5 comments about The Complete Recordings.

1. I deducted one star because the layout is all wrong--it's annoying that they didn't put the alternate takes on a seperate CD.
   I took another star off because I really don't feel Johnson's music lives up to the hype. His influence over Rock and Roll is huge, but it's worth keeping in mind that in the Blues arena, he was decidedly less influential (an interesting take on this is included in wikipedia's article on the man, under the section "influence").
   
   My problem is that for all the talk about how powerful and emotional his singing is, all I hear is an angsty whine. None of the emotion seems genuine to my ears. I have nothing against blues singers with high voices (I love Blind Willie McTell and Tommy Johnson, for instance), but with Robert Johnson, I get the impression that I am listening to a man who liked to sing and use his talent to impress women and not because he actually felt any inner torment. In fact the accompanying liner notes about his life seem to confirm my impression that he sang primarily to entertain and seduce, not out of any emotional need for the blues. Listen, for contrast, to an older Blues musician (say, 1960s Furry Lewis) and you will hear what authentic emotion sounds like--the emotion that accumulates over a long life of hard work and no recognition. Blind Willie Johnson is another example of what I feel is authentic, heartfelt singing. I listen to Robert Johnson and hear a young man living a fast lifestyle and enjoying it. I might be in the minority here, but that's what I hear.
   I also think there are many better blues guitarists. He was rated number five in Rolling Stone's list of greatest guitarists, but can anyone honestly say he was more talented than Gary Davis, Mississippi John Hurt, or Blind Willie Johnson?
   All my qualms aside, I do enjoy listening to his music. Even though he's not near the top of my blues list, I do think some of his songs are really good.



2. 3 1/2
   
   There is no mistake when people speak of this man's influence on blues. Sadly his shadow has all but engulfed the frustrating confines around musical progressions he helped pioneer, and present them with a more natural and innovative grace then the next half plus century to follow. This essential collection for purists does contain enough variation on those hallowed scales to maintain a certain interest (even a handful of tracks that outshine their formulaic counterparts), although there is no denying those not well integrated into the genre will start hearing too much bleed-through track to track which may turn initial reverence for Johnson's vocal and instrumental prowess into sporadic annoyance.



3. The story of Robert Johnson is that he sold his soul to the devil in exchange for the talent at playing blues. I personally don't believe the story because he really put his soul into the music, and it's very obvious. Maybe his deal with the devil was that the devil would take his soul when he died. Whether the story is true or not, he believed it, and he left with only 29 songs, 12 additional takes, 2 still photographs, and 1 incredible legacy.
   
   I personally believe that every musician must own at least one actual blues album, no matter how far their music is from the blues, because the blues is probably the most soulful of all genres of music. This might explain why most classical musicians focus only on the technical part of the music, and they don't let their heart do any of the work. Most people would probably consider this the one blues album to get if you only get just one. What do I think? I think that this album is as good as any of them. If not this album, I would suggest a blues compilation.
   
   I was fortunate to get the copy that a local radio station, that is now out of business, would use when they would play his music, as a birthday gift. My uncle told me that he found it at a yard sale.
   
   What do I think of the album?
   
   I personally agree with most people about how the alternate takes should have been at the end after everything else. However, the fact that just about all of his tracks are basically the same song, but he changes the words, makes it not as big deal, for me at least. Because he does a great job playing the blues, probably due to the whole deal with the devil thing, it's not as boring. There are also several different rhythm styles that he uses.
   
   Even more, there are a couple of songs that aren't blues, but of the pop music of that time, which adds a bit more variety. If "They're Red Hot" and "From Four Till Late" would have been put out as singles, in the way that songs now are released as singles, they both could have been crossover successes in the way that some of the black artists of the time were. However, people probably also wanted full orchestras.
   
   I personally like the bareness of the music. It's hard to believe that just a person with a guitar can really do so much. However, I've been able to go far with nothing but myself and an acoustic guitar, so it's a bit weird that I myself am impressed by this.
   
   About the sound quality, I feel that it isn't too hard to see past it, but I also feel that it adds a bit more mystery to who Robert Johnson was. The full set, also includes transcriptions of his lyrics, a biography, an essay by Rolling Stones guitarist Keith Richards, an essay by Eric Clapton, pictures of several different people and parts of his life, and of course, both pictures of him.
   
   To conclude, I have to recommend this album.



