Amazon.com

A budget-priced box set, Broke, Black & Blue delivers multiple surprises within its 100 songs of prewar blues. Arranged chronologically by Joop Visser, the set admirably covers the first 22 years of recorded blues, 1924 to 1946, from vaudeville and Delta to boogie-woogie and jump blues. It's a swell gift for anyone wanting to learn more about the history of blues. But old-timers will be pleased, too, as special attention has been paid to culling rare and idiosyncratic tracks by the well-known and the obscure. The first three discs present single tracks by artists as diverse as the Memphis Jug Band, De Ford Bailey, Tommy Johnson, Son House, Skip James, Peetie Wheatstraw, Lonnie Johnson, and Bukka White, alongside unknowns such as Isaiah "The Mississippi Moaner" Nelson, Barbecue Bob and Laughing Charley, Ed Andrews, Chicken Wilson, and Bumble Bee Slim. On the fourth disc, this convention is jettisoned to luxuriate in a series of very rare sides of lovely, oddly subdued boogie-woogie and jump blues by Jimmie Gordon, Johnny Temple, and Lee Brown. --Mike McGonigal ... Read more

Reviews (1)

What A Treasure
This Box set is a treasure.Great collection of early recorded blues.Fantastic! ... Read more

Reviews (6)

A Dazzling, but Overlooked Collection
This exhaustive collection of American roots music has been around for over ten years, but I only came across it recently. Record companies don't really have an advertising budget for collections of this kind, so unless you are looking for it, it's likely that you have never be exposed to "Roots N' Blues", a retropective of roots music from the years 1925-1950. Even the most jaded collector of roots music will find plenty of choice cuts amoung the 109 titles presented here. Lawerence Cohn made the wise decision to not use a bunch of collection perennials, but instead he selected more esoteric titles that he deemed worthy of another hearing. I've been collecting pre-WW II blues for over thirty years and there's very little in that area I haven't heard, but Mr. Cohn has pulled several from the vault that are new to me. His inclusion of the brilliant Mississippi Shieks and cuts by the Carter family of Mississippi prove that the Shieks and their offspring were the Carter family that everyone forgot.

Harry Smith's great contribution to roots music was his inclusiveness in his selection of music. To Harry, good music was good music, be it blues, gospel, cowboy, hillbilly or boogie-woogie. A similar ecunemical spirit prevades the "Roots N' Blues" collection. There are no arbitrary catergories separating the music so you are likely to hear a delta blues song, followed by a yodeling cowboy song. It may displace the listener accustomed to listening to music in neat categories, but for me it's a strength instead of a liability. If you listen to a lot of this kind of music, you will probably understand that most roots music has a lot more similarities than differences. Dividing the music into genres tends to undermind the educational value of a project as wide in scope as "Roots N' Blues".

The remastering is the finest I've ever heard and it is a daunting task to clean up ancient original masters without adding a layer of white noise, that to the a listener with a good set of ears, is as distracting as a vacum cleaner running in the background.This collection may not be the best introduction to roots music for the novice. There are plenty of less pricey single and double CD collections out there for the newbie. For the collector, however, this collection is essential and if "Roots N' Blues" isn't sitting on your shelf right next to your Harry Smith collection, you are missing a vital piece of roots music history. The jewels in this collection are the equals of any of their predecessors.

Terrific roots
In 1992, when this came out, there was nothing like it. Now, with the success of such items as the "Oh Brother..." soundtrack and the reissued "Anthology of American Folk Music," this set may get lost in the shuffle. I have most of the similar reissues, and I still think this is the best.

First, it covers a wider timespan than the Smith "Anthology." This means it has both a few older songs, and several newer ones. Thus, this set has an early Bill Monroe song. This set also includes some things which weren't released on 78, so one of Muddy Water's first professional recordings is on here. (Don't believe the note that this was never released before, however. It came out on an Okeh Chicago blues record in the 1980s.) Though this set has only 4 cds to the Anthology's 6, the amount of music is about the same, because these four are filled, and the Anthology's 6 only have the equivalent of Smith's original 6 lps, and are therefore rather short by cd standards.

One thing I find in reissue sets like this one is that some artists and some songs get rereleased over and over. This set does not fall into that trap. Rather, it has many little known artists, some of whom recorded only a handful of sides. Nevertheless, the songs here are almost universally wonderful, covering a wide (but not TOO wide) range of styles with wonderful performances.

You won't find many of these records anywhere else, and the set has a terrific bunch of blues, gospel, string band, Cajun and other vernacular styles. Don't miss it!

The best package I've ever seen.
Lovingly compiled, with liner notes which in themselves could spawn a book, if not a movie, this package traces the gospel/soul/country/blues roots of the labels now owned by Sony. Every song is a gem...the mastering is superb and for all those who have rediscovered Americana through "O Brother Where Art Thou' this is the next logical step in your collection.

A Fantastic Value and Greatly Diverse
I'm really quite suprised to not find a hundred five-star reviews of this set from all the blues fans out there. Truly, this is a great set, better than I expected, this is NOT a patched together hodge-podge of marginal stuff as you often find in these compilations. This is top drawer all the way through; it's American history to which you can sip scotch. The songs are very diverse: some are classic blues cuts, other have almost a Vaudeville feel to them, others burlesque, others bluegrass.

The main point I wanted to make, however, is that I feel this set is MUCH better than the Anthology of Amercan Folk Music. (A previous reviewer likewise made the comparison between the two sets and I completely agree that they are comparable in concept, although he preferred the Anthology set.) That set disappointed me: all the songs sound the same,and the recording quality on most of the cuts is poor. This set is actually exactly what I expected and hoped that set to be: foot tappin' music which evocatively brings to mind fond thoughts of a simpler and more visceral era in American life. The Anthology of Amercian Folk Music may have some profound academic significance which escapes me, but if you want great music with a lot of mood and attitude, I don't think you can do much better than this Retrospective set. A final point: these four CD's are filled up with good stuff: 75+ minutes on each one. A great value!

