5 comments about Avalon Blues : Complete 1928 Okeh Recordings.

1. Mississippi John Hurt recorded only 13 songs before returning to a life of obscurity and hard work on a farm. Of these 13 songs recorded in 1928, 11 were penned by John Hurt with the other two being traditional spiritual numbers ("Blessed be the name" and "Praying on the old camp ground"). The recording quality of these Okeh recordings is simply fantastic, and have the best recording quality I have heard from this era. A little hiss is heard (very little) and not much else.
   
   As to the recordings themselves, they are probably the sweetest sounding, most mellifluous early delta/country blues I have ever heard. John Hurt may not have had the well-known name of a Robert Johnson or Son House, but these recordings have had their influence in their own way. The song Stack O' Lee penned by Hurt became an R&B hit in 1950 (as Stack-A-Lee) for New Orleans pianist Archibald, and also became a rock-and-roll hit in 1958 for Lloyd Price (as Stagger Lee).
   
   It should be noted that after Hurt recorded these songs, he went back to work in his hometown of Avalon, MS. Because this was an out-of the-way town, few passed through it, and because of this Hurt was influenced by few outside artists of the day. What we wind up with on this album is the heart and soul of John Hurt.......and it is magnificent.



2. Superb - no other word for it.
   
   Something a learned colleague pointed out to me, listen out for the riff on track 9 which, 50 years later, became JJ Cale's "They call me the breeze"!



3. Fabulous singing, guitar playing that must have had a great influence on Jerry Garcias acoustic stuff. And wonderful songs.



4. Mississippi John Hurt recorded only 13 songs before returning to a life of obscurity and hard work on a farm. Of these 13 songs recorded in 1928, 11 were penned by John Hurt with the other two being traditional spiritual numbers ("Blessed be the name" and "Praying on the old camp ground"). The recording quality of these Okeh recordings is simply fantastic, and have the best recording quality I have heard from this era. A little hiss is heard (very little) and not much else.
   
   As to the recordings themselves, they are probably the sweetest sounding, most mellifluous early delta/country blues I have ever heard. John Hurt may not have had the well-known name of a Robert Johnson or Son House, but these recordings have had their influence in their own way. The song Stack O' Lee penned by Hurt became an R&B hit in 1950 (as Stack-A-Lee) for New Orleans pianist Archibald, and also became a rock-and-roll hit in 1958 for Lloyd Price (as Stagger Lee).
   
   It should be noted that after Hurt recorded these songs, he went back to work in his hometown of Avalon, MS. Because this was an out-of the-way town, few passed through it, and because of this Hurt was influenced by few outside artists of the day. What we wind up with on this album is the heart and soul of John Hurt.......and it is magnificent.



5. If you like to hear Mississippi John Hurt, this is a very good
   group of early music he sang. I like it very much, and I bought it as a gift for a family member never thinking I would get "hooked" on him as much as the family member was. This open my eyes to some wonderful music. I'm glad I bought for someone else and got to listen to it myself.

1 comments about Red Mud Sessions.

1. This recording appears to be identical to King's earlier recording, "Red Mud", which is his most traditional blues effort (and my favorite of his work). That earlier version would get a 5-star rating from me. This remastered one is, for some reason, missing two of the original tracks -- "Hoodoo Party" and "Bus Station Blues" (copyright issues?). Hence a 1-star penalty.

5 comments about Complete Recorded Works, Vol. 1 (1935-1941).

1. Equipped with the unwieldy handle of "Complete Recorded Works in Chronological Order volume 1 (1935 - 1941) - Break 'Em On Down", this is the best collection of Big Joe Williams' early recordings.
   Joe Williams' vocals are stronger and more focused than on his 60s "rediscovery" waxings, and while the original 1935 recordings of Williams' all-time classic songs "Baby Please Don't Go" and "Highway 49" are certainly interesting, the 1941 re-recordings, which feature John Lee "Sonny Boy" Williamson on harmonica, are simply the definitive recordings of those two songs by ANY artist.
   John Lee Williamson plays harmonica on a total of ten songs, including a magnificent performance on the mid-tempo shuffle "North Wind Blues".
   