4. A deeper look at Robert Johnson is needed. He was obviously an extremely talented guitar player and had a real way with words; his lyrics were often quite beautiful, as in "From Four Til Late", "Hellhound On My Trail" and "Stones In My Passway". He is the most influential man in Blues history in terms of the proliferation of the "walking bass" sound. He died at just 27 years of age, which enhances his legend. However, now is the appropriate time to take a deeper look at Robert Johnson. The "walking bass" line he's forever associated with was originally used by the lesser-known and less-talented Johnnie Temple a few years before Robert recorded it. The songs which most white Blues fans associated with Robert- the ones about the Devil and hellhounds- are not the songs that strongly influenced black Bluesmen during and after Johnson's death. Instead, harmless party songs like "Sweet Home Chicago" and "I Believe I'll Dust My Broom" became standards for many Bluesmen and Blues bands. However, during Robert's short life, he was not an enormously popular star like Leroy Carr or Tampa Red, as Elijah Wald points out in detail in his "Escaping The Delta" book, which covers the history of Blues music, Robert Johnson's life and subsequent legend, and pop music in general. Robert Johnson purposely used the last name, "Johnson", on his recordings because of his love for the older, more talented (yes, more talented!) Lonnie Johnson. Lonnie Johnson was the inventor of Jazz guitar, performed some of the most dazzling and awe-inspiring guitar duets in history with Eddie Lang, came up with a completely original, striking, and ominous way of playing guitar accompaniment for the brilliant singer and lyricist, Texas Alexander, pioneered Rhythm & Blues ten years later, and, in his later years, performed popular songs and Jazz standards with the best of them, showing off his crooning skills. Robert Johnson will be forever eclipsed by Lonnie Johnson in the eyes of musicians and Blues fans with deep insight. Furthermore, Robert's traveling buddy and fellow Blues musician, Johnny Shines, possessed at least as much, if not more, talent than young Robert did. Johnny was one of the greatest singers in the history of the Country Blues, along with Son House and Texas Alexander. Throughout his life, he was able to perform Country Blues originals and standards, electric Chicago-style Blues standards and originals, Soul music, was able to out-do Otis Rush on Johnny's "My Love Can't Hide", which was highly influenced by Otis Rush's "My Love Will Never Die", and craft lyrics that were every bit as original and poetic as those that Robert Johnson sang on the 42 songs that he recorded. Unfortunately, during the 1960s, '70s, '80s and '90s, Johnny was constantly pestered by Blues fans and historians to talk about Robert Johnson, instead of Johnny Shines.
   When Lomax went looking for Robert Johnson, he had trouble down south finding people who knew who Robert was. He wound up recording a young Muddy Waters. The fact that Robert Johnson was not a famous musician in the Mississippi Delta during his lifetime proves that it was the young, white, mostly-male, guitar-playing, Country Blues audience of the late 1950s and early 1960s, along with the Rolling Stones and Eric Clapton, who popularized the Johnson legend about Robert selling his soul at the Crossroads. In reality, the traditional belief is that one can sell his or her soul to Legba, the trickster deity, and not Satan/the Devil, at the crossroads at midnight. Tommy Johnson, who possessed one of the most beautiful falsetto voices in the history of American music, and wrote and recorded many Blues standards, such as "Canned Heat Blues", "Big Road Blues" and "Maggie Campbell Blues", was a much better singer than Robert Johnson, and his brother stated that Tommy often used the crossroads story to promote himself, back when Robert was just a little boy. Furthermore, the association between Robert Johnson and the Devil is made even more absurd by the fact that a Blues musician named Skip James, who recorded at the height of The Great Depression, was one hundred times more cryptic, bizarre, and spooky than young Robert. Skip James sang in an eerie falsetto, especially on his 1960s records, and openly expressed disdain towards his young white fans during the 1960s; he often stated that the mission of his music was to "deaden the minds" of his listeners. Skip's "I'm So Glad" also eclipses any of Robert's songs in terms of technical ability on the guitar. Blind Blake, Blind Lemon Jefferson, the aforementioned Lonnie Johnson, Reverend Gary Davis, and the under-recorded Willie Walker were all better guitar players than Robert Johnson. Furthermore, Robert Johnson was more of an amalgam of great Blues singers and guitar players who came before him than he was a person who came up with an entirely new style of Blues. He was a genius at taking all of these established ideas within Blues and composing songs. He was heavily influenced by Peetie Wheatstraw in terms of vocals, Robert's "Hellhound On My Trail" is his attempt at Skip James' "Devil Got My Woman", young Robert's guitar playing for "Malted Milk" and "Drunken Hearted Man" are directly borrowed from Lonnie Johnson, Leroy Carr & Scrapper Blackwell were a tremendous influence on the young man born in Hazelhurst, Mississippi in 1911, and Robert desperately wanted to play slide guitar as well as Kokomo Arnold, but failed in this respect. With all this being said, I'd like everyone to know that I don't dislike Robert Johnson or his music. In fact, I love his music, his lyrics, and his guitar playing. I'd give anything to be able to play guitar like the man. I just want everyone to dig deeper and take a look at the men who inspired Robert Johnson, men who were at least as talented as the supposed god of the Blues. In Bob Dylan's autobiography, he goes on and on about hearing Robert for the first time and being amazed, while Dave Van Ronk sat in his apartment and simply said that Johnson was very, very good, but far from the best. When I was in high school, I believed the hype completely and thought that Robert Johnson was the greatest thing since sliced bread. Since then, I've realized that there were many Country Blues artists who were just as wonderful as him, if not better, not to mention Post-War electric Blues geniuses like Earl Hooker, who is perhaps the greatest slide guitar player in history. I hope that everyone who reads this review reads my words carefully, takes a look at Elijah Wald's "Escaping The Delta", and buys cds via Amazon.com of Blind Willie McTell, Son House, Furry Lewis, Blind Blake, Blind Lemon Jefferson, Lonnie Johnson, etc. There is much more to the Country Blues than Robert Johnson, despite what Eric Clapton, Keith Richards and many young guitar players on Myspace.com seem to think. If you have any questions or comments for me, feel free to leave them beneath this review. Thank you for reading this, and I hope you now have a better understanding of Johnson's place in the history of the Blues.



5. This collection is NOT for dilettantes. This is not something you play in the background as you're working. The 2CD's and the book are designed for serious study. If you want just some Robert Johnson music for listening or background, get something else.
   
   The book that comes with the box set is a long read. It's not worth reading unless you're serious about the subject. The discs contain many alternate takes. This removes the set from the 'background music' category. It is not what you play in the background for a party with your friends to show you're 'down' with the Blues.
   
   This is a serious collection for serious students of the Blues. I've read a couple of the Johnson biographies, and I found things in the book included that I didn't know, and the information about the recordings contained a LOT of things I did not know.
   
   As for the CD's, being able to compare and contrast primary and alternate takes on Johnson's work just showcases his talent and versatility as a performer and as an artist. Johnson is universally recognized as one of the great icons of the Blues. If you're be a serious student of the Blues, you NEED this set.
   
   On the other hand, if you just like to listen to his work (and who doesn't?) there are many decent collections available two good ones are "King of the Delta Blues " and "His Recorded Legacy: The 29 Songs." These are more accessible, and both are available on Amazon. These are both good for casual listening.

5 comments about People Take Warning! Murder Ballads & Disaster Songs 1913-1938.

1. When I drive down the road in my 2006 Honda Accord and have this collection playing on my six changer cd player I feel like it's 1922 in Alabama and I'm in my Ford jalopy listening to some great radio station from the past. These songs not only tell stories of the past they make you feel for people you have never met. It's a great collection.



2. Received these cds just before a trip from VA to TX.
   Took me over 200 miles of happy interstate driving
   (with nary a disaster)!



