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Blues 'n' Rhythm Story devotes two discs to four regions--the Midwest, Southwest, West Coast, and East Coast. Featured artists range from the acclaimed (Professor Longhair, Lightnin' Hopkins, Jay McShann, "Cleanhead" Vinson, Dinah Washington) to the wayward. Nevertheless, the overall quality is remarkably high. The 88-page booklet helps put the music in perspective. This isn't a modest investment for a collector, but it's certainly among the elite of the R&B collections yet assembled. --Steven Stolder ... Read more

Reviews (1)

An absolute must for R&B fans!!
This INCREDIBLE 8-CD set covers all of the Mercury blues, R&B and jump music from post-WWII -- the music that laid the foundation for the rock 'n roll revolution of the late '50's. The set is divided by geographic styles; West Coast, Southwest, East Coast and Midwest. There are many artists featured who are all but unknown today, but were popular in the club sub-culture and with returning GI's. I love the small orchestral arrangements of fast, jumpin' blues, boogie, and R&B tunes. The lyrics in many songs are hilarious, and demonstrate the subconscious relief of ending the world wars. Anyone who is remotely interested in R&B and the foundations of rock HAS to get this set. It's expensive, but worth every single penny. I've been listening non-stop since the set arrived, and I walk around all day with the jumpin' and jivin' tunes in my head! ... Read more

Album Description

The one and only Cootie Stark is a breathing music box library of the blues. A blind street singer, he learned from Uncle Chump and Pink Anderson in the '30s. At 70, he rediscovered his unplugged genius with a repertoire that runs fronm soul classics to Piedmont blues. ... Read more

Reviews (4)

The next best thing to seeing him live
This past weekend I had the honor of seeing Cootie live at the Mississippi Valley Blues festival and he was something to behold. If you can't see him live then this is the next best thing. Why this man has not been recognized before is hard to understand. If you are a true blues fan then this CD must be an essential album in your collection. This is NOT that rock and roll junk, this is the real deal.

This is a marvelous and important album.
Fifty years from now, people will talk about where they were when they first heard Cootie Stark. He is a Piedmont blues treasure every bit the equal of Pink Anderson, Baby Tate and the other recognized masters of the genre.

A "new" old blues treasure discovered!
Great blues vocals! A treasury of traditional and original songs. That someone like Cootie Stark had to wait until his seventies to get the recognition he deserves is sad, but more so is the likely loss of other great "first generation" blues musicians. Thankfully, not this time. The infectious "Jigeroo" and other more traditional blues tunes make this a welcome addition to any blues library. This and other CDs from Cello/Music Maker confirm they continue to make recording and production excellence their standard. P. Poliski

An incredibly fresh and exciting blues album
I couldn't believe it when i listened to this cd. just when i thought all blues recordings where stuck in the same old rut along comes cootie with his groovy rhyhms and original words. this is the kind of stuff that is rarely heard. go buy it today!!! ... Read more

Album Description

Subtitled - A History Of Blues Harmonica 1926-2002. 2003compilation featuring three discs, 'Pre-War AcousticHarmonica', '1946-52 The Harp Goes Electric', & 'Into TheRock Era & Beyond'. 71 tracks, 3 paper sleeves housed in abox with lid. Indigo. ... Read more

Reviews (2)

simply wonderful
It's almost impossible for me not to smile while listening to this wonderful record. There are many times in fact, when I have laughed with joy and amazement at the pure, unadulterated music-making of this amazing man. 'Neighbor Gone Home' and 'I'll Be A Friend To Jesus' are among my favourites here, with the latter in particular having me in hysterics when Joseph pulls up abruptly at the high notes, leaving his friend Blooming Rosalie Roberts to carry the tune. All through the album Joseph's half-sung, half-grunted, half-mumblescatted vocals (a new term that fits, I think!) are just amazing and delightful. Trust me, you have never heard ANYTHING like the singing of Joseph Spence! It is absolutely outrageous!

