Album Description

Because both Cephas and Wiggins were born in Washington, D.C., they bring an urban sophistication to the traditionally rural blues they perform. With their new album (and third for Alligator), SOMEBODY TOLD THE TRUTH, Cephas & Wiggins' spirited and seamless mix of both original and classic material sheds a bright light on Piedmont blues. Of the album's 13 songs, Cephas wrote or co-wrote three and Wiggins wrote two. With the solid mix of brightly played music fueled by Cephas’ gently rolling guitar and vocals and driven by Wiggins’ freight train chugging harmonica, Somebody Told The Truth is the antidote for anyone who still thinks blues music is a soundtrack for sadness. According to Wiggins, "People automatically think of sadness and depression when they think of blues. But the blues is uplifting music, music to rejuvenate you, to nourish the spirit. When you get down, the blues will pick you up again." ... Read more

Reviews (3)

Great classic delta blues
I bought this as my first Cephas & Wiggins disc and it was definitely worth it and I'll try others. The is stripped-down, raw delta blues played in a modern studio and it sounds as good as you would expect. It's a happy collection of songs, good for the soul but light enough that it's not distracting if you need to get some work done while it plays in the background, and not annoying at all if you leave it repeating all day.

Simple and good!
In today's overproduced, overhyped world of music, it is refreshing to hear two really talented guys play acoustically. I love the combination of old chestnuts like "Stack and the Devil," "Railroad Bill," "Last Fair Deal," and "Darling Cora" combined with new, refreshing stuff like "Pimp in the Pink Suit" and "Forgiveness." This is great roots music that doesn't try to hard for that studio sound, but at the same time shows some excellent musicianship. The great ones always make it look so easy...

sheer joy
As a rule John Cephas and Phil Wiggins aren't dark-night-of-the-soul bluesmen, or even bluesmen in the strict sense. Which is to say that other kinds of traditional Southern genres also grace their repertoire, including ballads (e.g., "Darling Cora," rarely covered by African-American performers) and gospel (Wiggins's touching original "Forgiveness"). "Reno Factory," first recorded on a Flying Fish album in the 1980s, puts rarely heard lyrics to the often-heard, Reconstruction-era folk song known variously as "Reuben's Train," "900 Miles," and more.

The fun these guys are having through it all is palpable, and it's infectious. This is African-American roots music at its most extroverted and celebratory. I have no doubt that Brownie McGhee and Sonny Terry, two giants of Piedmont music and Cephas and Wiggins's most direct inspiration, would have loved it. The tradition, it is clear, remains in good hands. ... Read more

Reviews (3)

"Blues" finds its hope in "Faith" via blind guitarist...
Gary Davis was born blind, black, and broke in South Carolina in 1896. Big obstacles, but he also was blessed with talent and got paid for his guitar-pickin' by the time he was a teen. Ordained as a minister at age 36, he changed his song inventory to Gospel and hymns exclusively. He ended up in NYC, performing at mostly Black churches and on the streets. In the late '50's, the "Folk Revival" of blessed memory provided him a brief celebrity beyond those venues. This album was recorded in 1960 at the Jersey jazz studio of the legendary engineer Rudy Van Gelder. You get 44 minutes of soul survival stuff here, and any blues buff ought to own it. The more casual fan may have to listen a few times to really like Gary's vocals, but his guitar work is fun from the first chord. The recording quality is excellent. To me, the only flaw is that each song would have benefitted from one fewer sung verse, and one more instrumental passage. It's not that Gary's voice is any more rough than other bluesmen. The problem is that the lyrics of these church songs belabor the point and get a bit repetitious. Still, he was one of the best of his kind. Imagine him at 64, alone in the recording booth for three hours, doing 20 songs, of which these are supposedly the best takes of the best 12. He had not recorded anything in four years: in fact, he had only recorded in 1935, '54 and '56 prior to this August 24, 1960 session. On that day, Kennedy and Nixon were running for president, the Pittsburgh Pirates and the Yankees were heading toward a classic World Series, and I was living about 40 miles south of the studio, getting ready to begin 11th grade. Rev. Davis was doing something more important: preserving the Black church songs of early 20th century for posterity.

The Best Davis Introduction Available
My collection includes all of The Reverend's recorded works. If you are going to buy just one Davis disc -- or if you are looking for a good introduction to this Blues/Ragtime master, "Harlem Street Singer" is unquestionably the best choice. The recording captures Davis at his most passionate vocally and at this top of his game as a gutarist. A lot of his early work suffers from poor recording technology, however this disc sounds like it was cut in a 21st Century studio.

I'm not a religious person, but Davis' music is almost enough to send me running to church. The piercing conviction of the lyrics and sycopated guitar in Twelve Gates, Great Change and Samson and Deliah still send chills of guilt up my spine.