Loads of fun
This set begs comparison with the venerable Anthology of American Folk Music - both sets feature "songs, ballads and social music." Retrospective is longer (by 30 or 40 minutes) and covers a broader span of history (25 years compared with the AAFM's 5-6 years...). It's more eclectic than the AAFM, both topically and temporally (since the songs, ballads and social music are intermingled on each disc). Now that Smithsonian/Folkways has reissued the AAFM on CD, I'd recommend that set to listeners before this one - song for song, it's of higher quality, with brilliant performances and little or no dross. Retrospective is nothing to scoff at, however; it's actually easier to listen to and enjoy than the AAFM, with something of a "pop" feel, and some of the obscure and previously unissued tracks (47 of 107 are issued here for the first time) are excellent. Most of these performers are Southerners - white, black, and in between, all coexisting as harmoniously as can be. If a hillbilly fiddle breakdown, followed by a slow piano/vocal blues, followed by a Baptist preacher's sermon accompanied by his Sanctified Singers, etc., sounds like a good time, then you won't regret picking up this collection. It's monumental in its own way, and the book that comes with the set is colorful, nicely illustrated with "race record" ads and group portraits, and rather informative. The producer(s) of Retrospective dedicated the collection to Harry Smith - "folklorist, filmmaker, anthropologist, and visionary" - and compiler of the Anthology of American Music: "Harry, you taught us all!" ... Read more

Reviews (4)

Not the best ever...but still darn good
Although the title is totally hyperbole, this is an excellent collection of blues tunes of various eras and styles.

I am a relative newcomer to the blues, so a compilation like this is right up my alley. It lets me get a taste of different aspects of the blues, and to discover artists that I would not have otherwise been exposed to.

Represented here are some of the early delta bluesmen (Lightnin' Hopkins "Abilene", mislabeled as "Shotgun Blues"), the early electric blues (Muddy Waters' "Mannish Boy"), the '60's revival (B. B. King's "3 O'Clock Blues"), the great female blues singers (Koko Taylor's smokin' "Wang Dang Doodle"), the British blues bands (John Mayall's "Spinning Coin"), contemporary American blues rock (Johnny Winter's "Illustrated Man"), and lesser known contemporary artists (Colin James' infectious cover of "No More Doggin'").

Throw in selections by Albert Collins, Elmore James, Howlin' Wolf, Chuck Berry, John Lee Hooker, Albert King, Freddie King, Buddy Guy, J. J. Cale, and others, and you have a blues compilation CD that may not be "The Greatest in the World", but one that both novices and long time blues fans can enjoy. Highly recommended to anybody with ann interest in the blues.

Classic In Every Way! You will FEEL the Blues!
Calling your album the "best ever" takes balls, but this CD stands the test. From classics like Muddy Waters' 'Mannish Boy' or Little Walter's 'My Babe' to hot female singers like Etta James and the dynamic Koko Taylor to oldies radio station's staples like 'Reeling and Rockin'' by Chuck Berry and classic rock blues like Gary Moore's 'Still Got The Blues', this CD covers a lot of ground.

If you want an introduction to the blues and can only buy one CD, this should be it! If you already love the blues, you'll love hearing these songs again and remember them like your first kiss. Either way, this CD will put sadness in your heart or heat in your loins, sometimes in the same song!

The best ever?
Not even close to the best ever. The actual title should read: "The Best Blues Album For Which We Were Able To Get Rights To The Songs Quickly" or something like that. The fact is this double disc set is just a grab bag of songs with absolutely no thought put into it whatsoever. With a few exceptions, disc one is practically a throw away. Larry McCray, Kinsey Report, Gary Moore, and Terry Evans et. al. are all ok modern blues artists but hardly deserve to be on a blues album titled "The Best Ever" -especially one limited to only two discs.

This is a Virgin release, so poor understanding of the genre is to be expected. However, to boldly exclaim that this is the best ever compilation is a rather ostentatious position -even for the Virgin people. The best ever blues compilation would certainly be a difficult undertaking. However, this set completly ignores the likes of giants like Big Maceo, Tommy Johnson, Sonny Boy Williamson I & II, Robert Johnson, Tampa Red, Lowell Fulson, Big Bill Broonzy, Lonnie Johnson, Roosevelt Sykes, Robert Nighthawk, Jimmy Witherspoon, Floyd Dixon, and so many many more important and entertaining historical blues artists. The most shocking eversight is the absence of T-Bone Walker!

Really, I think this is a waste of your money. Even on its own level the flow is odd especially on disc one. Disc two has a better grouping and flow of great blues artists and songs, but still not worth the price. There has yet to be a true "best of" compilation to be released, so for now I suggest you may want to explore the best attempt to date. It is a four disc box set released on MCA in 1996 called "Mean Old World."

Buy it!
I really enjoyed these CDs. it gives a good mix of old school and new school blues so to speak. From todays best to the acoustic sounds of yesteryear, this CD entertained me for a very long time with some great blues. ... Read more

Amazon.com

After the floodgates opened due to 2003’s Martin Scorsese-produced PBS series of blues films, most labels scoured their vaults to nab a piece of the action. Dozens of reissues and repackagings hit the shelves, but Rounder, who has released classic blues for decades, eclipsed the field with this wonderful double-disc set.

Comprised of field recordings made by John and Alan Lomax from 1935-’78, the scope alone of this album is formidable. Many of the acts are obscure even to blues aficionados, yet icons like Muddy Waters, Howlin’ Wolf, Blind Willie McTell, Son House, Leadbelly, and Mississippi Fred McDowell are peppered throughout the nearly 2 1/2 hour playing time. Although the audio quality varies from excellent to primitive, the astounding remastering makes it all listenable. This is raw, pure, spine-tingling music played with the intense nothing-left-to-lose passion of ordinary people whose impossibly difficult lives are exposed in their voices and performances.

Chilling, mysterious, and even playful--sometimes simultaneously--this collection with 40 pages of detailed history, informative track-by-track notes, and forays into Cajun and spiritual side roads is most recommended to established blues fans wishing to further explore the roots of the genre. --Hal Horowitz ... Read more

Amazon.com

The harmonica's not exactly an imposing instrument; who would guess that a pocket- sized hunk of metal could be capable of so much expression? Volume 16 of Rhino's BluesMasters series shows just how much; the harp can trade leads with the vocals (Jimmy CottonBlues Quartet, "Cotton Crop Blues," Junior Wells Chicago Blues Band, "HelpMe"), lay down a raw edge (Papa Lightfoot, "Jump the Boogie"), or playsmooth as you please (William Clarke, "Pawnshop Bound"). As even a cursoryexamination of the above performers will indicate, the harmonica is well represented in all stylesof blues; Jimmy Reed, Sonny Boy Williamson, J. Geils, and Howlin' Wolf appear here as well.As capable as a horn or guitar of carrying the lead, and infinitely more portable, the harmonicamay well be one of the most expressive and versatile instruments out there, and MoreHarmonica Classics offers several excellent examples. --Genevieve Williams ... Read more

Reviews (2)

thrash punk at its worst
I thought sublime was good, but this cd proved me wrong. Instead if hard core reggae rock, i was disapointed to hear stupid, painful, harmonicas. I mean it REALLY SUCKED. I mean by the time it was over, i had put at least 5 pairs of ear plugs on.