3. On a recommendation from a friend, I picked this up even though I only own the Harry Smith Anthology and really no other reissue collections. I'm now sold! This is at least on the same level as the Harry Smith collection if not much better. This set is a thoughtfully constructed, almost visionary collection of pre-1938 recordings, with each one of the recordings demonstrating something lost in the current "musical vocabulary" that is being put out now. Besides sounding fantastic and looking great, the package also includes deeply revealing annotations and notes by Hank Sapoznik, Christopher King and Tom Waits. I've listened to the set for hours and read and re-read the notes and tried to take in all the compelling graphics. It is indeed a singular experience and a true artistic success.



4. An interesting peak into early 20th century culture.The packaging is top notch.As for the music,it sounds like 20 or 30 versions of the same song,especially given the primitive recording techinques.I might suggest to Tompkins Square they re-record these song using modern artists ie Steve Earle,Dwight Yokum etc.Sort of like the Phil Alvin "Lost Songs"lp from 1985.
   In short ,historically interesting,musically tedious.



5. I can not think of a better set to have received as a Christmas gift. From Waits' introduction through the transfer quality of the audio all the way down to the panoramic pictures in the book, this set is a must-have for any serious music collector or lover.

1 comments about A Brief History Of The Blues.

1. This is a solid introductory collection of blues songs. I think the standout is "Oh Death," performed by Doyle Bramhall II and Erykah Badu, but there really isn't a bad song in the bunch. I also like that listeners are exposed to a wide variety of blues from Delta to Chicago and more.

5 comments about Hooker 'n Heat.

1. Simply 'the best' for the voodoo of truely great Harmonica boogie improvisation. Alan Wilsons [pre-suicide] respect and harmonica 'call & response' to John Lees creative outpourings are like nothing else before or since. What a session. This record is a highly influencial album in my life and stands as a great example of 'electric Harmonica' tone and technique. I would give my 'coolies' for Al's amplifier and wonderful style. Meanwhile The whole band sounds very excited and committed to honoring their session with the legendary boogieman. What more to say? The tunes are often long improvised 'jams', spread with 'solo' loose tunes with John Lee Hooker, his words, guitar and ever tapping foot. This historical recording is not everybodys 'cup of tea' but if you want 'real' trance like boogie and blues with that primitive rhythmic vibe this is 'the ducks guts'.



2. I guess Hooker is not my kind of blues, nothing against it, though. Maybe I will take it to the gym with me today and maybe it will help me with my workout.



3. This is a great set, a raw & spontaneous jam session (what else would you expect from these guys?) with a production quality that almost sounds like it was recorded just yesterday. The first CD mostly features JLH alone-- stompin' & cookin' up the sparse & emotional groove that is uniquely his. The second CD features more of Canned Heat with some excellent guitar & harp work by the band. The last cut, Boogie Chillen #2, is worth the purchase alone, especially if you're a harmonica fan.



4. In 1970 the blues-rockers Canned Heat got this, as it would turn out, great idea in bringing blues-legend John Lee Hooker into the studio for a close collaboration. The album was planned as a feature for John Lee Hooker in that respect that half of the album would mostly feature his solo stuff, where as the other half would be together with the group.
   
   The amazing thing is that it brings the best out in John Lee Hooker, as he would deliver some of his most inspired performances ever - that also maybe due to the "Heat's" enormous respect for the man. Canned Heat had proved themselves to be among the most serious and properly best of the "white" American bluesbands with original compositions, especially by the late blues-harp `wonder' & rhythm/slide guitarist Alan Wilson - and by bringing in a slightly more `rocking' approach, they popularised a music that, at the time, seem to have faded away from the limelight (maybe some remembers hits like "Going Up The Country" or "On The Road Again").
   
   Even more wonderful is the fact that the inspiration is mutual and Hooker's duets with Wilson's soulful harmonica, later in the first half, is literally sparkling - there is a fantastic communication between the two. But also the second half with the band is really smoking and I personally really like their bassist Antonio De La Barrada for his inventive and driving playing, but no doubt that Canned Heat fore and most was a group - a unit, and that really shows and because of their open, raw and honest nature, they musically fits so well with Hooker and makes him sound so great.
   
   Canned Heat's lead-singer though, Bob "the bear" Hite, respectfully stands back and solely dedicates himself as a producer together with Skip Taylor. Unfortunately this also was to be Canned Heat's last album with Alan Wilson, who prematurely died soon after these recordings. A loss they properly never really overcame and their best work is also to found before this tragic event occurred with albums like: "Boogie With Canned Heat", "Live At Topanga Corral", "Living The Blues" and "Future Blues".
   
   Many have acknowledged this work to be some of the best Hooker ever delivered - I for one agree.



5. As much as I love the 1989-1997 albums that closed out John Lee's amazing career (Healer, Mr. Lucky, Boom Boom, Chill Out, Don't Look Back), 1970's Hooker 'n Heat is a true crown jewel in the legacy. Just as Johnny Winter's pure sympatico hand of support guided Muddy Waters through his late-career Blue Sky albums, Canned Heat provides the most solid and driven backing I've heard on a JLH album. John Lee is in full-blown Crawling King Snake mode here...on this album he's not a kindly "elder statesman," he's a dangerous man, and if you approach his flame, you WILL get burned. The late Heat vocalist Bob "The Bear" Hite limits himself to co-producer duties here, so the musical dynamics come from Al "Blind Owl" Wilson (his final recording), guitarist Henry "Sunflower" Vestine (get ready for the thoroughly insane 11 minute "Boogie Chillen No. 2"), Antonio de la Barreda on bass and Fito de la Parra on drums. The first 9 tracks are John Lee solo. Wilson joins tracks 10 and 11, and the full band backs the remaining 6 tracks. Make no mistake about it...you WILL get cold chills when Hooker bellows "Alan! Alan! Blow your HORN, baby!" on "Let's Make It."

5 comments about King of the Delta Blues Singers.

1. on track 2 "Terraplane Blues" theres some very loud hiss and surface noise when Johnson does his "ooooooooos!" which werent present on the same recording on the box set, anyone else have this problem? aside from that a truly great release worth it to anyone interested in music. its wonderdul. the sound quality IS alot better though on this cd than on the box. its well worth it.