As good as it gets.
If you enjoy both blues and gospel music, you will discover on this CD that for Reverend Davis there is no distinction between the two forms. Samson and Delilah and Death don't Have No Mercy were tunes that influenced The Grateful Dead and other Rock bands, but here you get the full, original impact of these songs.

Reverend Davis was without question one of the greatest blues guitar stylists ever, and this album captures some of his strongest recorded work. The importance and beauty of this recording cannot be overemphasized! ... Read more

Reviews (3)

Splendid
Blind Blake's guitar style has been very influencial in the history of the blues and this album has many of his best tracks on it. It is certainly easier to listen to than the old vinyl release. I guess that noise reduction stuff works to some extent. I know that the master recordings were lost long ago and this was taken from production 78's. So with that in mind, the sound quality is probably as good as it's going to get. The music is just simply fabulous!

Interesting update from Yazoo
Yazoo has recently released "The Best of Blind Blake" and "The Best of Blind Lemon Jefferson," two semi-re-releases of earlier Yazoo discs. I'm not quite sure what to make of these; Blind Blake's, and especially Lemon Jefferson's recordings are very poor in terms of sound quality, even by the standards of the time period. The old Lemon Jefferson cd, released apparently before Yazoo was using their current noise-reduction techniques, was practically unlistenable. The Blind Blake one was a little more erratic in terms of sound quality. "Police Dog Blues" (unfortunately, not included on the new set) is racked with scratches and surface noise. Anyhow, I was quite excited for these new releases, but I can't help but feel a little disappointed; the sound quality is notably improved; the surface noise is still very loud, but the music is sharper and clearer. Still, it's a confusing set, because the track list is virtually identical to the older version (with a much different track order), but with a few changes. As I said, Police Dog Blues is missing, and so is the first version of Diddie Wa Diddie, a genuine masterpiece. The version included here is excellent, and I'm glad I got to hear it, but I can't get rid of the old disc now. This is frustrating, because so much of it is the same. Furthermore, other great songs like "That'll Never Happen No More" are missing from both discs. This is made more frustrating by the fact that the Lemon Jefferson disc clocks in at about 67 minutes, and this one comes in at 71. There's room for 2 more performances (at least 1), 3 on the Jefferson disc. I think a more definitive set, maybe a 2-disc set that could entirely replace the old set would have been nicer (though I don't know if there's enough material to warrant that). The liner notes are nearly identical to the older version, slightly updated and truncated. The main problem, I guess, is that this disc serves as neither a replacement nor as much of an addition to the old disc. All these complaints aside, this is still a great record, with classic music throughout. To someone who is a casual fan, however, and has the original disc, I would not necessarily recommend buying this. If you're looking to buy one of the two, go for this one, but you will be missing a few great performances.

Great selection, better soundquality
Today I received this new Blind Blake compilation by Yazoo-records. Compared to the previous (now discontinued) compilation album, this one is even better. A few new songs replace less-interesting ones. But most important: The soundquality has been improved quite a lot! Although there are still many clicks and pops, Blake's singing sounds more natural and you can hear more details of his guitar-playing. If you already own the old Yazoo album, you should buy this one for even more listening pleasure. ... Read more

Album Details

Remastered Recordings from 1929 - 1937. ... Read more

Reviews (1)

Fantastic!
I've been visiting this box-set often since picking it up a few months ago. Previous to this, I only had one Memphis Minnie disc, so the vast majority of this box was new to me. Memphis Minnie is truly one of the giants of pre-war blues, yet she seems to be somewhat forgotten. Her name doesn't often seem to roll off the tongues of even many of the people who have gotten beyond just Robert Johnson. Hopefully this low priced yet high quality collection will help fix that situation.

I think I have ten of these great JSP boxes so far, and this is one of the very best.

In the majority of current blues, lyrics are little more than an after thought. Just something to play a supporting role to the trite guitar wankery. The pre-war era was when blues lyrics actually had something to say, and Minnie's lyrics are an excellent window into not only herself, but also into the flipside of life (of that era) and blues... life and blues from the female perspective. Minnie would seem to be as rough and tumble as any of her male counterparts.

Guitaristically, the first major glimpse we get into her playing comes on Mister Tango Blues. Throughout this box it strikes me that Minnie may well have been a more influential guitarist than many of the more famous males of her time. She does things you can still hear people doing today. A compliment to Minnie, but yet another comment on the stale state of most blues today.

One of the things that makes this entire box such a joy is that Minnie's music is comprised of many different styles. Whereas someone like Blind Lemon Jefferson only really did a handful of different things and everything he did fell into those categories, Minnie does everything from low-down blues to more mournful songs illustrating the female perspective, to jaunty, goofily fun tunes, jugband stuff, etc...

If you're only interested in hearing her do When The Levee Breaks, this isn't the set for you, as it's not here. I e-mailed JSP before this box was released and they told me that it would be included on a Kansas Joe box instead. Considering how many Minnie and Joe tracks are on here, I'm not sure why that wasn't included also, but it's a small gripe considering the great price of these JSP boxes and that it it won't bother me to pick up the Joe box for Levee and all the other tracks they did together that were not included here.