A Must for hamonicists and harmonophiles
This power-packed CD is a must for both players and lovers of the harmonica, particularly of the blues-harp variety.

Most all of the tunes here are listenable, but some mighty powerful stuff abounds. On Howlin' Wolf's number, he sounds as if he's playing 2 harps at once. Junior Wells, in his rendition of Sonny Boy Williamson II's "Help Me," does a moving tribute to Sonny II both vocally and harmonically (as Sonny II died shortly before this was recorded). Sonny I is well represented here with "Shake Your Boogie" (although his harmonica is drowned out by the other instruments in parts of this song).

The king of Country blues harmonica, Sonny Terry, does an amazing turn with "Hootin' Blues Pt. 2" which defies written description. Wisely, Magic Dick Seltzer's classing "Whammer Jammer" is also included, as it sounds as if this tune may have been inspired by the above-mentioned Sonny Terry tune (listen and compare).

So for anyone who likes good harmonica music, listen and enjoy. For aspiring harmonicists, you may have think you've got it down pat, but listen to this to see how far you still need to go. ... Read more

Amazon.com

Superb sound quality and sheer entertainment value make this a series by which other musical retrospectives should be measured. Over four discs (available individually as well as in this limited-edition set), the expansive selection of blues-based music from the RCA-Bluebird vaults celebrates artistry that still sounds vital 50 years after it was recorded. Among the highlights are such seminal recordings as "Catfish Blues" by Robert Petway (which Muddy Waters would transform into "Rolling Stone"), "Canned Heat Blues" by Tommy Johnson, "Sweet Little Angel" by Tampa Red (later a signature tune for B.B. King), and "That's All Right" by Arthur "Big Boy" Crudup (which ignited a rock & roll revolution in Elvis Presley's hands). Every cut seems to have been chosen with care, and some of the more obscure rank with the greatest delights: "Memphis" Minnie McCoy's "Selling My Pork Chops" and Washboard Sam's "Soap and Water Blues." As a blues anthology that surveys the roots of rock & roll, the set omits many of the biggest names (who recorded for other labels) and goes lightly on the 12-bar, guitar-driven style that flourished in Chicago after World War II. Yet the variety and vigor of the offerings should strike a responsive chord with casual fan and blues aficionado alike. --Don McLeese ... Read more

Reviews (5)

Some People Are Stupid - REALLY STUPID
This review is a direct response to the person who has given it a solitary star. Well I fit into the category of people who "dont know better"

This is the best sounding remastering I have EVER heard. The only things that I can think of that compare are Old Hat CDs (how they got some of the sounds on the Basement CD I dont know), JSPs Carter Family & Jimmmie Rodgers box sets, or many many items that Bear Family have been responsible for. I would like to hear Ace have a go remastering stuff from the dawn of recordings - but mostly their releases pick up (date-wise) just about where this stuff stops.

As for Document - well, I rate them VERY highly and buy their stuff and enjoy it - BUT THEY DONT SOUND BETTER THAN THESE. It just isnt the case.

I was astonished when I first heard the quality of the remastering on this set. Add to that the incredible sound they have got on the Sonny Boy Williamson's and Leadbelly's "Secret Histort" discs. I havent yet heard the Blind Willie McTell one.

How anyone can say that this isnt the way this stuff is supposed to sound is beyond me. And its all been done without taking away ANYTHING from the integrity of the recordings.

Have a listen and make your own mind up.

The bloke who reviewed this and gave it only 1 star should go back to his medium wave radio.

Fine retrospective for the devoted blues fan
"The Secret History Of Rock And Roll" brings together a hundred original blues classics on four discs.
This series is designed to shine a light on the roots of rock & roll music, and the remastering of these many 70-year-old tracks sounds surprisingly good.

Among the instantly recognizable tunes, many of which were covered in one form or another by rock bands of the '60s and '70s are Big Joe Williams' "Baby, Please Don't Go", "Walk Right In" by Gus Cannon's Jug Stompers, Huddie Ledbetter's "The Midniht Special", "Statesboro Blues" by Blind Willie McTell, "Good Morning School Girl" by Sonny Boy Williamson, "Canned Heat Blues" by Tommy Johnson, and Arthur "Big Boy" Crudup's "That's All Right" and "My Baby Left Me".

This is not really for the casual blues fan, and it isn't supposed to be listened to in one long sitting...even this fine and influential music is not varied enough for that. But if you are seriously interested in early acoustic blues, and its influence on 50s and 60s rock n' roll, this collection ranks among the best.

Great Music + Bad Transfers = SOUNDS TERRIBLE!!!
I keep hearing how great these sound. No disrespect, but people who say this sounds so great don't know what real 78 transfers are supposed to sound like. And that is exactly who these discs are marketed at, the people who don't know the music all that well and will buy bad transfers. I implore you, save your money and spend it on Document Records discs.
Document's sound quality is a million times better than these transfers! Take my advice, if you want inferior transfers, by all means buy this album. If you want this music to sound the way it is supposed to sound, buy Document and keep real blues music alive!

Excellent Overview of the Blues!
The Secret History of Rock and Roll is 100 pioneering blue classics on four compact discs available either separately or as a set. Disc 1 contains some early roots music and is made up of country jug bands, some gospel, a little bluegrass and some vaudeville. Disc 1 features some rare recordings from Gus Cannon's Jug Stompers, the Hall Johnson Choir and Julius Daniels to name but three of the 25 represented here. Disc 2 features the earliest known recordings of the best known blues songs such as Noah Lewis' jug standard "Viola Lee Blues" later performed by the Grateful Dead and Sleepy John Estes' "The Girl I Love" which is familiar to all Led Zeppelin fans. Disc 3 brings into focus some material performed by the first generation of blue's stars including, Sonny Boy Williamson, Yank Rachell, Pinetop Perkins and Roosevelt Sykes. Disc 4 represents the sound of the blues post World War II with more of an electric, uptempo, beat. Overall, the recordings are excellently remastered and the set represents a really good overview of the historical development of the blues. Mainly for those interested in the history of the blues.

