2 comments about Atlantic Blues: Piano.

1. Not a bad song on it, and unusual for a complilation it flows from one song into the next quite well.



2. In his liner notes to this Atlantic Records piano blues anthology, "Living Blues" magazine editor Jim O'Neal writes that "The Atlantic team knew what they liked; they also knew what sold." It's instructive, then, that six songs from the original vinyl release -- two each by Little Brother Montgomery and Ray Charles, one each by Professor Longhair and Joe Turner -- remain off the CD reissue 11 years later. Musical archeology only sells so far.

   This carelessness of sequencing (two songs each from Jimmy Yancey and Meade Lux Lewis would have made their cases) is part of why "Atlantic Blues Piano" is weakest among the label's four volume blues series despite some exceptional performances. You get some of blues' finest pianists and samples of native city styles (Chicago, Kansas City, New Orleans. But the artists are caught either pre-ascension (Charles on a 1953 audition tape of Lowell Fulsom's "Low Society," Amos Milburn quarterbacking Texas Johnny Brown's jumpin' "After Hours Blues" with a superb intro) or post-peak (Yancey, heard without "Mama," heard here two months before his death with a somber "Mournful Blues" and salute to fellow piano great Pinetop Perkins).

   O'Neil acknowledges this in his liner notes. "Most of the pianists represented on this volume were already well-established recording artists by the time they went into the studio for Atlantic," he wrote."...their Atlantic sessions were in one way or another intended to recapture or restore past glory."

   That said, enough excellent music remains on this collection to earn partial recommendation. The New Orleans piano style is well-represented by Longhair's signature song "Tiptina," while Longhair disciple Dr. John rocks on a too-funky "Junco Partner" from 1971's "Gumbo." Turner (with ace Kansas City pianist Pete Johnson) provides some classic early R&B with 1956's "Roll 'Em Pete" while Lewis (helped by a young John Scofield on guitar) gallops through "Fore Day Rider" and the ballad "My Chile."

   "Atlantic Blues: Piano" is worthwhile for completists, but unfulfilling for casual listeners. Blues or R&B piano fans would do better reading the artist lineup, then finding a full album from that performer.

1 comments about Genuine Houserockin' Music II.

1. VARIOUS
   Genuine Houserockin' Music II
   Alligator ALCD 102
   
   There are five Genuine Houserockin' samplers, and each is worth owning. This one, from 1987, lasts 67-minutes, and contains four additional tracks over its cassette edition. The 16 songs were originally released between 1980 and 1987. There are no previously un-released cuts. Only five of these treasured artists remain Alligator's current roster.
   
   With wicked finger pickin' and pluckin', Albert Collins lays down a signature tune that features a Texas shuffle. Big Twist's deep, assertive voice and the Mellow Fellows' dangerous horns create a soulful party. "I'd Rather Go Blind" is still regularly performed by Koko Taylor. On this absolutely brilliant version, her throaty vocals roar. Slide master, Lil' Ed, is better when experienced in concert. On "Pride and Joy", his antics get distorted. Little Charlie and The Nightcats have just released their ninth Alligator record. Their West Coast style blues feature Rick Estrin's classic harp and Charlie Baty's fat-toned guitar. Back in '87, being "T.V. Crazy" was their greatest concern. Witty lyrics that refer to shows such as: Love Boat and Dallas, give away the song's era. Prior to Mavis Staples, Johnny Winter was Alligator's greatest international superstar. He uses his slide guitar like an axe grinder on "Mojo Boogie". Lonnie Brooks combines many styles into his bayou music. His friendly, yet intimidating, vocals have a voodoo presence, while his guitar emits more passion than multiple rock guitarists combined. Thanks to Michael Coleman, "Part Time Love" is from the funkiest era of James Cotton's long-standing career. Long before Joss Stone butchered "The Chokin' Kind", two of America's roadhouse kingpins (Roy Buchanan and Delbert McClinton) created the definitive version. New Orleans piano master, Professor Longhair, creates a party out of personal disaster. "The Dream" is taking from Showdown. It was recently chosen, by GuitarOne Magazine, among the Top 200 greatest guitar recordings of all time. Lonnie Mack performs a soft rock ballad which is now a classic. However, the music's pace didn't have to be reduced in order to be meaningful and heartfelt. In fact, almost all the disc's songs possess these qualities which will move you as a listener. This is why this collection is so essential.
   
