Reviews (1)

Good sampler
The trouble with the Blues Masters collection is that CDs like this one, which is compiled to showcase some great blues harmonica playing, is that it never tells the full story.
Howlin' Wolf is here, Sonny Boy Williamson (II) is here, Little Walter Jacobs is here, Jimmy Reed is here, but these songs generally doesn't rank among their best, since they were chosen primarily for the harp playing.

But if you already have the essentials by these artists, "Harmonica Classics" and its companion volume (excitingly titled "More Harmonica Classics") is a really good purchase, featuring several excellent lesser-known songs like Jerry McCain's "Steady", Big Walter Horton's "Easy", and Lazy Lester's superbly groovy "Sugar Coated Love". Just don't think that you can go out and buy the "Blues Masters" series and be done with. ... Read more

Amazon.com

No musician ever applied a gentler touch to songs of murder, sex, andsalvation than MississippiJohn Hurt. The country bluesman enjoyed a career revival through the folkfestival boom of the early 1960s, and his influence continues to ripple, as thisvaried and vital tribute attests. Produced byPeter Case (who teamswith Dave Alvin on"Monday Morning Blues"), the album's renewal of classic Hurt extends from thedeadpan double entendres of "Candy Man" delivered bySteve Earle and sonJustin to Taj Mahal'strademark lilt on "My Creole Belle" to a surprisingly straightforward "Stagolee"by Beck. Amid a roster ofluminaries ranging from fingerpicking acolytesChris Smither andBill Morrissey toBen Harper,John Hiatt,Lucinda Williams, andGillian Welch, the mostradically disarming interpretation comes fromVictoria Williams. Herbreathless "Since I've Laid My Burden Down" sounds like a preschooler on helium,yet somehow taps into the subconscious of the song. --Don McLeese ... Read more

Reviews (16)

Incredible bargain for under $3
As I write this, new copies of this wonderful album are available for less than $3 (through recommended Amazon sellers - check the 'new and used' link). That, my friends, is an exceptional bargain! I paid about $20 (including postage and handling) for this album around 18 months ago and considered it great value for money at the time, since every track (even the much maligned Victoria Williams cover of 'Since I Laid My Burden Down') is at least listenable, if not a veritable aural treat.

If you're a fan of the late Mississippi John Hurt (like myself), you'll find the contributions by Ben Harper and John Hiatt to be most reminiscent of his original recordings. Although these two modern artists come closest in replicating Hurt's distinctive finger-picking style, neither can match the deceptively subtle ease of his guitar playing. This is not to suggest that their versions are any less enjoyable, only that no one on this album can quite match the brilliance of Hurt.

From my perspective, only one track on this album - Gillian Welch's version of 'Beulah Land' - actually surpasses the original. Although the guitar playing is much more subdued on this track, the haunting echoes of Welch's vocals will send shivers down your spine. This track alone makes this $3 album a bargain, but it offers so much more than that. Even if you can't stand the Victoria William's track (it's not that bad, people), this great album is packed with 14 other songs which are hard to skip past. How many other albums for under $3 can you say that about?

Well worth the effort
This tribute to Mississippi John Hurt is one that I keep gravitating back to and giving "nuther listen to". The artists (save perhaps one) are impressive in their interpretation of John's wonderful witty and humorous music. Those last two qualities seem to be the only thing that they just couldn't copy that Mr Hurt seasoned his works with so naturally. My ear always "trips over" Victoria Williams "Since I've Laid My Burden Down". Her performance is done in a style that is more suited to the Bulgarian Womens Choir. I loved the Taj Mahal performance of "My Creole Belle" and Geoff Muldaurs "Chicken".

tepid tap water
A lot of tribute albums trade on the popularity and fame of the "tributee" and fall into the mixed-bag when it comes to quality. This is truly no exception. There are some decent covers that are pleasant enough to listen to in the same way that luke-warm tap water might quench your thirst, but come on...you're interested in John Hurt, listen to his albums. The best song on here doesn't even touch his level of spontaneous genius. I mean its not even in the same room. Hurt himself has an otherworldly, almost angelic quality. Hurt didn't know theory. Hurt picked out a $200 guitar when they told him he could have any one in the place. These are just a bunch of halfway decent, semi-gifted, "folkies" who have wood shedded long enough that their chops aren't half bad. If this was all you heard, you'd dismiss the man himself in a heartbeat like "so what, these are simple, almost childish folk songs...no big deal". Get his Last Sessions album first, and then this if you still want to. Life is too short to listen to mediocre music.