This whole box is like a musical treasure chest. Beyond "Thank you Minnie and JSP!!!" I can't think of anything more to say. ... Read more

Amazon.com

You've never heard anything like Joseph Spence. The inimitable Bahamian singer and guitarist (and stonemason) recorded sporadically in the '50s, '60s, and '70s, displaying matchless guitar technique that, insisted the man who supervised this 1971 session, surpassed "the musicianship of almost all nonclassical guitarists." On top of his expert albeit unconventional playing, Spence growled, murmured, and scatted his way through a distinctive repertoire that included sea chanties, hymns, and pop tunes. This spontaneous 21-song album was recorded in a Boston apartment with Spence playing a borrowed Martin D-18. Surrounded by a circle of devotees, he comfortably sails through the likes of "Sloop John B." (it was a folk song before the Beach Boys got hold of it), "Will the Serpent Be Unbroken" (notice the revised title), and Spence's personal anthem, "Out on the Rolling Sea." In a single word: singular. --Steven Stolder ... Read more

Reviews (2)

mad stuff
i used to work in tower records in london and this was a saturday morning favourite to help nurse away the hangovers. the music is absolutely insane, it has no equal. old joseph spence, god bless him, was like sun ra with an acoustic guitar. even the grouchiest coustomers would leave with a wild gleeful smile on their faces.

A Classic!!
If you play the guitar or if you just appreciate great musicianship then this is an album to get. Joe Spence inspired many through the 60's and 70's...but no-one has yet to match his style or brilliance. Buy it and be amazed. ... Read more

Reviews (1)

A must-have
If you are a fan of blues harmonica - actually, even if can't stand the harmonica, you will love this CD. This is definitely a must-have for any fan of Sonny Terry and a good addition to any blues library. ... Read more

Album Description

Subtitled - A Collection Of Vintage Drug Songs, 1927-1945.Welcome to the strange & curious world of the Buzzolalabel. This collection features 18 remastered tracks fromsuch artists as Ella Fitzgerald (with Chick Webb), CabCalloway, Jack Teagarden (with Benny Goodman), Fats Waller, Bessie Smith, & more. Packaged in a three-panel digipak,including full color booklet with sleeve notes. 2004. ... Read more

Album Description

The Best of Blind Willie McTell highlights the blues icon on 12-string guitar but also captures some of his a six–string guitar work from some of his earliest recordings. Each song on this 23-track CD was culled from rare and precious 78s and has been newly remastered to produce the best possible sound quality. The Best of Blind Willie McTell is a must-have for any blues or early music enthusiast. ... Read more

Amazon.com

Former Rolling Stones bass player Bill Wyman wants to enlighten people about the great blues of America's musical past. Drawing on his stash of 1,300 albums, the two-CD set Bill Wyman's Blues Odyssey makes a strong case for the lasting eloquence of the African American blues music recorded in the oppressive South during the Depression and on till 1951. (Wyman has also co-authored a history of the American blues called Bill Wyman's Blues Odyssey: A Journey to Music's Heart & Soul.) Blues novitiates and devotees alike will be served well by Wyman's knowing selection of songs, 46 in all, covering an array of styles. Among his heroes are the famous (Bessie Smith, Robert Johnson) and semi-famous (Lonnie Johnson and Memphis Slim, to name two), as well as the unjustly forgotten (several pianists and cross-dressing singer Frankie "Half-Pint" Jaxon). --Frank-John Hadley ... Read more

Reviews (4)

Good In Small Doses
This compilation of Bill Wyman's favorite blues songs gives a decent history of blues music. While listening to this music, it is quite interesting to note the influence it had on many rock n roll bands.

However, the versions presented here are a stark in arrangement. Although they are performed well, usually its just a guitar and a vocal or a piano and a vocal. A few instrumentals thrown in for good measure. Unfortuantely after a while it all sounds pretty similar in spite of some good performances.

Truthfully, I would prefer a smaller compilation of blues standards as opposed to this extensive batch. Nonetheless, big time fans of blues music might want to at least preview this collection.

Bill Wyman is giving Ken Burns a run for the money here
For all of you who enjoyed Ken Burns' epic Jazz series, former Stones bassist Bill Wyman follows it up here with his own study and insight on the musical genre that he obviously loves, the Blues. Besides the handsome coffee table book, this 2 CD set contains most of the legends of the American blues spread over 46 tracks, from Papa Charlie Jackson's 1925 recording of "All I Want is a Spoonful" to 1951 blues tracks from Elmore James and B.B. King. No, "The Thrill is Gone" isn't covered here nor are the newer blues artists like Robert Cray or Stevie Ray Vaughan, just the old masters.

