2 comments about The Carthy Chronicles: A Journey Through the Folk Revival.

1. A 4-CD collection of British folk legend Martin Carthy's best work, spanning from the 1960s to the present day -- the motherlode for Martin Carthy true believers! This box set is divided thematically: "Classic Carthy," a disc of "hits," he's recorded over the years, "Carthy In Company," featuring rare, previously unreleased collaborations with various cohorts, including John Kirkpartick, The Albion Band, Steeleye Span, The Watersons, etc.; a third CD titled "Carthy Contemporaries," with Carthy providing interpretations of his favorite contemporary songwriters, and a fourth disc, "Child: Carthy," that focusses exclusively on the British folk treasure trove known as the Child Ballads. (The Child Ballads are the collected work of 19th Century folklorist James Francis Child, who gathered hundreds of the most striking English and Scottish folk ballads into a multi-volume codex that became one of the wellsprings of the '50s/'60s British folk revival... A new publisher called Loomis House Press began reprinting the complete series in 2002, well worth checking out if you're a hardcore folkie!)

   This box set is a real tour de force, complete with a lavish, highly informative booklet, a flowchart showing the various stages of Carthy's career, and tons of rarities from folk concerts, TV shows and the like. Eighty-three tracks total... plenty of high-class listening for anyone who's ready!




2. Martin Carthy stands alone as one of the great figures of the English folk revival, but also can take a lot of credit for folk rock since 1970. This box is an excellent selection for Carthy enthusiasts, but is maybe not ideal for newcomers. It covers a broad sweep of his career to date, and features a lot of live performances and other 'alternate' versions of favorite songs.

   I'd have given it five stars anyway, had it not been for some unfortunate choices on 'Carthy Contemporaries', where we get some hootenanny-era embarrassments that he'd probably have preferred to see buried in the vaults forever and a day-O. Better to have dumped half of this particular 'theme' CD and replaced it with more traditional material, of which there is, after all, a vast abundance. But that's just a personal take: nt everyone shares my taste for gloomy ballads and razorsharp playing, perhaps.

   For beginners, you can't do better than the first two albums, both out on CD. Those, plus the third, "Byker Hill" feature the unsurpassable Dave Swarbrick on violin and mandolin, and are absolute classics, by any criteria, whatever your musical taste.

   But if you want to see him in all his various incarnations: folk club strummer, then inventor of a new way of playing guitar (loosely derived from Davy Graham), followed by stints with Steeleye Span, The Watersons, Brass Monkey, and various other projects, this is a very good place to start. You can't fault him for not being musically adventurous! Some of the obscure stuff is quite astounding, but he's always at his best on 'big ballads.' Try 'Prince Heathen' or 'Famous Flower of Serving Men' for more obscure examples of this art, both with quite amazing guitar backing.

2 comments about Bluegrass 1950-1958.

1. my mother is 88 years old and absolutely loves
   bill monroe !

   i am buying this for birthday which is march 10th!




2. This box set contains many hard to find cuts from the 50's. Although there are many less expensive box sets available, this one is well worth the price! From instrumentals to great harmonies, this one has it all! A must have for any collector of Monroe's library of bluegrass music!

No comments about Transatlantic Story.

1 comments about Songs for Political Action: Folk Music, Topical Songs and the American Lef.

1. This 10 CD set includes some very rare political songs. Many can be considered "folk songs" although there are also some rarities like classical-oriented Communist Party songs. If one is interested in the Almanac Singers, the early recordings of Josh White, or Peekskill, this is a must have. The book which accompanies the collection is very informative. I only give the collection 4 stars instead of 5 since there are some songs which do not hold up so well after so many years, but overall this is fantastic compilation.

4 comments about Blue Moon of Kentucky 1936-1949.

1. You would think an expensive boxset released in 2002 would be remastered. This one isn't. There is a weird German vibe going on here with the Bear Family boys, but its easily overlooked when you realize the book contains one of the best history/discography/recording session analysis around of this American legend. The pics are big and show Monroe's stone face in various settings over the years. Why does he look so mean in most of them?
   
   Selection is great with two discs of Monroe Brothers "Bluebird" releases from the 1930s, a disc or so of the middle period (between the Monroe Brothers and Flatt & Scruggs) that sees Monroe experimenting with sounds (including a junky accordian) and styles (he sure did love to sing Jimmy Rodgers songs).
   
   His bluegrass sound was finally complete with the Columbia sessions recorded with the great Lester Flatt mainly on lead vocal and providing assistance in the song writing department. However, the genius was putting Scruggs unique banjo and Cedric Rainwater's bass out front in the mix for a great rythm effect. This was the birth of bluegrass! I also like the stuff recorded with Mac Wiseman after Flatt & Scruggs left, wish there was more.
   