   Big Joe also delivers a potent rendition of John Lee Hooker's "Crawlin' King Snake" (credited to himself), and covers like "Break 'Em On Down" (a version of Bukka White's "Shake 'Em On Down") and "Someday" (originally by Sleepy John Estes) are equally powerful.
   The sound is notably better on the 1941 recordings than on the prewar sides, but the '30s waxings aren't terrible by any means, and you get a chance to hear Big Joe Williams playing with his mid-30s two-man backing band, washboard player Chasey Collins and fiddler "Dad" Tracy.
   Sonny Boy Williamson (I) shows up on both the 1937 sides and the December, 1941 sides, and on the 1937 recordings a certain Robert Lee McCoy shows up as well, playing second guitar. Robert Nighthawk had yet to go electric (as had almost everybody at the time), but he and Williamson flesh out the sound wonderfully on terrific, muscular blues tunes like "I Know You're Gonna Miss Me" and "I Won't Be In Hard Luck No More".
   
   If you've only heard Big Joe's rediscovery recordings, you may be surprised at how sophisticated and melodic many of these songs are, and what a great instrumentalist Joe Williams actually was. 1941-recordings like "I'm Getting Wild About Her", "Throw A Boogie-Woogie" and "Meet Me Around The Corner" are not among his best-known songs, but they're certainly among his best. Check out "Meet Me Around The Corner", and you'll hear where Howlin' Wolf got the idea for "Meet Me Down In The Bottom".



2. I don't know that reading these other reviews is going to tell you that much. But, if you're a big joe fan, this is a must buy, but you may want to get some of his 60s stuff first. Jumping into this album head first without really knowing who Big Joe is will really confuse the average country blues fan. I'd recommend "Piney Woods Blues" which really is great, or if you're a little braver, the first one I got was "These are my blues" which absolutely blew the back end out of my brain on first play. (Most of the album at least)
   
   While Big Joe covered a bunch of Robert Johnson tunes on his album "Classic Delta Blues," --(He plays six string on that album, and suprisingly is just as good, if not better on the six than the nine string)-- this (1935-41) group of recordings is in no way mimicry of Johnson's playing. First off, Big Joe personally knew Charley Patton, Leadbelly and Jimmy Rodgers, among others, he personally mentored Johnny Shines (also mentored by johnson) and Honeyboy Edwards, and muddy waters to some extent, among many others and he either knew or played with the vast majority of recorded and unrecorded blues men of the delta and much of the south. Not to mention that he recorded one live album in the 60s with Lightnin Hopkins, Sonny Terry and Brownie McGhee. So while everybody's heard of robert johnson because eric clapton and all these brits drop his name like he's the second coming, just about every important old black blues musician who's never heard of Led Zeppelin is likely to know of big joe and his reputation. So, dumb white people, stop acting like RJ is the measuring stick and the watermark for what the blues is. He's not. Go buy a Charley Patton or Tommy Johnson album, or even this album if you want to get a real idea of what the blues is and where it came from.
   
   These recording represents most of the songs big joe built his career as a rambling musician around. After the first eight or so, big joe has finally come up with the nine string and is featured with Sonny Boy Williamson (1), and Robert Nighthawk. The pieces on here like "Please don't Go," "Break em' on Down" and "Peach orchard mama" are great. Also "Crawlin King Snake" which Big Joe (not john lee hooker) wrote (well, who knows who really wrote it, at least big joe first claimed it as his own in print), is recorded here for the first time ever. Big Joe is definetly the most violent and perverted blues musician I've heard, but you gotta let yourself hear it. There's an incredible amount of sexuality that comes across on these recordings, if not from the nine string, than from the learned moan of Sonny Boy's revolutionary harmonica voice. Big Joe, to me at least, is kind of the missing link between Chicago Blues and Delta Blues, which is first evidenced by these recordings and is better evidenced by the second in this series of Document Recordings.
   So yes, buy this album. It's worth it. But only buy it used. As usual, a new document recording costs way too much.
   Heath E. Combs



3. From the first notes of "Little Leg Woman" this album had me hooked! I have several other albums by Po' Joe or featuring him -- all wonderful -- but there is something about these early recordings that totally stuns me. Some of the guitar work has me scratching my head wondering how he achieved that -- and I know how he tuned his guitar and can play many of the rhythms he did! Guitarwork isn't the only reason to listen to this; Joe's vocals are wonderful, his lyrics fresh and interesting even now. Then there is the interplay between the other musicians -- Henry Townsend's guitar blends seemlessly with Joe's on one track, and listening to the version of "Baby Please Don't Go" with Sonny Boy Williamson on it has me wondering if Joe and John Lee shared some sort of telepathic bond.



