mixtapes for weathers and moods / music for good days and bad days


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2017. január 12., csütörtök

12-01-2017 8:13 # 55 blues songs from the BLUES circle 1930s & 1940s / 2h 40m


12-01-2017 8:13 # Blind Boy Fuller, Robert Johnson, Rare Country Blues, The Allen Brothers, Leroy Carr, Blind Willie McTell, Scrapper Blackwell, Big Bill Broonzy, Frank Stokes, Lonnie Johnson, Doctor Clayton, Arthur "Big Boy" Crudup, T-Bone Walker, Cecil Gant, Lightnin' Hopkins # 2h 40m






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from 1930s & 1940s




Unlike blues artists like Big Bill or Memphis Minnie who recorded extensively over three or four decades, Blind Boy Fuller recorded his substantial body of work over a short, six-year span. Nevertheless, he was one of the most recorded artists of his time and by far the most popular and influential Piedmont blues player of all time.  Blind Boy Fuller
Truckin' My Blues Away (Fulton Allen / J.B. Long) 3:07
Homesick and Lonesome Blues (Fulton Allen) 3:09
Painful Hearted Man 2:50
from Truckin' My Blues Away 1935-1938 (1978)
For most listeners, Blind Boy Fuller's Truckin' My Blues Away (on Yazoo) may be a better bet than Columbia/Legacy's East Coast Piedmont Style, since it actually has a higher concentration of strong material, capturing the influential bluesman at his peak. All of the 14 tracks were recorded between 1935 and 1938...



If the blues has a truly mythic figure, one whose story hangs over the music the way a Charlie Parker does over jazz or a Hank Williams does over country, it's Robert Johnson, certainly the most celebrated figure in the history of the blues. Of course, his legend is immensely fortified by the fact that Johnson also left behind a small legacy of recordings that are considered the emotional apex of the music itself. 
Robert Johnson
Cross Road Blues (Robert Johnson) 2:29
Come on in My Kitchen (Robert Johnson) 2:52
Last Fair Deal Gone Down  (Robert Johnson) 2:39
Kindhearted Woman Blues (Robert Johnson) 2:52
from King Of The Delta Blues Singers Rec. date: November 23, 1936 - June 20, 1937 (1961)
Reading about the power inherent in Robert Johnson's music is one thing, but actually experiencing it is another matter entirely. The official 1998 edition of the original 1961 album was certainly worth the wait, remastered off the best quality original 78s available, of far superior quality to any of the source materials used on even the 1991 box set... If you are starting your blues collection from the ground up, be sure to make this your very first purchase.




Kid Cole - Sixth Street Moan 2:59
Cincinnati Jug Band - Newport Blues (Bob Coleman) 2:58
Walter Coleman - Greyhound Blues (Tell Me Driver How Long's That Greyhound Been Gone?) 2:57
Billy Bird - Down in the Cemetary 3:14
Too Tight Henry - The Way I Do 2:59
from Rare Country Blues Vol. 3 1928-1936 (2000)

Document Records, a British reissue label, has set an admirable goal of releasing all the music found on 78s from the 1920s and '30s. Their collections are historical and archival in intent and are absolutely essential to scholars, collectors, and others interested in music of the period. Rare Country Blues, Vol. 3 assembles the complete known recordings of several obscure artists: Kid Cole, Walter Coleman, Bob Coleman, the Cincinnati Jug Band, Billy Bird, and the fascinating Too Tight Henry, whose two-part talking blues "Charleston Contest" crackles with personality and is the highlight of this collection.

