTA BLUES
I absolutely love this CD and find myself listening to it over-and-over again. I ordered it for the Son House material but have found the Willie Brown and the Garfield Akers songs to be every bit as fantastic! Although I especially like the three musicians already mentioned, there is not a dud in any of the remaining tracks. If you like delta blues and don't have this CD you are missing one of the greatest musical treats you're liable to find.

The Greatest
In my opinion, Son House was the greatest of the Mississippi Delta bluesmen, whether you are listening to his astounding Library of Congress tracks from the 1940s, his historic studio album with Columbia in 1965, or his frightening live performances during the blues revival. The songs on this collection, however, are from his first and only session for Paramount way back in 1930--there are seven tracks in all.

Son House's playing was phenomenal. He was ferocious on the slide guitar and his growling and moaning vocals can--and will--make your skin crawl. "My Black Mama" (which was later reworked into his most famous song, "Death Letter Blues"), is Son at his best. "Preachin' the Blues", unfortunately, doesn't exist in a highly listenable format (the only known copy is a damaged 78) and is clouded by white noise, but much of it has been digitally cleaned. This is such a powerful song--and one of Son's signature tunes--that it has wisely been included on this collection.

Document has also included songs from Son House's contemporaries, namely Willie Brown, Rube Lacy, Kid Baily, Garfield Akers, and Blind Joe Reynolds. While shadowed by the geniuses of Son House, Skip James, Tommy Johnson, and Charley Patton, these 'lesser' artists should not be overlooked. Each had his own style and the tracks included here are great. Standouts include Willie Brown's "Future Blues", Garfield Akers' "Cottonfield Blues", and Rube Lacy's "Mississippi Jailhouse Groan".

This collection is valuable to any fan of the Delta blues--those who are fans of the great Robert Johnson (who isn't?) will learn that he found much of his inspiration in these recordings. While Johnson has surpassed House in fame and recognition, it's arguable that he held the highest talent. Only Son House can make your hair stand on end with his wrenching weeps and groans.

A collection with the roots of the great american music
Son House is certainly the king here. But all the other performers here were also top-notch delta blues performers of the 20's-40's. Son House is leading of this collection with his classic Grafton, Wisconsin 1930 recordings. Incredibly powerful, magic and enduring music that set the stage for things to come. That voice is just stupendous! His slide guitar is a killer too. Robert Johnson and Muddy Waters were avid followers of this man and incorporated some of Mr. House's songs, and way of playing in their music. The first 6 songs is from 3 officially released 78's in 1930. 'Walking blues' was a test recording, that ironically was not recorded for official release, though being one of Son House's theme songs. A great song anyway, and you can hear the inspiration that influenced a lot of blues artists up to this day. Another seminal figure here is Willie Brown. He used to travel around with Charley Patton and Son House in the delta, being a superb accompanist and guitar player. His two only recordings are masterpieces of the genre, powerful and classic stuff with strong lyrics. The other performers on this CD collection are all great performers in their own right. Blind Joe Reynolds was a more engimatic figure of whom little details are known, but his songs are great with fine guitar playing. Ruby Lacy was an influence on Son House and his two songs here are typical of classic delta blues. He became a Reverend some years later. You won't find much better blues than this anywhere.

Really THE BLUES!! (Can your heart stand it??)
This remarkable CD features the work of performers from the Mississippi Delta region that later spawned Robert Johnson and Muddy Waters and so on;it was a pretty tight-knit community with the musicians often knowing one another;such were the case here - Son House and Willie Brown knew Charley Patton (they all traveled to Grafton Wisconsin to cut records for the Paramount label)and House is of course the pivotal figurehead on this CD,-if youre faint-hearted this music is not for you,unfortunately,-no,this is the Holiest-God honest BLUES if ever there were such a sound.House rips his guts out in a flurry of white heat and intense passion,whether he grapples with the flesh vs, the spirit in "Preaching the Blues" or with the disasterous drought and crop failure in "Dry Spell Blues" AND his unfettered lusty despair on "My Black Mama" ;Willie Brown cut only two sides at his session but they cleary equal anything else in the Delta. I Fully agree with the gentleman from Jerusalem,naday haber,there IS a powerful African folk song influence all over this CD,-if anything it forces us to revise how we think about the Blues and its great history.The Roots of the Delta Blues emanate straight from the African villages,and if you like the low-fat Eric Clapton sort of 'Blues' then DONT buy this CD! BUT if youre not afraid to be exposed to raw naked human emotion then BUY THIS CD. If anything it'll cause you to rethink Robert Johnson's place in the historic pantheon,yes,he deserves his acclaim,but This community of artists made him possible to begin with.Mr.Naday Haber you are a most perceptive critic!Thank You!! ... Read more