Can you believe the music is over 70 years old?!?!
I can't believe the recordings were remastered from over 70 years ago. The sound quality on this 4 disc set is great. There are so many songs on this that I had no idea weren't originals to the stars that made them famous, like "That's All Right" and "My Baby Left Me" (both familiar as Elvis tunes).

Really clever liner notes too; they're written after each track so you can literally follow along as you're listening to learn about the music. Cool gift idea for my Dad who's impossible to shop for! ... Read more

Amazon.com

This plentiful selection from Alan Lomax's field recordings will change the way you think of Christmas. Spoken narratives, mummers' plays, fife-and-drum recordings, Scottish lullabyes, liturgical chants, French a cappella hymns, Alabama sacred-harp gatherings, wassail songs, and Virginia fiddle tunes drawn from diverse geographical regions, languages, and performing styles are all represented. And yet the collection somehow weaves together a coherent story of primary, emotional responses to the symbols and stories of this holiday. The mood is frequently exuberant, capturing the sound of festivals, gatherings, and worship in small towns. Other times the mood is spiritual. Vera Ward Hall, whom Lomax considered one of the greatest singers he recorded, performs a soulful blues inspired by the Bethlehem pilgrimage. And you've likely never heard anything akin to the voices recorded on the Spanish Balearic islands--their message of glad tidings comes in a quavering, throaty cry, accompanied by rapping swords, no less. The emotions behind such voices will leave you in wonder. Songs of Christmas may even restore your faith in the mystery of the season itself. --Roy Kasten ... Read more

Reviews (2)

Humble and Grand
As a child, my mother sang Christmas songs over me to lull me to sleep. Her voice wasn't trained, but the sound was lovely and heartfelt. Listening to this CD allows me to listen to other ancestors in other lands performing in the same untrained but honest way. Regardless of the musician's skills, the spirit of Christmas lives in these recordings. Primary sources can be fun too!

Christmas for those serious about folk music
This album is selected from the Alan Lomax collection of field recordings. The performance covers the range of quality normally found in such collections. It includes both music and spoken pieces. They range from the chant of a Catholic priest to instrumentals from the West Indies, from mummer plays to Rumanian carols.

Tracks that particularly catch my attention are: the midwinter horn solo from Holland; the Auinaldo from Spain with voice, guitar, clarinet and baritone horn; the music and story telling of Vera Ward Hall in No Room at the End/Last Month of the Year; I must mention Sherburne as I sing with a shaped-note group; O Day from the Georgia Sea Islands. These tracks appeal to me musically - I would have a separate list for those most informative regarding Christmas traditions in Spain, Italy, British Isles, Southern US ...

An excellent recording for the hard-core folk musician but not necessarily for the generic listener. ... Read more

Reviews (2)

Fine, stylish blues record
If Big Walter Horton got mentioned in the title every time he played on an album, at least half of all major 50s, 60s and 70s blues records should be called "This-and-than-artist and Big Walter Horton".

Here he is again, blowing his harp behind Robert Johnson's one-time travelling companion Johnny Shines on a reissue of Testament 2217 with two bonus tracks added.
This is Shines' second band-backed, electric album for Testament, and it brings together material from two different sessions (Chicago 1966 and Los Angeles 1969). Otis Spann plays superb piano on the Chicago tracks, which features the same band that played with Shines on his "Masters Of Modern Blues" album, and Luther Allison plays second and occational lead guitar on the L.A. tracks.
And the music is excellent. There may not be very much here as instantly memorable as the best songs by men like Muddy Waters, Howlin' Wolf, or Elmore James, but the songs are of generally high quality, and this is an enjoyable slice of classic 60s blues, played by some of the finest musicians of the genre.

The tracks recorded in Chicago are the best, featuring both Spann and blues drummer par excellence Fred Below (Horton is on all of them), and they include a fine rendition of Big Maceo Merriweather's "Worried Life Blues" and the almost jazz-like "I Want To Warn You".
The L.A. tracks are almost as good, with some great guitar playing from Luther Allison, a funky "Fat Mama", and a great "If It Ain't Me", which sees Johnny Shines doing a good impression of Rice Miller (Sonny Boy Williamson II).

A critic once called this the greatest Chicago blues record ever. It's not, but it is a pretty good one all the same.

Awesome
This a great CD! ... Read more

Album Description

A living and dynamic tradition, blues is forged in hard times but powerful enough to bring on the good times.Legends such as Lead Belly, Memphis Slim, big Bill Broonzy, Elizabeth Cotton, Sonny Terry, and Brownie McGhee, among others, formed the "blues backbone" of Folkways Records.This compilation from the Smithsonian Folkways collection spans a half century and features Delta, St. Louis, Southwest, and Chicago styles performed by some of the best-known figures in the blues history.From boogies to ballads, full of innuendo and irony, this classic collection is a jukebox in a jewel case.Extensive notes, 73 minutes. ... Read more

Reviews (2)

Music from the heart
I've played this CD over and over and still love every minute of it. The music is so varied, so beautiful. I now want to get other albums recorded by Alan Lomax, a genius for recognizing and recording great music. Highly recommended for anyone who loves uncommercial melodies and pure voices.

Recognize the jazz, hiphop, rockabilly, and blues roots
Truth be told this disc is not for everyone and I hope that this description will help those interested in hearing the ancestors of many major music forms find a good listen. Alan Lomax made an attempt to record the provincial musical styles in their home and on the participants own terms. What you get are real individuals singing and playing instruments for reasons that no longer exist today; to pass the day at work, to pass along local stories and traditions, to pass the time in jail, to provide expression for small communities, and to praise their gods where the lived and breathed. There was not a dollar to be made for any performance on this disc, and though we pay to hear it now, it had an effect on the musicians and singers. This music is not polished but it is a fantastic cd based on its content and not its production value. You won't hear music like this often in your life. ... Read more

Reviews (2)

Nice Variety Blues Beats, Some Familiar Songs
(How they sounded in the original)

Hear the Classics!
Hear the songs before they were covered by the stadium rockers. Led Zeppelin covered "Bring it on home", "You Need Love" and " I Can't Quit You Baby" Countless bands have done of a cover of Elmore James' "Madison Blues." And of course, the Rolling Stones did a cover of "Love in Vain" So, if you want hear what influenced famous rock rollers, this is the album for you. ... 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