   That said... some of these songs were recently remastered by Sony (who owns the Columbia catalog) and released on a various artist box set last year. I hope that Sony finds a way to release a 3 disc set of these Monroe songs remastered and sounding as crisp as that boxset. Then I can own three different boxsets! Yippee I love spending money!!!!!



2. I like Bear Family a lot, but unless you really really want to have 2 CDs full of outtakes you're much better off getting the JSP release, "All The Classic Releases 1937-1949". Rejected alternate takes aside, this Bear Family set includes only 4 tracks that are not included in the JSP set: 'I'll Have A New Life', 'Come Back To Me In My Dreams', 'Why Did You Wander', and 'Shining Path'. Other than that, the tracklisting is exactly the same and in the same order. The big difference between the 2 sets is the price tag (as of the time of this writing); $200 for the Bear Family set and $30 for the JSP set.



3. I just got this through the mail just the other day and all I gotta tell you is, if you love Bill Monroe's music the way I do, you've got to get this set!! You'll never find a more complete set of Bill Monroes first 13 years as a recording artist. That is what I love about this Bear Family record series, they are always very through and they never miss a track which is just perfect for serious collectors of classic music such as myself. Although [money] might sound expensive I believe you get your moneys worth and more. I highly recommond this!!!



4. This massive, 6 CD box set contains all of Bill Monroe's studio recordings through 1949. It contains 60 sides recorded by the Monroe Brothers for Bluebird between 1936 and 1938 and 57 sides recorded by Bill Monroe and his Blue Grass Boys for Victor and Columbia between 1940 and 1949 (8 sides recorded for Victor in 1940, 8 sides recorded for Victor in 1941, 9 sides recorded for Columbia in 1945, 12 sides recorded for Columbia in 1946, 16 sides recorded for Columbia in 1947, and 4 sides recorded for Columbia in 1949). This box set also contains 59 alternate takes of Columbia sides.

   Recordings made in September of 1946 with Monroe, Lester Flatt, Earl Scruggs, Chubby Wise, and Howard Watts (Cedric Rainwater) are generally considered to be the first bluegrass recordings. If one agrees with this start date they'll find here 80 bluegrass versions of 32 different songs and instrumentals (the instrumentals being "Blue Grass Breakdown" and "Blue Grass Stomp").

   This box set contains a 38 page, hard-bound booklet with about 50 photographs and several reproductions of record labels, album covers, and other artifacts. Text is by Charles K. Wolfe and there is a detailed discography by Neil V. Rosenberg. The booklet is really lovely but I am disappointed that black and white photographs are printed in brown hues (some browner than others). I find the text somewhat difficult to read in places due to fancy background design and inconsistent font sizes (font sizes are changed so that text can fit onto pages, which I find unacceptable). The text itself is extremely interesting and useful; many of the song histories are not available elsewhere.

   In two instances song labeling is inconsistent. Alternate takes are usually labeled as such, but not always (the first appearance of "Blue Moon Of Kentucky" is an alternate take but isn't labeled as one). Instrumental tracks are usually labeled as such, but not always (the originally released version of "Blue Grass Stomp" is not labeled as an instrumental).

   This box set contains an "un-numbered master of a gospel song that was not even known to exist," which is "I'll Have A New Life." This cut is less than 2 minutes long and appears on the 3rd CD, following "Footprints in the Snow" and prior to "Blue Grass Special" (it was recorded in February of 1945). There is a description in the booklet about why this recording was not previously known to exist. "I'll Have A New Life" was written by Luther G. Presley and was first published in 1940; many bluegrass fans are familiar with the song thanks to a version that Doyle Lawson and Quicksilver recorded in the early 1980s.

   As far as I can tell, this box set contains the first CD reissue of the originally released version of "Little Cabin Home On The Hill" (the version that appears in a 2 CD Columbia/Legacy box set is an alternate take but is not listed as such in that box set).

   Arguably the most important aspect of this box set is the sound quality and I'm thrilled to report that it is excellent, considering the available sources!

   While this box set may be overkill for some listeners, many bluegrass fans will consider it essential. Personally, my Monroe collection wouldn't be complete without the 3 Bear Family box sets covering 1936 to 1949, 1950 to 1958, and 1959 to 1969; the 4 CD MCA set "The Music Of Bill Monroe From 1936 To 1994," the 2 live albums on Smithsonian Folkways, and the Kenny Baker album "Plays Bill Monroe" (which features Monroe on mandolin).

