( Advanced Search )  


 

 

NEWSLETTER #145
Second Time Around
 Blues & Gospel - Part 1
 

  

 

BOOKS
 
THE R. CRUMB HANDBOOK by R. Crumb & Peter Poplaski ● BOOK $25.00
440 pages, hardbound, counts as 8 CDs for shipping
Not a book about music but this does contain a CD featuring vintage and recent recordings by various musical groups Crumb was associated with. This is essentially an autobiography of one of the greatest and most neurotic cartoonists of the 20th century full of his wry observations on popular culture and copiously illustarted with over 300 images taken from his sketchbooks and comic books, more than 50 personal photos and fine art from museums.
 
LOST SOUNDS Blacks & The Birth Of The Recording Industry, 1890-1919 by Tim Brooks ● BOOK $34.98
Paperbound, 634 pages, counts as 12 CDs for shipping
Now available as paperback. Fascinating and important (and large) book providing an in depth look at the African-American artists who recorded prior to 1920. The timeliness of this book was brought home by Columbia's reissue of blues singer Mamie Smith where they stated that her 1920 recording of "Crazy Blues" was the first commercial recording by an African-American performer. They couldn't be more wrong as this book documents dozens of artists who recorded before her with the very first commercial recording being by the, up to now, obscure George W. Johnson who first recorded in 1890 and who was one of the most popular recording artists of the 1890s. Based on more than 30 years of original research Brooks provides biographies and discussion of the recordings of Johnson and many other artists like The Unique Quartet, The Standard Quartet, Bert Williams (one table shows that sales of William's recordings between 1918 and 1931 totaled almost 2,000,000), Thomas Craig, Carroll Clark, The Fisk Jubilee Singers, Jack Johnson (the boxer), Apollo Jubilee Quartet, James Reese Europe, Dan Kildare, The Right Quintette, Wilbur C. Sweatman, Noble Sissle & Eubie Blake, W.C. Handy, The Four Harmony Kings and many others. Included are contemporary accounts from newspapers and journals, rare photos and lots of other ephemera plus an appendix by Dick Spottswood on Caribbean and South American recordings and a discography of available reissues on CD. This is a very readable effort as well as a labor of love loaded with information which will be new to most readers and will of profound interest to blues and jazz enthusiasts. See elsewhere for details of just released complementary CD set. Hardbound version is also still available for $65.00 - counts as 14 CDs for shipping.

 

DVD
 
LURRIE BELL PM 001 Mercurial Son ● DVD $12.98
Color, 103 minutes, highly recommended
Lurrie Bell is no stranger to the blues; he was born with the music coursing through his veins and he's lived a blues life in every sense. The son of elder statesman, Carey Bell, Lurrie's relationship with his father has been an on-and-off-again one for years. The young guitarist began making a racket in the 1970s as part of The Sons Of Blues. Unfortunately, following critical acclaim after the band's debut on the Alligator Living Chicago Blues series, Lurrie's career took a detour due to mental illness and drug addiction. Throughout the 1980s and into the next decade, he recorded a number of albums with most showing him to be an artist of amazing heights, but recurring problems took their toll. Often homeless during the lean years, living in basements or flophouses, he would show up at a number of Chicago haunts with a borrowed guitar, somehow managing to reach inside and put on a display of ferocious abilities, then he'd slink back off into the night not to be seen again for weeks. Because of his reputation, recording and performing opportunities slacked off - he was unreliable at best. Lurrie's meeting and lengthy relationship with photographer Susan Greenburg was when the artist began turning his life around. Enter Paul Marcus who filmed this story in stark fashion beginning in 2002 and followed Bell's up-and-down life for the next two years. Lurrie Bell is captured in gripping reality with Marcus filming in Bell's Chicago home, and while it's a gift watching him once again ignite a failing career, there is a deep and profound sadness as he pulls his pants up, stands tall, and returns to performing. As much as there is a triumphant feel to this story (in parts), the events Bell endured are those which no one should have to deal with. Lurrie's name, reputation, and talents brought more in the way of guests; Steve Cushing, Carey Bell, Bruce Iglauer, Bob Koester and others appear recalling the highs, lows, and middle ground of this exceptional guitarist. Bonus footage includes full-length performances from Maxwell Street in 1994, Sweet Little Angel is heartstopping, and from Buddy Guy's Legends club in 2003, a brilliant Cleo's Back. The shortfall is that Marcus was unable to follow Bell to the present as we'd see a man who took it upon himself to completely rehabilitate. Bell has recharted his course and he's clean, sober, and focused on continuing his life as a blues artist of explosive abilities. A deep and well-crafted look inside a world we often don't see, "Mercurial Son - The Blues Of Lurrie Bell", is a wonderful and telling story of a man and the blues. (CR)

 
VARIOUS ARTISTS Fat Possum 1020 You See Me Laughing ● DVD $18.98
DVD, color, 86 min., highly recommended
It would be easy to condemn this documentary as cynical self-promotion on the part of Fat Possum Records, but it doesn't feel like that at all. It takes a look at the FP roster of elderly blues practitioners, yes, but one gets the feeling that label founder Matthew Johnson really is motivated by a desire to see his musicians get the respect they deserve...and some money, if possible. The big star here is Fat Possum's best seller, R. L. Burnside, who recently passed. The clip of Burnside from the early 1970s is a real treat, but the reason to watch this is the gritty, realistic way each musician is presented. Holly Springs, Mississippi, ain't Los Angeles, and Cedell Davis and Junior Kimbrough and T-Model Ford and others are allowed to be themselves, even when they aren't always the way a press release might want them. The poverty of the area presses itself through the screen and into your house in ways you will be unlikely to forget. This is the real blues, before it's packaged, shined up, and marketed to middle America. Intense. (JC)