For the uninitiated, Joseph Spence played guitar exclusively in something called 'Dropped D' tuning, and his beautiful, syncopated Calypso fingerstyle is inimitably great. He was a gem of a musician, and a true original. Joseph was not as young as he used to be by this time, but don't let that deter you. This is a wonderful album. Check out "More and More With Jesus", "I'll Overcome Someday", or "Where Shall I Go" for some wonderful Joseph Spence guitar performances.

This album is a complete blast of infectious, wonderful, guitar-and-voice simplicity. There's some kind of joy and delight that just comes out in Joseph Spence's music. It's unique, and something hard to explain; you just have to hear him. And you MUST hear him! The Book of Proverbs says that "A merry heart does good like a medicine." With this in mind I have no hesitation in recommending to everyone a good listen to Mr. Joseph Spence. His music and his spirit will do you a power of good. Absolutely unmissable!

Essential Recording
It is impossible to praise Joseph Spence highly enough. He was an authentic original on the guitar and a one-of-a-kind singer. This is a great record, but then everything he recorded was wonderful. Not sure? Ask Ry Cooder, John Renbourne, Duck Baker, Stefan Grossman,etc.etc. All of these highly regarded musicians hold Spence in their highest estimation. ... Read more

Reviews (2)

Lesser work of a great artist
James' 1960s recordings are inferior to his 1930 sides, and yet they're still some of the best recordings of the 60s blues revival. His guitar and especially his piano skills had diminished, and so had his musical imagination. His voice, often an eerie falsetto, is remarkably changed from the earlier recordings and is the most fascinating and compelling aspect of this record. The music here is chilling, the songs are worth hearing, and they don't undermine James' status as one of the greatest musical artists of the century, but to the James neophyte, I maintain that the early recordings availbale on Yazoo are unequivocally the place to start.

One Of His Best
Clear, crisp modern recordings of the spooky, mysterious style of Blues Skip James developed early last century. His guitar playing is perfect. His high haunting voice floats and then holds and makes the hair on the back of your neck crawl. His piano playing is unpredictable yet concise. His unique style, which recorded earlier in his life (1930) sounded almost archaic (positively so), now sounds strangely modern due to the increased fidelity of the magnetic tape used for the recording. An unusual and original talent, Skip James was one of the best. ... Read more

Reviews (3)

I'm Hooked on Chicago Blues
This disc and its companion (1957 to 1967) introduced me to some great music. I already owned cd's by a few of the Chess artists, but these discs opened my eyes to others. Etta James knocked me out on 1957 to 1967; How could I have overlooked her for all these years? I put her box set on my wish list! All of the Chess 50th Anniversary discs enjoy excellent sound quality, especially considering the age of the tapes used. I was especially impressed by the sound of the lates 40's and early 50's material. I have never heard anything from the 40's that equals the sonics of the 40's songs on this disc, and I have many old jazz discs from that era.

4½ stars - a great starting point for the curious
Opening with blues legend Muddy Waters' first hit, "I Can't Be Satisfied", "Chess Blues Classics: 1947 To 1956" collects 16 blues numbers from the late forties and early-to-mid fifties.

It doesn't offer anything of interest to the seasoned blues fan (who probably has all of this material already), but if you're a newcomer and would like to explore the world of classic Chicago blues, this CD is a really good place to do it.

The compilers have picked some great songs, particularly Sonny Boy Williamson II's superbly swaggering "Don't Start Me To Talkin'", Little Walter Jacobs version of "Blues With A Feeling", Muddy Waters' "I Just Want To Make Love To You", pianist Eddie Boyd's classic slow blues "Twenty-Four Hours", the thumping proto-rock of Bo Diddley's "I'm A Man", and the awesome Howlin' Wolf's eerie 1956 single "Smokestack Lightnin'".

This is prime rib; it's only a little slice of what Chess Records have to offer, but it gives you a very good idea of what you're in for if you decide to go down the blues road. In time you will probably want to go looking for albums by the individual artists, but until you do, "Chess Blues Classics" and its companion volume "Chess Blues Classics 1957-67" is as good a starting place as any, and better than most.
(If you're looking for your first blues purchase, you may also want to check out the excellent double-disc "Chess Blues Guitar".)