4. Buy this C.D if your a Big Joe Williams fan or Delta Blues fan period Big Joe is one of the original pioneers of the Delta Blues I own "Piney Woods Blues" a vry good C.D of Big Joe in his later days this a little differnt but just as good (in a historical kinda way)there is alot of static and extra noise but your use to that kinda of stuff if your a bonafide oldskool Blues fan any ways don't listen to the reviewer "seth" he is obvisouly new he says Big Joe is trying to mimic Robert Johnson on these recordings hey dillweed these recordings are from 1935-1941 Robert Johnson didn't record untill 1936-1937, also Big Joe Williams is from the Mississippi Delta he was also friends with Charlie Patton so Robert Johnson might have been mimicing Big Joe(they probally weren't mimicing anyone just jammin) you don't know and I don't know they probally knew each other for all we know(and the similairities are only on a couple of songs)any ways buy this and buy "Piney Woods Blues" I swear Big Joe lights it up on that C.D.(hes plays like hes in his prime on that album he probally was just really feeling it when he recorded the album) and it's an album not a compliation of songs



5. Buy this C.D if your a Big Joe Williams fan or Delta Blues fan period Big Joe is one of the original pioneers of the Delta Blues I own "Piney Woods Blues" a vry good C.D of Big Joe in his later days this a little differnt but just as good (in a historical kinda way)there is alot of static and extra noise but your use to that kinda of stuff if your a bonafide oldskool Blues fan any ways don't listen to the reviewer "seth" he is obvisouly new he says Big Joe is trying to mimic Robert Johnson on these recordings hey dillweed these recordings are from 1935-1941 Robert Johnson didn't record untill 1936-1937, also Big Joe Williams is from the Mississippi Delta he was also friends with Charlie Patton so Robert Johnson might have been mimicing Big Joe(they probally weren't mimicing anyone just jammin) you don't know and I don't know they probally knew each other for all we know(and the similairities are only on a couple of songs)any ways buy this and buy "Piney Woods Blues" I swear Big Joe lights it up on that C.D.(hes plays like hes in his prime on that album he probally was just really feeling it when he recorded the album) and it's an album not a compliation of songs

1 comments about Before The Blues: The Early American Black Music Scene, Vol. 2.

1. Oy, Vey!! This is it, kids. This here comp. contains some of the most heartstoppinly beautiful old music yer ears will wrap themselves lovingly around. Geeshie Wiley's "Last King Word Blues" will stop you dead cold in yer cosy, comfortable shoes, chilling stuff. or how about the unforgettable melody and sublime guitar of Peg Leg Howell's "Skin Game Blues". Get carried off by The Memphis Jug Ensamble's "KC Moan". The profound spiritual joy, arising out of desperation, in Golden P Harris' "I'll Lead a Christian Life". I could go on and on. Tommy McClennen. Frank Jenkins. How about Blind Lemon Jefferson's "Jack O'Diamonds" and the very similar "Reuben O Reuben" by Arthur Emery, very finely illustrating this comp.'s thesis; that is, the shared origins of blues and "hillbilly" music. The shared folk song traditions of poor black americans and poor white americans. The songs on this here compilation are represenetive of early blues and country. Which was The Foundation of Rock and Roll. Which was The Foundation of ALL pop music.So, ya see, this is where it "ALL" started. Yep, all of it. So get clued in, Children, and start here. NOW!

5 comments about Midnight Special.

1. Unreal album i was very impressed, recommend everyone to buy this and others.
   AAAAAAAAAAAA+++++++++++++++++++++



2. First of all the Listen to Samples tracks listed above in Amazon's site have nothing to do with this CD; none of those tracks are on this CD.
   