Better than the original
...I hadn't heard of John Hurt before. This CD is now one of my absolute favorites. "Chicken" and "Since I've laid my burdon down" will stay with you for days and you'll be replaying the CD several times so that you can get the lyrics right when you're singing them in your head later. "Sliding Delta" is another laid back personal favorite.
Every song on this album is good. Since all of the performers have trained voices, the singing shows off Hurt's songs like he could not. (Nobody trys to beat his up-and-down melodic guitar however. For this you've got to buy the original.) I also liked the variety that different performers bring to the CD as a whole. Hurt's songs could sound a little too similar with his raspy half-whisper voice after a while.
Mississippi John Hurt is an original, but I truly like this CD better than his Avalon Blues originals or his Complete Studio Recodings.

a worthy tribute
Hurt was a unique bluesman - funny, laid-back, and unassuming. There would be no value in merely imitating him. But at a time when many tribute albums are filled with third-rate performers parasitizing first-rate songwriters, it is a delight to find a tribute that justifies the word. Each artist tranforms a MJH song to fit his/her own style, and the results are memorable, and often outstanding. I especially liked Gillian Welch's spooky version of Beulah Land, but the entire CD is good (how often can you say that). If you like any of these artists, you will probably love this album. Highly recommended. ... Read more

Reviews (2)

Tooo Cruuuude!
Oh man! This puts Barnacle Bill the Sailor to shame. Just give a listen to song#5! Yikers!!!

Good Collection of Naughty Tunes -- Including One Zinger
From almost the beginning of recorded music, songs have had some kind of sexual content. Compared to today where little is left to the imagination, this artists make clever use of double-entendres to tell their stories.

For example, there's Lil Johnson's "My Stove's in Good Condition" in which she asks someone to "stick your match right in the hole." In Bo Carter's "My Pencil Won't Write No More" he complains that when he tries to write his pencil is "drooping."

For those who want something a little less subtle there's Lucille Bogan's previously unreleased version of "Shave 'Em Dry." Lucille Bogan was as raunchy as any contemporary rapper way back in 1935! If you thought gangsta rap started the use of graphic language in music -- think again. There are lines in this track that would make Ice Cube blush (well, almost). In one of the track's tamer verses she says, "I'm going to turn back my mattress and let you oil my springs/I want you to grind me daddy till the bells do ring." If that's too much for you, there's her very different "clean" version. It's so different that you'll swear it was sung by a different person (who knows, it might be!).

Overall, "Raunchy Business" lives up to its title. However, with the exception of Lucille Bogan's alternate version of "Shave 'Em Dry," it won't offend most adults as long as its not a formal function. ... Read more

Reviews (1)

Negro Work Songs & Calls [Rounder]
This is possibly the worst transfer of data into digital format that I have ever heard. I have a 30 year old copy of this album on vinyl that I carefully recorded in MP3 format. The quality of this home recording maintains the fidelity of the original recording infinitely better than this CD. I bought the CD hoping for a better digital format, not worse. I am sending back this opened and played CD to Amazon.com today. Let's see how they respond to a return that is based soley on the fact that it is an incredibly inferior product. One final note. The music of the original recording will make any effort you take to find one of the older vinyls well worth your effort. ... Read more

Reviews (2)

Another good sampler
This is a really good CD...it's just a little hard to figure out who its audience is supposed to be. It certainly isn't the definitive word on slide guitar blues, or on any of the artists represented. And the seasoned blues fan probably owns most of what's here already.
But as a sampler it does work very well, featuring a lesser-known (but very good) rendition of "Dust My Broom" by Elmore James, and well-chosen cuts by Muddy Waters, J.B. Hutto, and Robert Nighthawk (a superb medley of two of his best songs, "Anna Lee" and "Sweet Black Angel").