Essential recording for both Blues purists and casual fans
OK, how can a true blues fan not purchase this album? If you're clinging to the Delta sounds of Robert Johnson and Blind Lemon Jefferson, this compilation is worth hearing. When Muddy Waters moved to Chicago in 1943, he single-handedly gave birth to electric blues. This is the blues here that has directly or indirectly influenced ALL blues music today, as well as helping create the birth of Rock N' Roll. There is no shortage of great talent on this album. Sure, all the usual suspects are present on this album; Waters, Howlin' Wolf, John Lee Hooker and Willie Dixon, but the album also gives wonderful introductions to Little Walter, Jimmy Rogers, and Sonny Boy Williamson, among others. Here is the first hand experience of the earliest of electric blues - Chicago Blues.

Sadly, the stellar efforts of these bluesmen would come to prominence by way of versions performed by The Rolling Stones, Led Zeppelin, Clapton and Hendrix. Now, true Chicago Blues can be heard in all its aching glory. And lastly, would it really seem like old school blues if it wasn't in mono? I think not. ... Read more

Reviews (3)

Classic performances by the true masters of the genre
"A rare collection of performances by America's premier bluesmen at the peak of their artistry" proclaims the cover of this disc, and that's no idle boast. Culled from 33 tracks on the two simultaneously released and similarly titled DVDs, these 16 tunes were performed live in German TV studios between 1962 and 1966, and thought lost until recently discovered.
Although the audio is mono, it's immaculately clean, and each instrument is clearly audible, an amazing feat for TV sound during these years.

T-Bone Walker does a mellow, jazzy "Don't Throw Your Love On Me So Strong", laying down one of his finest ever vocals performances. Veterans Lonnie Johnson and Sippie Wallace (both of whom were born at the tail end of the 19th century, and had risen to stardom way back in the twenties) turn out great, soulful performances of "Another Night To Cry" and "Women Be Wise".
In fact, Delta legend Robert Johnson much admired the older Lonnie Johnson, and even took to telling people that his middle initial, L, stood for "Lonnie". (It stood for Leroy, and Lonnie Johnson's first name was actually Alonzo.)

Other highlights include Howlin' wolf's two songs, Memphis Slim's "Everyday I Have The Blues" (a superior performance which he tosses off seemingly with the greatest of ease), Victoria Spivey's "Black Snake Blues", a slow, stately "Five Long Years" by pianist Eddie Boyd, and "Mississippi" Fred McDowell's howling slide guitar workout "Going Down To The River".

This CD is a little bit short, and some of the performances (such as Muddy Waters' "Got My Mojo Working") are unusually tame, but it is still a real goldmine for folk and Chicago blues fans. Never before were such historic performances so easily available in pristine sound, and as an added bonus, the booklet features complete recording information, rare photos, and an excellent, insightful essay by Rob Bowman.
4 1/2 stars - highly recommended.

Lost Gold!
Some of the greatest and most influential music this country has ever created was the blues- but the artists were just not given the apreciation in this country they deserved. It took the interest in Blues music by young musicians in Europe- especially in Britain- from the Rolling Stones to Eric Clapton and Jimi Hendrix (who actually played with B. B. King at one point) to bring them back to America. Kids hearing this music then began to search out the originators of this music and finally these Blues pioneers started to gain recognition in their own country. This DVD (and the others in the series) captures where it all got started in Europe.
Since they couldn't find places to play in the US aside form bars and honkey-tonks, they launched a tour in Europe of some of the best Bluesmen (and ladies) of the time in 1962. It was hugely successful and more tours followed. Unfortunately, little to nothing was believed to have survived of the music of that period until a German televison station was going through some old things and found several video tapes of studio programs recorded at that time. Tapes were costly and often were re-recorded over- so the fact of their mere survival is a miracle. The quality is outstanding for the time. So is the sound quality (mono, but what did you expect from a TV show?). You get eighteen amazing performances. There is no announcer- the artists introduce each other and sometimes tell you about the song. Although the tracks may list one performer, you will notice others playing "backup". You get Muddy Waters with his "Mojo Working" and Willie Dixon's "Weak Brain and Narrow Mind", Sippie Wallace (there for the Lady Bluesmakers) telling "Women Be Wise" and Memphis Slim letting us know that "the Blues is Everywhere". The list goes on. Check out the rest of the series too- you won't be disappointed!