   As with the other Genuine Houserockin' Music collections, this CD is an advertisement for the label. The main goal is to get you hooked on them and their artists. Detailed liner notes contain biographies on all featured artists. The downside is there are no songwriter credits or studio musicians listed. You'll experience all types of blues on this vibrant sampler. Best of all, the music genuinely is the blues, or a very closely related cousin. How is a sampler CD worthy of a perfect score? The answer is simple, and it is based entirely on quality and value.
   
   --- Tim Holek

1 comments about Blues Live from Mountain Stage.

1. Mountain stage is a terrific radio program that is seldom heard around these parts, yet these records document the strength and talent that the program has attracted over the years. Here, the focus is on the blues, and mountain stage has gathered a strong stable of artists. A welcome addition to any collection.

No comments about Modern Downhome Blues Sessions, Vol. 4: Southern Country Blues Guitarists 1948-1952.

3 comments about Bottleneck Guitar Trendsetters of the 1930s.

1. 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. Weldon certianly was influenced by Sol Hoopii and other hawiian jazz players of the 20's, and he in hurn influenced a lot of the lap steel players in the 40's in western swing. 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!



2. 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!



3. 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.

2 comments about This is Boston, Not Austin Part 2.

1. i lived in portland for 7 months and i used to go to boston whenever i had a free weekend...listening to jennifer trynin's stuff and mary lou lord's ( i also like the pixies...) got me thinking about this one..i can't remember where i got it. maybe it was at a used bookstore or record shop...what attracted me to it was the second disk of spoken words stuff...patricia smith has a poem on here. i remember that. there is also a song by laurie gelman called " paris " that was particularly memorable..i haven't been to new england in 8 years...i'll have to get up there one of these days to see if it's still the same...



2. Awesome sampling of Boston's best singer-songwriters!

2 comments about Blues at Newport Recorded live at the Newport Folk Festival 1959-1964.

1. In short: I am on Amazon right now, shopping for this CD because my first one is worn out. Good stuff.
   
   There are many fine recordings on this CD... I have listened to it over and over for the last 10 or so yrs. In addition I have found that people who don't usually listen to country blues seem to enjoy this collection. It has an airy and intimate recording quality.
   
   Specifically: The whole 1st half of the CD is great... The John Hurt recordings are all charming & spirited ('Coffee Blues' is super), as are the Terry/McGhee tunes (check out 'Long Gone.'). Gary Davis' recording of 'Samson & Delilah' shows Mr. Davis at his showtime best. Skip James's 'Devil Got My Woman' and Robt. Wilkens 'Prodigal Son' are, in my opinion, the best versions extant of those performers' best compositions ... i.e. these are must-have recordings. The John Estes tune is a good example of his jugband trio with Yank Rachel and Hammy Nixon, and 'That'll Never Happen No More' by Dave Van Ronk is a clever reworking of the Blind Blake version.



2. A very nice collection of songs from late 50's to early 60's at the NFF...most of these are on the 3-cd set that was recently released. However a handful are not on that set - including a powerful 9:30 rendition of Rev.Robert Wilkins classic Prodigal Son, which of course was covered by the Stones on Beggar's Banquet. Here you find the inspiration for the Stones version, which included only a handful of the many verses that Wilkins' had...also, you hear how Charlie and Keith appropriated the guitar and percussion (Wilkins' foot, here) parts for the Stones' version. A must-hear experience!

No comments about Negro Blues and Hollers.

1 comments about Harmonica Masters.

1. I am a blues harp aficionado. Been playing since I was a kid. This gives a good sampling of early blues harmonica playing. Some of the tracks are repititious of others. Too many 12-bar blues tunes.

No comments about Texas Blues.