2. If you're new to Robert Johnson, start here. The Complete Recordings box is all fine and good, but this disc has (drastically) better sound quality, better sequencing, and more historical value (if you're into that sort of thing). It's also cheaper, and less bulky. Plus, it cherrypicks most of Johnson's best recordings. Of course, Robert Johnson never recorded a bad song, but these sixteen (seventeen, if you count the previously unreleased alternate take of "Traveling Riverside Blues" that was discovered after the release of the box set) are the cream of the crop. My only complaint is the absence of "I Believe I'll Dust My Broom," which has long been one of my favorite blues songs, but that's just a nitpick. This record really is the bee's knees.
   
   Snag a copy of King Of The Delta Blues Singers, and you'll make the acquaintance of such potentially life-changing songs as "Kindhearted Woman Blues" and "Ramblin' On My Mind." You'll encounter nightmarish poetry and primal guitar genius. You'll wander lonesome dreamscapes full of poison whisky and evil women. You'll feel the devil's breath on your neck and the sting of loneliness in your heart. You'll hear evil moans and frightened cries, and you'll smell the mud and blood of Mississippi. Your spine will freeze and your skin will crawl at the panicked desperation of "Hell Hound On My Trail." Your toes will tap and your dark side will flare up at the jubilantly psychotic "Preachin' Blues (Up Jumped The Devil)." You'll marvel at "32-20 Blues," whose casual misogyny is so unflinchingly convincing that it puts most gangsta rap to shame. Once you've absorbed the length and breadth of this classic record, move on to King Of The Delta Blues Singers Volume 2. Enjoy!



3. Robert Johnson lived from 1911-1938, and died at the age of 27. But during his years active as a performing artist, 1934-1938, he recorded some of the best blues ever.
   
   The recordings had been lost for many years, but in 1961, Columbia released them on the vinyl release 'King Of The Delta Blues Singers.' The record inspired guitarists like Keith Richards, Eric Clapton and Robert Cray. It remains, even to this day, one of the most influential records of all-time.
   
   Overall, if you like the blues, classic rock or great guitar playing, than you need this album. Highly recommended for anybody who appreciates music.
   
   One of the best records ever released. Highly recommended! ENJOY!!!



4. Robert Johnson-King Of The Delta Blues Singers ****1/2
   
   This is the quintessential recording for all blues fans and musicians. This is the one that inspired all those British blokes to play guitar in the 1960's like Keith Richards, Eric Clapton, Mick Taylor, and countless others, not to mention all the American's it influenced.
   
   Now I'll spare you the story of Robert Johnson and the crossroads and how he is rumoured to have become so amazing because I am pretty sure anyone reading this already knows. The point is that this is the best collection of Johnsons material, it sounds the clearest out of all the versions, and has the best song selection. This is a must have for any guitar player, or blues fan.



5. I have the box set. Sure it's (almost) complete, but the sequencing sucks and the digital clean-up is kinda sterile sounding. I got this cd awhile back just because of the extra song not available on the box. What I didn't expect was the far warmer sound of this disc in comparison with the box set. Occasionally the surface noise can be a bit a an obstruction, but, for the most part, this is the best way to hear these recordings without having to resort to 78 rpm records. Alas, sound quality should not be the determining factor as to whether or not one should be able to enjoy music, but this cd makes the case that a better sounding recording can enhance great music.
   
   As for the music: if anyone is buying this because he/she is unfamiliar with the recordings of Robert Johnson, go straight to Hellhound on my Trail and play it a few times. If that doesn't make the listener a life-long Robert Johnson fan, he/she should immediately consider a visit to the nearest e.r. so that said heartless, soulless tone-deaf lost cause can be resuscitated.
   
   For those who get the big picture and are hypnotized by the sound of aural perfection, proceed immediately to Skip James' "Devil Got My Woman", Blind Willie Mctell's "Mama 'taint Long Fo' Day", et al.

5 comments about The American Folk Blues Festival 1962-1969, Vol. 3.

1. I'v been avoiding writing a review about these dvd's (American Folk & blues festival vol 1, Vol 2, vol 3,) for a while now, mainly because I get so emotional when I think about them. So I wont even try. But I will say this much....The ONLY place in the world where you can see the fabulous T-Bone Walker on dvd... is on these sets (he appears on all 3 volumes). And where else are you gonna see Lonnie Johnson, Shakey Horton, Junior Wells, Big Joe Williams, Willie Dixon, Otis Span, Sonny Boy Williamson, Big Mama Thorton, A very young Buddy Guy, and a very young Hubert Sumlin, Big Joe Turner, Son House, Koko Tayler, Lightnin Hopkins, Sonny Terry and Brownie McGhee, Howlin Wolf, AND MANY MORE!!! YOU NEED TO HAVE ALL 3 VOLUMES FOR YOUR COLLECTION!



2. If you like the blues you'll love this DVD. I especially liked the acoustic set with Skip James, Son House & Bukka White. The Black & White is cool and the sound is good.



3. buy all 3 volumes - if you are a music fan, this is the origin of the blues.



4. I am new to the Blues. I've listened to many songs, from Delta Blues to Chicago Blues, and loved them all. After listening to so many songs, it is nice to put a face to the name. Not only that, but to see and feel the energy of real Bluesmen and women. I absolutely loved this DVD! I'd highly recommend it to anybody looking to start or continue a Blues DVD collection.



5. This dvd is an historical treasure. The product is very high quality in every way. It has some of the earliest films known from some blues artists, as well as some of the only known films of some as well(Little Walter).Everything from the urban blues of Big Mama Thornton, Buddy Guy, Hound Dog Taylor,and Koko Taylor. To the haunting,country blues,of Skip James, Bukka White, and Son House. I particularly like the performance of the famous song " Crow Jane" by Skip James, as well as the extras like the raucous, obscure Earl Hooker, who evokes shades of Eric Clapton and Jimi Hendrix with his Univox guitar and Sound City amplifier. Buy and enjoy this forgotten legacy!

5 comments about Folk Singer.