Amazon.com

Through his portrayal of Tommy Johnson (the real-life composer of "Canned Heat Blues"), Chris Thomas King brought some Delta blues to the bluegrass-driven O Brother, Where Art Thou? soundtrack. In addition to providing a cinematic breakthrough for the New Orleans-based artist, the role has sparked King's finest album in more than a decade, with a cycle of songs inspired by (but not included in) the movie. Channeling the musical spirit of Tommy (which means forsaking the hip-hop samples and scratching King typically employs), the progressive bluesman traces the arc of the music's development, from the gospel grace of "Trouble Will Soon Be Over" and acoustic lilt of "Flooded in the Delta" through the syncopated call and response of "Watermelon Man"and the supercharged rock of "Do Fries Go with That Shake?" As a multitalented musician (who plays everything here), producer, singer, and songwriter, King combines an intuitive affinity for where the music's been with a progressive vision of where it's headed.--Don McLeese ... Read more

Reviews (7)

Excellent
O'Brother was the summer movie for me. After I saw the movie I then got the soundtrack and upon hearing the whole album, I immediately liked the track by Mr. King and I read that he was a muscian first so I decided to see what else he had done. Due to the obvious set up of this album it was an easy buy. I wasn't dissapppointed by a single track. They are all well performed and the instruments and choosen perfectly. The right types of guitar and the right use of Piano, to the perfect use of back-up vocals this man does it all. Good Show and more power to him.

Great and refreshing bluegrass
Chris Thomas King is one of the most talented musicians since Stevie Ray Vaughn. Multi talented, great range to his voice as well as being able to play all nine instruments, used on this CD. The movie "O'Brother Where Art Thou?" doesn't begin to show off his talents. Doesn't even come close. I loved it, especially the song "Spread the Glory." Also a great song and fun to listen to is "John Law Burned Down the Liquor Sto'"; but all of them are supurb.

Twentieth Century Blues
When organic American music was given a shot in the arm by the Coen Brother's movie O Brother, Where Art Thou, Chris Thomas King was among the artists who benefited with King's role as blues musician Tommy Johnson and his song O Brother Where Art Thou. King took full advantage of this opportunity and produced an ambitious concept album The Legend of Tommy Johnson. Imagine an obscure blues artist who sold is soul to the devil down on some Delta crossroads for the ability to play music. He wanders around the delta singing on the corners of "Magnolia and Main" as the cover says. Maybe he serves a stint in prison and becomes part of a chain gang and then upon release wanders to Chicago to try his hand with electric guitar. This is the story of a composite of blues artists throughout the twentieth century and Chris Thomas King has penned, sang, played and produced all the songs on this CD. It is a skillful and artistic cd which demonstrates King's love and appreciation for the music.

Blues music has roots in a range of styles as Chris Thomas King aptly demonstrates. O Brother Where Art Thou and Trouble will Soon Be Over borrow from gospel/spiritual styles. Canned Heat Blues, Flooded in the Delta and Watermelon Man are delta styled acoustic blues. Canned Heat Blues shows the strong relationship which exists between the blues and bootleg liquor. King tips his hat to Charlie Patton and other in singing about delta floods. He sings "People seeking higher ground, the sky is falling and the whole world is sinking down." Watermelon Man is a pleasant journey through the delta in the back of a pickup truck while eating "sweet and juicy" watermelon. You can almost feel the juice running down your chin. John Law Burned down the Liquor Store is blues with country edges with the promise of bootleg liquor after a day of hard and sweaty work. We move north to Chicago with Red Shoes and Bonnie and Clyde in D Minor. Red Shoes is a grind it out blues guaranteed to get the joint hopping on Saturday night in a mode reminiscent of Elmore James or Hound Dog Taylor. Bonnie and Clyde is a haunting "you done me wrong" blues. Do Fries Go with that Shakes explores the early era of rock and roll. Finishing out the cd is Spread the Glory a soulful tribute to Tommy Johnson.

Chris Thomas King has clearly demonstrated his skill as singer, songwriter and musician in producing such a CD as this one. The Legend of Tommy Johnson displays the range and sincerity of Chris Thomas King's pleasant voice. I have hopes that we will continue to hear more from him.

Evolution of the Blues in Miniature
This is an ambitious album, and a very successful one.

The tracks, in order, summarize the 20th century evolution of the blues. The first songs on the album, both King's originals and the covers, are very much in the style of early blues recordings: one voice, one guitar...even the scratchy static of the old 78s is duplicated.

I confess my partiality to early delta guitarslingers, and I really like King's take, from his straight up cover of Willie Johnson's "Trouble Will Soon Be Over" to the archetypally bluesy original "Flooded in the Delta". This is great stuff, and the hilariously deadpan liner notes (spoofing every "how I discovered the blues" story you ever read) are a perfect complement -- I admit, they had me going for a minute.

The tracks then evolve through the rollicking piano blues of "John Law Burned Down the Liquor Sto'" to electric guitar to rhythm 'n' blues, including a purported cover by the Voodoo Dolls (King) of a song by the legendary Tommy Johnson (also King). This is good stuff, too, though less my cup of tea.

This is the only CD of King's I've listened to -- yes, I was drawn to this through O Brother, Where Art Thou? -- but I certainly want to hear more.

Picking Up Right Where He Left Off
I am familiar with King's work only from the movie O BROTHER WHERE ART THOU. He has wisely jumped onto that musical bandwagon by recreating his character from the movie, Tommy Johnson, and doing a solo CD as Mr. Johnson, blending history (the real Tommy Johnson) with fiction (O BROTHER. . .). Great idea, very good results. I am not a true blues afficianado, but I loved the song he did in the movie and figured I'd give this disc a run. The opening song, "O Brother, Where Art Thou?," is a very cool song that moves along at a nice pace--some nice a capellla and good guitar work, also. "Canned Heat Blues" calls to mind his song from the movie. "John Law Burned Down the Liquor Sto'" is a fast-moving, bluegrass-ish song that is a riot--the tites are so good sometimes! "Red Shoes" is a more electric kind of sound--good song. "Bonnie & Clyde in D Minor" is good, old-fashioned, slowed-down traditional delta blues--great song. The album concludes with two songs performed by the Voodoo Dolls, both of which were probably unnecessary and a bit out of place.