One thing I was reminded of was that the blues did not begin with Robert Johnson who emerged in the mid-'30s. Of course! Just like rock and roll didn't begin with Elvis. Get this collection and check out Wyman's commentary on each of the artists. It's very informative and easy to get a grasp on what for many is an arcane musical genre.

And yes, as Wyman states, "the Blues are perfect however you feel."

A Noteworthy Compilation
I'm rarely in someone's Amen Corner, but I can't disagree with anything the previous reviewer wrote. Rather, let me expand on it. The Rolling Stones, particularly in their salad days, were heavily influenced by black American blues as were many of their British contemporaries. Here the listener has the chance to hear 46 of the songs which influenced that generation of musicians and which touched Wyman in particular.
Bill Wyman has put together a fine group of old blues that feature a wide range of musicians, both famous and obscure, playing a wide range of blues styles. Rock fans who have never listened to traditional blues will recognize a number of these songs which have been covered by artists ranging from Van Morrison to John Mayall.
The 2-CD set includes an informative booklet containing short biographical sketches of each featured artist. It also contains many rare photos obtained from various sources.
Hats off to Bill Wyman! Blues Odyssey is a noteworthy compilation, very well remastered, that is worth every penny of its price. If you love the blues, buy this one today.

Leave it to a Rolling Stone...
Leave it to a Rolling Stone to assemble the most generous, distinctive collection of classic blues issued this year. I purchased this set on impulse because I love early blues recordings and heard that Bill Wyman, of the Rolling Stones, had just produced a broadcast series based on the lives and works of early blues musicians. To be honest, there aren't many early blues recordings on CD that have been as carefully researched or as beautifully remastered. There are two disks and 46 cuts on this bargain-priced collection, only about a third of which are performed by die-hard favorites like Bessie Smith, Robert Johnson, Charlie Patton, Big Maceo, Lonnie Johnson, Muddy Waters, John Lee Hooker, Memphis Minnie and Blind Lemon Jefferson. The balance of the collection includes performances by musicians you may not have ever heard, or at least listened too very often, from Mamie Smith and Bo Carter to Casey Bill Weldon and Georgia White. But there isn't a bad cut in the bunch. As with most of Wyman's recorded projects, there is a distinctive, laid-back feel to the compilation. The music is intensely personal, and very listenable. Originally remastered in the UK by Denis Blackham, the warmth and presence of the collection is startling. Add to all of this a booklet that is handsome and informative, and I couldn't imagine a better way to spend 20 bucks. PS. You don't have to love the blues to enjoy most of these performances. Anyone who loves vintage jazz or roots music can dive right in. Very strongly recommended. ... Read more

Amazon.com

For poor, rural Americans who lived in the first third of the century, the Great Depression just added insult to injury. The economic boom of the '20s skipped over many who worked the land. Volume one of this illustrative and entertaining two-CD series from Yazoo gathers songs recorded before and after the market crash of 1929. A few familiar names surface (Mississippi John Hurt, Blind Lemon Jefferson, Uncle Dave Macon), and a handful of songs may ring a bell (the Bentley Boys' "Down on Penny's Farm" provided the outline for Bob Dylan's "Hard Times in New York Town" and Ry Cooder revived Blind Afred Reed's "How Can a Poor Man Stand Such Times and Live"). Most of this surface-scratched material, however, has been gathering dust for decades. It's good to have these tales of woe back in circulation, if only as a reminder that hard times can never be relegated to history books. --Steven Stolder ... Read more

Reviews (2)

Good album, skimpy notes
This CD is a good cross-section of rural depression era music. The highlights (IMHO) were "Hard Times Come Again No More" by the Graham Brothers and "Serves 'Em Fine" by Dave McCarn. There's not much more I can add about the music which has not been covered by other reviews. The liner notes, on the other hand, are skimpy at best. There is absolutely no discographical information, and only casual mention to even the years the songs were recorded in. Likewise, I found biographical information lacking. The CD is a great one to just toss in your car CD player on a road trip, but I'm someone who likes to know the precise time and place of an archived song so as to put it in its historical perspective. Likewise, I'm the kind of guy who listens to a song and says "Ohh! Who's that on fiddle?". I'm glad to have bought the CD, but I'll continue to mine catalogs of the likes of County records and Document records.

yet another welcome Yazoo reissue
The model for anthologies like this one is the classic HarrySmith "Anthology of American Folk Music," issued in 1952 andreissued in 1997 (by Smithsonian/Folkways). But of course the well of commercially recorded traditional music from the 1920s and 1930s is much deeper, and Yazoo's ongoing series of themed reissues, of which this is just the latest, continues to document the sounds of that golden age of homegrown music. "Hard Times," both volumes of it, dazzles us with treasures -- ballads, blues, gospel shouts, darkly comic songs -- set in frontier, mountain, Delta, and Depression landscapes and celebrating the resilience of human beings even in the worst of circumstances. A handful of songs will be familiar to old-time music buffs (e.g., the Bentley Boys' "Down on Penny's Farm," the Dixon Brothers' "Weaver's Life"), but most will be new even to experienced listeners. There's not a bad cut here. Keep 'em coming, Yazoo. ... Read more

Reviews (6)

Disappointing followup to The Healer
John Lee Hooker provided some very basic but important music in his time. The Healer was a landmark album bringing John back to the fore with some good cuts which made up for his musical deficiencies. This album attempts to go down the same road but in general fails to achieve the same heights. The best tracks are 'Stripped me naked' with Carlos Santana and 'This is hip' with Ry Cooder. I prefer the original JLH cuts of the track on the album.