1. This is one of my alltime favorite blues albums. It is an acoustic album and Muddy shines in this format. The only thing I didn't care for on this version were the five bonus tracks. They just don't fit the vibe of the original version. On the other hand, it's some additional Muddy Waters for no extra cost! Get this album and you won't be disappointed.



2. A top rate blues album. One of my favorites, it gets at least weekly listens if not daily.



3. I found this in my friends cd collection, threw it on, noticed it had willie dixon, one of my all time faves, on stand up bass. It blew my mind!what a discovery. never had heard this before somehow altho i love blues. and have seen specials on muddy. get this immediately. stop everything you are doing right now and buy this lp. it is simply one of the best blues lps of all time. beautifully restored remastered in the 99 pressing. gold pure gold.



4. What a great blues album! I just received it in the mail, and this is one of those CD's that exceeds all expectations. First, I was floored by the sound quality - hi-res with beaucoups of air and a realistic soundstage. As I continued through the disc, it became obvious that this CD belongs on a short list of the best blues albums ever made because the performances were also incredible! No folk songs here - it's all acoustic blues with Willie Dixon on bass and Buddy Guy on guitar accompanying Muddy. The bonus tracks are all keepers too. This is absolutely essential blues, and music for the ages.



5. This is a wonderful CD, it has several alternate takes of songs that we've all heard versions of, which I find very interesting. One of the most interesting qualities of blues music is that the performers rarely play the song the same way twice, that's what makes it exciting. Definitely a good CD for you collection!

5 comments about The Complete Library of Congress Sessions, 1941-1942.

1. This disc features the ferocious intensity and masterful singing, not to mention beautiful lyrics, of Son House. This material is different than both his original Paramount Recordings and his stuff from the 1960s. He is in great form on this record, and although the liner notes are skimpy and the cd looks like it could have been manufactured by a fourteen year old boy who downloads Country Blues all day (reminds me of me, just a decade or so ago!), the disc is not only well-worth owning, but is one of the greatest Country Blues cds that I can think of. Every song is excellent, and the driving intensity is relentless. This disc is strongly recommended.



2. These 1941-1942 recordings are the only ones ever made of Eddie "Son" House playing with a band, and this 19-track disc collects all 15 songs originally issued on Biograph's "Delta Blues" album and adds four more tracks, none of which are sung by House ("Fo' Clock Blues", "Camp Hollers", an incomplete "Special Rider Blues", and the instrumental "Key Of Minor").
   
   Folklorist Alan Lomax came to Mississippi in late August 1941, bringing with him a 300-pound "portable" disc-cutting machine, and cut five acetate masters - the first four tracks on this album plus "Delta Blues".
   Now, these cuts may not quite match the power of House's ferocious 1930 Paramount recordings, but barely anything does, and these are tremendous recordings in their own right.
   Perhaps the chatter of the other three musicians on the first three tracks, and the sound of Joe Martin picking his mandolin, dulls the raw intensity of Son House's music a little, but you can still hear why Muddy Waters was so much in awe of Son House, stating that "back where I came from, down in the Delta, Son House was the king!"
   
   The 1941 recordings were cut in the back room of Clack's country store in Robinsonville by Lake Cormorant in Mississippi, with guitarist Willie Brown (another former playing partner of Charley Patton), "Fiddlin'" Joe Martin - who actually played mandolin - and harpist Leroy Williams. At one point, you can actually hear a train passing by outside.
   
   The remaining numbers (which include a longer version of "The Jinx Blues") were cut the following summer, and on these tracks, House performs alone. This is where the power and intensity of House truly shines through, showcasing what an effective guitar player he really was. Son House may not have been Charlie Christian, but his loud, grinding, strongly rhytmic playing, filled with wailing slide riffs, was the perfect background for his huge voice and emotionally charged singing.
   
   Among the highlights of this collection are "Delta Blues", superbly performed with only Leroy Williams backing House up, "Low Down Dirty Dog Blues" and "Depot Blues", which features some of the most impressive guitar playing House ever comitted to tape, "Walking Blues" (especially the 1941 version), and "The Jinx Blues", set to an effective shuffle beat. Just listen to the way House snaps his bass string against the fretboard!
   This collection is one of the all-time great documents on early Delta blues. The sound is as good as can be expected, and this is a worthy testament to one of the most important figures in modern popular music.



3. Son House taught Robert Johnson the slide blues. Son House taught Muddy Waters. When Son House started performing at Blues festivals again in the mid 1960s, some of Muddy's younger band members would start to go off for a smoke or whatever when the old man came on stage. Muddy wouldn't let them. Muddy Waters would tell all his band members to be quiet and pay attention when the man played because even compared with Muddy, this was the real deal.

   Rediscovered in Rochester, New York, relearning to play the guitar, (how this country abuses the masters that come from its people, particularly its Black people), put back on the stage by the folk revival's blues section.

   People outside of the blues life focus on the guitar playing or the rhythm of the singing, but where the power comes from is the feeling and the words that are put together, the life and the meaning of the blues. Son House in his youth and his old age, on this and his other sides, always gave it.
   
   So Like Muddy Waters, I would like you to know that
   Son House is the real deal.
   Listen and learn




4. Son House is the most important and influential Delta Bluesman to ever live he was a major influence to Muddy Waters & Robert Johnson and every one else including me. Buy this C.D. it is very essential stuff this is hardcore Delta Blues there are some trks with Son House in a band setting with Willie Brown and others (perfect example of what a DeltaBlues jam session probally sounded like). These are field recordings and I mean they were actually recorded outside on trk.4 "Shetland Pony Blues" you actually hear a steam locomotive (train) go buy in the background. If your a aspiring blues guitar player get this if your a fan of the Blues your C.D. collection is seriously lacking if this is not part of it. also get "Masters of the Delta Blues, The Friends of Charlie Patton" all of Son Houses earliest recorings are on there (1930) with some other Delta Blues Legends



5. This collection is essential to any blues collection...you cannot truly appreciate the blues until you've heard these recordings.