The compilers at Rhino have included the Allman Brothers' version of Blind Willie McTell's "Statesboro Blues", "Shake Your Moneymaker" by the Paul Butterfield Blues Band, and Canned Heat's take on "Rollin' And Tumblin'"...I would probably have gone with McTell's own "Mama T'Ain't Long Fo' Day", which is one of the most beautiful acoustic slide guitar blues tunes you'll ever hear, but that's just me.
But where is Robert Johnson? And where the heck is Son House's "Pearline"?
Okay, I'll stop complaining now. This CD does have a lot going for it, including some lesser-known tracks which should appeal to the experienced blues fan, like "Homesick's Shuffle", "I Am The Black Ace", "If You Ever Seen A One-Eyed Woman Cry", and a rare opportunity to hear Chuck Berry wielding the slide on the odd instrumental "Deep Feeling".

Awesome!
This is must buy for any fan slide guitar. From beginning to end, from Elmore James to Johnny Winter, it's non-stop blues. You'll find yourself hitting the repeat button on the CD player, so you can hear the great blues slide guitar again. ... Read more

Reviews (2)

Some of the greatest recordings ever.
Even without the Slide Guitar moniker, these recordings stand as some of the best performances of the 20th century. A most have for all music lovers.

This is actually worth 10 or 11 stars
I am tempted to write several reviews, all giving this album 5 stars because I simply must convince you how much you need to buy this. I originally had this on tape and I listened to it so many times that it became so warbly I was forced to buy the CD. This album has gotten me through so many hard times, long drives, flight layovers and bad relationships, that I cannot express it in the maximum of 1,000 words. I will simply leave you with this: I cannot think of a single person who /wouldn't/ love this CD. Buy it! You will be thanking yourself. ... Read more

Reviews (3)

Essential for harp players
This cd is essential for all acoustic harp players, and even for electric harp players. These are the dudes that influenced Sonny Boy Willaimson II, Junior Wells, Little Walter, Big Walter, Kid Thomas, and other great electric blues harp players from the 50's on. This cd concentrates on the 20's and 30's, which is essentially the pre war blues period. Not all the songs are strictly blues there's some hillbilly, and jug style tunes too. However the main stars here are the harp players, and thier amazing solos. Jaybird Coleman might very well be the most well known of the harp players here, but they are all great and so is the sound quality. I am a harp player myself, and I recomend this to all harp players as well as anything by the logn forgotten Harmonica Fats.

Essential for Harmonicists
This is a very good collection of prewar (WW2, that is) harmonica blues. "The Train" was once essential for anyone who was serious about learning the harmonica, and Freeman Stowers gives a classic example of this in "Railroad Blues." Chuck Darling's "Blowing the Blues" is a rather sweet and whimsicla little tune that is no less enjoyable than it would have been back in 1930 when it was first released. Excellent Harp-guitar interplay. Jaybird Coleman, known today only to harcore blues fans, gets a few licks in. But the real treat for harmonicists is the legendary DeFord Bailey, who was probably the first harmonicist who was a bonafide recording star (via his appearances on the Grand Ole Opry). His "Davidson County Blues" (from 1928) shows the standard that was set for the likes of the Sonny Boy Williamsons, Stevie Wonder, Little Walter Jacobs, and all that were to follow. In either case, if you think you're hot stuff with the harmonica, listen to these masters and go back to your room and practice.