"America's premiere Bluesmen at their peak"
Some of the most celebrated "Blues Singers" perform on this one-of-a-kind release "The American folk Blues Festival 1962-1966". With an all-star cast of Eddie Boyd, Willie Dixon, Lightnin' Hopkins, Lonnie Johnson, Mississippi Fred McDowell, Memphis Slim, Otis Rush, Victoria Spivey, T-Bone Walker, Sippie Wallace, Muddy Waters, Junior Wells, Sonny Boy Williamson and Howlin Wolf clearly having a ball sharing their God-given talent. This is one of the top blues rivals to come along in many a moon.

So all you blues collectors take care when you play this historic recording with some of the greats in fine fiddle and voice. Some of the artists are no longer with us, but with this recording you can relive those days when blues took hold of you and it was an all time high. Entire festival is a stand out with "I CAN'T QUIT YOU BABY", "HOODOO MAN BLUES", "MY YOUNGER DAYS" and "GOT MY MOJO WORKING" many performers at the peak of their careers giving the public an ear full ~ which is the roots of American music....gotta love it!

Rush out quickly and pick this one up, enjoy the blues as it was meant to be heard. A treasure of unheard blues in this country until this release. Rare photos and a descriptive 28 page booklet that is collectible. Also available on DVD "The American Folk Blues Festival Vol. 1" and "The American folk Blues Festival Vol. 2", which gives the fans sights and sounds we love...good ole American Blues!

Total Time: 59:15 on 16 Tracks ~ Hip-O Records 60670 ~ (8/26/2003) ... Read more

Reviews (3)

Muddy walked all day just to hear them
Read the liner notes. When he was a teenager Muddy Waters walked all day long to hear the Mississippi Sheiks! Much of Bob Wills's music starts with the Mississippi Sheiks. Their version of Sitting on Top of the World was performed by Wills note for note, word for word, in all of his recordings of the tune from the 1930s to the 1960s recording where he has Vicki Carr singing in the backgrounds to Sheiks music!
I have hipped friends who are serious violinists to the Sheiks and they have come back with words of praise for the fiddling here. As a sometimes blues singer myself, I wish I could do the tunes with half the power and joy you find here.
Curiously, the sheiks were just as, or often more popular with white audiences as they were with Blacks. In fact, they recorded several tunes under other names in the traditional string band style that were released as white hilly billy records and not race records!
They've been neglected because they do not meet the fantasy that blues players, particularly from Mississippi, are guitar playing, slide playing, Delta people. But when Muddy Waters was coming up on Stovals Planation, these guys were so good he walked all day to hear them.
Too much of this history makes one forget that this is just great music to listen to, to make you mellow, smiling, and knowledgeable about life.

Country Blues for the whole family!
I agree with the previous Music Fan who reviewed this disc - this truly is remarkable stuff!
Perhaps what is most striking is that it preserves the sound of African-American fiddling,a tradition already fading away when these 78s were first waxed and today is all but deceased,-the playing of the Blues on the fiddle is particularly poignant (listen to how cleverly the fiddle counterpoints the sung verses on "Stop and Listen" for a start!),-this music is both a priceless preservation of a lost tradition and first-rate Delta blues performances (even if the Sheiks spent much of their time in and around Jackson,Miss.).
This cd will appeal to ALL blues lovers AND to Bluegrass and Western Swing fiddle fans as well - the Bluesy fiddling here will fascinate fans of Bluegrass fiddle great Alison Krauss and pioneering Western Swing fiddler Bob Wills.
The digital restoration follows in Yazoo's exemplary excellent standards and the liner notes are very informative and a provocative read.
In short,the whole family of fiddle tastes should snap this one up!