 
VARIOUS ARTISTS Vestapol 13095 Chicago Blues ● DVD $22.98
50 mins, color, highly recommended
Now on DVD. A 1970 movie by English filmmaker Harley Cokliss featuring music by Chicago bluesmakers and a look at the life and environment of African-Americans in the Chicago out of which blues comes. Includes music by Muddy Waters, Johnnie Lewis (wonderful country blues), Buddy Guy, Junior Wells, Floyd Jones (a beautiful acoustic version of his Stockyard Blues), and J.B. Hutto. Includes interviews with most of the performers as well as political and community figures in Chicago and some moving visuals of black life in Chicago. Occasionally a little pompous and pretentious, it is, nevertheless an interesting,entertaining and very rewarding documentary. (FS)

 

COMPACT DISCS
 
LITTLE WALKIN' WILLIE/ JESSE ALLEN Official 5680 Little Walkin' Willie Meets Jesse Allen ● CD $17.98
26 tracks, 67 mins, highly recommended
Great collection of blues and R&B. Little Walkin Willie is an obscure but excellent tenor saxophone player who worked with Washington D.C. based band Frank Motley & His Motley Crew. He storms his way through six hot instrumentals with a tough band and vocal interjections. But the real star here is Jesse Allen who is featured on 20 tracks recorded between 1951 and '59 for various label. Allen, from New Orleans, was an excellent singer and a stunning guitarist and although he doesn't get to show his guitar chops on every track when he does let loose - beware! You might want to have a fire extinguisher when he lets loose the Guitar Slim flavored After Awhile. There are lots of great tracks here - often featuring top New Orleans sidemen like Lee Allen, Red Tyler, Earl Palmer, James Booker and others. It's too bad Allen disappeared off the scene in the 60s - he was a real talent. (FS)

 
ALBERT AMMONS Acrobat ADDCD 3010 King Of Boogie Woogie ● CD $13.98
Two CDs, 36 tracks, highly recommended
A splendid collection of sides by one of the greatest of all boogie pianists. Ammons had the solidest left hand in the business and was endlessly inventive with his right hand - rarely clichéd. The set opens with five gorgeous solo cuts from 1939 and the remainder is devoted to recordings made between 1945 and 1949 (the year he died) with his group The Rhythm Kings usually with guitarist Ike Perkins, bassist Israel Crosby and a number of different drummers. There are several fine vocals from Sippie Wallace, Mildred Anderson and drummer Jack Cooley. Two cuts feature his son Gene on tenor sax. The music is consistently superb but it's a shame they couldn't have added another dozen sides which would enable them to have presented a much broader picture of Albert's career. Still for the price there is enough great music here to please just about any fan of blues and boogie piano playing. (FS)

 
AMEDE ARDOIN Arhoolie-Folklyric 7007 I'm Never Comin' Back - The Roots Of Zydeco ● CD $12.98
26 tracks, 79 minutes, essential
Here we have 26 of the 34 titles Amede Ardoin recorded between 1929 & 1934. Singer, songwriter, accordionist Amede Ardoin was a French-only speaking Creole, and was one of the first Afro-American cajuns to record (the first was fiddler Douglas Bellard, of Bellaire, LA.).  All 12 of his lovely 1934 solo recordings are included, with the remaining 14 tracks featuring his long time partner, cajun violinist Dennis McGee (1893-1989). The interplay between Ardoin & McGee is quite remarkable. Sometimes you can't tell when one begins & one ends. Of course it doesn't help that these recordings are very rare & with all the surface noise, it does take an effort. But it's worth it as the mastering (using the No-Noise System) is remarkable. As a vocalist, few could match him, and that includes his proteges, Nathan Abshire, Clifton Chenier, Iry LeJeune, and Lawrence Walker. As usual with Arhoolie, the 32 page booklet contains the transcriptions & translations to 24 of the tracks. Those of you who think Blind Lemon Jefferson is difficult to decipher, should try Ardoin! Also included are essays by Michel Doucet (about the importance of Ardoin's music), Michael Tisserand (about Ardoin's life & why he made so many enemies), and Jared Snydner (an analysis of his recordings). I believe this CD is essential in every way : the music, the production, and presentation is exceptional. Warning - not for the weak at heart. (EL)