If you must have everything
Hooker's second album on the Pointblank label is a guest-heavy homage that doesn't have a great deal to do with John Lee Hooker as an artist and only occasionally plays to his strengths. Some cuts, such as the opening "I Want to Hug You" are just plain odd in their selection. This album is for the completist; sporadically enjoyable but unnecessary. The title cut is much better in its original version on "Urban Blues" (a somewhat chaotic but quite good album from the late '60s), while "Backstabbers" (actually "Backbiters and Syndicators", another remake from the same album) meanders too. The later cuts are better and, as usual, the fewer musicians playing with Hooker the less his sound gets mucked up. "Highway 13", "Father Was a Jockey" and yet another remake of "Crawlin' Kingsnake" are all quite nice. One wishes Hooker's late '80s and '90s producers more often had had the sense to leave him by himself or with minimal accompaniment. So, like all of Hooker's work on Pointblank, this is less about making a good album than honoring a lifetime of work. Still and all, worth having. His June 21st passing is greatly mourned.

All Star Cast
When one of the most revered blues guitarists asks for help on his album, there is no shortage of great talent to show up. The likes of Santana, Ry Cooder, Albert Collins, Johnny Winter, John Hammond, and Robert Cray (to name just a few) come out in support of "Mr. Lucky", the follow up guest album to "The Healing". But, John Lee Hooker doesn't need all of this talent to put out a great blues album.

Robert Cray shows up on the title cut of this album providing some great leads to Hooker's rhythm. A tune that makes Hooker "... feel a little better". Albert Collins steps in for "Backstabbers" providing a powerful presence that only he was capable of. All you have to hear is one note of Collins to know it's him. "I Cover the Waterfront" is a haunting tune with Van Morrison taking over the guitar work and Booker T. Jones on organ. Morrison's voice complements the low-boom of Hooker's. Another highlight is Santana's work on "Stripped Me Naked".

Hooker's Delta Blues sound is hypnotizing, and his deep voice is lazy and sweet. There are very few that have shaped the sound of music, especially the blues, as he has. This album, a tribute of sorts, is a must for blues lovers. To hear so much talent gathered in one place playing with a legend like Hooker gives me the chills.

Lucky Mr. Lucky!
Thank God for Amazon.Com! After misplacing our Mr. Lucky CD (Or perhaps it magically disappeared), and looking high and low, over the hills and through the woods (in our area,at least) I finally found this wonderful piece of music history! Its truly an icon by John Lee Hooker!

'Mr. Lucky' is John Lee Hooker's masterpiece!
John Lee Hooker should be proclaimed a National Treasure, and 'Mr. Lucky' is in my mind his masterpiece. It is not a 'greatest hits' collection, but a unified work of timeless music. 'Stripped Me Naked' is worth the price of the album alone. All-star supporting musicians! ... Read more

Reviews (3)

John channels Johnson
This CD is so good, so raw and real, and so much in the spirit of Robert Johnson that Eric Clapton should be ashamed for thinking he could do better. You can practically taste the dust being kicked up while Johnson (er. .. Hammond) stands at the Crossroads waiting for an appointment to sell his soul to the Big Red Guy.It's not derivative.It's a heartfelt and down to the bone interpretation. Get this CD if you want to see Hammond channel the soul of Robert Johnson

A nice counterpoint to Clapton's mannered renderings...
John Hammond - underrated, largely unknown outside of blues circles, and saddled with being the son of an historically important producer - here presents his attempts at the Johnson catalogue over the years.

It's far more impressive than Eric Clapton's latest Johnson offering, largely because Hammond doesn't approach the material with kid gloves. His 'Travelling Riverside Blues' is uptempo and engaging; his 'Crossroad Blues' suitably raw (with the nice addition of a funky slide lick in the turnaround); 'Hellhound on my Trail' is atmospheric without wandering into Vincent Price territory; and '32-20 Blues' energetic and interesting.

There are a few drawbacks, however. Hammond's voice is a weak link - his falsetto, exhibited on a live cut of 'Me and the Devil Blues' - is particularly grating, yet he doesn't try to Xerox Johnson's vocals in the manner of Clapton. His singing is largely his own, and that's admirable even if it is not to everyone's tastes.