   Now for the good news. This is a great CD, collecting 2 of the many Bluesville albums Sonny & Brownie made in the 50's and 60's (BLUES AND FOLK and BLUES ALL AROUND MY HEAD). The high quality achieved is consistent, especially on the second album. Most of the blues are standard 12-bar/aab affairs, which are great; but when they put a slight twist on the form, as on MUDDY WATER or BLUES OF HAPPINESS, which seems to have a bridge in it, they become extraordinary. RED RIVER BLUES, an old East Coast blues favorite going back to the days of Blind Boy Fuller, and EAST COAST BLUES are highlights. Wonderful stuff here; grab it while you can.



3. I think this cd shows Sonny and Brownie at their best. The production is excellent, and both performers are in fine form. Best version I've ever heard of the great harmonica piece, "Sonny's Squall." If you're not familiar with Sonny and Brownie, this cd is an excellent introduction to both them and the entire country blues genre.



4. When I think of acoustic blues, I immediately think of Sonny Terry and Brownie McGhee. Terry's dynamic harmonica playing (and joyous "whoops") and McGhee's understated guitar playing make the blues a cause for celebration. This CD is actually a repackaging of two of their 1960 Prestige/Bluesway recordings (Blues and Folk, tracks 1-10, and Blues All Around My Head, tracks 11-20).

   There are no other session musicians used. This is Terry and McGhee doing what they do best--performing folk/country blues with passion and conviction. They perform standards, like "Midnight Special" and "Muddy Water," but most of these are originals. This is blues that won't leave you blue. HIGHLY RECOMMENDED




5. Sonny's Squall will really get your feet a tapping....

No comments about The Sonet Blues Story.

2 comments about Sounds of the South.

1. Moby uses "Green Sally Up" for Flower on Play: The B-sides, he uses "Joe Lee's Rock" for Find My Baby on Play, he uses "Sometimes" for Honey on Play, he uses "Trouble So Hard" for Natual Blues, "Love Rock"(not on this cd) for Bodyrock, and "Run On For A Long Time" for Run On.
   How ironic.



2. Moby uses samples from Sounds of the South in his album, Play.

5 comments about Wheels Within Wheels.

1. very happy with this CD. I would also like some of his older stuff too.



2. When you first get turned on to Rory Gallegher-you are hooked.Too late-you are hooked!I was first introduced to him on a late night concert show in the early 1970s(In Concert or Don Kirshners Rock Concert-I forget).When I heard the licks coming from this worn Gibson by this long hair in a flannel shirt I-was hooked.Life long fan and avid collector of his music ever since.When the later years rushed upon us, I felt that I would get a chance to see him live in some small venue.Then he died--so sad(he was a drinker and his liver was shot).He was also a player,writer,vocalist, and known worldwide for his style and rock background(or groundbreaking).His brother Donal was his manager and confidant,a web site developed for fans like me,and talk of an unplugged album was stirring.I was excited in anticipating this release.This was early 2001-released in 03,and purchased 04.Acoustic Irish music is very similar to Appalachain folk.You get some of that and it is great.The solo of "As the Crow Flies" on the national steel is classic(Irish Tour 74 anyone?)The live jam at the Montreaux festival with Bela Fleck doing "Amazing Grace-Walking Blues-Blue Moon of Kentucky" medely is a rare treat.The best tune is from the bandback in 1975 called "Lonesome Highway".Where this tune has hidden is a mystery to me(Would have been a MONSTER HIT with some airplay).A nice revision at the end of the CD for good measure puts an exclamation point to one of the finest collections of songs I have ever heard from an artist I really want to hear more music from. Donal-Wheels Within Wheels Vol 2?



3. This man would have made a magnificent travelling minstrel during the Middle Ages! The song selection by his brother Donal (bless your heart)shows the wide range of talent our Rory could display and the ease with which he could sit in with a vast array of seemingly divergent talent and still shine through with his own proficiency. I mean, my God, he had not even met some of these people. Donal, please dig deep for any scraps you might have left. The hunger for this man's work is still out there and needs to be fed. Buy this CD. It is not just a bunch of retreads and half-finished songs but a real treat. He was truly the best!!!



4. This man would have made a magnificent travelling minstrel during the Middle Ages! The song selection by his brother Donal (bless your heart)shows the wide range of talent our Rory could display and the ease with which he could sit in with a vast array of seemingly divergent talent and still shine through with his own proficiency. I mean, my God, he had not even met some of these people. Donal, please dig deep for any scraps you might have left. The hunger for this man's work is still out there and needs to be fed. Buy this CD. It is not just a bunch of retreads and half-finished songs but a real treat. He was truly the best!!!



