5 comments about Demons and Angels: The Ultimate Collection.

1. This is a 'must own' for those who are serious about Gary Davis' music. It is filled with sloppy outtakes of tunes rarely recorded (and obviously rarely practiced), licks he didn't attempt in performance, and some incredible playing failures that only further show his mastery of the instrument. In other words, in here aren't so much polished gems of performance but the raw and uncut rock that might be mined for future musicianship.
   
   A whole disc is devoted to recordings of him playing in his house. The listener will find that the mic is often moved around loudly, people in the house talk in the background, and various other ambient noises can be heard. Thus, again do not expect a polished recordings from a studio. Instead, expect a lazy performance of a Sunday afternoon sitting in his parlor.
   
   I would recommend that newbies start with "Pure Religion, Bad Company", "Harlem Street Singer" and "Live at Newport" as the first discs in a set. I first bought Pure Religion, Bad Company almost twenty years ago and in the intervening years I've had to rebuy it three times - because before the advent of the MP3 player, I actually wore the discs out. I love that disc beyond all reason (in fact, the only other disc I've worn out through repeated playing was Tom Waits' Big Time).
   
   All that said, if you're a serious Gary Davis head, then BUY THIS DISC SET. And if you're attempting to play Country Blues, this is an absolutely MANDATORY BUY. If you listen carefully, you will notice all sorts of new licks, counterpoint progressions, and variations on his more well known songs. That alone is worth the price of admission.
   
   This material will show you the warts of his playing. His musical doodles. The limits of his amazing virtuosity, even as he was in the twilight years of his life. I cannot thank Stefan Grossman and the publisher enough for this disc set.



2. Rev. Gary Davis is a giant of acoustic blues & gospel who is enjoying renewed interest. This impressive box set contains superior sound compared to the Riverside albums. Listening to the mostly live versions of classic Davis songs on this set yields rich rewards. Given to improvisation on many songs, he varies his picking and sometimes changes the verse order or the words in the verses. For example, the album Gospel, Blues and Street Songs on the Riverside Records label has a studio version (1956) of Keep Your Lamp Trimmed and Burning that has Davis beginning the song with a verse, followed by the Chorus. By the time Davis plays it live at Columbia University sometime around '59 he is starting the song with the Chorus. Furthermore the verse that began, "Sister, don't stop praying . . . " is now, "Father, don't stop praying . . . " He also adds a new verse. The song Whistlin' Blues is noted by Grossman as the only song in all of Davis' recorded repertoire in an altered tuning (low to high - DADF#AB). The set contains songs that are not available anywhere else.
   
   The box set is done right and includes a 35-page book the size of the box. Contained in the book are a 6-page bio, song lyrics, the songs key, some historical perspective for most of the songs, and a long list of published & online resources.



3. Blind Gary Davis,best known as Reverend Gary Davis,since he bacame a preacher,1933,may be the most terrific,outstanding guitar player of the blues and gospel history with Blind Blake.His ragtime style,combined with this particular South Carolina touch,makes him one of the most gifted and impressive musicians of all times.Born in Laurens County,South Carolina,April 30,1896,he lived enough to be rediscovered in the early sixties,while he was a street singer in Harlem;he lived until 1972,and died May 5,one week after his 76th birthday,on his way to a concert date.THis three CD set,full of treasures,is issued by Stefan Grossman,who was a pupil of the Reverend.These are unissued recordings: CD 1 was recorded at the Columbia University,1958-1959;CD 2 was recorded at home,1964-1966;and CD 3 comes from concert dates,1962-1966.Of course,it includes some amazing music;Gary Davis was really alone in his field,that way of playing and singing sacred songs with this Carolina touch;his incredible,extremely difficult picking style (surely the most difficult one with Blind Blake's) ,with many ragtime touches,is a real delight.And I don't speak of the guitar he's playing;I just hope I'll have the opportunity to play such an instrument once in my life.
   Gary Davis stopped playing blues in the fourties,and it's a great chance to hear him play it here.BUt if you buy this set,please start listening to "sporting life blues",(no,it's not Brownie McGhee's,even if the melody and chords are close to it),this is an amazing guitar solo which will drive you directly into Gary Davis' music.And Lord,what a sound!!!I won't try to tell you about all the songs,there are too many,and they're all amazing;the only regret I have,like another reviewer said,is that Gary Davis' masterpiece,"death don't have no mercy",doesn't figure here.Too bad.But there are other masterpieces: "God's gonna separate",for example;or many others.Nothing here has to be rejected.This here is an absolute concentrate of talent.Gary Davis is one of my favorite musicians for twenty years,one of my favorite guitar players,of course,and one of the most magnificent voices I've ever heard also.I think this 3 CD set is the first opus to buy,if you really wish to be introduced to the Reverend's music.Every minute of music played or sung by Gary Davis is one of the most essential ones of all times,so don't miss this magnificent set,full of things that have never been heard,full of noise and fury.Some of the most important music of the 20th century is here.The booklet is a fine one,and there are many lyrics transcribed.Sorry,you won't find the tablatures.So,try to find the Reverend's chords;good luck,sincerely.