   Son House is my favorite blues performer. No one--not even his proteges Robert Johnson or Muddy Waters--could match him when it came to the raw emotion. Sure, Robert inspired later blues-rock giants like the Rolling Stones, Eric Clapton, Led Zeppelin, Aerosmith, Stevie Ray Vaughn (to name a few...) and Muddy revolutionized the blues by 'inventing' electricity. But this collection, when coupled with the album "The Complete Recorded Works of Son House & the Great Delta Blues Singers" (ASIN: B000000J26--recorded in 1930; another essential disc), offers the listener a true glimpse into history.

   The first few tracks include House singing and playing guitar with his band: Willie Brown (who has since attained legendary status as his name is mentioned in Robert Johnson's lyrics; he was also was the central character in the 1986 movie "Crossroads") on harmonica, and Fiddlin' Joe Martin on mandolin. These songs are amazing. The only word I can use to describe House's slide guitar technique is FEROCIOUS. His mixture of slams and slaps, when combined with the shouts, moans, and grunts of his vocals, is nothing short of frightening. "Walking Blues"--which, of course, was a hit for both Robert Johnson and Muddy Waters but was written by House--is one particular standout. It is nearly seven minutes long (House is famous for his "epic" performances...in concert, his songs were known to exceed twenty minutes), a relentless barrage of blues. "Levee Camp Moan" is another strong point. The rhythms and shouts are incomparable.

   Perhaps the best analogy is "a frontal assault on the soul".

   The remaining songs are House's solo efforts, although the striking force has not deminished at all. In fact, they may be even more powerful--it's hard to believe that only ONE guy is singing...!

   When House was rediscovered during the '60s blues revival, he recorded his first and only studio album in 1965 ("Father of the Delta Blues"--ASIN: B000002877) for the Columbia label. Most who have heard of Son House know him based on these recordings alone. There is no arguement that this is a magnificent album--the emotional quality has only increased with is age. But while the sound quality is definitely better than these early field recordings (mono recordings into a single microphone in the stockyard of a train depot--you can even hear railway sounds in the background!!), House's old age hindered the ferocity of his slide guitar playing, forcing his tempo to slow down. If you want to hear the true capabilities of the man who I think is the greatest bluesman who ever lived, you must listen to these Library of Congress recordings (and then check out "...and the Great Delta Blues Singers").

5 comments about Martin Scorsese Presents The Blues - A Musical Journey.