 
BLIND BLAKE JSP 7714 All The Published Sides ● CD $28.98
5 CDs, 110 tracks, essential
Since 1991, when Document issued a four volume series of Blind Blake recordings, a further 10 alternate takes have been released on another six Document CDs. This reissue brings all this material together in an attractive box set with notes by Drew Kent under the heading "The Vanished Bluesman". Certainly little is known about Blind Blake other than that he originated from Florida and may have died there shortly after his last recordings. What is beyond doubt is that he was one of the most accomplished of the pre-war guitarists, a talented composer and an amazingly consistent performer during his six years as a Paramount star. Blake did not have the most expressive of singing voices, but somehow his relaxed delivery leaves more room to appreciate his marvelous guitar. Capable of accurate fingerpicking at lightning speed, he had a creative genius to match his technical skills, often executing brilliant arrangements most blues guitarists couldn't even have attempted. The variety of musical settings here include Southern Rag and Police Dog Blues which provide a showcase for his fingerpicking and thumb bass work, a memorable session with clarinettist Johnny Dodds, superb accompaniments to female singers like Leola B. Wilson, minstrel/medicine show songs, piano/guitar duets of the highest quality and sombre, reflective blues. (If this were not enough, anybody who can come up with a song title like Rumblin' and Ramblin' Boa Constrictor Blues just has to be a bit special.)
After their Patton and Jefferson sets JSP know all about the challenges posed by the notorious sound quality of Paramount 78s, and they have again worked their magic with this set. Most of the crackles, clicks and pops in the originals have been removed, and while some of the more worn discs are still pretty rough, sound quality generally shows a marked improvement over the Document reissues. This means that great performances which were quite noisy on Document such as Detroit Bound Blues with its lovely double time passages can now be fully enjoyed. The speed of the JSP transfers also appears to be more accurate on tracks like Ice Man Blues. My only quibble concerns Rope Stretchin' Blues a skillfully constructed two part blues about a condemned man contemplating his execution, which is dismissed as "maudlin stuff" in Mr.Kent's otherwise informative booklet notes. Certainly the sequencing of this song doesn't help its appreciation. While presenting tracks in strict chronological order as they are here is usually the best way to enjoy pre-war blues, the recording chronology means that we get Part Two, followed by Part One (alternate take) and finally the issued Part One. I wish JSP had been brave enough to sequence the issued takes in their proper order, but apart from this (and Mr. Kent's lapse of taste) this reissue is an absolute delight. (DPR)

 
JAMES BOOKER Hannibal HNCD 1359 Junco Partner ● CD $13.98
10 tracks, 41 min., highly recommended
Though his first recording contract came in 1954, Junco Partner, recorded in New Orleans in 1976, is Booker's first album. Some consider him the finest pianist the Crescent City ever produced, and before taking exception to the superlative too quickly, give this collection of solo performances an ear. He explores his influences, from Chopin to Meade "Lux" Lewis to Professor Longhair to James Booker, Sr., his father. Sometimes, as on the original Pixie, the dextrous Booker plays as if he has an extra left hand. Earl King's Make A Better World and the title track reveal his considerable talent as a vocalist. It's a pleasure to have this out-of-print album available again. (JC)
 
JOHN BRIM Classics 5086 1950-1953 ● CD $14.98
22 tracks, 64 mins, highly recommended
A wonderful collection of down home Chicago blues featuring Kentucky born singer/ guitarist John Brim. Brim was a warm expressive singer, a little like Jimmy Rogers in his approach and a decent guitarist. A number of tracks feature John's wife Grace who also plays some rudimentary harmonica on some tracks. John and Grace's recorded output was relatively sparse and seven of the track were not originally issued on 78s. The earliest tracks from 1950 to '51 with Big Maceo or Roosevelt Sykes on piano are very much in a pre war vein and could easily have been recorded 20 years earlier. In 1952 the Brims recorded with Sunnyland Slim and his various cohorts (Moody Jones, Eddie Taylor, Ernest Cotton, Big Crawford, etc) and their sound was much more contemporary and includes such fine songs as Young And Wild/ Trouble In The Morning/ Hospitality Blues (a Grace vocal sung to the tune of "Catfish Blues")/ Drinking Woman and others. In 1953 he did two sessions with small bands featuring Little Walter on harmonica which included his reworking of Hound Dog as Rattlesnake which was apparently withdrawn when Don Robey threatened to sue. It also includes the great Ice Cream Man which was covered by Van Halen in 1978 and the subsequent royalties provided a most welcome windfall for John. The set ends with his last 1953 session which included his most successful song, the topical Tough Times - a song that was recorded by several other Chicago bluesman. It features a great vocal by John, expressive harmonica from Jimmy Reed and spot on guitar from Eddie Taylor. All in all, a delight from beginning to end with generally excellent sound and informative notes from Dave Penny for those of you with good eyesight or strong glasses! (FS)

 
BIG BILL BROONZY JSP JSPCD 7718 All the Classic Sides, 1928-1937 ● CD $28.98
5 CDs, 127 tracks, highly recommended
It is not just that he was in the top rank of pre war guitarists, or that he was a fine singer with a considerable facility as a songwriter - part of Big Bill's genius lay in a unique ability to convey in his work the warmth of his personality. Established as a star of the Chicago scene by the mid 1930s, he filled out his many recording sessions by adapting songs from common stock or other people's hits, but when inspired he could produce performances of breathtaking skill, and songs which were truly memorable and enduring. Among many examples of his best work in this excellent box set are driving, complex rags like Saturday Night Rub and Pig Meat Strut, flatpicking masterpieces such as Mistreatin' Mama and How You Want It Done, superb straight blues like Bull Cow Blues and the stunningly effective Southern Flood Blues, and the rollicking Good Liquor Gonna Carry Me Down. Suffice to say there is plenty here that is hugely enjoyable - we even get a version of C.C.Rider with Big Bill on violin! The present set ends about half way through his pre war output, but JSP are promising two more to complete the series. Aside from the many single disc compilations, all this material has of course been previously reissued on Document, principally on DOCD 5050/51/52, 5126, 5127 and the first four titles of 5128. Compared to the Document series five titles are missing, but as these are an accompaniment to the obscure Steele Smith, two gospel songs attributed to a Broonzy studio group and two by the State Street Boys on which Jazz Gillum takes vocal, the JSP set is stronger without them. In their place JSP have corrected the errors and omissions on the Document CDs (as reflected in Document's "Too Late, Too Late Blues " Volumes 1 and 4, DOCD 5150 and 5321) and added five extra tracks from Bill's work with the Famous Hokum Boys. Again the set benefits as a result, as it does from Neil Slaven's excellent notes. Detailed comparison with the Document reissues shows a significant improvement in sound quality, with noticeably less crackle and hiss. Having said that there is only so much that can be done with badly worn originals without compromising the music, and some titles are still pretty rough. Elsewhere sound is excellent, and when comparing tracks from compilations based on better condition sides, like Columbia's "Good Time Tonight" (Col 467247) the JSP set matches or improves upon the sound quality. In other words, unless a load of mint condition 78s turn up, this reissue is likely to be as good as it gets. With the amount of Big Bill material already issued it is difficult to call this an essential set - so let's just say it's an unmissable bargain. (DPR)