Album Details

One of the Most Influential and Original Blues Musicians, Lonnie Johnson Virtually Created the Modern Blues Guitar Style on his Own, Sending the Music off in the Direction it Has Subsequently Taken. Combining Elements of Jazz Into his Technique Meant that He Blurred the Boundaries Between the Two Emerging Musics During the '30s, Later Slipping Out of Music Only to Return as an Elder Statesman in the 1960s. This Lavishly Presented Four CD Set Takes in all of the Recordings Made Between 1928 and 1952 that Created a Blues Legend and also Includes Comprehensive Liner Notes and a Full Discography. ... Read more

Reviews (4)

The other side of the Delta
Skip James was a contemporary of Robert Johnson who possessed an eerie falsetto voice and pristine fingerpicking. James quit music entirely after making some legendary sides in the 30's and this recording was his first in over 20 years. The title track, his anthem for the Great Depression, was featured on "Oh, Brother Where Art Thou?" when Chris Thomas King played it by the campfire. This album intimately captures James' haunting playing and offers a chance to hear an original master in a high quality recording.

Excellent Remastering of a Classic Album
This remastered edition of Skip James' 1964 Biograph LP GREATEST OF THE DELTA BLUES SINGERS is a testament to how well his material as aged over the past four decades. James first recorded for Paramount in 1931 and then virtually disappeared until 1964 when (among others) John Fahey rescued him from obscurity. It had been nearly 20 years since James was convinced to perform at the 1964 Newport Folk Festival. His reception prompted him to enter the recording studio for the first time in 30 years. The result is this amazing album. Twelve stellar songs featuring James' haunting falsetto and stunning picking. There's an eerie quality to James' music that will give you chills. One listen will convince you. HIGHLY RECOMMENDED

A Blues Classic Remastered!
It might not be readily apparent, but this is not a compilation but a straight reissue of Skip James's finest album, originally recorded in the mid-'60s. Actually, it's not quite a straight reissue--in addition to the remastered sound, it has a new (and superior) cover and a shuffled track order. It also has very good liner notes that I think were included in the original release. According to the notes, half the albums are new version of classic tracks he recorded for Paramount in the '30s. The others are completely new songs. This is a seminal blues album that belongs in ANY blues collection.

A Haggard and creaky musical euphoria.
The late Skip James rules! This is true musical bliss, powerful in all its' worn beauty and solitude. Skip James is my hero! ... Read more

Reviews (8)

This guy deserves to be heard
It's not surprising that Blind Lemon was the most popular bluesman of his era for when you have the pleasure of hearing him for the first time you are subconsciously captivated by a voice which is obviously blessed with such rare subtle harmony that it can only be desribed as other worldly.
In fact other worldy is probably how I would describe this music as although it often follows rythmic patterns of conventional country blues, Lemon adds his own quirky notes which embellish the fingerpicking basslines and his greatest asset - his voice and the end result, although defined as blues, falls outside the traditional blues canon.
I highly recommend this CD as an overview of his work. The first time I heard Lemon was on a blues compilation CD featuring his great hit Matchbox Blues, and while that hooked me instantly I could tell that in this compilation the tracks had been remastered to a higher standard.
Be aware that there will be hiss on any Blind Lemon recording, this music goes back to the 1920's afer all, a fact which makes these timeless melodies all the more astonishing.

Excellent overview
Taking the place of Yazoo's previous compilation, 1985's "King Of The Country Blues", this fine collection of Blind Lemon Jefferson's prewar singles is just about the best on the market (unless you want to spring for JSP's superb four-disc boxset "The Complete 94 Classic Sides").

The earliest of these 23 very well-chosen cuts are some of the first electrically recorded songs, and there is generally quite a lot of surface noise present, but that is the case with every available Blind Lemon-compilation, and this one is certainly one of the better sounding, along with Catfish's equally excellent Blind Lemon-CD "Squeeze My Lemon".
Lemon Jefferson was one of the pivotal figures of early 20th century blues, and one of the most important and influential bluesmen ever to come out of Texas...an intricate guitar player and a fine songwriter whose best songs ("Match Box Blues", "See That My Grave Is Kept Clean", the eerie "'Lectric Chair Blues") are all part of the fabric of the blues.
Highly recommended.