The Allen Brothers, Lee and Austin, were among the first of the fraternal duets that became popular in the '20s and '30s. They were known for their fast-paced, upbeat blues and old-time music-influenced songs. Offering sometimes-bawdy good-time music, droll humor, and Lee Allen's delightful kazoo leads, they created a unique blues-derived sound independent from that of country music's star bluesman of the day, Jimmie Rodgers. Between 1926-1934 the "Chattanooga Boys" recorded 89 songs and notched several hits.
The Allen Brothers
Jake Walk Blues 2:35
Ain't That Skippin' and Flyin' 3:00
I've Got the Chain Store Blues 3:20
from Old Time Blues Recordings 1920s-1930s (2012)
The brothers were born five years apart (Austin was the oldest) around the turn of the century on Monteagle Mountain, 50 miles north of Chattanooga, to a sawyer and a trained violinist. In childhood they were influenced by a combination of contemporary and traditional music. The brothers hit the local music circuit around 1923, becoming particularly popular in isolated coal-mining camps. While traveling, the Allens began collecting all sorts of local, traditional tunes....




The term "urban blues" is usually applied to post-World War II blues band music, but one of the forefathers of the genre in its pre-electric format was pianist Leroy Carr. Teamed with the exemplary guitarist Scrapper Blackwell in Indianapolis, Carr became one of the top blues stars of his day, composing and recording almost 200 sides during his short lifetime... Leroy Carr
Gone Mother Blues 3:00
Moonlight Blues 3:08
Hurry Down Sunshine 3:32
My Woman's Gone Wrong 2:29
from Complete Recorded Works, Vol. 4 1932-1934 (1996)
People living in the early 21st century would do well to consider complete immersion in more than an hour's worth of vintage Vocalion blues records made during the darkest days of the Great Depression by pianist Leroy Carr and guitarist Scrapper Blackwell. Vol. 4 in Document's Complete Recorded Works of Leroy Carr contains 23 sides dating from March 1932 through August 1934...



Willie Samuel McTell was one of the blues' greatest guitarists, and also one of the finest singers ever to work in blues. A major figure with a local following in Atlanta from the 1920s onward, he recorded dozens of sides throughout the '30s under a multitude of names -- all the better to juggle "exclusive" relationships with many different record labels at once -- including Blind Willie, Blind Sammie, Hot Shot Willie, and Georgia Bill, as a backup musician to Ruth Mary Willis.
Blind Willie McTell
Broke Down Engine (Gary Atkinson / Blind Willie McTell) 3:09
Georgia Rag (Blind Willie McTell) 3:03
Statesboro Blues (Blind Willie McTell) 2:31
Three Women Blues 2:43
from The Early Years 1927-1933 (1989)
This is one of the few Yazoo records that cannot be recommended as a potential first choice, because it was done relatively early. The sound is okay, but the song selection -- all made up of pre-World War II material, as usual for Yazoo -- is rather paltry compared with McTell collections that have come out since. It's not a bad choice, just not as good as some others, and it does include a decent, if limited, cross-section of early material...





Scrapper Blackwell was best known for his work with pianist Leroy Carr during the early and mid-'30s, but he also recorded many solo sides between 1928 and 1935. A distinctive stylist whose work was closer to jazz than blues, Blackwell was an exceptional player with a technique built around single-note picking that anticipated the electric blues of the '40s and '50s. He abandoned music for more than 20 years after Carr's death in 1935, but re-emerged at the end of the '50s and began his career anew before his life was taken in an apparent robbery attempt. Scrapper Blackwell
Kokomo Blues (Scrapper Blackwell) 3:04
Good Woman Blues (W.R. Calaway / Leroy Carr) 2:59
Hard Time Blues (Bessie Smith) 2:52
Back Door Blues 2:51
from The Virtuoso Guitar of Scrapper Blackwell 1925-1934 (1991)
It's for recordings like this that a lot of blues guitar fans started listening to the music in the first place. The definitive Blackwell collection to date, featuring not only his best extant solo sides, but also his work in association with Leroy Carr, Black Bottom McPhail, and Tommy Bradley. The 14 songs here all have something to offer in the playing -- and generally the singing as well -- that will give the listener pause, a run, an arpeggio, a solo passage that makes you say, "Whoa, what was that?" The sound is surprisingly good, and one only wishes there were more than 14 songs here...