 
CHARLES BROWN Collectables 2891 The Very Best Of Charles Brown ● CD $15.98
25 tracks, 69 mins, highly recommended
Very nice! There've been a lot of Charles Brown CDs out drawn from his lengthy career but this is the first CD devoted exclusively to his King recordings which he made for Syd Nathan between 1961 and 1968 - many of them appearing in true stereo for the first time. This is almost all his King recordings with the exception of some of his Christmas songs (he recorded a whole LPs worth) which will not be geatly missed and are available on a King Christmas CD. It opens with his 1961 recording of Please Come For Christmas and ends with 1968 remakes of two of his classic Aladdin sides Black Night and Merry Christmas. Material and arrangements are varied ranging from straight blues to jumping R&B to doo-wop songs to a few pop flavored to an R&B cover of the bluegrass song I Don't Want Your Rambling Letter. There are a couple of fine duets with Amos Milburn, a superb cover of Rosie & The Originals' Angel Baby, the very soulful Christmas Blues and more. Throughout Charles smooth and silky vocals are a joy - groups range from small to largish with the occasional vocal chorus rearing it's ugly head. Nobody seems to know who the musicians are on these sessions which is a shame as there is some fine guitar and tenor playing on some of the tracks. A fine addition to your collection of Charles Brown recordings! (FS)

 
BUCKWHEAT ZYDECO Shout Factory 34072 100% Fortified Zydeco ● CD $11.98
10 tracks, 41 min., essential
Originally released in 1983 on Black Top Records (BT-1024), this album is a classic of the form. Stanley "Buckwheat" Dural, Jr., learned his accordion chops from Clifton Chenier himself, and on I've Had Trouble With The Blues and others, he wears that influence proudly. Dural's music is a driving, dance-floor friendly gumbo of blues, R&B, funk, soul, Cajun, Creole-French, pop, and kitchen sink, and this album is that varied. Zydeco rarely gets any better than this. (JC)

 
J.C. BURRIS Arhoolie 497 Blues Professor ● CD $12.98
20 tracks, 78 mins, highly recommended
What a treat to finally have a CD available of this wonderful Bay Area artist who died in 1988. J.C., who was the nephew of Sonny Terry was originally from North Carolina and after spending some time in New York in the 40s and 50s moved to the West Coast in 1959, eventually settling in San Francisco. He became a much beloved artist regularly playing at clubs, concerts and festivals but recording infrequently. This CD reissues his 1975 Arhoolie LP and adds to it 11 previously unissued tracks - most of them recorded by J.C. himself at his home. In addition to his outstanding singing and harmonica playing he was also an exponent of the traditional folk arts of accompanying himself on rhythm bones and hand slapping and performing with his hand crafted dancing doll he called Mr. Jack. J.C. was a creative performer and his songs were very original, only rarely dipping into the well of traditional themes, and reflect his view of the world around him - sometimes with a topical political edge. (FS)

 
SAM CHATMON Flyright 63 1970-1974 ● CD $16.98
22 tracks, 77 mins, highly recommended
Sam Chatmon, brother of Bo Carter, was a delightful person and an equally delightful performer. This fine collection was recorded in the early 70s when Sam made San Diego, California his home for part of each year. Like Bo he was more of an entertainer than a serious bluesman with a repertoire that encompassed blues standards (Prowlin' Groundhog/ St. Louis Blues/ Shake 'Em On Down, etc), songs from the repertoire of Bo or his family band, The Mississippi Sheiks (I Got The Whiskey/ She's My Baby/ Go Back Old Devil/ Sittin' On Top Of The World, etc), original blues (Hollandale Blues/ God Don't Like Ugly/ My Little Woman) and some very raunchy risque songs that Sam performed with a twinkle in his eye, rather than a leer (Ashtray Taxi/ Good Eatin' Meat/ P Stands For Push, etc). Though not a spectacular guitarist his playing throughout is fine and on a couple of tracks he is joined by fine San Diego mandolin player Kenny Hall. These recordings were cut live and the sound is generally excellent. The enclosed booklet has notes by Lou Curtiss who was responsible for publicizing the San Diego blues scene and making these recordings, CD producer Bruce Bastin and a lengthy interview with Sam. I had the pleasure and privilege of spending time with and working with Sam in the 70s and this collection brings back fond memories of this excellent entertainer. (FS)
 