Harmonica Blues: the Original Masters
This is a "must-have" CD for those interested in early harmonica technique. It begins with a mind-blowing harmonica "train" by Freeman Stowers. This is unlike anything commonly found on post-war recordings. What follows is a wide-ranging sampling of virtuostic harmonica playing by artists both obscure, Chuck Darling, and famous, De Ford Bailey. This CD highlights harmonica techniques might otherwise have been lost. This would make a fine addition to the collection of any serious blues harmonica player. ... Read more

Reviews (2)

Good Compilation, Two by Tommy Johnson
Still one of the best intro CDs to the blues. I'm knocked out by Tommy Johnson; he's the first two selections here. Charley Patton, but hey - what about that pivotal Willie Brown doing "Future Blues"? The liner notes are not circumspect in describing Louise Johnson's "performance" on "On the Wall". Another treat is two by Elmore James - 'specially "Something Inside Me" which floats along like Jimi Hendrix.
I never tire of this compilation.

Weird and Wonderful
Any Mississippi Delta Blues fan would have an awful time picking just 15 representative entries. This album does a great job, falling just short by including too much new material - by new, I mean after 1940. Still, you can't argue with Robert Johnson's "Crossroad Blues" or even Robert Nighthawk's superlative "Going Down to Eli's." This captures the individuality, roughness, and anti-spritiuality of Delta Blues really well and a couple of non-obvious inclusions like Robert Petway's Catfish Blues make it a good catch. Of the Blues Master Series, this is one of my favorites. ... Read more

Reviews (3)

She must have thought I was a real gone jerk
The CD features a great selection of "jump blues" songs from the late '40s to the mid '50s. Jump blues can be considered to be sort of a combination of swing music and the blues. Or you could just call it early r&b with horns. However you want to look at it, it was definitely a precursor to rock and roll. Many of the songs here would go on to be recorded by rock and rollers. (Elvis covered four of the songs here.) But putting the rock and roll connection aside, this music can stand on it's own merits. This is just plain fun, wild music. But don't take my word for it, listen to it and decide for yourself. Highly recommended.

Early R&B and R&R at its best!
This is a excellent example of the roots of R&B and R&R. The blues have never sounded so good! "Hand Clappin'"(#1) still uses the sounds of the big band era, and "Hoy, Hoy"(#6) brings blues and rockabilly to a new level. It is no surprise that Little Richard picked up his sound from Rudy Green's "Juicy Fruit"(#8). Wynona Carr's "'Til the Well Runs Dry"(#16)is an excellent example of the early R&B music sounds of Etta James in the late 50's. There were so many artists performing this type of music in the late 40's, but mainstream music critics never gave them their due. Many of the great rock n roll artists started their careers in blues music, including James Taylor, Fleetwood Mac, and the Doors, unfortunately many stirred their talents toward mainsteam pop. Remember the names of these artists and those local jump blues bands in your community that honor their music.

Superb collection of the roots of the neo "swing" movement
This excellentCD presents a superb 15-year cross-section of an underappreciated branch of the blues. "Jump" blues seems to answer the never-posed question, where does swing end and the blues begin? For that matter, add rockabilly and electric blues, go way back to the late forties, and you have performances infinitely more powerful than Bill Haley and Jerry Lee Lewis. These artists suddenly seem embarrassingly derivative--especially when you hear the original Big Mama Thornton version of Hound Dog. You'll wish you'd never heard of Elvis. ... Read more

Reviews (2)

One of the best blues CD's I've ever owned! Essential!
This is a wonderful blues CD. One of the best I've ever purchashed. It includes great performances by legendary blues figures such as Tommie Johnson, Willie Brown, Ishmon Bracey, Son House, Kid Bailey, Bukka White and others. This is the true Mississippi Delta Blues from the late 20's and 30's. The guitar work is mesmorizing and is a blueprint for rock and roll. There are 5 Tommie Johnson cuts, recorded for Victor, that are superb. He was as good as Robert Johnson, in my opinion. Yazoo captures these classic recordings with all that old Mississippi dirt with some scratchiness, yet the sound is vibrant and alive. Willie Brown's "Future Blues" and Tommie Johnson's "Canned Heat Blues" are worth the price of admission alone. Essential!

Furious Bottleneck Growl
The Yazoo label does it again!