The final tracks are mid-1960s electric versions of Johnson's songs, and they are underwhelming. Still, they give one an insight into how Johnson's material was approached by white musicians before he became the overnight sensation (60 years in the making) of the 1980s and 1990s.

As an insight into Johnson, this album is therefore hit-and-miss. As an insight into the historical development of John Hammond in 'reading' Johnson, it is excellent. His commitment to Robert Johnson (and the blues more generally), irrespective of trends and commercial success, is therefore well documented on 'At The Crossroads'. Seek this one out.

Re-cycled from old albums
Of course John Hammond can play and sing acoustic blues like few others but the problem here is that this album is anotheer recycling of old material. 99% acoustic in the spirit ofRober Johnson but nothing new. Not Wicked Grin. I would recommend Wicked Grin , Ready for Love, Long As I have You or "Southern Fried" first. ... Read more

Amazon.com

Like many younger blues artists, guitarist and singer Corey Harris mixes and blends different styles, instead of sticking to just one. What speaks to his considerable skill as a musician is how well it works. On Greens from the Garden, he roves between the Delta and Cajun country, contrasting the solid, slow blues of "Honeysuckle" with the upbeat, waltz-time "Pas Parles." A definite highlight is "Lynch Blues," which features a great guitar intro backed by a drum roll as smooth as water poured on the drumhead. Between songs lurk bits of percussion, snippets of monologue and conversation; this, coupled with the generally upbeat feel of the album, leaves the listener with the impression of a really good party captured on CD. Thanks to the miracle of modern recording technology, we're all invited. --Genevieve Williams ... Read more

Reviews (13)

An absolute gem!
I've never written a review before, but I'm moved to in this case because I love this album! Since some people seem to be grumbling about it not being "pure" blues, and are put-off by it's eclecticism, I just want to say that these are the very reasons I find this so engaging. I consider myself so very lucky to have stumbed across it from my own growingly diverse tastes. This album becomes more comfortable and precious every time I listen to it -- a tour through a musician's heart. It has a warm feeling of home - which I think is very much intended. Thank you Corey Harris for making this beauty. I love the variety and the pace. I want more like it.

Great work, Corey
Well, for a blues purist, this CD might seem a dissapointment. But for any person with open ears (and open soul, too) this is a real gem. If you've listened to Corey's first two albums, then you'll see that it's just a logical step forward. I was waiting for something like this from Corey. On his second CD he added tuba and trombone, here he plays with lots of other musicians (and he fools around with lots of styles). Don't listen to guys telling that those aren't blues. They are... for sure. Even behind reggae rhythm there is a solid 12 bar basis. Just open your soul and you'll hear it in every note. Harris is a pro, and being one he is wise enough not to limit himself by only one aspect of the great style. He goes in the same direction which Taj Mahal once went.

Great voice, great guitar playing, great rhythms - great CD!

Peace.

Dmitry aka Cat's Eye

http://www.chat.ru/cats_eye/

Around the Country in 60 Minutes!
Want to travel around the country in 60 minutes? The ticket price is...well...the cost of this CD (and it is worth every penny)! Mr. Harris gives us a sampling of every style of blues we ever had a hankering for (and a few we forgot, 'till Harris reminded us). New Orleans, Delta, Texas, Creole mambo, and even a few mixed bags like a sweet reggae ditty, and a grinding funk number.

Interspersed in between tracks are excerpts Corey Harris recorded on a tape recorder (he studied linguistic anthropology in college) of people talking about eating, cooking, and enjoying greens. And this is apropos because this CD has quite an authentic, energetic and flavorful feel much like that of the greens he talks about.

My favorites on the CD? Check out "Eh La Bah," a funky Creole mambo with lyrics in French Creole. There is also "Wild West" with an electrifying rythm and groove that would be as appropriate on contemporary radio as in a small blues club. Then, there are the accoustic diddys. The first of which, the New Orleans infested "Honeysuckle," finds Harris duetting with a great Professor Longhair-esque pianist. There is also the slow delta of "Black Angel" and the more upbeat, Carolina-style, "Diddy wa Diddy."

I will stop there, as I could literally go on singing the praises of every song on here. Needless to say, by now, if you value good, smart, and well-flavored blues, you should look no further than Corey Harris's "Greens From the Garden." Take the trip around the country in 60 minutes!

Such a good sound...
Corey Harris is amazing. Check out his bio sometime, and you'll see why this album -- and his style in general -- contains so many outside influences that make this such a cool, funky-bluesy gumbo.

Think of this album as one part Louisiana, one part Carolina, one part Caribbean, and you've got a good sense of how this album sounds. Special bonus: dinner conversations with the family, dubbed into the beginning and end of some of the songs. Tastee!