5. Long before the whole fashion of doing un-plugged concerts, Rory Gallagher has always been doing acoustic sets in the middle of his electric concerts, giving all Rory Gallagher shows more depth, quality, and variety than your average run of the mill rock 'n' roll concert. In many ways Rory Gallagher had the image of your regular rock 'n' roll star without all the showy trimmings. You never saw Rory Gallagher in a limousine, let alone the idea of him wearing stage clothes. The thought of him having a hairdresser or likewise is positively laughable. But in many ways he was way ahead of his time and a great innovator within rock 'n' roll.

   Sadly Rory Gallagher died in 1995 due to complications during a second liver transplant. (As well as being one of the world's finest guitarists, he was according to legend one of the nicest people in the world, too. However, he liked to enjoying himself, helped along with the odd drink.)

   So naturally you would of thought that this would of been the end of quality products from the man, as most posthumous releases tend to be scrapping of the barrel type efforts. But fortunately for us the fan, the Rory Gallagher estate has been left in the very capable hands of his brother and long time manager Donal Gallagher. He has successfully released all of Rory's back catalogue, re-mastered with extra bonus tracks, plus a double C.D.'s worth of live material taken from the B.B.C. archives, which contain some of the finest Rory Gallagher live material this dog has ever heard. Yes, I do have 'Live in Europe', ' Stage-Struck', and 'The Irish Tour'.

   Now in 2003 we get an all new collection of songs put together by Donal Gallagher (4 completely different versions of tracks Rory Gallagher had recorded before, and 10 new ones to his repertoire, recorded between 1975 and 1994.) At first I was skeptical of this collection, but on the demands of Pattaya's leading Irish musician Declan Casey, I slipped the disc into my player and was immediately enthralled.

   It is the perfect combination of old and new songs, all of varied pace, favoring Rory Gallagher's acoustic side. In fact 'Lonesome Highway' is the only song to include anything from the famous old Gallagher battered Stratocaster. The roll call of the famous friend with whom Rory collaborated is also very impressive.

   The album opens up with Rory Gallagher in 1977 with the beautiful but melancholic title track 'Wheels Within Wheels', a fine start to any set of songs. Then in complete contrast we have a song from a short tour Rory did with three of his idols (and he was probably theirs). Under the title of 'Guitarists Night' the lineup was David Linley, Richard Thompson, Juan Murtin and Rory. During the performance they would mix and match the four guitarists' styles. This is a number that Rory started doing on stage with Juan and is some of the most tantalizing flamenco guitar that you are ever likely to have the privilege to listen to.

   Since the release of 'Irish Tour' in 1074 the Tony Joe White, 'As Crow Flies', had been a firm favorite in any Gallagher set. For the first time I hear here the studio acoustic version, and a very fine rendition it is, too.

   'Lonesome Highway' is the only track on the album featuring the Rory Gallagher Band recorded back in 1975. It's a little gem and could of fitted into any of Rory's studio albums. The playing of Lou Martin, Ro De'Ath and especially bassist Gerry McAvoy show just how much they were in sync with their leader.

   Rory Gallagher had long admired Martin Carthy. The collaboration between the two of them, together with harpist Maire Ni Chathasaigh and Chris Newman, showed the respect was mutual. On this haunting instrumental 'Bratacha Dubha' the music's coming over as Irish-Elizabethan in texture and is perfectly placed in the middle of this collection. Next is a lovely short instrumental between Rory and Bert Jansch, which, although only just over two minutes long, is quite mesmerizing.

   But you are snapped out of your revere by a blast of 'Barley and Grape', a collaboration between Rory and the Dubliners, which must represent the most fun a bunch of musicians can have in a studio. And if they had not been having a wee dram whilst they were recording this, they certainly were before, with the hilarious banter between Rory and Dubliners' vocalist Ronnie Drew. This is followed by two traditional arrangements by Rory collaborating with the doyen of European folk, Roland van Campenhout. They only leave you with the desire that the two of them had found the time to get together for a whole albums' worth of material.

