Amazon.com

Rice Miller, "Sonny Boy II", began his association with Chess Records in 1955, when he was already at least 45 years old. His exuberant yet dynamic and intricate playing brought the harmonica from the Delta to Chicago, influencing every harp blower since. He developed his rough and wild, hard-swinging, juke-joint style during extensive travels throughout the South. These 45 potent Chess recordings are more refined and urbanized than his earlier Trumpet work, but still capture the excitement of those early sides. Included are remakes of Trumpet classics such as "Eyesight to the Blind" (re-titled "Born Blind") as well as classic gems including "One Way Out" and "Bring It On Home." --Marc Greilsamer ... Read more

Reviews (6)

One of the best collections by one of the best blues singers
This is a superb collection.

Singer/harpist Aleck "Rice" Miller may have started calling himself "Sonny Boy Williamson" to take advantage of the fame of John Lee "Sonny Boy" Williamson from Tennessee. But he wasn't a cheap imitator - Miller was one of the major blues artists at Chess Records in the 50s, alongside Muddy Waters and Howlin' Wolf, and probably the best harmonica player the blues has even seen.

Rice Miller was a superb songwriter, penning witty, sometimes romantic, sometimes venomous lyrics, and tunes to rival those of Chess stalwart Willie Dixon. And he was a terrific singer, highly expressive, and usually backed in the studio by superstar musicians like Dixon, Buddy Guy, Muddy Waters, Jimmy Rogers, Otis Spann and Robert "Jr." Lockwood.

45 tracks are not too many. Sometimes a double-disc compilation is stretching it, especially for the casual fan, but absolutely everything on "The Essential Sonny Boy Williamson" is worth a listen.

There are really too many highlights to mention, but among the very best songs are "Don't Start Me To Talkin'", "All My Love In Vain", "Your Funeral And My Trial", "Let Me Explain" and "Fattening Frogs For Snakes" from Miller's first Chess LP, as well as "Help Me", "Checkin' Up On My Baby", "Bring It On Home" and many, many more - and more than half of these tracks are not on the single-disc MCA/Chess-release "His Best", which should be sufficent reason to pick up this fine collection instead.

And while you're at it, get Miller's early Trumpet recordings as well on Arhoolie's "King Biscuit Time".

Raw Blues At Its Finest
Though I had heard many of his songs performed by others, I did not know the name Sonny Boy Williamson until I heard a John Mayall song about him thirtysome years ago. Recently, my dormant interest in the Delta blues was rekindled, so I decided to try and find out just what this Sonny Boy was about.
Where better to start than a box set? I really had no idea what to expect when I bought it, but what I got was more than expected. I took the set on a recent road trip and listened to both discs more than five times each and found something new to like each time.
The verdict? I love this stuff. Not only can Sonny Boy play his blues harp like no other, he can really sing. His songs are well-written and are often humorous when they are not meant to be. The sound is great too, one can hear every instrument at work, particularly the drums which drive the easy swing of Sonny's blues.
My favorites? I like every song. If I had to pick, Unseen Eye and Somebody Help Me would be near the top.
The Essential Sonny Boy Williamson dishes out a heaping plateful of raw blues at its primitive finest. Don't miss out on this one, its money well-spent.

The greatest storyteller blues singer
Sonny always had a great story song- There was always some predicament going on or some trouble he was in or just simply him being nosey and signafying on other folks problems. And all of this made him the best story teller. I absolutely love his storytelling in song. He was without a doubt the most compelling storyteller in all of Blues history. Buy this cd it's great and listen to the great stories. Sonny in one song says quote- "My baby asked me for 100 dollars and I didn't have but 99"- or the greatest (aint gone be no more sugar daddy) song ever recorded called "Fattening frogs for snakes" and of course his biggest hit is included on this package-1955's "Don't start me talking" because Sonny says when he starts talkin "he'll tell everything he knows". All of these are great classic blues songs from a true blues genius.

Outstanding Work From A Harp Master
Anyone fimilar with the blues has to have at least heard of Sonny Boy Williamson [Rice Miller]. The man was one of the best artists of his time and his work still holds up today. This guy had the blues down cold: he sung, wrote and played some of the best music ever. This compilation is exactly what the title says. There is simply no better place to turn for top notch blues. Sonny Boy's singing is astounding, his harp is nothing short of awe-inspiring (I like him even better than Little Walter). This one has all the classics from "Help Me" to "Keep it to Yourself" and the infamous "Little Village" in all its profane glory. If you waqnt to hear good blues with a heaping of extrodinary Harmonica playing, you can do no better than this outstanding package.