I tried to like it
He seems like a good guy, it's the rootsy kind of thing I usually dig, I just didn't like it. I think some of it was supposed to be hokey/charming but it stuck me as hokey/dumb.
I'm glad so many people loved it; I must be missing something. If Taj Mahal or John Hammond are your idea of cool, rootsy blues, then beware. ... Read more

Reviews (4)

A great listen!
Being sans record player and all my LPs in storage I thought it was about time to start replacing some of my favorites with CDs. I bought all of Fahey's albums in the 60's after hearing this one at a friends. I was zapped! I think that's the way it is with Fahey. You have ten or none. In my opinion his early work was his best. John is at his somber best here! I don't have a favorite Fahey album but this one ranks high for sure! You can't go wrong with any of those 60's "color" albums. This one is,"You know, the orange one"! Great!

Great Compositions
I am transported by this music, maybe a dusty road in the country, or a dark wood, or a lazy afternoon by the river with a long reed in between my teeth, lightly splashing my feet in the river, watching a turtle or something. Or its Mexico in the late 1800s..Or... Its really an amazing album with a slew of wonderful compositions. My favorite Fahey album, though America and Blind Joe Death are close. The best song is perhaps Wine and Roses. I would describe these records for the uninitiated as fine finger-picking steel string compositions, no singing (thank goodness), similar to some Kottke but less flashy and more contemplative. Folksy and bluesy but more than that. Melodic, rhtyhmic, very accessible but not predictable, not sugary sweet, sophisticated construction. A rambling feel generally. All kinds of different images and colors being suggested. Just a great composer! Anyway if you are only going to buy one Fahey album I recommend this one.

The Dance of Death and other Plantation Favorites
Ask yourself, what would it sound like if a civil war veteran rose up out of a battlefield grave so that he could relate to any listeners his ancient story? Imagine skeletal hands pressing against frets, conveying a feeling of long lost, spook, and mystery. Now ask youself once more, what would it sound like to convey a total revelation? A life changing experience that altered the way you comprehend all things. Fahey's album sounds old, but each original song is played in a new and masterful way. An incredible combination that is worth your while.

Seminal Fahey Takoma series continues -
The long overdue re-issue of the original Fahey Takoma series from the 60's continues.

In this Volume 3, John continues to play contemplative versions of old blues songs, played with moody open tunings.

Recording quality seems slightly fuzzy and unfocused, as compared with vol 1 and 2, but that quibbling.

Highly recommended, guitarists and Fahey fans will not be disappointed. Let's hope Fantasy will continue with releasing vol 4-6.

There is a lot of Fahey out there, not all of it good. Vol 1 through 6 and "America" are the best of it. ... Read more

Amazon.com

The Reverend Gary Davis's other two early-1960s Prestige/Bluesville titles--Harlem Street Singer and Say No to the Devil--were released on CD years ago, but this middle title finally makes its first digital appearance in 1999. All three of his Prestige albums are absolutely riveting, although you could say that about anything he cut except for his very last recordings. Along with his original 1930s work and his late-1950s Folkways cuts, these three sets were touchstones of the burgeoning folk revival and a major influence on countless blues, folk, and rock performers. Davis had not yet returned to secular music in 1961, and so these 12 cuts all fall on sacred ground. His blend of ragtime, gospel, and Piedmont country blues remains one of the most potent forces in 20th-century music; nobody ever immersed himself in the moment of performance as completely. Your only challenge will be deciding what is more remarkable: his magical guitar runs or his passionate preaching voice. --Marc Greilsamer ... Read more

Reviews (4)

A jewel of of picking style,and a terrific voice.A must.
It's a pity that many of Blind Gary Davis' very great records aren't available here.His 1935-1949 recordings,first; his two magnificent Biograph LPs,which may not have been reissued until now;but you can buy other masterpieces,like the great "demons and angels" set.Gary Davis was born April 30,1896,Laurens County,South Carolina.He lost sight as a little baby,and learned to play harmonica,banjo and guitar before he was ten.He recorded a few sides with Blind Boy Fuller in the thirties,then did a few sides under his name in 1935 and 1949.After that,he worked in New York as a street singer and preacher,until he was rediscovered and had the opportunity of making records and playing concerts.He died May 5,1972,of a heart attack,while he was going to Newtonville,NJ,for a concert date.He was mainly influenced by Blind Blake,and he influenced dozens of great players: Blind Boy Fuller,Brownie McGhee,Josh White,Roy Bookbinder,Ry Cooder,Larry JOhnson,Bob Dylan,Stefan Grossman,Taj Mahal,Tarheel Slim,and Alec Seward.His extremely difficult finger picking style,full of ragtime figures,is one of the most amazing things I've ever heard.But he was not only one of the most gifted guitar players (maybe the most gifted one with the magnificent,amazing,overwhelming,etc,Blind Blake),he also had one of the most expressive and powerful voices in the history of blues and gospel.These tunes,recorded August 10,1961,are perfect examples of this.Of course,the Reverend only plays and sings sacred songs;he very rarely played blues after the war (a few ones on his Biograph LPs,and a complete LP of ragtimes in the sixties).I've often dreamed I was in Harlem,meeting him in a street,where he was playing,and listening to him for hours.Maybe you're a lucky owner of one of the video tapes issued by Stefan Grossman;then,if you ever had the chance of seeing the Reverend,even on TV,you know what I mean.Hearing him is great,seeing him is terrific.There's a tape where he plays a long and dramatic version of "death don't have no mercy",which can resume everything.Some minutes (five? seven? I don't know) of perfect beauty,and outstanding emotion.And some chords you've never think to play,too.Because of his blindness,Gary Davis had invented his own playing.If you try to copy him,you'll have nights and nights of pain and troubles.
Even if this record is not his greatest one,it's already miles and miles away from most of his peers.It could be a perfect introduction to the Singing Reverend's art,so don't miss it.And look for a reissue of his two Biograph LPs,or his pre-war recordings: you'll discover the Reverend playing and singing the blues,in the same style than Blind Boy Fuller;but remember he was Fuller's main influence,not the contrary.