CLIFTON CHENIER Arhoolie 313 Live At St. Mark's ● CD $12.98
Expanded version of Arhoolie lp 1059, and is the only live recordings of Clifton in top form before an audience of Louisiana Creoles.
CLIFTON CHENIER: Bad Luck And Trouble/ Cher Catin (Zydeco)/ Going Home Blues & Mess Around/ I'm A Hog For You (*)/ J'ai Conet, C'est Pas Ma Femme (*)/ Mama Told Papa (*)/ New Ma Negress/ Rock House (*)/ Tighten Up Zydeco/ Tu Le Ton Son Ton (Every Now And Then)/ You're My Mule/ Zydeco Cha Cha

 
CLIFTON CHENIER Arhoolie 329 Louisiana Blues & Zydeco ● CD $12.98
Featuring the first recordings by Clifton for Chris Strachwitz, originally issued on Arhoolie 1024 in 1965, and 1/2 of Arhoolie 1038 (Black Snake Blues), from 1967, these capture the primeval energy Clifton and Cleveland were able to generate. 6 tunes are just them and a drummer, churning up a zydeco storm, or waltzing lyrically, as in the lovely Clifton's Waltz. Others sport the fine bluesy piano of Elmore Nixon, Cleveland Keyes' or Felix Benoit's guitar and some full-tilt dancehall zydeco in all its glory. (JMC)
CLIFTON CHENIER: Banana Man/ Can't Go Home No More/ Clifton's Waltz/ Eh, 'Tite Fille/ Hot Rod/ I Can Look Down At Your Woman/ I Can't Stand/ I Lost My Baby (In French)/ It's Hard/ Johnny Can't Dance/ Lafayette Waltz/ Louisiana Blues/ Louisiana Two Step/ Monifique/ Pepper In My Shoe/ Why Did You Go Last Night?/ Wrap It Up Zydeco/ Zydeco Sont Pas Sale

 
CLIFTON CHENIER Arhoolie 347 Bogalusa Boogie ● CD $12.98
Clifton Chenier made many great recordings but these sides recorded at the Studio In The Country at Bogalusa, Louisiana in 1975 are possibly his very finest. Clifton is in great form - singing and playing accordion with consummate skill and even playing harmonica on one track. The band (Cleveland Chenier/ rubboard, John Hart/ tenor sax, Paul Senegal/ guitar, Joe Brouchet/ bass and Robert St. Julian/ drums) provide a solid, unfaltering rhythm. The songs are mostly blues and R&B along with some zydeco, a waltz and a two-step. 11 of the tracks here were previously on Arhoolie 1076, one on Arhoolie 1078 and one track I May Be Wrong is previously unissued. An essential release. (FS)
CLIFTON CHENIER: Allons A Grand Coteau (Let`S Go To Grand Coteau)/ Bogalusa Boogie/ Come Go Along With Me/ I May Be Wrong (*)/ Je Me Reveiller Ce Matin (I Woke Up This Morning)/ Je Suis En Recolteur (I`M A Farmer)/ M'appel Fou (They Call Me Crazy)/ Ma Mama Ma Dit (My Mama Told Me)/ One Step At A Time/ Quelque Chose Sur Mon Idee (There`S Something On CLIFTON/ Ride 'Em Cowboy/ Take Off Your Dress/ Ti Na Na

 
GEORGE COLEMAN Arhoolie 1040 Bongo Joe ● CD $12.98
10 tracks, 50 min., highly recommended
"I rap--but not that bullshit they're putting down now. I play fundamental beat music". So sayeth George Coleman, AKA Bongo Joe, Texas' eccentric street percussionist/satirist extraordinaire. Armed with 55-gallon oil drums, mallets made of hammer handles and filled with BB's, and his own self, Joe was (is?) something of a regular on the streets of Galveston, Houston, and San Antonio. Capturing him in his own element, these recordings (made in 1968) display Joe's unique drum sound and fantastic talk/shouted vocals on I Wish I Could Sing/ Transistor Radio/ Dog Eat Dog and probably his most well known song, Innocent Little Doggie. This reissue of the original LP adds 3 more songs, including the terrific Science Fiction. Perhaps something of an oddity in the Arhoolie catalog, it's also one of my favorites -- I wish everyone could hear Bongo Joe! (GDR)
GEORGE COLEMAN: Cool It/ Crazy With Love/ Dog Eat Dog/ Eloise/ Great (instrumental)/ I Wish I Could Sing/ Innocent Little Doggie/ Listen At That Bull/ Right/ Science Fiction/ Transistor Radio

 
ALBERT COLLINS Blue City 1310 The Cool Sound Of Albert Collins ● CD $17.98
23 tracks, 59 mins, essential
This is an outstanding collection of the coolest of the cool (that's Ice Cold!) early recordings from the "Master Of The Telecaster" Albert Collins. Being one of my all time favorite electric blues players, his recordings from the 1950s and 1960s have always been an exceptional thrill for me. This CD starts off with all of the tracks from Collins' highly regarded and sought after debut full length album from 1965 on TCF Hall, provides the flip side of Snow Cone single from that album (Snow Cone - pt. 2) and then rounds up most of his obscure and excellent singles work from the late '50 to the mid '60s. Tracks from Kangaroo, 20th Fox, and Great Scott labels are all represented. As well as some, but not all from his Hallway records singles. Bare bones production value as usual from Blue City records, but superb sound quality throughout. (JM)