On the whole, this was a very entertaining CD, full of a variety of paces, styles-within-the-style, and instrumentation (he plays a variety of instruments, including mandolin, upright bass, piano, harmonica, and all guitars). He knows how to sing, and he is smart enough to cash in on the O BROTHER phenomenon. If you are a general blues fan, a Chris Thomas King fan, or an O BROTHER fan, you will probably enjoy this CD a great deal. ... Read more

Reviews (4)

Good Listening, Blues at its best
Even if he hadn't influenced anyone, even if historically he was a 19 year old kid from Shirley, Long Island, even if this recording at just been waxed last night, this is good, essential blues listening, you won't want to stop listening, you wont stop seeing the scenes of the blues that the songs make, you won't stop swaying at the power and swing of his guitar playing and singing. On here, my song is Preachin the Blues. I know you will have yours.

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, House made recordings that reproduced his old masterpies, with a wrier sense of meaning than before.

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

A fine purchase for fans
This is not the place to start if you're new to Eddie "Son" House, but if you're already a fan, this double CD, which brings together two live recordings, is a very nice addition.

These two concerts were taped in 1965, and both were originally released as bootlegs (this is their first official release, and the sound has been improved considerably, at least on disc 1 from Oberlin, Ohio).

On disc 1, House's lenghty monologues have been preserved, and the ageing Son House is in unusually good form, funny and completely coherent, his deep voice easy to understand.
House performs a powerful version of "Death Letter" (explaining the origin of the song's title), and two versions of "Levee Camp Moan", and he talks about the many years he worked as a porter in Rochester, New York. He also tosses off an unusually agressive "Empire Street Express", and an a capella "Grinnin' In Your Face" which really displays the power of House's huge baritone voice, even in his old age and after decades of alcohol abuse.

The ten-minute "Son's Blues", which comes towards the end of the set, is too long and indulgent, and House doesn't sound quite as sober anymore. But the classic "John The Revelator" is nice, and the many charming monologues makes this Oberlin College concert a very interesting item for collectors.

The sound on disc 2 is pretty bad, with lots of static, but House is clearly audible, and the track list is very interesting. It includes excellent, potent performances of "Pony Blues", "Preachin' Blues", and a tough, percussive "Empire State Express", mixing blues with spiritual songs like Blind Willie Johnson's "Motherless Children", a ragged "I Shall Not Be Moved", and "Yonder Comes My Mother (When The Roll Is Called Up Yonder)".

The sound goes from bad to worse during the intro to "Pearline", and a couple of these performances are sub-par, but all in all this is an interesting document for fans of Son House, and worth a listen in spite of its flaws.

Be forewarned- this is a weak live recording
I wish I had checked the reviews out at Amazon before I bought this at a record store because the labeling on the CD is very deceiving. Nowhere on the outside does it explain that the 2 CDs are each live recordings, and not very good-quality ones at that (either in sound or performance quality). I figured from the title that they were from his comeback period, so at least that was not a surprise. But a sticker on the package referred to these as "The Seminal Son House recordings", which these are clearly not. When I listened I got very angry at the record company for taking my money with false advertising. Son House sounds drunk and his guitar playing often off-key. The recording of Death Letter Blues shown in the videotaped performance on Scorcese's program was way better, with excellent playing, so I know how great he can be, which makes this set so disappointing. His voice redeems the CDs somewhat because it is still very strong (though still occasionally drunk-sounding), but his too-frequent grunting gets annoying. Also, both CDs are rather short. The talking tracks on the first CD are mildly interesting from a scholarly point of view but I mainly want to hear the music, which could have been combined on one CD.

Clearly Son House is a monumental talent, and I don't expect a bluesman like him not to have some rough edges, but unless you are already a Son House fan and want to hear some more historical recordings to complete your collection, I'd stay away from this one. I would give it one star for the deceitful mis-labeling by the record company, but I feel that would be disrespectful to Son House.

"I'm just an old ordinary blues player ..." -- Son House
An ordinary blues player?? No less an authority than Muddy Waters proclaimed Eddie "Son" House "the greatest of all blues guitarists", and if you don't take his word for it, you certainly wouldn't take mine. I can, however, guarantee that you at least won't find a *better* blues guitarist, or a blues man in general: he was an absolute master of the slide guitar. Son House was already well into his sixties at the time of these recordings -- one at Oberlin, the other at the Gaslight Cafe in New York, both in 1965; note: some songs are repeated -- and his fingers are perhaps not quite as nimble as they once were, but one hardly notices that: the fire burns as brilliantly as it ever did, and his singing is mesmerizing. Along with such luminaries as Charlie Patton and Willie Brown, with whom he played back in the 1930s, House was one of the pioneers of the Delta blues. In the _Revisited_ recordings, you can hear some of his best work -- his "Preachin' Blues", say, based on the old James McCoy version, or his "Empire State Express". The introductory monologues, some of them quite humorous and all of them fascinating, give historical context to the songs and alone serve to commend this double album. Because of the repetition of songs, perhaps this is not the recording to buy as the *only* Son House album you own: you'd want the _Complete Library of Congress Sessions_, say, or the _Original Delta Blues_; but it is definitely worth the listen. ... Read more

Reviews (2)

Good Collection
This collection of blues from relatively recent artists (50s to 70s) is worth the money. Of particular interest is to hear Otis Rush's original 'All your love' to see how Eric Clapton copied every note on the ground breaking John Mayall beano album. In addition there are so many other original tracks and guitar licks which artists have copied over the subsequent years.

A good introduction to the Blues.
If you are a blues guitarist wannabe you should own this album. Good recordings of a variety of blues styles and classic licks. ... Read more

Reviews (4)

It's NOT Delta Blues
Any true blues fan should take it upon themselves to learn the difference between Mississippi Delta music and North Mississippi Hill music. This is NOT a Delta Blues album, it is Hill music. I personally prefer Hill music to Delta. It is a more primative form of blues music perfect for jook joint dancing. You can't help but tap your toe or stomp your foot to it.

Jessie May Hamphill is right up there with the best of the North Mississippi musicians, such as RL Burnside, Junior Kimbrough, Fred McDowell, Othar Turner, Lonnie Pitchford, to name a few.

She has recently suffered a stroke and can no longer play guitar. So buy her CD's now!! She won't be making any more.

Unbelievable !
Jessie Mae Hemphill evoked in me a feeling of being with greatness. Her music is hard to categorize and seems to be a combination of blues, indian, and cajun music. If you aren't moved by her performance, you simply don't like music. 5 stars is inadequate to rate this album. To our great pleasure she recorded two albums. To our great sorrow, there were only two.