   The next three songs are the only live recording on this session and are the most surprising as well as the disc's central focus. When Rory Gallagher was playing at the Montreux Jazz Festival in 1994, who could of foreseen that when Bela Fleck walked out with his banjo to join Rory Gallagher that they would blend so well together? Especially as they had never spoken to each other before; the two just sitting down to play in front of this multitude of people. You only have to hear the crowd react to hear what they thought about it. In all it only lasts 10 minutes, but that's O.K. That's what the repeat button is for on your C.D. player. It is the ultimate `I am not worthy' moment.

   'Goin' to my Hometown' was a firm live staple for Rory Gallagher, his tribute to the era of Skiffle. It is perhaps fitting the only studio version known recorded with Lonnie Donegan, and a rip roaring version it is, too. Lonnie Donegan sings the backup refrain with plenty of gusto. As Rory had now given up his no singles policy, it's a shame this was not released at the time of its recording. Its footstompin' rhythm would surely have gained Rory some commercial gain in the fickle Top 20. The songs close out with a very satisfying reflective blues.

   A wonderful collection of the warmth and comradeship Rory Gallagher spreads - a joy to the ears. To get more of the electric energy created by Rory Gallagher it is worth getting one of his previous live albums, but this is an absolute must for any lover of good music.

   Mott the Dog
   edited by Ella Crew

5 comments about The Complete Trix Recordings.

1. This release collects together what are possibly Robert Lockwood Jr's best albums of all time: 'Contrasts', recorded in 1973 and '... Does 12' from two years later, both produced by Pete Lowry and originally issued on his Trix label.
   
   Lockwood was born in 1915, and it's common knowledge that when he was around 15 years old his mother began living with Robert Johnson, the (slightly) older musician becoming a big musical influence and also travelling companion to the younger Robert. That influence is reflected here, by the coverage of some of Johnson's songs ('Dust My Broom', 'Walkin' Blues', 'Terraplane Blues', 'Little Queen Of Spades') as well as a few in a similar style ('Little Boy Blue', a reprise of his 1941 Bluebird recording, 'Driving Wheel', 'Mr. Down Child', and 'Empty Life'). I'm usually wary of other people's covers of the songs of Robert Johnson, but in this case I find that I have no objections whatsoever. These are the definitive updates, especially in the case of the powerful 'Terraplane Blues' which is even more awesome than Johnson's original, if that's possible.
   
   Lockwood also gives a nod to the roots of the blues in 'Lonely Man', a version of Blind Lemon's 'Matchbox Blues', and 'King Biscuit Time' reflects the period in the 1940s when he was a regular on the Helena, Arkansas radio show of that name alongside Rice Miller (Sonny Boy Number 2). But it's the sheer versatility and range of styles that particularly impresses on these recordings. Lockwood virtually traces the complete development of the blues from its roots, up through boogie and jump blues, to modern sounds, with a salute to jazz along the way. The title 'Contrasts' is totally apt.
   
   The guitar work is quite stunning, and shows much sophistication on numbers such as 'Annie's Boogie', 'Down Home Cooking' and the jazz-like 'Majors, Minors & Ninths', 'Red Top', and 'Half Steppin'', where comparison with some of the jazz guitar masters would not be amiss. On the second disc the title '... Does 12' refers to the fact that this was made just after Lockwood began playing an electric twelve-string guitar, and these sides demonstrate the unique sound he was able to extract from that instrument, even if a little of the 'bite' heard on the first disc is lacking. On many tracks Lockwood is accompanied on tenor sax by Maurice Reedus, who adds his own swinging solo and ensemble contributions to one of the tightest outfits around. This is a wonderful double CD of Robert Lockwood Jr at his very best, and a most welcome reissue. Don't miss it!



2. I am a friend of Roberts, and I know much more than most people know about him. Through the years I notice many people underrating Robert. His ties to Johnson have very little bearing on how great the man plays guitar. Robert plays the music better than Johnson did himself. Robert can play the changes.Robert scared the sh*t out of Johnson when he was 15 years old. Johnson would pretend he was drunk at times just because Lockwood was playing better during a performance.