Stunning guitar
I agree with previous reviewers about the quality of this album, but I'd just add one point. The first two tracks of this album are among the finest that Davis ever recorded. "You Got to Move" is a tour de force of joyous driving ragtime, and as ever with Davis, the interplay if voice and guitar is flawless. The second track, "Crucifixion", combines a gruff spoken sermon with a hypnotically swinging ragtime guitar counterpoint.

I don't think that the rest of the album maintains this standard, but it is an essential purchase for the first two tracks alone.

The Rev. at the top of his game
Rev. Gary Davis,blind street preacher and gospel-blues legend,cut this album in 1961.I have found his anonyimity somewhat mystifying. Here is a blues singer with heart and soul,and a voice of a hardbitten angel to match. among musicians, he is celebrated, but th general public would have their blues from others. odd. This album inessentila in the davis canon. From the fist cut{you got to move},Rev. davis is is full command. this is simply him and his guitar,though there is magic here{or grace, if you would prefer.} He ends this sessions with When I die I'll live again, a perfect coda to this excellent collection

Electrifying!
Blind Gary Davis is up to his best work in this 1961 recording of the finger-pickin' giant's own special brand of Piedmont blues Christian standards. If you dig this man, you'll dig this disk! ... Read more

Album Description

Full title - Martin Scorsese Presents The Blues. From thePBS series produced by filmmaker Martin Scorsese, thiscollection features 14 tracks including 'Preachin' Blues' & 'John The Revelator'. Sony. 2003. ... Read more

Reviews (4)

You can't go wrong with Son
This Cd is actually really good. however a good chunk of it is from his Father of the Delta Blues Cd set, and the recording quality of the other tracks is extreamly poor, so you would probable be a little better off with The Father of the Delta Blues. Even though some of the tracks are really badly recorded, it is entirly worth buying and is my favorite out of all the Martin scorsese individual artist Cds.

****½
A really fine attempt at making a career-spanning compilation, this installment in the "Martin Scorsese Presents The Blues"-series is a bit too short to be truly magnificent, but the song selection is very, very good, virtually perfect.

Son House was one of the most important figures ever in popular music, a frighteningly intense performer and an awesome slide guitarist, and the main source of inspiration to men like Muddy Waters and Robert Johnson.
This CD includes songs from his 1930 session for Columbia Records, songs from his 1941-42 Library of Congress recordings, and songs from his mid-sixties comeback.
The fidelity on the three 1930 cuts is less than stellar, but the power of those old and scratchy recordings is incredible, and the Library of Congress recordings are the only known waxings of Son House playing with a band, although he is backed (subtly and very sympathetically) by a harp-playing Alan Wilson on the 1965 recording of the epic, 9½-minute "Levee Camp Moan".

Also included is the awesome "Death Letter Blues", the a capella numbers "John The Revelator" and "Grinnin' In Your Face", and one of the most impressive acoustic slide guitar-numbers I've ever heard, the slashing "Pearline".
These fourteen songs are not the definitive word on Son House, of course, but if you just want one disc in your collection, or if you're looking for a sampler, this CD is a great choice, and probably the best installment in the "Martin Scorsese Presents"-series.

The definitive Son House
This is it, if you have to buy one Son House record, stop looking. This is the ONLY recording available, that puts the best of Son House career in one CD. From his first recording to the last, spannng different labels for the first time. Some of the early tracks are not easy to listen, lots of surface noise, but its not that bad in perspective.

Great Overview
Very interesting CD. This is the only disc I know that includes tracks from all three recording periods of Son House's career. There are 3 songs from 1930, 4 from the 1941-42 Library of Congress recordings, and the remainer from the 1965 Columbia recordings. The 1930 recordings are a little rough, but the sound quality on the later ones is fine. The two versions of Preachin" Blues and Levee Camp Blues make for interesting comparison. Buy this disc if you want a full sample of Son House. ... Read more