3 comments about Early Years 1951-1959.

1. Mention Reno & Smiley today, and few people will know who you are talking about. In the annals of traditional bluegrass music, though, only Bill Monroe ranks higher in terms of importance and influence. This collection of Reno & Smiley songs from the 1950s is bluegrass at its best, showcasing a wide variety of styles and songs sure to get your foot stomping and your mouth grinning. Don Reno is as good and innovative a banjo player as you will ever find, and Red Smiley was no slouch himself on rhythm guitar. Reno is most famous as the unsurpassed master of the 5-string banjo. Throw in some vintage fiddle and other old-time bluegrass accompaniment and you have a band that actually surpassed the greatness of the legendary Flat & Scruggs in my opinion.
   
   The story of how these two country boys from the Carolinas met and eventually joined forces is quite interesting in and of itself. Reno, for example, played with Bill Monroe (replacing Earl Scruggs) in 1948, but it was not until 1951 that Reno & Smiley began cutting records together, branching themselves off to become the Tennessee Cut-Ups. Gigs were scarce, though, and the band soon split up. Early in 1952, the duo recorded a number of songs together, and the success they met with enabled them to keep recording but not to actually perform together. For three years, Reno actively played with another band, while Smiley worked as a mechanic. Finally, in early 1955, the duo began actively performing together, and the rest is a big chapter in bluegrass history.
   
   These four CDs contain just about any kind of traditional bluegrass music you could ever want to hear. There are no bad songs to be found here whatsoever, but some of my personal favorites are I Know You're Married (But I Love You Still), All I Have is Just a Memory, Let's Live For Tonight, and I Wouldn't Change You if I Could, but there are plenty of recognizable tracks also thrown into the mix. Reno's falsetto stylings are particular poignant alongside Smiley's resonant tones in songs about loss and love. The duo's best work, though, may well be their gospel recordings, of which there are many scattered amongst this collection: I'm Using My Bible For a Roadmap, When I Safely Reach That Other Shore, Springtime in Heaven, Get Behind Me Satan, New Jerusalem; I could go on and on. If you love bluegrass instrumental jams, those too are here in abundance; the boys flat-out wear their hands out on amazing cuts such as Choking the Strings, Dixie Breakdown, Charlotte Breakdown, and Remington Ride.
   
   Reno & Smiley stand at the heart of bluegrass music, and while their names may have been forgotten in the public consciousness, their influence can still be felt in bluegrass today. If you think the immortal Bill Monroe and Flatt & Scruggs are the only true pioneers of bluegrass music, then you need to listen to Reno & Smiley.



2. In his lamentably out of print book, Bluegrass, author Bob Artis describes how Don Reno auditioned for Bill Monroe one day in Spartanburg, SC during World War II. Monroe was so impressed with the young banjo player that he immediately offered him a job. Unfortunately, Reno had already enlisted in the army and was just waiting to take his physical. Monroe eventually hired another banjo player by the name of Earl Scruggs and the rest is history. When he returned from the war, Reno set out to prove that he wasn't just another Earl Scruggs imitator and he eventually became the unofficial father of Progressive Bluegrass.

   This four CD set contains almost all of Reno and Smiley's recorded output during the 1950s. There is a little bit of everything in this set, from gospel music to sizzling instrumentals. Not all of it is great but much of it is. My own personal favorites are the songs at the end of the last disc where Reno trades his banjo for a Martin guitar. Not really Bluegrass, but the Martin is great, and it's the kind of country music that you just don't get to hear any more.




3. This 4-CD collection is the recorded product (1951-9 for King Records) of one of Bluegrass music's greatest bands during the prime of two careers. Red Smiley sang lead and played rhythm guitar that you could keep time to. Don Reno sang the lead or tenor parts. His flat picking guitar was truly among the very best ever, then and now, in country music; and his unique single note style of banjo playing was the envy of others - and rarely duplicated, especially to any real measure of ability.

   Only partially highlighting this box set are five of Reno and Smiley's greatest hits: "I'm Using My Bible For A Roadmap;" "Emotions," "Maybe You Will Change Your Mind;" "I Wouldn't Change You If I Could;" and "I Know You're Married But I Love You Still" (written in recognition of the anquish felt by one of his band members).

   Reno and Smiley's instrumentals were as much as part of the group's fame and many became classics. "Charlotte Breakdown;" "Remington Ride" (where Reno takes a steel guitar tune and turns in a virtuoso performance on banjo); "Tennessee Cutup Breakdown" and "Choking The Strings" among the beauties here. Reno takes some killer breaks on guitar on "Country Boy Rock and Roll." But if you want the true measure of Don Reno the instrumentalist, listen to "Home Sweet Home." He played every instrument, over-dubbing along the way. The rest of the band was late getting to the studio in Cincinatti and the session time had been paid for.