Old Country Blues Way Ahead of Its Time
From the first song on this CD "Stop and Listen" my mouth dropped open in awe. The record could have come out yesterday and it would be good, but knowing that this came out 25 years before rock and roll was even invented is just incredible.

Listen to Walter Vinson's mournful singing "Cant ya, a-hear me talking pretty mama" and you just know this is where it all began. I'm picturing them sitting at the local gas station under the hot sun in some Mississippi desert with nobody listening to these beautiful yet bizarre blues songs except some toads. I can't believe these guys aren't as famous as Robert Johnson because they are right there in that class. Their biggest claim to fame is that they originated "Sitting on Top of the World" which has been recorded by the Dead and many other blues musicians, but it doesn't even begin to represent their amazing work. Great violin and guitar, low key and fairly simple but it has everything it needs to get the point across. Some neat melodies like in "Too Long", some great lyrics like in "He Calls That Religion", cool stories like in "Blood in My Eyes for You". This is the real deal.

This collection was put together in part by Stefan Grossman who I believe uncovered a lot of Rev Gary Davis's stuff back in the early 60s. I have been listening to this solidly for weeks and can't seem to stop. ... Read more

Reviews (1)

Great mix of new and old blues recordings
The House of Blues label has done it again with another incredible collection of blues essentials. From classics must-haves by Muddy Waters, Sonny Boy Williamson, and John Lee Hooker to more recent recordings by Taj Mahal and Luther Allison, this collection is calling to you.

Also have to mention that the album art and liner notes are beautifully designed and well-written.

Only reason not to give it a full five stars is too many tracks pulled from other HOB discs, but if you don't have them all yet, you won't mind. ... Read more

Reviews (3)

Teasin' Pleaser....
The Chess Blues Classics. Bellisimo, Baby. Great for an intro to the Chicago style post-Delta electric blues music--heck, this is great even if you're a longtime fan. This chronicles Chess Records move to their Michigan Ave. digs and the consolidating of some of their satellite small record companies into one big happy homestead. Bass man extraordinaire Willie Dixon becomes the Chess A & R man, and these Blues? They wail, Man, they wail! Muddy Waters, Sonny Boy, Howlin', Etta, John Lee Hooker, Buddy Guy!!!! When the Buddy Guy track comes on, you notice how much smoother the recording technology, hence, the Blues itself, becomes. A Little Milton cut has sessionmen Charles Stepney on piano and Maurice White on drums. Etta James house rocks a live audience in Nashville. Willie gives a tune to KoKo Taylor. And Hooker does the Last Call...will you love this? Do you have to ask?

Great music
Like its companion volume, "Chess Blues Classics 1947-1956", this CD offers some of the best tracks by some of the best blues musicians of Chicago's famed Chess label.
A couple of selections are debatable, and "Chess Blues Classics" is of no interest to the more experienced blues fan (no rarities). But if you're a newcomer and would like to explore classic electric blues, this is a very fine place to start doing so.

"Chess Blues Classics 1957-1967" includes two excellent cuts by harp legend Aleck 'Rice' Miller (Sonny Boy Williamson II), namely "Help Me" and the magnificent "Fattening Frogs For Snakes", as well as excellent tunes by John Lee Hooker, Buddy Guy, and legendary bluesmen Howlin' Wolf, Muddy Waters, and slide guitarist Elmore James. And Otis Rush's too rarely heard "So Many Roads, So Many Trains", with its smouldering slow guitar solo, is here as well.

Several of these tracks count among the greatest electric blues performances ever issued, including Howlin' Wolf's "Little Red Rooster" and John Lee Hooker's "One Bourbon, One Scotch, One Beer".
4½ stars. A great place to start.