4. I can't believe this guy became governor of California! Amazing!



5. Fans of acoustic blues and American folk music will enjoy much of the music on this album. It includes great performances of Crucifixion, I am the Light of this World, Devil's Dream & Slippin 'til My Gal Comes in Partner, all released on CD here for the first time. A few of the performances are inferior, including Buck Dance and Soldier's Drill, which open the first CD. Grossman should have included the entire Children of Zion live recording, rather than just slightly over half of it - the missing cuts from that old Kicking Mule LP are superior to performances of the same material in this box set. Some of the playing and singing seems very casual and rough compared to Davis' best. The graphics and essay are a mixed bag also. The box graphics seem amateurish, and certainly less appealing than those on recent Fantasy and Vanguard rereleases of Davis material. The photos in the booklet are very good and well reproduced. The essay conveys interesting information about Davis, but the writing style is plodding and mediocre. Also, it is an old essay. A classic piece on Davis from the 60s or 70s would have been worth reproducing. Stefan Grossman leaves out important details of the performances, such as who is playing and singing with Davis on "Soon My Work Will All be Done." I mention these points because this box set is likely the largest compilation of Davis material that will be released any time soon - I don't really expect anything else comparable to surface in my lifetime. It's a shame that it suffers somewhat from poor packaging, a mediocre essay and several performances that don't stack up to Davis' best. That said, I expect to listen to the great music on this box set from now on (although I'll be listening selectively).

5 comments about Masters of the Delta Blues: The Friends of Charlie Patton.

1. This is a compilation of quite a few contemporaries of the early blues great, Charlie Patton. Artists included: Son House, Tommy Johnson, Willie Brown, Kid Bailey, Bertha Lee, Ishmon Bracey, Louise Johnson, and Bukka White. Interesting is the inclusion of two early female blues singers. Some of these cuts are pretty raw, not making it easy to make out the words in some songs.
   
   Tommy Johnson is represented by different songs. In "Big Fat Momma Blues," he demonstrates simple acoustic guitar playing and simple vocal work. This and "Maggie Campbell Blues" are a good representation of his work.
   
   Bukka White is one of the early great blues singers. In "I Am in the Heavenly Way," he sings a religious song, with a female (unclear who it is). The back and forth between them is a nice touch and adds considerably to the song. This is a lively piece; White's voice is quite expressive.
   
   Willie Brown has multiple cuts on this CD. His "Future Blues" displays a raw voice and driving acoustic guitar work. The liner notes speak to his "brooding, agitated sense." That seems quite accurate to me. He has an expressive, lively voice, with a nice "blues growl."
   
   Then there is the legendary Son House. Several of his recordings are on this CD. He shows nice guitar work and an expressive voice across songs such as "Walking Blues."
   
   Bertha Lee, a "friend" of Charlie Patton, is represented by a couple songs. In "Yellow Bee," her singing is quite good. Patton plays guitar and provides some interactive vocalization with Lee.
   
   Louise Johnson, in "On the Wall," plays a lively piano and sings in an animated fashion. This is an engaging piece.
   
   The main contribution of this CD is providing a sense of the range of early blues singers. The quality of the recordings varies greatly. But hearing some of these blues songs is a real payoff.