Menacing!!!
Wow! Sonny Boy makes all the current bad boys of rap and rock n roll seem tame. Stories of infidelity, trouble with the law and just good times delivered in his unique voice with some great harp. I would recommend this two disc collection as one of the best Chess reissues. The only down side - I only wish there was more material. I can only imagine what Sonny Boy was like in a live setting. ... Read more

Reviews (1)

Great Music - Disappointing Value
Leroy Carr and Scrapper Blackwell made great music - no question about it, and much of it is included here.

However, for the price, I found this compilation to be disappointing as the remastering doesn't strike me as all that solid. I believe a MUCH better value is Leroy Carr's "Essential" two disk set which contains virtually the same songs at almost half the price. ... Read more

Amazon.com

Although the title of founder might not be exactly accurate, Patton does cast a giant shadow over Mississippi blues. His background as a medicine show entertainer made him more than the typical brooding bluesman. Much of his repertoire was upbeat and just plain fun. Take, for instance, his rendition of "Shake It and Break It": the gravelly voiced Patton snaps his strings and taps out the rhythm on his guitar while not missing a beat. His slide numbers like "High Sheriff" and "When Your Way Gets Dark" are beautiful melodic pieces seldom matched by his peers. He was also an early mentor of Robert Johnson, who probably picked up his trademark descending bass run from Patton. Charley was one of the true greats and is required listening for Delta blues fans. --Lars Gandil ... Read more

Reviews (11)

Where it all begins
Charlie Patton has been described by some as probably the first artist to record and popularize the delta sound. Whether that's true or not, this CD still contains the most amazing collection of musical styles and techniques - Patton attacks and taps his bass strings like a fusion jazz bassist, plays rhythmic sections that can later be heard in '70s dance music,and of course prepares the listener for the emergence of rock, country and folk styles. This is really pre-blues, and is an absolutely critical album in understanding the roots of everyone from Son House to Taj Mahal. If I had been wearing socks when I first listened to it, you can bet they would have been knocked off...

Five-star music, two-star recording
No need to rehash all the praise for Charley Patton; he is in fact one of the all-time great Delta blues singers, and this album contains some of his finest material. All the more reason, then, to regret the terrible audio quality on this CD, which the album-notes try to excuse by the usual talk about "authenticity." There is no good reason, especially in a digital format, to leave in the deafening clicks, pops, and static that all but ruin several of these great songs. One hopes that they will someday be released by a label that isn't too lazy to make the minimal engineering effort necessary to do justice to this man's genius.

A classic album, but not the best available sound quality
This one was considered THE Charlie Patton-compilaton for many long years. Originally released in 1969, "Founder Of The Delta Blues" includes almost all of Patton's best songs, from "Pony Blues" to "High Sheriff Blues", and it is still a very fine overview of Charlie Patton's recording career. But it has now been overtaken, fidelity-wise, by the magnificent JSP box set "The Complete Recordings 1929-34", and the single-disc retrospective "Pony Blues: His 23 Greatest Songs" from the Austrian Wolf label, as well as a couple of other recent compilations.

Dirt-poor acoustics, but great Charlie Patton
If you were listening to this disc with headphones, you'd probably go nuts -- the sound quality is that primitive (about as primitive as it gets!). But once you get used to it, and if you can listen to it on a stereo, I guarantee you'll have a totally different experience. This recording was done over four years (1929-34), so the track quality varies. Generally, though, there's such a deep, lazy, and magnetic ambience to Charlie Patton's music that it shines right through poor LP acoustics and seventy years of history. Good luck figuring out what Patton is actually saying (his enunciation is right up there with Bob Dylan's), but the music is what counts, right?! A rich and unique recording. Recommended.