This CD is essential for rare inclusion of all six demonic Son House performances originally cut on acetate in 1930. It was these recordings that inspired Alan Lomax to look up House in the early 40's for the Library of Congress Archives.

It is worth mentioning that do to Paramount's inferior treatment of the source material, there is considerable auxilliary noise on those six sides. But Son's guitar and voice still threaten to impale you like a hot skewer.

Son House would have been a preacher, but for the fact that he shot a man dead and was banished from Clarksdale for the rest of his life.

This was the belle epoque of Delta Blues, a time when the legendary rivalry between House and Charlie Patton was at a peak, and when another legend, Robert Johnson, would pick up a couple licks from Son House himself. The way of life that existed in the Delta back then is gone forever, and for all of that progress and new found civility, we shall never be fortunate enough to hear anything like this ever again.

For anyone hoping to hear a mellow country rover picking away on his front porch, Son House will send you to intensive care. This is truly "where the soul of man never dies." ... Read more

Reviews (1)

Thoroughly Entertaining
"Times, Vol 1" is the first of four CDs featuring blues, mountain music, sanctified singing, ballads, dances, and so on. Partisans of Harry Smith's Anthology of American Folk Music will also enjoy these Yazoo collections. The various styles are not "segregated," nor are the performers, and the program has a kaleidoscopic effect, playing up both similarities and differences among the numbers. The mood overall is upbeat but not jubilant.

My favorite track on Vol. 1, and one that should be more well-known and popular, is "Rabbit" Brown's definitive "Sinking of the Titanic." I can't find one "bad track on the CD - even when the music isn't especially engaging or distinctive, it still retains an ambience of age and distance, if that makes any sense. Consequently the CD admirably creates a mood and an illusion too, that the listener can peaceably coexist with widely divergent peoples simply by sharing their enjoyment in song and rhythm.

The CD mastering is excellent, for the most part, and only a couple tracks on Vol. 1 (specially noted: Ken Maynard's "Fannie Moore") are hampered by the excessive noise common to old 78s from private collections.

Vol 3 of this series sustains the high quality of this first volume, and doubtless all four volumes are worth owning. I know I enjoy these CDs as much as, or more than, any other collections of "folk music." ... Read more

Reviews (1)

A fine collection!
These may not be the greatest boogie-woogie and blues piano performances you've ever heard, but this album makes a more than respectable addition to the collection of any lover of those musical forms. Jack Dupree demonstrates his usual mastery of the blues, while performances by such less-celebrated talents as Deryck Sampson, Gene Rodgers, and Beverly White prove that great talent rarely receives the broad recognition it deserves. These 22 tracks deserve to be heard and are sure not to disappoint aficionados of boogie-woogie and blues piano. ... Read more

Amazon.com

The idea that recordings exist of bluesy, intense gospel fueled by and starring the electric steel guitar might strike one as strange. But that very thing has transpired for decades in the Jewel and Keith Dominions of the Church of the Living God, and, as this mid-'90s recording demonstrates, the results are brilliant. Sonny Treadway displays the agile virtuosity of Chet Atkins on "At the Cross" and Glenn Lee's mournful, nimble, dulcet licks on "Call Him by His Name" recall B.B. King at his fiercest. However, such facile comparisons really do a disservice to this vital sound; none of this music really resembles anything else. Particular highlights of this satisfying set's 20 tracks are the 3 sublime contributions by Willie Eason. The elderly Eason may not display the liquid bravado of others here, but his songs possess unbounded soul. His original composition "Franklin D. Roosevelt, a Poor Man's Friend" is a wonderful example of both topical material and eulogy in gospel music. His songs are sung in a baritone, preach-singing style and the playing juxtaposes strummed chords with eerie, long, looping notes that seem to hang in the air forever. The section of live religious services by Treadway, Henry Nelson, and Aubrey Ghent are stomping fun at its most sanctified. Treadway's "This Is a Holy Church" even approaches the unbridled Holy Ghost stomp of street musician Rev. Louis Overstreet. --Mike McGonigal ... Read more

Reviews (4)

The Truth Shall Set You Free!
Mention the steel guitar and most likely you will get images of the Hapa Haole music of Hawaii in the 30s, or the twangy sounds of hard country. But there's another side of the steel guitar, one that is not as well known, but is perhaps one of the most amazing roots traditions still alive in this country, the black Pentecostal tradition of the pedal and laptop steel guitar.