2. In the late 80`s early 90`s,I began collecting early blues discs.It seemed to me that Yazoo seemed to have the most varied collections so I started there.Charley Patton`s King of the Delta Blues was a very shocking and yet positive discovery for me,then I found this one.Imagine my suprise when I picked this baby up.I was floored....it`s a who`s who of the first wave of counry blues artists that were recorded in the late 20`s and early 30`s - Tommy Johnson,Son House,Willie Brown,Bukka White,Kid Bailey.....just incredible.
   My tastes run to all sorts of music but this is what I trully love to listen to,anytime.The true gems are the Son House sides - powerful and frightning with a vocal that I really don`t think have been matched since.An excellent introduction to the blues,the songs exist in those old records and given the technology of cd`s they take some getting used to but the music eventually shines though.Overall,a great disc....friends indeed.



3. Any fan of the blues will appreciate the enormous influence Charley Patton had over the blues players of the delta, and this appreciation can only be increased by the songs presented here.
   We see here the greatest strength of the blues-the tendancy to individualism, the taking of another's tune and molding it to one's own style until it became one's own. This Album showcases that beautifully as it includes many varied and superb treatments of classic Patton tunes such as pony blues or maggie. Of particular interest are the Kid Bailey cuts, a mysterious figure who according to the liner notes was identified by Son house as Willie Brown with Patton accompanying. They are my personal favorites, but overall a very good album. A must for anyone interested in the development of the blues, or who just wants something to howl along with.



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



5. The Yazoo label does it again!

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

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

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

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

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

4 comments about Off Yonder Wall.

1. This is an absolute must have CD. There are no other blues artists out there as unique and as traditional as Jack Johnson, Frank Frost and Sam Carr. The combination is unforgettable! This music is something you will never hear from anyone else, and this CD is the best of the lot from those 3 artists. No soul-less virtuosity or over produced synthesis here. Just down to earth Mississippi Blues driving right at you!



2. This is one of my all-time favorite blues albums (and that's saying a lot). This is the kind of music I put on at the end of a long day at work when I'm tired and cynical but I want to MOVE 'cause I need to get stuff done. The King's music will move you in more ways than one-- everything in the music is infused with rhythm and SOUL. When I try to describe the music, words won't suffice. Listen to it and be awed -- by Big Jack's singing and guitar playing, by Sam Carr's drumming -- etc etc.



3. The first time I heard the Jelly Roll Kings was in Memphis live. I knew right away I had to take some home with me. OFF YONDER WALL does not disappoint the common man with a bent for the real BLUES !



4. This album is gritty, funky and loud. The Jelly Roll Kings are not afraid to get their hands dirty, in fact, they know you've got to spray some dirt around to play the blues right. Lead guitarist and vocalist Big Jack Johnson is creative and quirky on this album. He lets loose falsetto sobs and yodels on two of the tracks and his guitar-work comes in piercing attacks. Frank Frost, who takes one vocal, plays some funky keyboards throughout. Sam Carr's presence is felt on every track as he mans the drums. Many of the tracks that these three pump out are wonderful originals, such as Frank Frost Blues and Fishin' Musicians. And their work with standards like That's Alright (which opens with a fierce progression of amped up guitar notes) and Look Over Yonder Wall is very much done with Jelly Roll Kings stamped all over it. You are not going to get the same old rehashed blues.

   Don't be fooled if some of my descriptions don't sound like the blues albums you envision. This album is possibly the truest to blues tradition that has come out in a long time. This album has the energy and emotion that is the blues' trademark. Off Yonder Wall does not feature some over-produced crooner, with a gaggle of backup singers behind him. Nor is it a musician copying blues originals lick for lick and singing in cheap imitation of the original artist but with half the energy. Yes, you can hear the Kings mumbling, humming and sometimes laughing just below the music. This is not a slick album, but it's got that emotion, that feeling that makes listening to the blues the visceral experience it is. This is something that you can hear. It will come out of your speakers and infect your soul.

4 comments about Raunchy Business: Hot Nuts & Lollypops.

1. My favorite is Lucille Bohan with her shave em dry. when I play this for my friends they cant close their mouths! Jaw dropping.... amazing. I love it! Ride Daddy Ride and Sugar in My Bowl are other great vintage sex songs to check out if you liked Raunchy Biz.



2. If you love tongue-in-cheek vaudville, you'll love these guys! Risque, raunchy, witty, and blushingly forward, you'll laugh all day. The vendor sent it out right away, and it was in perfect condition for a really good price.