The Source!
Firstly,this bickering about 'laziness' is a bit neurotic,-as the other insightful reviewer pointed out these are Paramount 78s and no cheaper quality discs were ever manufactured and if they have survived at all their fragility rivals an old Renaissance painting SO take it easy with the conscientous engineers at Yazoo because these digital transfers are the very best that can be head with the notoriously cheapo Paramounts!
Musically this CD is a revelation AND an excellently balanced view of Patton as a performer,...not just red-hot Delta blues but also minstrel Rags and field hollers AND his eloquent percussive guitar work needs no qualifying introduction.
If the surface hiss trobules you then all I can suggest is that you take up the guitar learn these tunes then make your very own CD,...BUT you won't get anywhere tho' Patton Was (and always will be) One-of-a-kind! ... Read more

Reviews (3)

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

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

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

Reviews (8)

Seminal
Aleck "Rice" Miller, Sonny Boy Williamson II, was around long enough to have played with Robert Johnson at one end of his career, and with Eric Clapton at the other.

More than ten years Johnson's senior, Miller was probably born at the tail end of the 19th century in Glendora, Mississippi. He taught the basics of blues harmonica to a young Howlin' Wolf, and he was present the night Robert Johnson was poisoned.
And even though he took his moniker from the much younger Tennessee bluesman John Lee "Sonny Boy" Williamson, Miller's style was nothing like Williamson's, and he was a much better singer and one of the best songwriters the blues has ever seen.

In fact, no-one really sounded like Rice Miller.
His raspy vocal delivery was sly, evil and world-weary, and his harp-playing was full of short, rhythmic bursts one minute and powerful, impassioned blowing the next. His songs were full of mordant wit, with (largely autobiographical) lyrics that hold up to the scrutiny of the printed page, and this CD collects his magnificent 1951 Trumpet sides, including the original, raw takes on several songs that whe would later record for Chess, "Cross My Heart", "Nine Below Zero", "Too Close Together", and the classic "Eyesight To The Blind" among them.
He is backed by drums, piano, bass and electric guitar, and slide guitar legend Elmore James is credited as one of the guitarists on several tracks, along with Willie Love and the "eternal sideman", Joe Willie Wilkins, who taught B.B. King guitar in the 40s, and recorded with Little Walter, Big Walter Horton, Elmore James, Roosevelt Sykes and several others.

The fidelity here doesn't match his Chess sides, but there is so much power and grit in these 52 year old recordings, and several songs rank among Miller's very best. And this CD reissue includes Elmore James' first single, a rendition of Robert Johnson's "I Believe I'll Dust My Broom", which features Rice Miller on harp, and a thirteen-minute KFFA broadcast from 1965, the year Miller died. That one includes Miller's takes on "V-8 Ford", "Right Now", "Come Go With Me", and T-Bone Walker's "They Call It Stormy Monday".

This is a great document, and a must-have for serious fans of blues harmonica.
4 1/2 stars - highly recommended.

The REAL King of Rock 'n' Roll?
Sonny Boy somehow gets swept into a corner because he only had a few records that were "hits" in the 1950s, "Don't Start Me To Talkin'" and "Mighty Long Time," his masterpiece on this CD. However, when he died, artists including The Moody Blues, Jack Bruce, Jimmy Reed, Paul Jones of Manfred Mann, John Maysll, Van Morrison, Eric Clapton and others recorded tributes to him. He recorded with the Animals and Yardbirds, Jimmy Page, jazzmen Chris Barber and Roland Kirk and others. The real story is that Sonny Boy II (not the same Sonny Boy Williamson who recorded "Good Morning Little School Girl"} was Alex Miller, a blues harp player, songwriter and singer who had been playing in the Mississippi delta since the late 1920s with people like Robert Johnson and Robert Lockwood Jr., Joe Willie Wilkins, Pinetop Perkins, Ike Turner and others. He was THE star of the Delta, so popular he didn't need to record until 1950 when he started to record these sides with Jackosn Mississippi's Trumpet Records. He was an escaped convict who became an international blues star using another man's name (John Lee "Sonny Boy" Williamson among others) and another's as his alias (his brother Willie Miller). He was truly hiding in the spotlight.

His Finishing School, Before He Made His Chess Legend
For hearing the man born as Alec (Rice) Miller as he had rounded into near-complete game shape, in the years immediately preceding the seminal sides he would cut for Chess beginning in the mid-to-late 1950s, there is no better package than this of Sonny Boy Williamson's incandescent, embryonic recordings for the ancient Trumpet label. Many of these songs would get the Sonny Boy makeover when he re-cut them during his Chess years, and it's intriguing to compare between the Trumpet originals and the Chess refineries of such signature songs as "Eyesight To The Blind," "Cross My Heart," "Nine Below Zero," "Mr. Down Child," and "Mighty Long Time." Then again, the tandem treat is to hear a good enough dollop of some of Sonny Boy's more personal material, particularly the slightly haunting "West Memphis Blues," which he wrote about the fire that actually burned down the house he had bought with his wife.