1. Blues is a genre of music that is greatly under-appreciated by most Americans, despite being the fundamental roots and building blocks of all other forms of music, minus the Old-Timey music which was created by Western European immigrants in the Appalachians and down south, though even that music mingled with the Blues; the perfect example being "John Henry", which was hugely popular in both black Blues traditions and in Old-Timey music. Jazz, Rock 'N' Roll, Soul, Hard Rock and Heavy Metal all borrow heavily from the Blues. Though I am only 25 years of age, I have been a major Blues fan for over ten years. When I say "major", I mean that I am an obsessive collector, fan, singer and have just started to learn how to play the acoustic guitar. When I saw this documentary on television when it originally aired, I was disappointed. Upon renting the dvds from my local library three or four months ago, I was even more disappointed. It'd be much easier to tell one what's WRONG with this documentary than what's RIGHT about it.
   Firstly, Corey Harris is a wonderful musician, but his original compositions and the Country Blues classics which he covers have nothing to do with musicians in Mali. Although that (very long!) segment of the film was interesting, it didn't pertain to the subject matter at all. It's nice to hear that someone thinks John Lee Hooker's music is "African", but what exactly does that mean? His music is meditative, hypnotic and sexual, but when we look up "Africa" or "African music" in an encyclopedia, we don't see "meditative", "hypnotic", or "sexual", do we? I think this is just the romanticism of a bunch of middle-aged whites who worked on this dvd, and perhaps even some of the young black musicians. With that said, it's great that Harris is in the documentary, as he is one of the top three greatest living Bluesmen. Alvin Youngblood Hart is also present in a different episode of this documentary, but why is he never interviewed? He is the best, that is, he is #1, out of all the living Blues musicians. His guitar playing is fantastic, he is able to compose songs which sound like they are from Charley Patton in 1928 but which contain all original lyrics, and his voice has an accent and snap to it that sounds like a real Country Bluesman from the '20s or '30s. In addition to Hart and Harris being shown covering important songs from the past, Samuel James and John Hammond should have been included in this documentary. John Hammond has done more to spread the word about real Blues than any other person alive, for the last half-century, and his brilliant father did the same thing during his long life. It's deeply insulting that John wasn't included. Furthermore, the artists who WERE shown performing classic Blues songs are simply Godawful. Beck's reading of Skip James' "I'm So Glad" is the most horrendous, disgusting, laughable thing I've ever seen in my life. Keb' Mo is a lightweight and not a Bluesman; he sounds more like James Taylor than he does like Big Joe Williams. Also, Skip James did not re-record all of his 1931 classics, as this stupid documentary would have you believe. This is just poor research on the part of the people who produced this monstrosity. Bonnie Raitt turned in a considerably good performance. Los Lobos and Susan Tedeschi had no business being part of the project, just as Susan didn't belong on Buddy Guy's newest album. I have seen her live; she is very good at playing Blues licks on her guitar and she's a good singer, but she is not Blues. Chuck D. makes an absolute ass of himself, along with his rapper friends, and Marshall Chess shows that he has no taste in music, and can't distinguish good Blues from crap. The footage of Skip James and the discussion of James' life and career by Dick Waterman is the highlight of this entire project and is wonderfully done. The J.B. Lenior business was ridiculous, as the private tapes of him performing show his limited talents on the guitar. The episode about the young man going to live with his uncle is utterly ridiculous because few blacks in the south at that time knew who Robert Johnson was, though the uncle supposedly touts him as one of the greatest of all-time, and even fewer blacks or people in general had any understanding of the greatness of the Blues as a serious musical form, like we think of Classical music, or Jazz, these days. So, why would the uncle have a shrine dedicated to Blues and be a Blues historian?!?. "Sleepy" John Estes is mistakenly called "Sleepy" Joe Estes. If Ken Burns' "Jazz" documentary were to call Thelonious Monk, "Thelonious Blunk", can you imagine the outrage on the part of the Jazz community? Bobby Rush is a joke and isn't a Blues artist. He should stay on the chitlin circuit, doing his dirty dances and poor James Brown imitations. I have no idea why he was included in this documentary. Also, although we all love and respect B.B. King, perhaps we didn't need to see him sitting on his tour bus, talking about his love for the Blues for an extended period of time, but this is one of the minor things wrong with this atrocious documentary.
   The British episode of this abomination is ridiculous, due to Lulu and Tom Jones' presence. Honestly, Mayall and Baldry are of very little importance to Blues and we didn't need to hear about and from them, over and over again. If there needed to be a British "Blues"-themed episode to this disgrace of a documentary, why not focus on the lives of Clapton, the early Fleetwood Mac, Jeff Beck, and, more importantly, their influences, and why they (the British guitar players) love the Blues. Clint Eastwood's work is very well-done, but the problem is that very few of the musicians have anything to do with the Blues. Where was Roosevelt Sykes? He, in my opinion, was the greatest Blues pianist/singer in history. Dave Brubeck is a Jazz musician, and he doesn't even perform good Jazz; he does what Jelly Roll Morton or Joe Bussard would consider to be something other than Jazz, to put it nicely. The Johnny Shines footage in one of the earlier parts of this documentary was fantastic, but why wasn't the great Johnny Shines honored for what he truly was; a musician every bit as good as Robert Johnson, with a stronger and more versatile voice than Johnson, and the ability to perform both acoustic Country Blues standards and originals, and electric Chicago-style Blues standards and originals with equal force and beauty? When, oh, when, will Johnny Shines be recognized? He was the last of the great Bluesmen. He belongs up there with Blind Lemon Jefferson, Charley Patton, Robert Johnson, Blind Blake, Blind Willie McTell, Blind Willie Johnson, Skip James, and, perhaps, Alvin Youngblood Hart, who should have had a much more prominent role here. It would have been better to have a dry, historical reading of the story of the Blues, even if the directors and producers didn't know their stuff (which was obviously the case) than to have a mish-mash of different segments, done by different fools, with, and this is the really awful part, horrible performances by living, supposed "Blues" or Blues-influenced "artists". I am able to sing these old classic Blues songs better than any of these morons, minus the great Hart, Harris and Bonnie Raitt. I believe it was the Jon Spencer Blues Explosion that was the low-point of this entire documentary, though it's really hard to discern what the worst part of this walking disaster was. Lou Reed, Oscar Peterson, Dr. John; why are they a part of this documentary? There was plenty of great Son House footage here, but why wasn't Blind Willie McTell mentioned? What about the unique Henry "Ragtime Texas" Thomas, who sounds nothing like anyone in all of American music, and who was an important Songster who came before the Blues, along with the brilliant Luke Jordan and the heavenly Richard "Rabbit" Brown?
   I am not a huge fan of Eric Clapton, but the discussion of white teenagers' embracing the Blues during the 1960s and '70s is very important to the history of the Blues. With that being said, instead of having talentless artists who happen to be white covering Blues classics, it would have been better to sit down with Eric Clapton for one hour and just have him talk about the records he loved growing up, right off the top of his head. This would also help de-bunk the myth that "Clapton is God", and show young guitar-playing-Clapton-obsessed Blues-Rockers out there that Eric doesn't think he's the best; he feels he can never equal Muddy Waters' greatness, not to mention the beauty of Skip James or Robert Johnson. As Clapton has said in various interviews with various magazines, he is incapable of playing solo acoustic Country Blues because he is not a good enough player to play the complete guitar accompaniment to a song, which is what men like Blind Blake and Blind Lemon Jefferson did. This is why Clapton's album of Robert Johnson covers has other musicians on it. Finally, where the hell is the virtuoso of the Blues, Lonnie Johnson? This man was the inventor of Jazz guitar, performed marvelous guitar duets with Eddie Lang that still sound unbelievable almost 100 years laters, accompanied the brilliantly talented Texas Alexander by playing some of the most startling, dazzling, ominous guitar work in the history of mankind, pioneered Rhythm & Blues ten years later, and was able to play and croon Pop music standards with the best of them. I could probably go on and on about the inaccuracies and mistakes associated with this sad disappointment of a documentary, but I will have to stop here. Rent this thing from your local library. Do not buy it under any circumstances! If you want to know what Blues cds you should buy or which artists you should check out, just ask me, and I will tell you. I will save you a lot of money and aggravation, which is something that this documentary won't be able to do!



2. If you love music and love the Blues, this is a must have for your collection.



3. Save your money and instead borrow this set from your local public library. There is nothing about any of these DVDs that you'd want in your permanent collection. I guess I was hoping for more of a well organized documentary and less "filler". I mean, how many shots of BB King staring quietly out of his bus window do we need to see? This whole series is a collection of disconnected, rambling pieces that could have been better organized. All the parts are probably there, but it's like handing the viewer a pile of jigsaw puzzle pieces and saying "here's a nice oil painting".
   
   This mess has Scorsese's name on it for marketing reasons only. It's clear that, other than the single DVD that he directed, the only message the other directors got was "put something together about the blues".
   
   Out of the 900+ minutes of video here, I'd estimate that there are about 240 minutes worth of interesting material for the blues aficionado (I'm not talking just music here; for example the thread about Rosco Gordon was touching and worthwhile). The majority is senseless filler. Who cares about a rap musician's interpretation of a blues classic? Who cares about Clint Eastwood playing his piano?
   
   A much better approach to this would have been to start with the roots of this wonderful music, and then highlight notable musicians and performances in chronological order. Connections of "who influenced whom" and "who worked with whom" would help tie it together. Sometimes presenting something in a simple, organized manner is the answer, rather than lathering every trick in the director's book on top of the project.



4. I learned blues this DVD. This is my teacher about blues.
   I met several musicians in this DVD, I remembered lot's of person.
   Thank you Mr. Maetin Scorses.



5. I purchased this for my son for Christmas. He likes it very much.

5 comments about The Anthology: 1947-1972.