3. This is a collection of off-color blues songs. The songs date from 1928 to 1939. Back in those days, they couldn't release a record that was explicitly about sex, so they used innuendoes. Like when Lil Johnson sang about "Sam, the Hot Dog Man", it could be interpreted to really be about a man with a large... you know what. Besides hot dogs, male genitalia is also represented here by keys, pencils, peanuts and bananas. There aren't as many songs here about female genitalia, but it does get represented by a stove and a lollypop. These songs are done with a wink and a smile. A particularly amusing one is the two part "Furniture Man Blues", where Lonnie Johnson comes to repossess Victoria Spivey's furniture. She doesn't have any money to pay him, but she thinks they can work something out (hint, hint). As I said, these songs rely on innuendoes, but there is one exception, that being the alternate take of "Shave 'Em Dry". The woman in this case comes right out and brags about her sexual prowess, using the "F word" and other words you can't say on the radio. Obviously, that version of the song didn't make it onto a record at the time. This is a pretty amusing collection of dirty blues songs.



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

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

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

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

4 comments about Complete Early Recordings.

1. This disc is full of unmatched guitar playing and ferocious vocals urging the listener to go to church and be redeemed. There is also a Blues song, "Cross And Evil Woman Blues", which sounds quite unlike all other Blues artists' repertoires. Though Gary Davis taught hundreds of students in the 1950s and 1960s, including Dave Van Ronk and Larry Johnson, he never played as well as he did on these seminal recordings.



2. Impassioned gospel-blues from one of the foremost streetsinging preachers and bluesmen. The songs are taken from old 78's so there is some minor hiss present, but the power of Davis' voice and the ringing of his fingerstyle guitar distracts you from any imperfections in the source material. A minor quibble: the liner notes are generally good at explaining Davis' career and playing style of this time, but never breaks down when each song was recorded and other useful track info.

   If your oldtime blues collection could use a little religion, then the Complete Early Recordings of Rev. Gary Davis is a pretty good place to start.




3. Reverend Gary Davis. These are the earliest known recordings of THE MAN. His guitar skill truly must be heard to be believed. At points I swear there are at least two or three seperate guitars, but it's all coming out of him. Simply incredible.
   Most people may be familiar only with his later stuff, but for my money this is the gold. A musician just getting first exposure, like college athletes in a way, always have something to prove, and it shows well on this disc. Mostly gospel and ragtime tunes, the Reverend was not particularly fond of straight-up blues, but his style and skill will surely impress anyone with an interest in blues, guitar, or plain musicianship. Outstanding. One of my most deserved 5 stars.



4. It's strange that a CD, advertising itself as the 'complete' early recordings of this brilliant (and very influential) ragtime guitarist, should in fact, be lacking several of them - where have "I wish I could see" or "I am the light of the world" gone, for example? Still, it is a fine showcase of Rev. Davis' early recordings; but it could have, and possibly should have been better. It would have taken little effort to add the remaining titles, and there's certainly enough room on the CD.

1 comments about Legends of the Delta Blues.

1. Although the title of this product is "Legends of the Delta Blues," the performances it contains are far from legendary. If fact, they are down right uninspired. Most of the tape is of Johnny Shines "performing" in what seems to be his living room. He appears to be sort of rehearsing, and he never even got my feet taping. Poor John Lee Hooker looks like he's sleepwalking through his 2 numbers. The director of the film has him seated alone in some ugly room with apparently no audience to play to. No wonder he sounds bored! There's some footage of Bukka White, but the camera work and audio are so horrendous that it's barely watchable. Only Son House leaves the viewer with some kind of positive impression but again, the producers have the audacity cut off his final number right when he's really getting into it. One of the main problems with this tape is that there is no continuity to the performances. You have one guy do a number, then another, then cut to another, etc., so you never really get a feeling for a performer or his performance. If you want to hear some REALLY good blues, I urge you to check out Yazoo Records "Masters of the Country Blues" series. These tapes just leave the viewer pleading for more and more and more.

5 comments about The Complete Folkways Recordings.

1. Although some hardcore Blues fans may complain about songs like "Old Rocking Chair" and "My Mother's Eyes" being on this album, the fact is that Lonnie Johnson sounded phenomenal when he crooned. This just isn't the Lonnie album for the guitar nerd; that's all. The interview at the end of the disc about his entire family being musicians is fascinating. Also, despite people often listing his birth year as 1899, he was really born in 1889, according to more modern scholarship.