Then, there are the bonuses: one of the last broadcasts of the legendary "King Biscuit Time" on which Sonny Boy would appear before his death; and perhaps the earliest known version Elmore James would cut of his signature "Dust My Broom," this one with Sonny Boy (who was long reputed to have tricked him into cutting it for Trumpet) sliding in with some fills showing he was a deft an accompanist/partner as he was a harmonica virtuoso. Accompanying the cantankerously poetic Sonny Boy, mostly, are such legends of Memphis/Helena blues as guitarist Joe Willie Wilkins (Robert Jr. Lockwood he ain't, but for laying a sensible support and spitting out the occasional fill and run he acquits his own self very nicely), bassist Cliff Bivens, drummer Frock, and pianist Dave Campbell, and they deliver yeoman's work.

Traveling Harp Wizard Needs Home
Rice Miller was a man of many faces, tones, and zip codes. THis disc packs some of the fiercest, most downhome sounds that Mississippi had to offer. Includes a radio broadcast from the KING BICUIT FLOWER HOUR and definitve versions of such tunes as "She Brought Life Back To The Dead," "Cool Blues," and "Eyesight To The Blind." As well, "Mighty Long Time" is a marvel. Wonderful harp with Willie Love on piano, and Elmore James on guitar for most tracks. Some of the best Sonny Boy available in the States.

an angel plays harp
If you are picking up the harp buy this I have played for twenty years and this is one of the first albums I bought.Check out the AbWaaahs. A Mighty Long Time is the closest I have ever heard to heavenly music. I hope I get to hear him up there. ... Read more

Reviews (1)

Pathos at Its Hilarious Finest
This is a CD designed to emphasise the guitar playing of Scrapper Blackwell, a blues guitarist of the late 1920s and 1930s.It also showcases the piano playing of Blackwell's long-time partner, Leroy Carr.In fact, as good as Blackwell definitely is, I found that it is the piano playing of Carr that holds much of the CD together.His playing underscores Blackwell's guitar by providing a very solid bass rhythm that provides the fundamental basis for the toe-tapping style behind many of the tracks.A prime example of this is the fantastic "Barrelhouse Woman No. 2."The themes found on the CD are the normal classic blues themes, although they are definitely flavoured by a northern urban environment, as is most glaringly demonstrated by "Down South Blues," a litany of yearning for the south as seen by a transplanted southerner(Blackwell played out of Indianapolis).Another theme is alcohol."Whiskey Man Blues" is hilarious, but at the same time the celebration of unrepentant over-consumption has gloomier overtones.Finally, for just sitting back and listening to some excellent guitar picking, Blackwell is a treat, and definitely worth the price of admission. ... Read more

Album Details

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

Reviews (1)

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

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

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

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

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

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

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

Reviews (7)

One of the Best
This is the one I select time and time again for my smooth jazz fix.

A Jazz Virtuoso!!!
Who is not only technically perfect, but his music is awesome and focuses on the feeling of the songs, not just his technical perfection (as I often feel about Wynton Marsalis.) Great music to relax, drive a scenic highway, or make love by :)

I will buy some more of his albums and hope for the same quality!

Do you want to dance
This is a wonderful piece of music, it relaxes you, and squeezes you like a great big hug!!!! I just love it

Forever Pleasurable!
This CD is for the pleasure of whomever may have the good fortune to pick it and listen and when they do, it'll be pleasure forever. This peice will swing you to the outermost parts of smooth jazz. Take note of the cut that he sings on. His silky voice can be compared to the silky sax sounds that he produces throughout this sensual compilation of jazz excellence. Five stars just isn't enough for this one. Walter proves why he's the professor on this CD. Take a listen and enjoy "For Your Pleasure" forever!

Seamless Performance
Another smooth and seamless performance by Mr Beasley whose elegant and enchanting grasp of the saxophone never fails to please. By the time you get down to the title track (3) "For Your Pleasure" its rhythmic sway will have already got into your veins. This is my favourite track, Mr Beasley always gives a heartier performace with the soprano sax, the type of playing you can do nothing but surrender to.