 
PEE WEE CRAYTON Ace CDCHD 632 The Modern Legacy ● CD $18.98
23 tracks, 64 min., highly recommended
Sometime blues can sound deceptively simple, especially when they are short & sweet and to the point. Take for example the music of singer/guitarist Connie Curtis (Pee Wee) Crayton (1914-1985). Relocating to California (in 1935), his 1948-1951 Modern Recordings are some of the best instrumental guitar blues recorded - guitar blues played on a Vega guitar, full of simple structures and emotions. His first R&B hit record, Blues After Hours ('48, with pianist David Lee Johnson), charted for over 13 weeks, and was the very first guitar instrumental to reach the #1 R&B position. This wonderful track (a clever variation of pianist Avery Parrish's composition After Hours) is included in this first (of two) volume of his best recordings. Other instrumentals include Bounce Pee Wee ('48), Rock Island Blues ('48), Pee Wee's Wild ('50) and an alternate take of Texas Hop ('48 with Buddy Floyd on tenor sax) - his 2nd Top 5 R&B hit. As a bonus, ACE has included two 1949 tracks he recorded with Jay McShann, Black Gal (unissued) and the rare instrumental Boogie Woogie Upstairs (issued as by Al Cake Wichard, McShann's drummer). Collectors should note that the set has the master take of Central Avenue Blues ('48) and three titles from the 1950 session with the Harry Sweets Edison-Ben Webster group, including Please Come Back (with possibly Marshall Royal on alto sax) and a new alternate take of Louella Brown. (EL)
PEE WEE CRAYTON: After Hours/ Austin Boogie/ Black Gal/ Blues For My Baby/ Boogie Woogie Upstairs/ Bop Hop/ Bounce Pee Wee/ Central Avenue Blues/ Change Your Way Of Lovin'/ From Blues To Boogie/ I'm Still In Love With You/ Louella Brown/ My Everything/ Pee Wee's Boogie/ Pee Wee's Wild/ Please Come Back/ Rock Island Blues/ Rockin' The Blues/ Rosa Lee/ T For Texas (Mistreated Blues)/ Texas Hop/ Tired Of Travelin'/ When Darkness Falls

 
PEE WEE CRAYTON Ace CDCHD 767 Blues Guitar Magic - The Modern Legacy, Vol. 2 ● CD $18.98
25 tracks, 70 min., highly recommended
Exquisitely mastered, this second (and last) volume of the master jump blues guitarist Connie Curtis Crayton's 1947-1951 Modern Recordings will please all you who have the 1996 release (CDCHD 632). This is how this music should be played : short & sweet and to-the-point. Along with Carl D. Hogan, Crayton was a major (un-credited) influence on Chuck Berry : for proof, just take a listen to instrumentals like Poppa Stoppa (his tribute to the legendary New Orleans DJ), Texas Hop (with Lorenzo "Buddy" Floyd on tenor sax), and Huckle Boogie. Other highlights include the master take of Louella Brown (with a short Ben Webster tenor sax solo), the ultra-rare Good Little Woman/ Dedicating The Blues and the wonderful Texas blues piano of David Lee Johnson (1910-1993), especially effective on the ballad I Love You So (#7 R&B, 1949), and (I believe) Crayton's Blues. Of the four unissued tracks, Austin Boogie and Long After Hours I find particularly effective. Note that the versions of Blues For My Baby and My Everything included in both volumes may be identical, except that the mastering on this volume is much superior, and My Everything has some studio talk at the end of the track. (EL)
PEE WEE CRAYTON: Answer To Blues After Hours/ Austin Boogie/ Blues For My Baby/ California Woman/ Cool Evening/ Crayton Special/ Crayton's Blues/ Dedicating The Blues/ Good Little Woman/ Have You Lost Your Love For Me/ Huckle Boogie ·brand New Woman/ I Love You So/ I Love You So (false Start & Studio Chat)/ Long After Hours/ Louella Brown/ Miserable Old Feeling (aka Save A Tear For Me)/ My Everything/ Old Fashioned Baby/ Phone Call From My Baby/ Poppa Stoppa/ Texas Hop/ Thinkin' Of You/ Tired Of Travelin'/ When A Man Has The Blues

 
LARRY DAVIS Bullseye Blues 9511 Sooner Or Later ● CD $15.98
11 tracks, highly recommended
Arkansas blues singer/ guitarist Larry Davis doesn't make many albums, but when he does, he makes them right. His voice, sometimes reminiscent of a Duke-era Bobby "Blue" Bland, never sounded more soulful, as one listen to the wonderful You'll Need Another Favor or Davis' own Goin' Out West will demonstrate. His guitar work is excellent as always, and his sidemen are top notch, including James Rudy, whose piano runs haunt their way through song after song, and the Memphis Horns. Outstanding selections include Letter From My Darling/ I'm Workin' On It/ Little Bluebird/ Little Rock and a cover of Howlin' Wolf's How Long. Recommended. (JC)
LARRY DAVIS: 102nd St. Blues/ Goin' Out West (Parts I & 2)/ Help The Poor/ How Could You Do It To Me/ How Long/ I'm Workin On It/ Letter From My Darling/ Little Bluebird/ Little Rock/ Penitentiary Blues/ You'll need another favor