1. This was purchased as a gift for a fiend who "loves" Muddy Waters. She was thrilled with this collection and said it was the best!



2. Muddy Waters was to mid-century Chicago as Charley Patton, Son House, and Robert Johnson were to the Mississippi Delta of the early 20th century: his catalogue is pretty much the foundation on which electric blues (and, by extension, rock `n' roll) rests- he mixed the raw swagger and cruel attitude of his predecessors and filtered it through vicious electric guitars and rumbling rhythms. It was a muscular, sweaty sound that dripped with pure emotion and hulking aggression. This collection brings together fifty of the man's best recordings for Chess Records (easily the most influential label in the history of the blues), winding its way from great early classics like "Rollin' Stone" (which inspired the name of a certain English rock `n' roll band) and "I Can't Be Satisfied" to rollicking masterpieces such as "Mannish Boy" and "Rock Me." This is easily one of the greatest collections of music ever assembled, and a damn-near-necessary purchase for any aspiring fan of blues or rock `n' roll.



3. Arguably one of the most important Blues guitarist, to ever pick up a guitar....Muddy Waters has seen his profile have something of a re-evaluation, over the last few years, as bands with a heavy blues-influence (such as "The White Stripes", "The Black Keys" "Jon Spencer blues Explosion".....and even classic established bands like "Led Zeppelin" & "The Rolling Stones" ), have seen a rise...in the amount of people reacquainting or indeed seeking about the original sources of these artists that influenced such bands.
   
   Trading in a wide style of blues (Electric Blues, Slide Guitar, R&B, Delta Blues & Blues Revival....it's safe to say that if it's Blues that your after, Muddy Waters was a necessary required listening. This 2 Disk Anthology is probably without doubt the best one-stop purchase for anyone (Casual or otherwise), curious with the guitarist's prolific work. There is simply so much worthwhile material here, that it's one of those collections that cherry picks through pretty much Muddy Waters entire career, and for an artist that started recording from the 40's - 80's, it's a collection that is breathtaking in scope, track selection, sequencing and even the actual mastering of the disk is superb. Sometimes you'll find with blues recordings, that because the actual quality of the original recordings were anything less than stellar, that the CD format, sometimes merely highlights the recordings technical shortcomings. Well...not in this instance, because the label seems to have taken the time and effort to put together a disk that impresses greatly with the sound quality. And coupled with some of the most popular Muddy waters recordings ("Mannish Boy", I Can't Be Statifised", "Rollin And Tumblin Pt 1", "Louisianan Blues", "(I'm Your) Hoochie Choochie Man", "Just to Be with You", "Got Me Mojo Working", "Can't Get No Grindin"). If it's a popular or highly regarded regarded Muddy Waters track, that there's a likely chance that it'll feature on this Anthology.
   
   The only thing that could possibly make you not consider picking up this amazing anthology, is due to the higher price (due to it being a anthology) or that you're a very causal listener, that wouldn't want to have so much material to digest. If you are the latter, then you'd be wrong....you can never have enough Muddy Waters, and if there two things that will hit home, when you buy this release is (1) The man, sure can play the guitar...and (2) you'll be surprised, how truly amazing it is, listening to this anthology in chunks...as it quickly grabs hold of you, and refuses to let go. Such is the brilliance of this Anthology, that it'll possibly, urge you to seek out similar blues artists (Howlin Wolf, B.B. King, Buddy Guy, Albert King, Magic Sam...etc). And the highlight exactly why so many acts today, are looking back at artists such as these, for inspiration. Truly amazing!!!



4. The 50 songs included that date from 1947 to 1972 are first rate songs from Muddy's prime. They're not the only worthwile Muddy by a long stretch though: He did some good work prior to 1947, there were many more good songs in the 1947 to 1972 period, and he did some really good work after 1972 as well. To do a really thorough Muddy compilation, I think you'd need at least 4 discs but these 2 discs with 50 songs total do a great job of highlighting Muddy at his prime. The liner notes are excellent and are a great source of information also.
   I had the chance of seeing Muddy live in concert as opening act for the Allman Brothers in the mid 1970's. Before seeing him, I knew some of his big hits and I knew he was a great influence on Allmans, Stones, Led Zeppelin and many top rock bands. After seeing him live, I became a much bigger fan as did many of the people who saw him in that period. Muddy deserves every bit of critical respect he enjoys today and these 2 discs are an excellent document of why.



5. Muddy Waters is one of the greatest blues singers of all time, if not the greatest. His classic 1950s tracks had a profound influence on music as we know it today, particularly rock and roll. If your music collection has no Muddy Waters, then there's a huge hole that needs to be filled. If you really want to get into this classic music, Muddy Waters' Anthology is a great place to start. I personally don't own it. I have the two Chess collections His Best: 1947-1955 and His Best: 1956-1964, both of which are excellent. However The Anthology would be a much better choice because it has nearly everything that's on those two CDs, plus many more songs that aren't on them. Particularly from the early years, there are many more songs here that aren't on 1947-1955. Anthology has 50 songs total, and the two His Best collections combined have 40, so you get ten more songs with Anthology. Those additional tracks may not exactly be classics, the most essential stuff is contained on the His Best collections, however any Muddy Waters music is worth hearing and the more, the better.
   
   Muddy's early songs are mostly raw and stripped down. Muddy plays an awesome slide guitar which is all over the early stuff. There's very little harmonica and also no bass and very little percussion. The songs are significantly less melodic than the later stuff. It's simply electrified delta blues. Then the stuff later has a more prominent rhythm section and the songs tend to be more catchy and not quite as raw. Unfortunately, Muddy's slide guitar also disappears for the most part as Jimmy Rogers takes over guitar duties. However, the great Little Walter plays an excellent harmonica on many of the tracks which is always a welcome addition.
   
   If you're looking for a first Muddy Waters purchase, here you go. This is a great place to start, but not a great place to stop. Once you get a taste of Muddy, chances are you'll want more. After the essentials, I would recommend picking up Hard Again (1977), At Newport (1960), Fathers and Sons (1969), and I'm Ready (1978).