A beautiful peace of music and one for the hopeless romantics of the world. ... Read more

Amazon.com essential recording

Leadbelly's Last Sessions is a remarkable document. Recorded over the course of three nights in 1948, approximately one year before his death, Sessions constitutes the only commercial recordings of Leadbelly ever made on magnetic tape. The sound here is still primitive by most standards, but it's a vast improvement over the quality of his earlier sides. On this four-disc collection, Huddie Ledbetter sets down as much of his repertoire as he could, from field hollers, blues, and country & western songs to children's tunes, ballads, autobiographical pieces, and popular hits of the day. The tape continues to roll between takes, catching Leadbelly's shifts of moods and changes of interest. He didn't know these would be his last recordings, of course, but he seems to have saved something special for these performances, which are as freewheeling, charming, and authoritative as anything he ever recorded. --Daniel Durchholz ... Read more

Reviews (5)

A must have but, but not necissarily definative.
These four disks are recorded on analog audio tape. The only one existing of Leadbelly. The recodings were made on two or three seperate nights. Since the first night leadbelly didn't bring his guitar he sings acapella most of the first disk. The other three disks have his 12 string acompanyment. The sound quality becomes very apparent here. Unlike most of his records you can hear all 12 strings! It sounds beautiful. Another benefit of these being on audio tape is that Leadbelly can potentially play a song much longer than in prior recording. However he seldom does. Being more informal than a recoding studio ti also gives insight as to what Leadbelly's set list may have been like at a concert or everyday party. Though these individual song versions may not be the definative versions, or Leadbelly at his best, all these songs are gems and a must have for any folk, blues, or country collection.

Towards the end of the disks Leadbellys wife Martha sings with him. In all due respect to Martha she sort of slows the momentum of this collection down. Though I'm sure Leadbelly always encouraged people to sing along with his songs. The brightest gem of this collection may be listening to Leadbelly laugh at his own singing on the funny classic, Diggin' My Potatoes. Or being able to hear him slap his knee on Salty Dog.

Summary: Sping for it. Its something you won't find on any other collection

The sweetest from the Sweet Singer of the Swamplands
Prior to this record, Huddie Ledbetter was confined to the limitations of the recording technology of the day. This resulted in an abundance of two-to-three minute long gems (as much as would fit on an acetate disc) which, while brilliant, obscured the essence of Leadbelly's artistry as a "songster". Fortunately for us and the evolution of popular music as a whole, shortly before this giant of a man (who survived having his throat cut, being shot at by the chain-gang boss as he escaped with ball-and-chain in hand, a suicide attempt as a last resort from prison, and the finicky tastes of New York high society which regarded him as little more than an amazing novelty) succumbed to Lou Gehrig's Disease, new technology was introduced that allowed him to loosen up and let the music flow naturally.

And a motherlode of music it is. While the first CD is comprised of accapella field hollers and spirituals, the other three are filled with some of the most incredible guitar work you'll ever hear, bar none. As Huddie (pronounced Hyoo-dee) himself explains to the listener, he learned guitar "sittin' by the bass-side of the piana" in honky-tonks on Shreveport, Louisiana's Fannin Street. Therefore his aggressive 12-string guitar style is informed by a rollicking boogie-woogie barrelhouse/ragtime feel, that often sounds like several guitarists at once. This is best exemplified in his own ode to Fannin Street, "Cry For Me", and the rag "Easy, Mr. Tom", which has enjoyed many permutations, "Hot Dog" by Blind Lemon Jefferson and "Cannonball Rag" by the Nitty Gritty Dirt Band among them. As Leadbelly comments as the tune ends, "It's so easy when you know how."

Leadbelly knew some thousand songs, and this collection is merely the tip of the iceberg. It includes some of his best-known work, "Goodnight Irene", "Grey Goose", "Midnight Special", and his version of "Easy Rider" ("rider" was slang for girlfriend). It also includes his interpretations of the work of Stephen Foster (of "Camptown Races" fame, and the first "pop star"), some of the most beautiful and haunting melodies, "Springtime in the Rockies" and "I'm Alone Because I Love You". "Salty Dog" finds him clapping the beat between guitar strums. He even sings a whole song in pig-latin (after explaining what pig-latin is). Also included is "Sweet Mary", written for Governor Pat Neff, which won him a pardon from prison ("If I had you Gov'na Neff like you got me/ I'd wake up in the mornin' I'd set you free...")