 
LARRY DAVIS P-Vine PCD 5402 Sweet Little Angel - Virgo & Kent Recordings, 1968-69 ● CD $22.98
15 tracks, 52 mins, essential
Larry Davis was one of the finest of the soul-blues singers with a lovely expressive vocal style. Unlike some of his contemporaries his recorded output was fairly meagre so this collection of 1969 recordings is particularly welcome. Produced for B.B. King's production company, a couple of cuts were issued on B.B.'s Virgo label, some were issed on Kent and six tracks were never issued before. Sessions were cut in St. Louis (then Larry's home) under the guidance of Oliver Sain and in Los Angeles by producer Maxwell Davis. There's a fine selection of songs including one of the best versions of the wonderful The Years Go Passing By originally recorded by his former boss Fenton Robinson - the combination of Larry's aching vocals and Wesley Farmer's lyrical guitar is simply spine chilling. The previously unissued Something About You is another superb minor key slow burner along the lines of Passing. There are a number of fine original songs written by Larry (What They Do To Me/ I've Been Hurt So Many Times/ It Can Only Hurt For So Long, etc.) and, not surprisingly, a number of B.B. King songs (You Upset Me Baby/ Sweet Sixteen/ Woke Up This Morning, etc) which Larry makes his own. He is accompanied by fine small groups - the guitar player on the St. Louis sessions, Wesley farmer, is particularly impressive. An exciting and important release. (FS)
LARRY DAVIS: A Letter To My Darling/ Driving Wheel/ For Five Long Years/ I've Been Hurt So Many Times/ It Can Only Hurt For So Long/ Rock Me Baby/ Something About You/ Sweet Little Angel/ Sweet Sixteen/ The Years Go Passing By/ Three O'Clock Blues/ What They Do To Me/ Whole World Down On You/ Woke Up This Morning/ You Upset Me Baby

 
THE DAVIS SISTERS Heritage HTCD 47 1949-1952 ● CD $16.98
22 tracks, highly recommended
Tremendously exciting gospel group from Philadelphia featuring the ferocious contralto vocals of Ruth "Baby Sis" Davis with rousing support from sisters Thelma, Audrey and Alfreda plus Imogene Green . They were accompanied by pianist Curtis Dublin who also provides co-lead vocal on some tracks. 22 performances recorded for Gotham between 1949 and 1952 including In The Morning When I Rise/ Get Away Jordan/ Jesus Is Near/ I'm Tired/ When I Get Home/ When He Spoke/ Bye & Bye (Parts 1 & 2)/ Jesus Is A Waymaker and more. Includes notes by Opal Louis Nations. (FS)

 
SHY GUY DOUGLAS Black Magic 9205 Stone Doin' Alright ● CD $15.98
21 tracks recorded by fine, obscure Nashville singer and harmonica player Tom "Shy Guy" Douglas between 1949 and 1969. This is pretty much everything he recorded, except for his sides for Excello. It includes sides for Todd, Calvert, Bullet (from the 60s Bullet label including several previously unissued), Sur-Speed, Sun (originally unissued), MGM and Chane. Includes Monkey Doin' Woman/ My Little Baby/ Evening Soul/ Stone Doin' Alright (two takes)/ Detroit Arrow/ I Should Have Known/ Shy (two takes), etc. Includes 8 page booklet with brief notes by Fred James and what little discographical info is known about these recordings. (FS)

 
SNOOKS EAGLIN Arhoolie 348 Country Boy In New Orleans ● CD $12.98
Snooks Eaglin is a highly regarded modern New Orleans bluesman. These recordings made by folklorist Harry Oster in 1959 and 1960 were made when Snooks was still a street singer, performing a wide range of music for the passing crowds. Most of these recordings here were originally issued on Heritage, Storyville, Bluesville or Folklyric (and later Arhoolie). Snooks is a distinctive with a warm slightly slurred vocal style and accompanies himself on 6 or 12 string acoustic guitar and is an outstanding performer on either instrument. Half the cuts feature accompaniments by Lucious Bridges on washboard and Percy Randolph on harmonica or washboard - Bridges and Randolph also are featured on a couple of titles. The material is mostly blues and gospel standards like Mama Don't You Tear My Clothes/ Walking Blues (not the Robert Johnson song but Lightnin' Hopkins' reworking of Drifting Blues)/ That's All Right/ Down By the Riverside/ Death Valley Blues/ Rock Me Mama/ John Henry/ Bottle Up And Go and others plus some originals, the New Orleans theme Mardi Gras Mambo and a very effective version of country singer Jimmie Rodgers' Give Me The Good Old Boxcar. Sound is excellent but the brief notes don't really do justice to this outstanding release. Highly recommended! (FS)
SNOOKS EAGLIN: Bottle Up & Go/ Bottle Up And Go/ Country Boy Down In New Orleans/ Death Valley Blues/ Down By The Riverside/ Give Me The Good Old Boxcar/ Going Back To New Orleans/ I Had A Little Woman/ I've Had My Fun/ Jack O'Diamonds/ John Henry/ Locomotive Train/ Mailman Passed/ Mama Don't You Tear My Clothes/ Mardi Gras Mambo/ Model T And The Train/ Possum Up A Simmon Tree/ Rock Me Mama/ Rock Me Mama/ That's All Right/ This Train/ Veal Chop And Pork Chop/ Walking Blues