Intelligent, versatile early blues guitarist possessed an unmistakable, hollering voice with remarkable range... Big Bill Broonzy was born William Lee Conley Broonzy in the tiny town of Scott, Mississippi, just across the river from Arkansas. During his childhood, Broonzy's family -- itinerant sharecroppers and the descendants of ex-slaves -- moved to Pine Bluff to work the fields there. Broonzy learned to play a cigar box fiddle from his uncle, and as a teenager, he played violin in local churches, at community dances, and in a country string band...

Big Bill Broonzy
Long Tall Mama (Big Bill Broonzy / Arletta May) 2:48
Saturday Night Rub (Big Bill Broonzy) 2:55
Stove Pipe Stomp (Big Bill Broonzy) 2:47
I Can't Be Satisfied (Big Bill Broonzy) 2:46
from The Young Big Bill Broonzy 1928-1935 (1991)
Big Bill Broonzy was one of the few country blues musicians of the '20s and '30s to find success when the music evolved into an electric, urbanized form. From his initial sides with Paramount in 1928, he followed the music's development closely. Switching to electric guitar and adding drums to his music in the late 1930s, he helped pave the way for the Chicago bluesmen that followed him. Even though his music continued to contain echoes of his rural background, Broonzy's reversion to a folk-blues style (popular amongst white audiences) in the 1950s was viewed by purists as an inauthentic stance...



Frank Stokes and partner Dan Sane recorded as the Beale Street Sheiks, a Memphis answer to the musical Chatmon family string band, the Mississippi Sheiks.
Frank Stokes
Downtown Blues (Dan Sane / Frank Stokes) 3:10
Bedtime Blues (Frank Stokes) 2:58
What's the Matter Blues (Frank Stokes) 3:01
from Masters Of Memphis Blues Rec.: 1927-1939 (2004)
According to local tradition, Stokes was already playing the streets of Memphis by the turn of the century, about the same time the blues began to flourish. As a street artist, he needed a broad repertoire of songs and patter palatable to both blacks and whites. A medicine show and house party favorite, Stokes was remembered as a consummate entertainer who drew on songs from the 19th and 20th centuries with equal facility. Solo or with Sane and sometimes fiddler Will Batts, Stokes recorded 38 sides for Paramount and Victor.



A hugely influential and original blues musician in the early 1900s, often crossing over into jazz... Blues guitar simply would not have developed in the manner that it did if not for the prolific brilliance of Lonnie Johnson. He was there to help define the instrument's future within the genre and the genre's future itself at the very beginning, his melodic conception so far advanced from most of his prewar peers as to inhabit a plane all his own.
Lonnie Johnson
A Broken Heart That 2:56
Blue in G 2:55
Guitar Blues 3:19
Low Land Moan 2:42
from Guitar Blues 1930s


Clayton was born in Georgia, though he later claimed he had been born in Africa, and moved to St. Louis as a child with his family. He had four children, and worked in a factory in St. Louis where he started his career as a singer (he could also play piano and ukulele, however Clayton never did so on record). Clayton recorded six sides for Bluebird Records in 1935, but only two were ever issued. Clayton's entire family died in a house fire in 1937; following this Clayton became an alcoholic and began wearing outsized hats and glasses. In order to pursue his music career, Clayton moved to Chicago with Robert Lockwood, and he received attention from Decca Records, thanks to a helpful recommendation by fellow musician Charley Jordan. Ultimately Clayton returned to Bluebird, recording with Lockwood, bassist Robert aka Ransom Knowling, pianist Blind John Davis, and Lester Melrose, in 1941-42. He also recorded for Okeh Records at this time.
Doctor Clayton
Peter's Blues 2:26
Roaming Gambler 2:44
False Love Blues 2:51
from Complete Recorded Works 1935-1942 (1994)
Peter "Doctor" Clayton was a regular in the Chicago blues scene of the late 1930s and early '40s. A fine singer who occasionally used his falsetto effectively, Clayton was also a superior lyricist. With the exception of his six titles from 1946, all of his recordings are on this single CD...