Clyde Blues Man White loves Jessie Mae.
this is the best delta blues i've heard in awhile.jesse mae hemphill not only sings the delta blues she also feels the delta blues and no doudt lived the delta blues this recording is a must for any delta blues fan as is any other recording by her you can get your hands on. no crossover blues from jesse mae just the real thing.

Delta Blues are Alive and Well
Strongly influenced by such blues icons as Muddy Waters, John Lee Hooker and Howling Wolf talented instrumentalist Jessie Mae Hemphill plays driving rhythmic delta blues. Her playing and vocals are evocative as is her song-writing - most tracks on this album are self-penned. This is the most impressive album I have heard in a long while from a modern delta blues player. Thoroughly recommended. ... Read more

Album Description

This collection assembles the best sides from Hopkins'classic period, remastered from carefully selectedoriginals. 126 tracks on 5 CDs. Standard jewel cases housed in a slip-box. JSP Records. 2003. ... Read more

Reviews (1)

Unparalleled Blues Purity
This 5 CD set is almost too much of a good thing for lovers of raw country blues guitar music, a revelation of emotion and execution by a rare master of his art. For anyone interested in hearing the unencumberd essence of the human soul, this set is imperative. Though just about any recording by Hopkins is recommended (and there are quite a few) these discs capture him in his prime, playing with a conviction and power at a time when he had nothing to lose, before his "discovery" by white blues lovers in the sixties. The fact that themes are often repeated should be of little concern to those wishing to experience a primal example of evolution in country blues. Not only is this set a fantastic bargain for 5 discs, it is priceless when you get to hear what they contain. ... Read more

Amazon.com

When Junior Kimbrough died in January 1998, part of the spirit of Mississippi hill-country blues went with him. He was a proud musician, aware of his African roots and his artistic singularity--perhaps the last unique voice in the genre. The sound of his bawling singing and unpredictable, serpentine guitar were as eerie as a warm wind humming through a field of tombstones, as hypnotic as the ancient village drum music it was based on, thanks to his complete command of his rhythm sections. This collection serves full notice ofKimbrough's authenticity, from his first recording, an impromptu-sounding "Release Me" played with rockabilly cult figure Charlie Feathers, through his last '90s albums for Fat Possum. It's in the latter cases that Kimbrough paints a colorful portrait of his hardscrabble life just above the Delta. Rape is wrongly equated with love (in the brutal-but-fascinating title track), and sexual prowess ("All Night Long") is the only true coin of manhood. Finally, "Done Got Old" serves as the best epitaph for this blues hell-raiser, whose decades of bootlegging, boozing, and womanizing seemed to catch up with him in his final years. Nonetheless, that song and the 11 others prove that no matter how tired and worn he became, Kimbrough's crackling music never lost its edge or its feeling of danger and menace. --Ted Drozdowski ... Read more

Reviews (7)

The main man who influenced Charlie Feathers
Kimbrough tought rockabilly legend Charly Feathers how to play guitar and influenced him. Kimbrough has a unique guitar style and a truly honest blues voice. A great cd by a legend who influenced the rockabilly stars of the 50's!

Junior Would Be Proud
Even though I already had all of Kimbrough's Fat possum discs, I still love this album. It has all his greatest songs which eliminates the process of selecting the songs from all his verious albums. It also contains the duet between Kimbrough and his long time friend and rockabilly pioneer Charlie Feathers. If you like the music here you should not only check out his fatpossum realeses but also his "Do The Rump" album on Hightone records. This is a compilation worthy of the Mississippi Hill country blues master himself. Junior would have been proud of it. Rest In Peace Jonior. You are missed

This is one of the places it all started.
A Juke Joint by definition is a Blues & BBQ club in the American South. Junior's Place was a juke joint of national acclaim hosting such local acts as R.L. Burnside, T-Model Ford, and Asie Payton. The building that also served as his home stood for 130 years, and burned to the ground less than month after Junior's Death. As a testament to a forgotten musician, The Essential Junior Kimbrough is a collection of his eclectic blues recordings over the years. Kimbrough released his first full-length album at the age of 62 on Fat Possum Records. From the 1969 45rpm version of "Release Me" to his Fat Possum versions of "All Night Long" and "Sad Days", Junior conveyed pure emotion into every one of his tracks. You can actually feel his pain listening to the music, but you will also embrace it when you come to the realization that this was everything the man truly was. It draws upon the souls of old Mississippi Hill Country Bluesman, and captures a sound truly unique to an area. A sign stood outside of Junior's Place that simply read: "If you can't read this, get someone to help you read this." This pretty much personified everything that he was: If you didn't understand, then you shouldn't be there

Haunting, visceral connection to Johnson, Patton
Though I'd heard of Junior Kimbrough and read about him in Robert Palmer's seminal "Deep Blues", I really didn't appreciate Kimbrough's talents until I picked up a Rough Guide compilation of Delta blues. In a word: astonishing. The song "Meet Me in the City" creates a portrait that haunts the very core of your being. New feelings seem to emerge every time I listen to it. Kimbrough's work was stark, chilling, touching, tender, sad and hopeful all at the same time. Though a gifted guitarist, it was his voice that created a haunting and visceral connection to the Holy Trinity of Robert Johnson, Son House and Charlie Patton. Highly recommended if you love the original blues, without Chicago-style frills.

blew my head off.
hard driving beat, haunting lyrics. rough, up-front authenticity. there are probably better quality recordings out there, but this is a good introduction to Junior. ... Read more

Reviews (4)

Mathus Serves Up Some Down-Home Blues
Like a good novel or movie, Jimbo Mathus' third CD, "Stop & Let the Devil Ride," transports you to another time and place. It is near last call and Mathus and his Knockdown Society have a the crowd in a Mississippi juke-joint boogieing on a rickety plank floor under a haze of smoke and the mingled smells of fried catfish and stale, spilled beer. Mathus soaked up the music of his native Mississippi and stays as true to his roots as any living blues legend. From the infectious cover of Roosevelt Barnes' "How Long Must This Go On?" to the hypnotic sway of "Get Back to You", this CD delivers throughout and can easily be listened to over and over again. "Stop & Let the Devil Ride" is the perfect soundtrack for a keg party or cleaning the bathroom. It grows on you until it seems to follow you from the car to your home stereo, your Walkman, wherever you can get your fix for some country-fried blues. "Stop & Let the Devil Ride" should establish this former Squirrel Nut Zipper as one of the true authors of modern Mississippi blues and one who will be remembered in a long lineage of legends.