The sacred tradition of steel guitar playing reaches back to the late 20s and early 30s and is tied to the history of the Holiness churches, particularly the Keith and Jewel Dominions of the Church of the Living God, headquartered in Northern Florida. Holiness churches are deeply Pentecostal churches, taking as their primary spiritual tradition the "Baptism of the Holy Spirit" which they trace to the second chapter of Acts. Music in this tradition is more than just a pretty decoration for the service. It is a sacrament in itself, serving to open congregants to the power of the Holy Spirit. True Pentecostal music, whether in traditionally white or traditionally black churches is characterized by an infectious rhythmic quality and an ecstatic lyricism based on the spirituals of the south.

In the Church of the Living God, the steel guitar is the primary instrument of the worship service, replacing the more common electronic organ of most gospel music. This disc presents music from some of the Church's finest musicians. The first 9 selections are mostly instrumentals. Each practitioner approaches his instrument differently, from the almost vocal inflections of Sonny Treadway, to the more modern, jazzy improvisations of Glenn Lee, the youngest musician on this disc. Particularly amazing are the three cuts by Willie Eason, the granddaddy of the steel tradition. He uses his guitar as a backup choir to his own folksy vocals, but intersperse them with tasty fills and blues licks. Most interesting is his original composition, Franklin D. Roosevelt, which is a latterday example of the historical ballad, a form of traditional song which interprets current events through the prism of faith.

The second part of the disc is the real killer, the live services. Recorded in churches throughout Florida, these cuts offer generous selections of congregational singing, lead by the steel guitar. Many of the selections represent "praise" music, songs of increasingly fast tempo that are meant to raise the spirits...and boy do they ever. Sonny Treadway's This is a Holy Church and Aubrey Ghent's Praise Music are so sanctified that you almost levitate listening to them. The music isn't polished, but that's essential to it's spirit. The music flows without restraint. This music is as wild and free as any that I've ever heard. It is truly spirit-filled!

So if you are a fan of real down-home Gospel, or a fan of roots music, this CD is a must have. But it is also recommended to adventurous people into edgy jazz or other forms of alternative music. Certainly music like this goes a long way toward helping people understand the spirituality of movements like the avant-garde jazz movement. This is music of the Spirit and as any Pentecostal will tell you...the Spirit frees!

Fascinating, unique music
A thoroughly captivating collection of one of the most obscure offshoots of the blues/gospel music axis, this disc collects 20 tracks of African-American gospel music as performed on electric steel guitars. The liner notes trace the style back to the 1930s, when steel guitars came into vogue; the performances are by a handful of contemporary performers who come from a Pentecostal church in Florida, where the tradition is still very much alive. Blues, R&B and gospel have always had an interesting Saturday night/Sunday morning interrelationship, and these recordings inject a distinctive "white" country flavor into that mix. This is one of Arhoolie's biggest-selling and best received releases in recent years and when you check it out, you'll understand why. Cool stuff. (There have also been several follow-ups and solo albums featuring the same artists on here, but this is the disc that, to me, seems most magical.)

Spiritual Sincerity
I grew up in North Florida and the sounds and faith behind the words of this beautiful album are a revelation and a confirmation both. NPR uses bits of it as bridge music on their "All Things Considered" and "Morning Edition." I think it is because of the essential purity and sweetness of the music. "Little Church on the Hill" is something celestial. It evokes heaven, a place that exists only in time, not on a map. I don't listen to this every day, it is too good for that. I just listen to it in moments, and those moments, like this collection, are too lovely to convey.