One of The Original Bluesmen
Along with men like Frank Stokes, Charley Patton, Furry Lewis, Mississippi John Hurt and Cryin' Sam Collins, Blind Lemon Jefferson was one of the original bluesmen. Although it's commonly thought that he was born in 1897, more recent research has suggested that he was born in 1893. During the years of his adolescence, the blues was first beginning to take shape. Songs like "Black Horse Blues," "See That My Grave Is Kept Clean," "Matchbox Blues," "Corinna Blues," and "Rabbit Foot Blues" are all absolutely essential to anyone's blues collection, or to their general understanding of American music. Jefferson's strange and unconventional vocals controlled and dictated what he played on guitar. His guitar playing was highly influenced by the Flamenco playing of Mexican workers whom he lived near during his life. His lyrics are bright, original, often sarcastic and humorous, and great poetry. Unfortunately, both this disc and a Yazoo Blind Blake disc that I have, often skip when I play them. Better luck to others who purchase this Jefferson disc!

Excellent unconventional blues
After listening to HARP's "Make Me a Pallet on the Floor" which is Blind Lemon's "Out and Down", and listening to the Carter Family's "See That My Grave's Kept Green" which I confuse with Blind Lemon's "See That My Grave's Kept Clean", I obviously had to return to The Best of Blind Lemon Jefferson. As always it is an absolutely luxurious aural experience -- the joyful beat of "Beggin Back", the early gospel sound of "He Rose From the Dead", the haunting blues of "'Lectric Chair Blues". Blind Lemon's music evolved as a street musician with more freedom in his beat than those bluesmen who played for dances. Add a voice that he used superbly ... understandable, musical, emotional. Others may have recorded the same songs as he but few have matched his performance.

For more detail on this collection, see the review by bigthumb.

The most accurate sounding Blind lemon Jefferson cd
This man is the foundation of country/texas blues; everyone has been directly or indirectly influenced by him.This collection is the most accurate representation of Blind lemon jefferson's music;which includes country blues,spirituals & folk songs.Being a texas country bluesman myself; in my opinion, Blind Lemon Jefferson & Charlie Patton are the best bluesmen that ever lived . ... Read more

Album Description

Take two critically acclaimed bluesmen, team them up in a recording studio, hit the ‘Record’ button, and listen as the magic begins to flow. Case in point: Kenny Neal and Billy Branch’s new Alligator album, DOUBLE TAKE. Kenny Neal is a critically acclaimed triple-threat bluesman, whose guitar and harmonica prowess are matched note for note by his soulful singing and passionate performances. Billy Branch is among the best blues harmonica players in the world. He is a gruff and potent vocalist, a groundbreaking solo artist, a valued session player and leader of the venerable Sons Of Blues. Neal and Branch got together in a studio in France in 1998 and recorded a magnificent acoustic album (released only in Europe), paying tribute to past musicians and laying the path for a bright and uncompromising future for the blues. Now that album—DOUBLE TAKE—is finally seeing the light of day in the United States. From St. Louis Jimmy’s Goin’ Down Slow to the Little Walter gems My Babe (written by Willie Dixon) and I Just Keep Loving Her to Sonny Boy Williamson’s Don’t Start Me Talking to the originals Billy and Kenny’s Stomp and Northern Man Blues, the two trade vocals in a relaxed and warm meeting of styles, riffs, whoops and hollers. Blending deep blues tradition with a contemporary, pulsating edge, Neal and Branch deliver a foot-stomping and spirited look into the blues through the eyes of two remarkable musicians who will continue to be at the forefront of the blues world for many years to come. ... Read more

Reviews (1)

Great blues
This is a fantastic piece of work, I am a blues musician and I know good blues. If you buy this disc you will not be sorry. These two go together like butter and toast. ... Read more

Reviews (2)

Much More than I Expected
Of all these JSP box-sets I own, none has been a bigger surprise to me than this one. I bought this one as a curiosity but it is much more. Going by the tracklist there were a handful of people I knew, but most were new to me. If this exact same box had been released by another label and was more along the lines of $40 to $60 I would have never purchased it. Knowing JSPs reputation for quality transfers and low prices I just decided to go for it, hoping along the way that there would at least be 2 discs worth of stuff I enjoyed. "At least" certainly came true!