Scoot over Baby, Stop and Let the Devil Ride
James (Jimbo) Mathus, probably best known as the ex-frontman of the popular hot jazz band, the Squirrel Nut Zippers, is quickly making a name for himself as one of the leading interpreters of north Mississippi hill country blues. Hill country blues is raw, electric, juke-joint boogie that entices audiences to get up and dance rather than sit and listen passively. Mathus, a native of north Mississippi, become enthralled with hill country blues during the summer of 2000 when he was working as a session musician on Buddy Guy's "Sweet Tea." Mathus was selected by producer Dennis Herring of Sweet Tea studios in Oxford, Miss. to serve as the musical director, arranger, as well as the rhythm guitarist, for the Buddy Guy sessions. In preparation for introducing hill country blues to Guy, who was unfamiliar with the genre, Mathus immersed himself in the music and held 12-hour rehearsals with the band. He was also responsible arranging the eight hill country tunes on "Sweet Tea", including Junior Kimbrough's "Done Got Old", T-Model Ford's "Look What All You Got", and Cedell Davis' "She Got the Devil in Her".

After the "Sweat Tea" sessions, Mathus returned to work on his own album, "National Antiseptic." He and his producer, the legendary Jim Dickinson, decided to record three hill country songs for the album: R.L. Burnside's "Snake Drive," T-Model Ford's "Take a Ride with Me" and Lonnie Pitchford's "Drinking Antiseptic". One listen to these cuts confirms that the 12-hour days Mathus spent rehearsing hill country blues has paid off. Mathus and his band, the Knockdown Society, play an authentic brand of hard-driving, electric boogie that not only pays tribute to hill country stalwarts such as Kimbrough and Burnside, but also increases the accessibility of the music to a much wider audience.

With "Stop and Let the Devil Ride", Mathus continues his exploration of hill country blues and, as is customary for him, also throws in healthy doses of country, R&B, gospel and traditional 12-bar blues, for good measure. The album is mostly stripped-down, gritty, electric blues with no extended guitar solos or horns, just the judicious use of keyboards and female backup singers. The album was recorded at Rick Miller's (Southern Culture on the Skids) studio near Chapel Hill, N.C. and mixed by Dennis Herring at Sweet Tea Studios. In addition to Mathus on guitar and vocals, "Stop and Let the Devil Ride" features veteran Knockdown Society members Stu Cole on bass and Nate Stalfa on drums, new KDS member Dave Spencer on guitar, and guest performers Luther Dickinson (North Mississippi Allstars) on guitar and Patrick "Playboy" Smith on keyboards.

This time, Mathus handles the production chores himself, and creates an authentic traditional hill country sound. While Mathus was obviously influenced by Herring's production of "Sweet Tea", he avoids some of its idiosyncrasies such as the extensive use of echo and separation. The result is a sound that is as rough as "Sweet Tea", but more gritty, capturing some of the raw edge of the Knockdown Society's live shows.

"Stop and Let the Devil Ride" features 10 rootsy originals penned by Mathus and three interesting covers. Opening the album is a train song called "Mean Old Line." It's an edgy, hard-core blues with pulsing drums, bass and guitar that sound like a train going full-tilt down the track. With Mathus' plaintive vocals backed by an old Son House riff, "Mean Old Line" kicks the album off in full throttle.

Next, Mathus covers Roosevelt "Booba" Barnes' "How Long This Must Go On" from his 1990 release, "Heartbroken Man." Barnes, who died in 1996, got his start playing the juke joints of north Mississippi. On "How Long", Mathus successfully captures Barnes' hard-rocking guitar and gutsy vocals, and offers a first-rate demonstration of hill country blues' groove-oriented, juke-joint sound.

The next cut is also a cover - this time Otis Rush's 1950's classic "All Your Love (I Miss Loving)." Mathus shortens the title to "Love I Miss Love", dispenses with the vocals, and breathes new life into this calypso-flavored blues standard.

"Dope Sniffing Dog" is a rollicking, North Mississippi boogie, which starts out with Mathus singing the praises of his "baby doll from Little Rock, Arkansas," and ends up with a reference to an experience he once had with airport security.

The autobiographical "Never Seen Daddy," Mathus employs a Junior Kimbrough-style riff to get into a droning, hypnotic, hill country groove. The song is another great example of the raw Mississippi juke-joint sound.

On "Blues Jumped A Rabbit," Mathus treats this traditional folk tune as a North Mississippi stomp with a bluesy vocal. Mathus turns R&B crooner on "Get Back to You", sounding more like Solomon Burke than R.L Burnside.

With "Calvin's Boogie," Mathus gets back into the hill country boogie-groove, enticing the listener to "boogie 'til we don't know right from wrong." Cheep Champagne is a slow, nasty,12-bar blues burn with Mathus growling "my baby spends all my money on cheap champagne." This will be a great tune for slow dancing.

The title cut begins with Mathus murmuring, "scoot over baby, stop and let the devil ride." It's hard electric boogie at its best, with Mathus demonstrating his flair for capturing the spirit and feeling of hill country blues. The hill country boogie-groove continues with "Stop Your Ways", which has a dirty, hard hill country beat that would feel right at home on "National Antiseptic."

Mathus ends the album with "Call The Warden," a country/gospel-flavored prison dirge inspired by Charlie Patton. The cut features the anguished vocals of Mathus over a weeping slide guitar, with a drum beat that sounds suitable for marching to an execution.

When asked to describe his music, Mathus explained, "I play and sing about stuff I know for fact, and one thing I know for certain is that people everywhere want to boogie." He calls "Stop and Let the Devil Ride" "a good late-night party record." I couldn't have said it better myself.

JIMBO ROCKS!
I've met a Jimbo a number of times thanks to a friend who produced some songs on his last release "Drinkin' Antiseptic". Let me just say that I'm not doing this review based on my friendship with him, I'm doing it because I love his music. In my opinion this is the best stuff he's ever done, and that includes the Zippers. From the first song, "Mean Old Line" you get hooked into the blues! "How Long?" follows it to keep you rockin. "Dope Sniffin' Dog" is pure blues/rock. "Blues Jumped A Rabbit" will have you boogie-ing. Jimbo slows things down with "Get Back To You" a song about lost love. "Cheap Champagne" is great. "Let The Devil Ride" is a song everyone should cruise