Excellent doorway into the blues
I bought this CD 4 years ago, not knowing a whole lot about the blues, and it is now one of my favorite albums. An excellent anthology of the classic blues. Anyone who considers themselves a music fan should listen to this CD. ... Read more

Reviews (2)

Muldaur's solo versions of songs you may already know.
This is a live recording of a concert in Germany a few years ago. It's a solo performance, and Muldaur has taken the deceptively simple sound of his recent work and pared it down to even more deceptively simple arrangements for solo guitar and vocal. I find his work compelling. This is a clean recording, with little crowd noise (except a little polite applause). The song selection is similar to the sets he's played in solo shows in the Los Angeles area in the past couple of years (there's a concert schedule on his web site).

About 2/3 of the songs here are on his two recent albums, Password and Secret Handshake. These live versions have similar feel to those two albums, and listeners who already have them may not feel the need to buy this one. Almost all the songs not on those albums are all on other G.M. compilations, though not always widely available. My advice is to buy this album for the sound of the solo arrangements.

Almost everything here is just beautiful (though I prefer Eric Clapton's version of Motherless Child). To me, "Gee baby, ain't I been good to you" and "Tennessee blues" are the most special cuts, because of their careful treatment here and because I hadn't heard them on his earlier discs.

The first is an old jazz tune (credited to Donald Matthew Redman & Andy Razaf). The lyrics express only love (mostly shown through expensive gifts), but the slow pace and strained tone are more telling than the words. The song's hook is in the thoughts left unsaid. Tennessee blues (Bobby Charles) is a warm feeling soft folk-sounding song about longing for someplace new. Like the rest of the album, the beauty of both these songs is in the careful and sensitive guitar and vocal performance. Absolutely beautiful.

Some other exceptional tracks are "The common cold" (called "Kitchen Door" on Password), "Wild ox moan" and "Just a little while to stay here" from Secret Handshake, all much like their arrangements on the studio albums. "I can't see your face" has an even more haunting sound played on guitar here than on piano (Secret Handshake).

Muldaur's writes a few originals (Got to Find Blind Lemon) but his real strength is to take an old song (blues, jazz, gospel, whatever) and carefully take it apart to find the emotional core, and then to put it back together, keeping its heart fully intact, but with new instrumentation and his own inimitable vocal. He is at his very best when he arranges and performs songs of subtle but deep lyric or musical soul. When he's done, the finished piece is like hand crafted furniture, worn smooth by years of use but sturdy as if it were brand new.

Muldaur might have summed up his recent work by covering "Drop down, mama" (Sleepy John Estes):
"Well I might look like I'm crazy, but I do know right from wrong."
It sounds right to me.

top notch acoustic blues
This is a wonderful cd. I saw Geoff Muldaur and Fritz Richmond, (a terrific washtub bass player) a year ago December and this cd is just like having that concert right in my living room (minus the bass). Geoff's bluesy guitar playing is so sweet and he's got an amazing singing voice, full of soul while still being very melodic. Really, this guy is a master at what he does. If you love acoustic blues, enjoy! ... Read more

Amazon.com essential recording

Together with 1963's Avalon Blues (as opposed to the similarly titled compendium of 1928 recordings), Worried Blues represents the best of Mississippi John Hurt's later work, following his rediscovery in the early 1960s. As much a folk musician as a bluesman, Hurt included traditional and devotional music as well as blues in his oeuvre. His wide-ranging repertoire here is highlighted by "Farther Along" and "Oh Mary, Don't You Weep." Accompanied only by his guitar, Hurt is a compelling, engaging performer who eschews gimmickry. The ease with which he plays creates a peacefulness at the center of this music that's undeniably appealing. --Genevieve Williams ... Read more

Reviews (1)