   The Tennessee Cutups were almost exclusively the same unit throughout the band's history: Mac Magaha (fiddle), Don's son, teen-ager Ronnie Reno (mandolin) and John Palmer (string bass).

   A must collection to enjoy and appreciate one of the great first generation Bluegrass bands.

No comments about Road to Freedom.

5 comments about From Where I Stand: The Black Experience in Country Music.

1. In all fairness to all the Country & Western female artists from every ethnic and racial background globally...this project is a far cry from being just a novelty of the past, present and/or into the future. You'll find the true spirit of Country music captured on this 3 CD Box Set of several American Black female artists displayed here on this wonderfully packaged historical project: "From Where I Stand: The Black Experience In Country Music." Nominated in February 1998 for a U.S.A. "Grammy" (Album Package and Notes), produced by the Country Music Foundation and Warner Bros. Records, Inc.
   
   In retrospect, considering the musical talents of these "sisters'" (no-pun to the Pointer Sisters) within the rim of the Country music scene during the late 1950's and thru-out the 1980's, they were serious contenders. For instance, on disc two, ('The Soul Country Years') emphasized R&B stars making the cross-over like Esther Phillip's smash triple Top 10 hit in the C&W, Pop and R&B charts simultaneously "Release Me" (track #9), The Supremes "It Makes No Difference Now" (track #12), The Staple Singers "Will The Circle Be Unbroken" (track #14), Etta James "Almost Persuaded" (track #14), Dorothy Moore "Misty Blue" (track #20). Yet, some of the most noteworthy stand out performances can be heard on disc number 3 ('Forward With Pride') of which includes: Linda Martell, the first Black female to appear on the Grand Ole Opry, and her top hit tune "Color Him Father" (track #5). The late La Melle Prince's (Decca Recording Artist 1969) "The Man That Made A Woman Out Of Me" (track #7); produced by the late Country Music Famed Owen William Bradley and recorded at his historical recording studio "Bradley's Barn" in Nashville, Tennessee; with the legendary world renowned male quartet singing back up vocals, The Jordanaires [Bradley, was elected to the Country Music Hall of Fame in 1974, Nashville, Tennessee; more importantly, he is credited as one of the creators of the "Nashville Sound" of the sixties and early seventies]. Hence, La Melle Prince, is considered one of the most intriguing, distinct and unknown artist on this collection [*note, her memoirs and a pending screenplay by her nephew A. David Burleigh (Record Producre/ Artist/ Singer-Songwritre) is forthcoming...]. Also, a must mention, are the world famous Pointer Sisters and there 1974 Country Music Grammy winner hit song from their LP Fairytale entitled "Fairytale" (track #12); as well as, Ruby Falls endearing up-tempo song, "Show Me Where" (track #13). Overall, these moving and inspirational stories of songs from the 'The Stringband Era' to the 'The Soul Country Years' and on 'Forward With Pride' present a new and old landscape of performances that any music lover can appreciate... So my recommendation to you reading this review would be to (don't stand there...) find a copy and buy it...destine to become a collectors jem in value and in spirit!
   
   *Note (some background info.): now with all that 'above' being said, on a personal note my interesting role and involvement in this project began some years ahead of the release date of this CD (February 1998). In 1995, my contribution of La Melle Prince's memorabilia, notes and background information was presented and personally delivered by me to the Country Music Foundation (CMF) in Nashville, Tennessee. However, it wasn't until the late summer of 1997 that I "got wind" of a pending historical Black American Country music project through some industry friends of mine, that a 3 CD Box Set was going to be released some time in the fall of 1997 by CMF and Warner Bros. Records, Inc. So I immediately made a few calls to some key personnel at CMF and got the confirmation. Indeed the CD was a reality and "green-lit" to go on the market. At that time, I had not given them a copy of Prince's (October 1969) Decca 45" single vinyl recording yet (A-side, "The Man That Made A Woman Out Of Me" and B-side, "All Alone In This World Without You"). In short, I flew back to Nashville and drop a copy of the single off to the CMF...some weeks later got a call from them stating that in a written agreement between CMF & Warner Bros. Records, Inc. that Prince's contribution was of vital importance and needed to be placed on the project before release; therefore, pushing the release date of this CD project up to February 1998. Hence, the costly efforts of placing Prince's song (A-side, "The Man That Made A Woman Out Of Me") on this CD after the project was in "The Can" had become a reality, of which you now can enjoy! [Moreover, it seems "fate" would have its way again, her placement on this CD could very well be blamed on sur' luck... However, Prince would always say that her lucky number was always #7; i.e., the CD's initial release date year (1997) and her song placement was on track #7 [Disc #3]... By the looks of it, I guess 'on the record' she was right... (La Melle Prince, born January 7, 1927 Kennett, Missouri - presumed death 1991 Los Angeles, California)].
   