This may be the singlemost entertaining JSP box I own (given what they have released so far)! The sheer number and diversity of artists and styles presented here makes it possible to sit down and listen to this whole box in one sitting and all the way feel like you don't know what's coming next.

From songs you've never heard of (and may never hear elsewhere again), to songs with familiar themes, to a handful of tunes that are straight-up rip-offs of tunes by famous musicians, it's all here. King Solomon Hill's "Whoopee Blues" is probably my favorite rip-off tune here. It being Lonnie Johnson's "She's Making Whoopee In Hell Tonight". I say rip-off because I have to assume that Lonnie didn't see a penny worth of royalties from this cover of his tune.

That will be my only mention of specific tunes/musicians. The magic of this box is that it is about no one and everyone. There are a couple relative stars here (in the eyes of history), but for the most part these are musicians whose voices and work have been forgotten by time. You listen to this box-set and you'll be wondering why. More than being about any one person or any one style, this box is a tribute to an era and a culture. An era where music was like the work of that era itself... you made it your own self and you did it with your own two hands. A culture that made the most out of a horrendous situation that should have never existed in the first place.

As for the technical sonic quality, it is everything that is Paramount. Most of the sides contained here are in that "average to very good" range. A couple of them are cleaner than any other Paramount sides I have ever heard, and there are only a couple that could be considered in that "Wow even bad by Paramount standards!" range. If you already own a substantial amount of Paramount sides you have absolutely heard alot of things that sound alot worse than the majority of what is here. JSP has done another wonderful job with the transfers. I hope every single person at that label is proud of this box! Another thing that must be said is that if you like some pre-war stomp-down blues piano, this box is definitely for you.

If you've been eyeing this one and "Should I or shouldn't I??"... you should. You really should. I think you'll be pleasantly surprised, to say the least.

5 stars - and a nobel prize
Wow! JSP certainly deserves some sort of award for making this historic collection available.If you're reading this, I assume you already know about the Paramount label, which recorded some of the greatest "race" (as they were called at the time) records ever.Superstars on Paramount included Blind Lemon Jefferson, Charlie Patton, and Blind Blake.The set collects many of the lesser known artists who recorded sides for the label.Someone more expert than me would have to verify this, but I imagine that some of these sides are being issued on CD for the first time ever.What's amazing is the consistency of quality and the originality and charisma of even the most obscure artists here.The variety makes this one of the most entertaining box sets I own.This is old-time blues of every kind: barrelhouse, delta, hokum, jazzy, gutbucket, you name it.I know it's saying a lot, but this belongs on your shelf not far from the immortal "Anthology of American Folk Muisc," and unlike that set you won't have to take out a loan to make the purchase.I have a very minor complaint that the notes jump from factoid to factoid and are somewhat confusedly written: a more well-written, thorough, and sequential history of the label and some of these artists would have been appreciated.But JSP did a great job with the music, and that's what counts. Superb! ... Read more

Reviews (7)

The best!
The JSP label's blues box sets featuring Charlie Patton, Blind Lemon Jefferson, Blind Willie McTell and Big Bill Broonzy are among the best-sounding prewar blues compilations on the market, and this is without a doubt the best Patton-collection of all. Just look at the price! All of Charlie Patton's awesome recordings, as well as several sides featuring him as a sideman, and a number of recordings by Patton-associates like Willie Brown, Louise Johnson and Son House (all of House's 1930 Paramount singles are included). And this music have never sounded better than it does on this exquisitely remastered and well-annotated collection.
Patton and Son House were the two most important and certainly most influential prewar blues singers, as well as being two of the most impressive. All serious blues lovers should have this fine boxed set in their collection.