Crudup was born in Forest, Mississippi, in a family of migrant workers traveling through the South and Midwest. The family returned to Mississippi in 1926, where he sang gospel music. He began his career as a blues singer around Clarksdale, Mississippi.
Arthur "Big Boy" Crudup
Black Pony Blues 3:21
If I Get Lucky 3:04
Gonna Follow My Baby 2:50
from The Ultimate Jazz Archive 14 1941-1944
 As a member of the Harmonizing Four, he visited Chicago in 1939. He stayed in Chicago to work as a solo musician but barely made a living as a street singer. Record producer Lester Melrose allegedly found him while Crudup was living in a packing crate, introduced him to Tampa Red and signed him to a recording contract with RCA Victor's Bluebird label.

During the 1930s through the 1950s, he fused influences of the past--including jazz and swing--and pioneered a harder, funkier style of blues... Few major postwar blues guitarists come to mind that don't owe T-Bone Walker an unpayable debt of gratitude. B.B. King has long cited him as a primary influence, marveling at Walker's penchant for holding the body of his guitar outward while he played it.
T-Bone Walker
Trinity River Blues (1929-12-12, Dallas) 3:07
Sail On Boogie (1945-05, Chicago) 2:37
My Baby Left Me (Blues) (1946, Chicago) 2:51
She's Going To Ruin Me (Blues) (1946, Chicago) 2:53
from 1929-1946 The Ultimate Jazz Archive (Vol 11)
Modern electric blues guitar can be traced directly back to this Texas-born pioneer, who began amplifying his sumptuous lead lines for public consumption circa 1940 and thus initiated a revolution so total that its tremors are still being felt today.


Pianist Cecil Gant seemingly materialized out of the wartime mist to create one of the most enduring blues ballads of the 1940s. Gant was past age 30 when he burst onto the scene in a most unusual way -- he popped up in military uniform at a Los Angeles war-bonds rally sponsored by the Treasury Department...
Cecil Gant
Hit That Jive Jack 2:21
I Gotta Gal 3:32
Cecil's Boogie 2:59
Time Will Tell 2:54
from Cecil's Boogie 1940s
A second generous helping of boogies and blues by "the G.I. Sing-Sation," as Pvt. Gant was billed on his earliest mid-'40s sides for Gilt-Edge. His thundering boogie piano style on "We're Gonna Rock," "Nashville Jumps," and "Cecil Boogie" presaged the rise of rock & roll.









am Hopkins was a Texas country bluesman of the highest caliber whose career began in the 1920s and stretched all the way into the 1980s. Along the way, Hopkins watched the genre change remarkably, but he never appreciably altered his mournful Lone Star sound, which translated onto both acoustic and electric guitar. Hopkins' nimble dexterity made intricate boogie riffs seem easy, and his fascinating penchant for improvising lyrics to fit whatever situation might arise made him a beloved blues troubadour.

Lightnin' Hopkins
Short Haired Woman (Lightnin' Hopkins / Sam Hopkins) 2:49
Going Home Blues (Going Back and Talk to Mama) (Lightnin' Hopkins / Sam Hopkins) 2:57
Seems Funny Baby (Lightnin' Hopkins / Sam Hopkins) 3:04
from The Gold Star Sessions Vol 1 1947-1950 (1190)
Hopkins' brothers John Henry and Joel were also talented bluesmen, but it was Sam who became a star. In 1920, he met the legendary Blind Lemon Jefferson at a social function, and even got a chance to play with him. Later, Hopkins served as Jefferson's guide. In his teens, Hopkins began working with another pre-war great, singer Texas Alexander, who was his cousin. A mid-'30s stretch in Houston's County Prison Farm for the young guitarist interrupted their partnership for a time, but when he was freed, Hopkins hooked back up with the older bluesman.



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