   Finally, due in part to the scheduling and break down of communication links between CMF, Warner Bros. Records, Inc. and myself, I was (uncredited) in the "thanks to" notes info.; however, on a happier side of things, I was very grateful to be able to have the opportunity to honor my aunt's musical achievements here on this CD Box Set project-- a gift to the world. Thus, later Warner Bros. Records, Inc. and the Country Music Foundation literally promised me an official credit in the future second "run-thru" (10,000 copies) of their next re-print editions...of which I give big thanks!
   
   ###
   
   *Footnote (a sidebar interest), for all The Jordanaires fans including myself, I personally had the great honor of meeting with 3 of the 4 post-original living members on July 1998 at the Gold Coast Hotel in Las Vegas, NV. The gentlemen or as I like to say the original 'boys-to-men' included: Mr. Ray "BassMan" Walker and Gordon "LiteFoot" Stoker and Neal Matthews (1953-2000). An interesting coincidence happened during my conversation with Gordon, we discovered that his son Alan Stoker was the chief engineer and disc transfer person for the project "From Where I Stand: The Black Experience In Country Music," and Gordon was totally unaware that this project was conceived or even that his son worked on it. So he asked to use my cell phone and called his son right there and said, "Hey Alan, what is this project, the Black Experience of Country Music? You forgot to tell me about this gem..." The look of excitement on Gordon's face that moment was something to behold and cherished forever in my mind-- small world huh?
   
   Furthermore, most notably, Elvis Presley used The Jordanaires on nearly every one of his recording sessions for nearly 14 years. At a time when no backing musicians, producers, or engineers received name recognition on any records, Elvis insisted that he have the "Jordanaires" on the "labels" of his records. The reflected glory was enough to earn the Jordanaires "Group of the Year" awards well into the Beatles era.
   
   The Jordanaires were familiar with Elvis by 1956, partially because, Hank Snow had told the Grand Ole Opry artists that there was a young man "...tearing up the stage..." on some of the Country shows and that "...no one would follow him..." and, that, "...when he left the stage, the audience went with him..." Elvis was, certainly, familiar with the Jordanaires. Of all the music Elvis knew and loved, it was the gospel quartets that touched him most deeply. The Jordanaires were among Elvis' favorites, because, he heard them every Saturday night on the Grand Ole Opry. Formed in 1948 in Springfield, Missouri, the Jordanaires arrived in Nashville in 1949, immediately securing a spot on the Opry. Their music was spirited and black-influenced, very much in keeping with Elvis' tastes. "We were the first white quartet to sing spirituals..." Gordon Stoker asserted. It was music that moves, that you can snap your fingers to." Elvis could relate.
   
   The group, Bill and Monty Matthews (brothers, and, no relation to Neal), Bob Hubbard, and, Culley Holt who all hailed from Springfield, MO., soon changed. In 1950, Gordon Stoker replaced the lead tenor, in '52 Hoyt Hawkins replaced the baritone, in '53 Neal Matthews became the second tenor, and, bass singer Culley Holt, left in December '54 to be replaced by Hugh Jarrett. It was this line-up consisting of Stoker, Hawkins, Matthews and Jarrett, which made up the group that backed Elvis on most of his sessions in the mid '50s. They also appeared in his movies and on some of his landmark television appearances as well. Hugh Jarrett, left in 1958 and was replaced by bass singer, Ray Walker, this line-up remained for the next 24 years. Hoyt Hawkins died in 1982, and was replaced by Duane West, who had filled the baritone part, intermittently, since Hoyt had first fallen ill in the '70s. Duane became ill in 1999 and Louis Nunley stepped in. Neal passed away in April of 2000, and, Curtis Young has stepped in. Currently, the Jordanaires consist of Gordon Stoker, Ray Walker, Louis Nunley, and, Curtis Young. [some excerpts taken from the Jordanaires website].
   
   --A. David Burleigh (aka: "Big Dave") an 'AmeriCanadian' Record Producre/ Artist/ Singer-Songwritre.



2. With the exception of Charley Pride, it has always seemed as if black singers and country music were mutually exclusive entities. This three disc, sixty-track box set goes a long way toward dispelling that myth, and in turn revealing that African Americans have in fact played a large part in the development of country music.