POOR RECORDING BUT GOOD
ITS HARD TO UNDERSTAND WHAT EXACTLY WHAT PATTON IS SAYING BUT ITS THERE SO WITH THAT BEING SAID I HAVE TO SAY IT IS A GOOD RECORDING. THAT DARK HAUNTING AND EERIE SOUND IS PART OF THE BLUES AND NO ONE DID IT BETTER FOR HIS TIME THAN CHARLEY PATTON HIMSELF. HE WAS THE BEST AND THE PEOPLE THAT FOLLOWD AFTER HIM INCLUDING ROBERT JOHNSON SHOW HE WAS A MAN OF GREAT IMPORTANCE IVE WALWAYS SAID IF ANY ONE WANTS TO LISTEN TO MUSIC THEY SHOULD LISTEN TO THE GREATONES AND CHARLEY WAS JUST THAT SO ILL GIVE 3 1/2 STARS TO A VERY GOOD COLLECTION. OH AND IF ANYONE WANTS TO BUY OTHER RECORDINGS OF HIS WORK FORGET IT THIS IS THE BEST REMASTERD AND RESTORED COLLECTION OF HIS WORK ON THE MARKET.

nice, for the price.
i have another 5-disc compilation from this same company, and both were 25 bucks for 5 cds. very nice.

the mastering is decent, and the liner notes tell the story of charley patton in five parts. since describing the tracks or music that is actually contained on the cd is nearly impossible, i will spare you a lengthy bunch of confusion. i can tell you that charley patton was doing blues before most people were doing blues. he was one of the first recorded artists in this style, which is why these cds say he is the "acknowledged king of the delta blues" all over them.

Blues With A Feeling
Blues composer and performer, Sleepy John Estes claimed that you could hear Charley Patton's unamplified voice and guitar at a range of 500 yards. Estes may have exagerated a tad but think about the power of a voice you could hear even at the range of 100 yards. Charley Patton's recordings were made out of the cheapest available vinyl (used to make bowling balls) and were scratchy sounding even when they were released. Paramount felt that their "race records" didn't warrant high quality vinyl. One of my childhood preoccupations was listening to the Yahoo releases of Charley's material and trying to figure out what the guy was signing under the white noise buzz and pop of surface noise. Such a powerful voice and such awful recording technology. Now going on 80 years since their orginal releases, someone has finally made all of Charley's releases listenable. I could go on about Patton's widely imitated guitar playing, his dark allegorical lyrics, his consumate performing style or his carefully crafted image as a rebel, but you still will go back to that powerful voice. And now justice has been done to his awesome legacy of music... and justice has been done to the listener with the release of "The Complete Recordings" which offers this amazing 5 volume CD set at a price only slightly above the cost of a single CD. Maybe there is a Santa Claus, Virginia.

Outstanding value; good remastering
For anyone who wants Patton's complete recorded works, but who doesn't want to spend half a paycheck on the Revenant Box Set, this 5 disc JSP collection is an unbelievable value. I was flabbergasted when I discovered it online the other day; I couldn't believe it was so cheap. It contains everything on the Revenant set except the interviews and the bonus disc of music by Patton's contemporaries. It does, however, contain Son House's overpowering 1930 recordings (everytime I listen to them my stomach drops). What else is there to say? This is glorious, intense, and important music.

The remastering is very good, but not without its drawbacks. I love JSP's Django Reinhardt and Louis Armstrong remasterings. The Patton recordings here have the same full, glowing sound (with more hiss and crackle, of course, because of the atrocious quality of the original Paramount 78s). Patton's voice is remarkably intense; one can gain a sense of what a powerful instrument it must have been live. Turn up the volume, and it will hit you in your gut. You can literally feel his throat's rough vibrations, his subtle bending of pitch. The slide guitar pieces ("Oh Death" and "Spoonful," for example) come through quite well. They are deep and resonant.

At the same time, as with every remastering of old 78s, something is lost in the transfer. These remasterings seem vacuum-packed, as if all the all the air in the room had been sucked out. Patton's voice is brought forward, but as a result, some of his guitar work seems muffled. It is as if the remastering aimed to simulate a modern recording studio, allowing only sound from the the guitar and voice to come through. This eliminates one of the best aspects of 78s: their open, echoing sound. (This problem, however, is not nearly as bad as on the Catfish reissue.)

Compare this with the Yazoo reissues (my favorites). There is more surface noise on the Yazoo albums, but this also allows more room for the sound to breathe. One can hear the full range of the sound. There is also a more vivid, lifelike tone on the Yazoo Patton, even if he seems a little distant at times. It is easier hear the wistful echoes that Patton built into his work. By contrast, the JSP recordings are much more intense; Patton's growl is right at the surface. In short, the intensity of Patton's voice on JSP is a revelation, but the set does not convey the full, sparkling range of sound found on Yazoo. ... Read more

Album Description

• Part of