2. These records are unique. Johnson plays all of these selections solo on an a very acoustic sounding electric guitar and sings them all. Now and then he talks about the songs. They range from blues to "my mother's eyes" and include a number of great pop ballads from "I'm Confessin" to "What a Difference a Day Makes." This is a master who had been playing and singing for 40 years, yet there is so much personal sentimental and feeling here, so much expression in the guitar playing. You feel like you know the man after you hear this. You feel like you really know these songs anew after you here this album. This is a good album for a thoughtful evening with a good glass of wine, a good friend, and an open mind!



3. A fantastic CD of the late great Lonnie Johnson. I bought this CD especially for the tune called 'Mister Trouble' which I had recorded off of a Blues program years ago but did not catch the artists name. When I found out a year later I purchased the CD immediately right here from Amazon ! It is good long CD with a great interview with Lonnie at the end and what a nice guy ! If you love folk blues this is a must have ! Buy it, listen to it, LOVE it. You will not be disappointed.



4. this cd is similar to 'another night to cry'. both cds are excellent



5. I love his vocals and his guitar playing. He brings a unique and wonderful style to standards such as "Summertime" and "What a Difference a Day Makes. " Check out the amazing guitar on a track like "Prisoner of Love." The disc also includes some snippets of an interview with Johnson. It's quite an eyeopener to hear this man's humble descriptions of his life - it's quite refreshing compared with the pampered and spoiled attitudes of celebrity muscians today.

3 comments about In His Prime (1927-1928).

1. This was recommended to me by Steve James at a slide guitar workshop. Furry Lewis is very competent, witty and enjoyable, with a great touch on the slide guitar. Some of the songs are similar in structure - a bit of a "Furry Lewis formula". The lyrics very much reflect the time and culture, which interests me. All in all, very enjoyable and an important part of any real slide guitar discography.



2. I just love to listen to this album again and again. The great Memphis bluesman is truly in his prime, playing blues and ballads, accompanying himself perfectly on guitar. Songs like Kassie Jones and John Henry never sounded better than they do here. The blues "I will turn your money green" and "Judge Harsh blues" should be recognized as all time classics and the cream of Memephis Blues. It should go without saying - if you love country blues - don't miss.



3. Furry Lewis was never better than he was on these early recordings. Lewis's Memphis sound was very different from the more familiar Delta sound of Robert Johnson and his followers, and his magnificent singing, guitar-playing, and songwriting will come as a revelation to blues fans who have somehow overlooked this blues giant. The sound-quality of these recordings far exceeds what might reasonably be expected of music recorded so long ago. Highly recommended!

5 comments about First Recordings: The Alan Lomax Portait Series.

1. With the possible exception of Lightnin' Hopkins, no country blues performer of the postwar era was as consistently captivating as Mississippi Fred McDowell. But unlike Hopkins, McDowell's repertoire wasn't particularly large nor was his approach to blues particularly wide ranging.
   
   The argument, then, for collecting a large pile of McDowell records has more to do with hearing him in different environments and with different accompanists.
   
   Of all the many records that he cut during his 12-year recording career, perhaps none is as engrossing as his first recordings for Alan Lomax in 1959. Cut over the course of a few days in September, these performances find McDowell in riveting form. His individual style is recognizable from the first notes of the first track. What's remarkable is how utterly relaxed and in total command he was from the moment the tape began rolling.
   
   Many of the 14 tracks here feature McDowell performing solo, but he's also joined by his wife Annie Mae singing harmony on a few numbers; Sidney Carter and Rose Hemphill who take lead vocals on one track; James Shorty who does so on another;, Miles Pratcher who plays spirited second guitar; and Fanny Davis who blows comb in a remarkably subtle and sympathetic style.
   
   Storms raged during one night of recording and the thunder and rain can be clearly heard on a few numbers. Other tracks feature the spirited revelry of friends and relations hooting and hollering inside the McDowells' cramped shack. Fred's heavy boot can be heard bouncing off the plank floor throughout the proceedings. All of this ambient sound adds to the intimate feeling of these remarkable tracks - most of which remained unreleased for nearly 40 years!
   
   There are no shortage of remarkable records in McDowell's catalog, but if you're looking for an introduction to his devastating slide work and monstrous vocals, you might as well start from the beginning. Here it is.