   Disc one, The Stringband Era, covers recordings from 1927 through 1946 and leads off with a pair of numbers ("Pan American Blues" and "Muscle Shoals Blues") by harmonica ace DeFord Bailey (who, incidentally, was a founding member of the Grand Ole Opry in 1926 and a participant in the first recording session in Nashville in 1928). After several stellar banjo and fiddle-featured acts like the Mississippi Shieks, we move on to some early `40s recordings by blues legend Leadbelly ("Midnight Special," "Rock Island Line"). His tracks in particular show how much the roots of blues and country overlapped. As annotator Bill Ivey attests in the set's extensive booklet, the division which took place between these southern-based genres during the `20s appears to be based more on the record companies' decision to market product to whites and blacks separately, and less on disparate musical approaches.

   The link between blues and country is further emphasized on disc two, The Soul Country Years. It offers rhythm and blues stars from the early `50s through the mid `70s performing well known country standards. Some of these recordings, like Joe Simon's "The Chokin' Kind" (initially recorded by Waylon Jennings) and Dorothy Moore's "Misty Blue" (originated by
   Wilma Burgess) impressively became major hits on the pop and soul charts while still maintaining their country arrangements. Other tunes found here, like Etta James' sensual rendition of David Houston's "Almost Persuaded" and Al Green's intimate take on the Ray Price hit "For The Good Times," were never intended to be anything more than change-of-pace album tracks. But while conceived initially as filler, these tracks ultimately showcase - quite convincingly - the artists' diversity. The only exception to the plethora of gems on this disc is the Supremes' awkward take on Floyd Tillman's "It Makes No Difference Now."

   The third and final disc, Forward With Pride, takes a look at blacks in country music since the emergence of superstar Charley Pride in the mid-'60s. It leads off with four Pride singles (the most devoted to any artist on this collection), including his rare first release "The Snakes Crawl At Night" and his signature tune "Kiss An Angel Good Mornin'." Three artists follow who each made the country charts fifteen times during the `70s and `80s: Stoney "She's My Rock" Edwards, O.B. "Don't Let The Green Grass Fool You" McClinton, and Big Al "Touch Me (I'll Be Your Fool Once More)" Dowling. All three are represented here by their biggest hits, and while none attained superstar status like Pride, each soundly made his presence felt in country music. Black females also made a dent on the country charts during the `70s and `80s - most notably Linda Martell, whose top 20 hit "Color Him Father" can be found on this disc.

   Disc three also includes some material by established pop and r & b artists who made successful one-time forays onto the country charts, such as the Pointer Sisters' "Fairytale," Fats Domino's "Whiskey Heaven," and Aaron Neville's "The Grand Tour." In addition, Cleve Francis' hit "Love Light" is here (among others) to conclude this set and remind us that blacks
   have continued to make a few ripples in country music in the `90s. Hopefully, From Where I Stand is only the beginning (and not a retrospective) of black musicians' involvement in country music, with its rich contents inspiring others to partake in the future.




3. This is an excellent collection and quite admirably challenges the notion that country music is a white-dominated genre. The compilers of this set make a strong case that many of our definitions are artificial and are based much more on social norms than real musical differences.

   The set is divided neatly into three CDs. The first, entitled 'The Stringband Era' includes black artists who were making country music in the early years. It includes several instrumental numbers, including three from the one of the early, but partly forgotten Grand Ole Opry stars, Deford Bailey. The Mississippi Sheiks, Memphis Sheiks and Leadbelly also make important contributions.

   The second CD is titled 'The Soul Country Years'. These are mostly covers of country songs performed by R & B and Soul artists. You may have heard much of the material here before, but not quite like this. The songs are country, the production is R & B/Soul for the most part. You begin to see the real musical divergence in this CD as well as the similarities the two types of music retain. One surprising thing is that they only included one Ray Charles tune-his now well-known version of Hank Snow's "I'm Movin' On". Given the fact that Charles has his own entire box set of country recordings (bigger than this one), this is a bit unfortunate.

   The final disc is named 'Forward with Pride' and begins, appropriately, with four contributions by country's most (commercially) successful black artist, Charley Pride. The tracks of Pride's they chose are excellent ones; some of his most popular. The Stoney Edwards tracks showcase his talent as well--he deserved more success than he got from the industry. Other interesting contributions include the one from Fats Domino, the title track from Dobie Gray and Aaron Neville's version of the Grand Tour. Given Cleve Francis' input into the creation of this collection, it's a bit surprising that they only include one of his tunes.

   This set is a bit more expensive than some box sets, but is probably worth it. You may end up using it as a starting point. Many of the artists sampled here are certainly worthy of a more complete look.