FANTASTIC !
Being raised in the pentecostal church (Mt.Calvary and House of God keith Dominion). This cd is a reminder of the church services in Mt.Airy, NC. with my uncle on the steele and sweet sounds of the steele, giving direction and inspiration to the church service. GLenn Lee is remarkable,the way he blends country and blues with tradional steele playing. His interpretation of "Pass me not. oh gentle savior" is without comparison, an old gospel favorite, with a country twist. Totally original! Also his own "Joyful sounds" has the uncanny imprint of his uncle bishop Harisson, with a nice twist. Nothing can compare to the old favorite "Franklin D Roosevelt,A poor man's friend", by Willie Eason. Let's not forget the foot stomping "Live religious services on the cd. IF you don't get uplifted by these selections from both Jewel and Kieth Dominions check your pulse 'cause something is definitely wrong. Believe me you will love this cd and be uplifted. ... Read more

Reviews (1)

Slide Guitar Heaven
The only down side is that there are only 14 tracks - this is one of those Yazoo vinyl-to-CD transfers that suffer from this. But as usual with Yazoo, the sound quality is remarkably good for ancient scratchy old 78's.

Otherwise, this is a super collection covering greats like Black Ace, Bo Weavil Jackson, King Solomon Hill, Sylvester Weaver, Fred McMullen, Ramblin' Thomas. If you love good blues slide and you haven't heard these names, then this CD is for you! Oh yeah, it does also have a few names like Robert Johnson & Memphis Minnie.

Even if like me you have a lot of these tracks on other CDs, this is a good addition to the collection and one you can easily play from go to whoa without skipping a single track - usual Yazoo quality. I owned this before and had it stolen, had to get it again.

Keep on slidin'! ... Read more

Amazon.com

There's just something about slide guitar when it's done right, and it's definitely done right here. Streamline Special is something of a history lesson, as well; everyone from Robert Johnson ("Preachin' Blues") and Blind Boy Fuller ("Homesick & Lonesome Blues") to Muddy Waters ("I Feel Like Going Home") to Taj Mahal, whose "Country Blues" rendition is one of the highlights of this collection. There's the deceptively down-tempo "Two Timin' Woman" from Casey Bill Weldon, and Bukka White's "Special Streamline," where he does a train sound with his guitar that puts Aerosmith's "Train Kept a-Rollin'" to shame. Allen Shaw really does moan on "Moanin' the Blues," and Tampa Red and Georgia Tom's "No Matter How She Done It" is a smart, sassy, and frequently hilarious song. This isn't a definitive collection by a long shot, but it's an excellent introduction to the expressiveness and versatility of slide guitar. --Genevieve Williams ... Read more

Reviews (1)

This is a marvellous CD
I am afraid that any words used to express my fondness for this CD would be inadequate. Anyone who appreciates blues should pick this one up without question. And if ya don't love blues, pick this one up. You will certainly not regret it. All of the artists are shining examples of the best black blues, indeed the only blues. Simpley because there is no such thing as a worthy white blues man. ... Read more

Reviews (1)

back to basics
This is the early days of john lee hooker's music. It is a great album for someone who want's to find out about his music but to the true fan it still lacks everything to cure the craving of a complete set of works. ... Read more

Reviews (2)

Five stars don't begin to do it justice, try 25 stars!!!!!!!
This cd is the finest cd of bottleneck slide guitar ever! The two most essential and underrated blues guitarists split this cd in half. Weldon's recordings are particularly interesting, because he plays the blues, but also straight swing(almost gypsy swing), western swing, and Hawiian combo music. He plays his steel as though it were a Hawaiian steel guitar, but with blues feeling, he is truly unique. Kokomo Arnold is a trendsetter in his own way influencing every rock'n'roller in the 60's on. He plays something fierce, and if you though Robert Johnson sang the blues good, listen to Kokome, who at least sings as good as Johnson or better. These two great are well featured in thsi Yazoo essential collection. This cd is a perfect introduction to the slide greats, and for further lsitening pleasre try Kokomo Arnold Complete Recorded Works Vol 1, unfortionately there isn't much on cd by Casey Bill Weldon, so grab what you can find, till then this is the best way to acquire thier best sides on one great quality cd, perfect sound quality is a must, and this cd offers that, and great notes, and a cool R. Crumb cartoon artwork!!! If you wanna play something while cruisin' in you 1956 Chevy bel Air coupe, this is it!