Classic Delta Blues
I should put in a plug for my all-time favorite album.I bought the old vinyl record when it came out in 1963.The new CD provides better sound.This record gives a wonderful cross-section of old-time Delta blues and songs.The truly amazing piece on this album is "Slidin' Delta"; this version of it is, for my taste, the greatest piece of music-making I know.After listening to it hundreds of times, I still discover new details every time I hear it. It's a relatively long performance, so John Hurt could really get into the piece.(We are poorly served by getting our blues in 3-or 4-minute takes; longer takes are almost always better than the same artists' shorter versions.)The guitar work is beyond belief, and the subtlety of the singing puts to shame most of the "blues shouters."Even those who don't share my fixation on guitar work and understated intensity will want this record.Essential for blues and folk-music lovers. ... Read more

Reviews (1)

Great listening!
Tampa Red doesn't have the "field hand" voice of many of his contemporaries, yet is equally authenic. His singing is clear and understandable. His guitar playing is clean and crisp with nice slide work! His lyrics are often witty and ironic. This is a great listen for the price and would be a nice start for someone who would like to try an "old time" acoustic blues CD but isn't sure who to choose. And two for about the price of one makes this set a bargain! ... Read more

Album Description

Unlike the grittier sound associated with the Mississippi Delta, Callicott played in a relaxed style that had much in common with Mississippi John Hurt. Happily, Ain't a Gonna Lie to You is the first in a series of discs Fat Possum will be releasing from Mitchell's deep archives. Al CampbellAll Music Guide ... Read more

Reviews (1)

Great North Mississippi/Memphis style blues
Joe Callicott, who died a few years after these recordings were made at his home in Nesbit, Mississippi in the late 1960s, played guitar and sang in a less intense style than that of the classic Delta bluesmen.These fingerpicked blues, ballads and spirituals are more in the style of Mississippi John Hurt or the older Memphis songsters like Jim Jackson.All the songs are enjoyable; the best of them, like "Laughing to Keep From Crying" and "France Chance" (covered by Ry Cooder) are really outstanding and moving.Callicott was the teacher of Kenny Brown, best known as R. L. Burnside's second guitarist; on his recent Fat Possum CD "Stingray" Brown covers four of these songs.A great CD, but beware: six of these tracks appeared on Arhoolie's "Mississippi Delta Blues: Blow My Blues Away Vol. 2," although the sound is more vibrant here.The Arhoolie CD, if you can still get it, contains five Callicott tracks which do not appear on "Ain't A Gonna Lie To You." ... Read more

Reviews (2)

An exellent, but not too well known session
most people have the Big Bill Broonzy Yazoo cd of his early works, which are exellent, as well as his 40's r&b sides on Document, however this Collectibles cd, documents Broonzy late in his career, but in his musical prime vocally and instrumentally. Broonzy's "ready to party" vocals are as strong and appealing as ever, and his guitar picking is deep rooted in ragtime and swing. The big highlight here is how Broonzy turns the swing classic tune ofte nassociated with Helen Ward & Benny Goodman, into a ragtime swinger, with his baritone voice just easing over the song, slightly improvising the lyrics, and still sounding like he's partying in the recording studio. Some tracks feature horns, or rhythm section, but the solos sides sre exellent including a killer diller version of St. Louis Blues, he way Blind Blake would have played it. Great cd that shows what a great ragtime guitarist he was, and taht he might have been the best male blues singer of all time, but definately he's the greatest good time blues singer(along with his half brother Washboard Sam). Great 55 session!

This cd is the greatest ducument of Broonzy's talant
Big Bill Broonzy recorded in the early 30's thru the 50's, and was in his prime pretty much as long as he lived. This set of vlues from the mid 50's(55 to be exact), finds the blues shouter/guitarist in particularly fine form. As a matter a fact, this is perhaphs the finest release of Broonzy on cd. On several tracks he plays solos guitar and on others he's backed by a wailin' horn section. He shouts, jumps and even croons the blues, and his wailin' guitar never sounded so rockin.' His voice is strong and expressive, and completely blue, but in a party, feel good sort of way. Broonzy as always sounds like he's having a party in the studio, and this 50's recording session is not too different from his 30's-40's r&b jump swing combos. Great music that captures a legendary bluesman in his musical prime. ... Read more