   Johnson being his stepfather just is part of the story. When Robert travels he gets standing ovations from hundreds of people playing BY HIMSELF!! It is sad to see people who believe it is due to Lockwood being Johnsons stepson. Lockwood has maintained his identity and developed the music Johnson taught him into a greater style. Lockwood is in the Blues Hall of fame, has a street named for him, has a special Robert Lockwood Jr. day in Cleveland,recieved a degree in music,recieved $10,000 dollars from Clinton in 1998, had two grammy Nominations, won several WC. Handy awards and the list goes on.. There is no way that he recieved all this because of his ties to Johnson.

   The Trix Recordings were recorded with excellence. Maurice Reedus and Gene Schwartz whom are on these cd's, are still performing with the man. Robert is 89 years old and still is a reelin and a Rockin"




3. I think it's obvious that Lockwood is a fine guitarist, and that when he gets going he can be very good, as these Trix recordings can attest. It seems to me, however, that Lockwood gets a lot of credit from his connection to Robert Johnson that has nothing to do with his own power as an artist. If you listen to his music from the 50s and early 60s, before he took his hiatus from performance, you can hear a very distinctive accompanist who feeds off the energy of the company he keeps and basically goes as far as they can take him. He had a fine duet with Ottis Spann that illustrates this point beautifuly. But listening to his own solo material is never nearly as inspiring -- and I've seen him perform in Cleveland and other cities on many occasions, as well as hearing his CDs. His renditions here on The Complete Trix Recordings are a beuatiful illustration of that: he often seems to be going through the motions. He has none of Johnson's power or passion; he always sounds to me to be smooth and fluent, but a bit mechanical. This is a good album, and perhaps his best, but I don't share the opinion of Lockwood's cheerleaders that he's a genius. Good, no doubt, but not a genius. I know Lockwood wants his due and tells everyone who'll listen that he's been ripped off, but I think he's made a good career out his his connection to Johnson,and he wouldn't have had any solo career at all if that story had not been around to support him.



4. Lockwood, a key figure in the development of the modern blues tradition in the Mississippi Delta, recorded the two CDs included in this set in the early and mid-'70s. He shows off his distinctive, gruff voice, his guitar versatility, and a surprising range of material.

   One strength of the blues is its timelessness: you listen to Lockwood sing "Walkin' Blues" and you hear the echoes of hundreds of artists who have taken their turn at working the song. Its endurance is comforting. Still, you need guys like Lockwood to keep the tradition alive and dynamic. "Walkin' Blues," Robert Johnson's "Terraplane Blues," "Dust My Broom," "Drivin' Wheel," and other classics are fresh and vital on these CDs, no mere rehashes of earlier versions. His guitar is muscular, enlivened by blues, soul and jazz riffs. His band, fortified by saxophone, cooks right along with him.

   Listen to the raw emotion of "This Is the Blues" on disc 2, and it's clear that Lockwood's voice is an authentic link to the long-vanished past. But listen to him blast through the jazzy "Majors, Minors, and Ninths" on disc 1 and you realize that this is a musician who never stopped listening to the sounds all around him. It's no wonder Lockwood resents questions about his link to Robert Johnson. Lockwood is a blues legend in his own right, a man who has built a memorable musical life in the nearly 60 years since Johnson's death. Highly recommended CD at a great price.




5. yy

2 comments about Southern Journey, Vol. 1: Voices From The American South - Blues, Ballads, Hymns, Reels, Shouts, Chanteys And Work Songs.

1. I've played this CD over and over and still love every minute of it. The music is so varied, so beautiful. I now want to get other albums recorded by Alan Lomax, a genius for recognizing and recording great music. Highly recommended for anyone who loves uncommercial melodies and pure voices.



2. Truth be told this disc is not for everyone and I hope that this description will help those interested in hearing the ancestors of many major music forms find a good listen. Alan Lomax made an attempt to record the provincial musical styles in their home and on the participants own terms. What you get are real individuals singing and playing instruments for reasons that no longer exist today; to pass the day at work, to pass along local stories and traditions, to pass the time in jail, to provide expression for small communities, and to praise their gods where the lived and breathed. There was not a dollar to be made for any performance on this disc, and though we pay to hear it now, it had an effect on the musicians and singers. This music is not polished but it is a fantastic cd based on its content and not its production value. You won't hear music like this often in your life.