4. Before purchasing this box set, I could probably count on one hand the number of country music records in my personal collection. I knew about Charley Pride and the forays made into country music made by the likes of Ray Charles and the Pointer Sisters, but this collection really expanded my mind. What is particularly nice about this box set is that it shows you the similarities that country music has with the blues and Black music in general. The first CD (entitled "The Stringband Era") starts off with the incredible harmonica playing of DeFord Bailey. When he plays "Pan American Blues," you really get the sense that a train is coming. Highlights of this CD are the two Leadbelly recordings and "G Rag" by the Georgia Yellow Hammers (with Andrew Baxter). Also of note is the Memphis Sheiks recording of the Jimmie Rodgers composition, "In the Jailhouse Now." In that recording, note how the lyrics are modified slightly from the original version. "The Country Soul Years," the second CD in the box set, shows how the two genres overlapped during the 1950's, 1960's and 1970's. R&B fans will feel quite at home with this disc (the producers of the box set would do an incredible service to release this one also as a separate CD). It features several familiar covers of country songs by R&B artists. The excellent liner notes were particularly helpful for this CD. For example, prior to purchasing this collection, I didn't know that "Misty Blue" was actually a country hit for both Wilma Burgess and Eddy Arnold, long before Dorothy Moore had a big Pop and R&B hit with the song in mid-1970's. The third CD (entitled "Forward with Pride"), features four songs by Charley Pride. This CD features country covers of "Color Him Father" by Linda Martell (an earlier hit for the Winstons) and "Don't Let the Green Grass Fool You" by O.B. McClinton (an earlier hit for Wilson Pickett). Other standouts are the three Stoney Edwards tracks (including his pre-George Jones version of "She's My Rock") and Professor Longhair's version of the Hank williams song, "Jambalaya." Also of note is the powerful Ted Hawkins version of the Webb Pierce song, "There Stands the Glass." If you don't think you like country music, this collection might change your mind. It certainly encouraged me to expand my country music library. At the very least, it'll broaden your view of the genre. Additionally, fans of the blues (or any lyric-based musical form, including reggae), will find much to savor in this collection. Not just in the recordings, but in the copious liner notes which include interviews with artists and anecdotes. Included is an amusing quote by jazz legend Charlie Parker, a big country music fan. When asked by a brave jazz man, "How can you stand that stuff?" Parker replied, "The stories, man. Listen to the stories!" And there are plenty of them in this collection.



5. This collection is full of gems. Don't click by it

5 comments about Rare, Live & Classic.

1. This extradordinarily complete box-set contains Joan Baez songs you've never heard of, never knew existed, never dreamed of! A live performance with the fabulous Odetta. Live performances with Bob Dylan, with Donovan. Early singing from before she was famous. Later songs that sound like they ought to be famous, yet you've never heard them before! And plenty of standard Joan Baez "must haves" like "Blessed Are ..."

   This is the box set for people who are SERIOUS about Joan Baez. Once you have this massive collection, you can safely call yourself a fan. Other people who say "I like her too" will feel like oafs when they find out how much more comprehensive your collection is. They'll DROOL over the live performances you own.

   This isn't the right thing to buy if you're new to Joan Baez. Not only is it a tad expensive for a newcomer, but it's also a little TOO comprehensive for someone who just wants the gist of her. There are some great songs ... and some "not so great" songs that are only interesting to fans because of their biographical/career-span significance. A new fan would have to wade through some songs she didn't really like in order to find the gems.

   But for a die-hard fan ... this collection is the one that separates you from the riff-raff! A lot of this stuff, you CANNOT FIND anywhere else. The more you know about Joan's career, the more you'll appreciate some of these very rare finds!

   A very serious collection.




2. If you don't like Joan, so be it. But if you appreciate the mind-blowing beauty and clearness of her voice, this is the collection of her songs you must get.

   And, can an album that starts with 'Scarlet Ribbons' even be less than perfect?




3. I've had this CD set for about a year now and I'm trying to wear it out. There is so much classic original material in here that it warms my heart. As a long time Joan Baez fan, like from day one when I saw her at Newport as a teenger in the 50's right up until today, this CD set brings me joy. I've worn out many original vinyl LP's of Joan's work and this remastered CD collection restored what I had lost. My only wish is that there would have been some stuff from her "Come From The Shadows" LP which can no longer be found anywhere in the world as far as I know. One of the greatest songs she ever sang was on that LP. It was titled "The Partisan" and revealed great emotion on Joan's part, a quality that makes her music live forever in the hearts of her fans.