 
KIRK FLETCHER Delta Groove 101 Shades Of Blue ● CD $15.98
17 tracks, 71 minutes, highly recommended
Previously issued on the German Crosscut label this U.S. release features three bonus tracks. Although Kirk "Eli" Fletcher isn't a household name in blues circles yet, his credibility as a blues guitarist is unquestionable. He's old school all the way and respects the traditional approach, something sadly missing from most players his age. Joined here by Kim Wilson, who supplies killer harp and vocals on Bad Boy and My Home Is A Prison (incredibly lowdown), plus a few others, Finis Tasby jumps in on Welfare Blues/ Worried Man Blues, and more, and Janiva Magness also handles a few sounding great. With sideman assistance from the likes Richard Innes, Ronnie James Weber, and Jeff Turmes, the heat is on high and Fletcher is masterful without showboating. From down-home grit to uptown jump, modern blues doesn't get much better than this! Bonus cuts includes an alternate take of the instrumental Club Zanzibar, an acoustic version of Don't Go No Further and Janiva Mgness singing B.B.'s You Don't Know. (CR)
 
THE FLYING CLOUDS OF DETROIT Heritage HTCD 46 1942-1950 ● CD $16.98
Superb collection of acapella gospel from this long lived group from Detroit. About half these tracks were reissued a while back by P_vine on their collection of Detroit gospel (P-Vine PCD 5822 - $21.98) but this set includes some remarkable and superb tracks from 1942 radio transcriptions including introductions and commercials includes three tracks with the great Silas Steele as a member of the group. Includes illustrated booklet with notes by gospel expert Opal Louis Nations.

 
BLIND BOY FULLER JSP JSPCD 7735 1935-1938 Remastered ● CD $28.98
4 CDs, 100 tracks, highly recommended
It is amazing how fresh Blind Boy Fuller's work sounds after nearly seventy years. His strong voice and cleanly picked National guitar greet you like a firm handshake, and his combination of blues and faster pieces - rags and hokum like What's That Smells Like Fish (blindness must have sharpened his other senses!) provides plenty of variety. His guitar style was influenced by Gary Davis and Blind Blake, and although more workmanlike was still highly effective. He could also play excellent slide, as he shows on Homesick And Lonesome Blues (inspired by his first recording trip to New York). Fuller gathered much of his material from records, so that each of these discs is also a quiz for blues fans to spot the sources, but really the music is too enjoyable and Fuller's reworkings so complete as to make such considerations irrelevant. Among many highlights are the sessions for Decca that produced the lovely Weeping Willow, and the final session here which ends with Blacksnakin' Jiver, unfortunately damaged but which might almost be a Blind Blake recording. Fuller is supported by some great washboard playing from Bull City Red while the later sessions see the start of Sonny Terry's long recording career (on Fuller's recommendation). The 38 remaining tracks which will complete this chronological reissue are scheduled for release as part of an East Coast box in 2005. JSP have done another very thorough remastering job here, and apart from a handful of noticeably worn or damaged sides sound quality is very good throughout. There is very little to choose between the sound here and corresponding tracks on the best sounding single disc compilation (Columbia CK46777) except there is slightly less background hiss on some of the JSP transfers. Elsewhere sound is generally significantly better than on other reissues including the complete works on Document. It is particularly pleasing to hear previously noisy but important tracks like the autobiographical Big House Bound in reasonable quality. Neal Slaven, as is now customary with this series, provides detailed notes on Fuller's life and career, noting that, although Fuller was the much more popular in the 30s, his reputation "sheds a pale light compared with the mega-wattage [Robert] Johnson has had thrust upon him". No matter, Fulton Allen was an outstanding artist. Keep on truckin'. (DPR)

 
LOWELL FULSON Ace CDCHD 804 Black Nights ● CD $18.98
24 tracks, 72 mins, highly recommended
The second compilation of Lowell's fine Kent recordings features his earliest Kent recordings from 1964 to 1967. Lowell joined Kent in 1964 after nearly ten years with Checker and a brief stint at the small Movin' label. These are shining examples of Fulsom's soulful California blues approach. With his incredibly soulful voice, economical guitar work, stripped-down arrangements and laid-back, funky beats, Fulsom's music epitomized urban blues at it's best while still maintaining a rural sensibility. This set includes his big R&B hit from 1965 Black Nights, his first in ten years, as well as other fine songs like Every Time It Rains/ Too Many Drivers/ Strange Feeling/ No More/ Sittin' Here Thinkin'/ Shattered Dreams/ Talkin' Woman and others. Most of the songs are written by Fulson and/or his manager Ferdinand "Fats" Washington and are quality efforts though after the success of Black Nights there were more than a few titles with a very similar sound. Great sound and informative notes by Dick Shurman. (FS)

 
LOWELL FULSON JSP JSPCD 7728 1946-1953: The Early Recordings ● CD $28.98
4 CDs, 113, tracks, 313 minutes, essential
It could be time to trade in a lot of the other vintage Lowell Fulson recordings on your shelves to make room for this incredible 4-CD boxed set. Covering the years 1946 to 1953, laced with 113 tracks, and great sound, this is prime Lowell Fulson from the Big Town, Down Beat, Swingtime, and Trilon labels and the set includes eight alternate titles. Lowell's guitar work could often be absolutely devastating, as shown here to great effect on Guitar Shuffle/ Jukebox Shuffle/ Cash Box Boogie/ Market Street Blues, and more. Joining Fulson are some stellar names including Lloyd Glenn and Billy Hadnott (who also aided T-Bone Walker - another West Coast guitar wonder), as well as Eldridge McCarty's piano, Que Martyn's tenor sax, Earl Brown's alto, and Lowell's brother Ma