Occasionally he pauses to take a drink or serve up an anecdote to set up a song, strumming a chord to tune as he speaks. You feel as though you're in the room with him, watching his roughened hands play across the strings.

Sadly, perhaps his greatest known song, popularized by Nirvana, "Where Did You Sleep Last Night" (also called "In the Pines"), is missing from this collection. But apparently Kurt Cobain was introduced to Leadbelly through Last Sessions, and it was one of his favorite albums. Also regrettably missing is "John Hardy", the outlaw ballad rocked up by Uncle Tupelo.

Leadbelly is unique among much early blues music, which seems to often be perceived as depressing. Leadbelly's work is uplifting, joyous, funny (and fun), and perfect for inspiring a good mood. There's nothing stale about it-- it's as vibrant as the day it was set to tape. As Leadbelly sings, "Somebody should ask you people who made up this song/ Tell 'em Huddie Ledbetter done been here and gone..."

Essential, but not the best set for casual listening
(4 CDs: 64'/60'/63'/64') I entirely agree that this is indeed essential Lead Belly. However, I would point out to the unwary buyer that these are not commercial studio takes; they were recorded by Frederic Ramsey Jr. in his home, in a room set up as a makeshift studio. Sound is not a problem, but the CDs contain some talk - not only Lead Belly's introductions to the songs, as he frequently gave on his recordings, but there is also some lengthier discussion, including with the other people in the room. In addition, several "songs" are mere fragments. All this is invaluable to any serious folk music fan, but on the other hand it can be quite distracting for casual listening. These are CDs that you will want to play in order to study them...

Silver City Bound
I love the song Silver City Bound on this box set. It is intense, beautiful and deeply moving as great blues can be. There are a lot of classic folk and blues songs here from Lead Belly's huge repertoire. Lead Belly is one of my favourite blues artists and these discs have the man in great spirit. I recommend this.

This is the greatest true blues collection ever.
You are allowed to hear conversations between Leadbelly and his wife. This is a true recording session done in an apartment living room rather than in a studio. This is what true blues is about. ... Read more

Reviews (1)

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

Album Description

Full title - Josh At Midnight/Ballads & Blues. Josh Whitegreatly impacted the American music scene by introducingAfrican-American Folk, Blues and Spirituals to a wideraudience. These two original rare albums, from the vaultsof Elektra Records, feature 'St. James Infirmary', 'GloomySunday' and his most famous song 'One Meat Ball'. 2002. ... Read more

Reviews (2)

Loved it as a kid!
...Josh White sings and plays folk guitar, accompanied by only an upright bass and a wonderful bass vocalist (who may also be the bass player, it's been years since I've seen the album). Josh's voice is very expressive and powerful, but also friendly and intimate. His music roots comes from the country and old south- and you won't hear more authentic folk music than this- but you'll also hear the late-night urban life in it as well.

The tunes run from the lamenting ("St. James Infirmiry") to the humorous and upbeat ("One Meat Ball" and "Raise a Rukus"). St. James Infirmiry may be one of the most-covered blues tunes in the world, but Josh White's version is about the best I've heard.

I don't know if I have the experience or authority to call this an archetypal or landmark album, but compared to any hokey camp-fire "folk" album, this has the redolent atmosphere of the real thing. It'll grab you.

By the way, the name of this album is "Josh at Midnight", not "Jose at Midnight...

--Stu

Josh at Midnight - a great album
Back in the 60s, my parents had "Josh at Midnight" on vinyl when I was a kid. It was one of my favorite albums. I've been dying to get a copy of it since I first discovered that our copy was missing.

On this album Mr. White sings and plays guitar in a lovely and friendly way-- his voice is very expressive--, and is accompanied by accoustic bass and an incredible baritone harmonizer, who may be the bass player. I don't know, because I bought the CD with free delivery and I don't have it, yet. The songs range from the tragic (St. James Infimery) to the humorous and lively (One Meat Ball, and Raise a Rukus). Also, much of America's history is tied to the songs Josh White sang.

In any case, this is probably a landmark folk album and, by the product description, includes another album I've never heard! ... Read more

Album Description

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

Amazon.com

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

Reviews (4)

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

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

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

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

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

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

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

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

Amazon.com

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

Reviews (2)

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

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

Reviews (6)

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

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

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

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

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

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

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