Blues Roots Are More Than Just Robert Johnson
This CD contains seven tracks each by two currently obscure blues performers (Casey Bill Weldon and Kokomo Arnold) of the 1930s. Meaning no disrespect to Robert Johnson, but it's a bit of a mystery why Arnold is obscure and Johnson is famous, given that Arnold sold more records than did Johnson at the time. Maybe it's because Arnold didn't have the good fortune to die at his prime in mysterious circumstances that has made his memory fade in relation to Johnson's. No matter. Arnold picks it up on this collection of his tunes with some of the fastest blues playing you'll ever hear. The second half of the CD (the first half is dedicated to Weldon) starts off with "The Twelves (The Dirty Dozen)" roaring at you with a blazing pace, and while he never quite matches that tempo in the other tracks, neither does he slow down much. His "Sagefield Woman Blues" is as important an early blues track as you'll find, introducing the "I believe I'll dust my broom" line. Weldon's material seems subdued in comparison to that of Arnold, but his playing is also worthy of note. The themes in his tunes (and Arnold's as well) are surprisingly raunchy and semi-explicit, and there's both a celebration and a mocking bitterness to be found in the lyrics, from the self-confidence of "You Just as Well Let Her Go" to the demi-tragedy of "You Shouldn't Do That." Also, it's not the best song on the CD, but Weldon's "Hitch Me to Your Buggy and Drive Me Like a Mule" has got to be one of the best country blues song titles ever coined. ... Read more

Reviews (1)

Black Pearls
A perfect introduction to now-forgotten period of music,when women were the first blues stars,this CD is also great company for a book "Black Pearls:Blues Queens of the 1920's" by Daphne Duvall Harrison.While in the book we could find historical and economical background that shaped women like Bessie Smith,Ma Rainey and Ida Cox,on this CD we can hear their voices - through the limitations of primitive recording equipment,spirit of Mamie Smith explodes in our ears from 1920.when her hit "Crazy Blues" started avalanche of blues recordings and opened a door for a new market,as then unknown teritory of "race music" whose first pioneers were women.It's interesting to compare this women to their white sisters from the same era (check "Flappers,Vamps And Sweet Young Things") - while white singers lived and performed in far better circumstances,their songs and type of singing sounds comical today as opposite to these wonderful black singers whose music left beautiful afterglow that still shines,a century later.Of course,at that time they did not know that today we will considered them artists,they were "loose women" condemned by church,often on the road,living hard life and paying their fame with a price of not having family.Popularity of this first blues singers lasted only 10 years and then they were washed away by depression which succesfully destroyed recording bussines for some time,but songs survived until present day - check wonderful Ma Rainey (whose importance as "the mother of the blues" is introduced here by 3 songs!) and Bessie Smith;compare them to other singers and hear for yourself why these two women are called "Mother" and "Empress",why their music overshadowed other contemporaries...Young Louis Armstrong could also be heard here in the full glory of his New Orleans years.Compilation ends with touching example of late Billie Holiday in the autumn of her life - althought swing era singer,Billie actually grew up listening to these women and would often quotte their old verses in her blues songs.Lyrics of her "Stormy Monday" originally could be heard on Clara Smith (Bessie's biggest compentition) 1923."I Never Miss The Sunshine (I'm So Used To The Rain"). ... Read more

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A must for any blues collection - or rock 'n roll roots
History of Texas Blues from the beginning. Everyone from Blind Lemon Jefferson to SRV and the Fab T'birds! Love that Lucy Mae Blues and Why Don't You Eat Where You Slept Last Night! Here's some authentic deep real blues. You won't regret buying this one. ... Read more