2. Mississippi Fred McDowell is unsurpaced as a blues guitarist. His transitions from note to note are fluid, smooth, and without error. Often we think of blues as free-form and improvisitional yet McDowell defies this truism because his rhythm are perfect. Were we to substitute one note differences it would ruin perfection. In this case there is only one right note, Fred's. Fred McDowell often finishes his lyrics with his guitar as opposed to his voice. This creates a call and response reminicent of revival preaching yet Fred is the preacher and his guitar, the parishoners.



3. While the songs performed on this album may not be unique to Patton, in all cases he makes them his own: I Shall Not Be Moved begins slowly with a varient of the known melody only to break into the standard melody at a lively clip. He uses a variety of guitar techniques including some excellent bottleneck blues. In contrast to one reviewer, I find Patton's lyrics understandable - with a bit of improvisation (or faulty memory). His style blends well into the duets with his wife ... which illustrate well the breadth of musicianship Patton demonstrates.

   If you like Delta blues or Gospel Blues, put this on your must hear list.




4. Now, if you made it this far, don't stop reading quite yet. You are lucky to have stumbled upon the absolute cream of delta blues artists (and perhaps the best blues slide guitarist of all time). I came upon an old record of McDowell in a used record store and have been hooked ever since. That said, this is a solid record, but not his best. For an introduction to McDowell's beautiful, soulful acoustic guitar pieces, try his "You Gotta Move". Not only are the performances better, you get almost 30 more minutes of music on "You Gotta Move". Good listening!



5. If you're looking for real, hard-hitting acoustic blues, this is a good place to start...just Fred and his acoustic guitar...Fred McDowell is the real thing...why he wasn't recorded until the late 50's is one of the unsolved mysteries of the blues...he's at his best when playing acoustic guitar, but I've bought every Fred McDowell cd that I could get my hands on...buy and enjoy!

5 comments about Black Snake Moan.

1. An awesome CD!!! I really liked the movie, and absolutely had to have the soundtrack. Blues at its very best!!



2. 
   This is a very good collection of blues, and Samuel L Jackson really does lend an amazing voice to the collection. Just like his acting style is his own, so is his way of singing. I'm honestly impressed by his voice and style.
   
   The music is a nice blend of blues, rock, and almost ethereal, hynotic- spacey tunes.
   
   Some tracks are better than others, and though I have my favorites, I didn't skip over a single track.
   
   Is it the best blues CD ever? No. But for beginners and aficionados, it's a nice listen.
   
   Samuel L Jackson fits in well, and his authentic (not seemingly trained just for the movie) voice made the CD worth buying, for me at least.
   



3. This is an awesome soundtrack. If you love the blues you will definitely love this cd.



4. An extremely peculiar film from Craig Brewer, the director of Hustle & Flow, Black Snake Moan is a deep-South drama covering topics as diverse as promiscuity, religion, redemption, love, and Blues music. Samuel L. Jackson plays farmer and part-time blues musician Lazarus, who wakes up one morning to find a young woman named Rae (Christina Ricci), badly beaten and unconscious, lying half-naked in his yard. A childhood victim of sexual abuse, Rae had developed into the town tramp, using her sex addiction as a replacement for the love she has never felt in her life. Lazarus, however, seeing a chance to redeem both himself and Rae, takes it upon himself to `cure' Rae of her illness - and proceeds to chain her to the radiator of his remote farmhouse, forcing her to endure sexual cold turkey. And so begins a truly unusual friendship between the pair - and, as always happens in these things, they learn more about life from each other than they ever expected. As one might expect, the film's music is heavily rooted in the musical heritage of the deep South, especially that of blues artists such as R.L. Burnside, Blind Lemon Jefferson, Son House and the North Mississippi Allstars. Jackson performs a number of himself, his distinctive deep voice sounding very authentic when performing tracks like the forlorn "Just Like a Bird Without a Feather", the rollicking "Alice Mae", the angry/funny/dirty-sounding "Stack-o-Lee", and the languorous, eponymous "Black Snake Moan". Composer Scott Bomar's score is limited to just three cues and around 5 minutes in length, comprising mainly blues instrumentals, electric guitars, and ambient electronic textures, although his work arranging the blues tracks heard in the movie is important and impressive in context. Not really one for score fans, but recommended for fans of modern blues.



5. Black snake moan gives a raw and at the same time gentle look at two scarred people who succeed in helping eachother. Magnificent acting in combination with the very best of blues. I enjoyed it very much.