   "Rare, Live and Classic" is a "must have" for any true Joan Baez fan as far as I'm concerned. Even though it's a bit pricey the packaging and the enclosed book of rare photos and Joan's thoughts on the songs makes it a fantastic value worth every penny and then some.




4. I bought this CD after I saw Joan Baez in Concert in Salt Lake City. I admit I didn't know most of the songs on the 3 CDs, but I was blown away. There wasn't ONE that I didn't like. They were all amazing. Most of them had never before been released. Rare live perfomances and duets. And Joan wrote something about every song. Either something about the time period, the circumstances surrounding the song/performance, or just some peice of trivia that you wouldn't find anywhere else. It's a rare and precious collection, indeed. Joan is in fine form and this is a WONDERFUL collection of her magnificent 40 year musical career.



5. I consider myself pretty-close to a die-hard Baez fan, but agreed wholeheartedly with the amazon.com review of this album. There is some terrific stuff here, including all of her classics. Some of the "rare" and "live" material was previously unreleased for good reason - they aren't Joan at her best or the recording quality is lacking. If you're truly a die-hard fan and need everything she's ever recorded, then you need this and may be thrilled with it. If you're not, go for some of her other, more-consistly wonderful CDs.

4 comments about The Cropredy Box.

1. Every August, Fairport Convention holds a festival in the small town of Cropredy, climaxed by a marathon concert during which all the present and former (and there have been many) members of Fairport take turns on stage, playing songs from their tenures with the group. This 3-CD set covers the 1997 festival, which marked the 30th anniversary of the band. Between songs, original bassist Ashley Hutchings provides a humorous running narrative on Fairport's long, strange history. The playing is excellent. All the facets of Fairport are included: the classic songs, the early Dylan covers, the souped-up traditional jigs and reels. Hutchings provides an updated take on Dylan's "Million Dollar Bash", while guitarist Dan Ar Braz, who was only with the band for a heartbeat in the 70s, contributes a fantastic version of the Beatles' "Rain". Original lead guitarist Richard Thompson is at his usual peak. The 3rd CD sags briefly because of weaker songs from the 90s lineup. The compilation includes entertaining between-song banter (when Dave Pegg says that fiddler Dave Swarbrick is now divorced and available, Swarb replies "I'm looking for ladies with Christian names beginning with A and R -- then I'll have the complete set") and a hilarious recording of an April Fools Day prank Simon Nicol once played on Swarb. As Nicol says in the liner notes, rather than correct mistakes, the original tapes are provided "warts and all", which includes guest singer Vikki Clayton accidentally leaving out the climactic verse in "Matty Groves."



2. Having managed to make it to Cropredy for Fairport's twenty-fifth anniversary reunion, i had hoped to make it over for this one as well... but it was not to be.

   And, while my memories of that previous trip to Cropredy, when compared to the CD version (which is also worth having, to say the least) lead me to believe that this set is in no way a satisfactory substitute for Having Been There, still it is, withal, a fine and pleasing set of tunes and vocals, indeed.

   There is not and never has been a band that can compare to Fairport in doing what they do -- which is the effortless blending of the most modern rock sensibilities with the most traditional of folk music and everything in between, as well, and this set confirms it yet again.

   It is wonderful to hear essentially every still-living member of the band (save, i believe, Iain Campbell, who couldn't make it) getting up there on the stage and re-creating the various line-ups one after the other -- especially since there are no live recordings from some of the more interesting versions of the band, and this set does a little to fill that lack.

   It's heart-warming, as well, to know that everyone there extended well-wishes to usual MC Danny Thompson (who was in hospital, but, i understand, recovered just fine), a fine fellow, excellent MC and outstanding bass player.

   Every time i listen to this set, it reminds me that i have pledged to make it once more to Cropredy before all of us geezers die or get too old to perform...

   ((Also included is a phone recording of an April Fool joke Simon Nicol played on Dave Swarbrick many years ago. It's hilarious, but the little label that says "includes explicit Swarbrick" is a warning to be heeded -- this is definitely *not* something one could play on the radio without a little cleanup...))




3. What an excellent CD collection. To hear past and present Fairport members playing together is great. The 'Warts and All' idea is perfect and really makes for a very listenable time. As someone who is two weeks away from my first Fairport show, this gives me a glimpse of what to expect and I can't wait. Cheers!



4. The Croppedy Box set captures the live Fairport Convention in it's full splendor and propells this charming folk rock legacy into the new millenium with grace, dignity, humor, and whit. It's good to hear the great cast of present and past members, especially Swarb and Thompson cameos, in this terrific recording. I was mesmerized by Rober Plant's rendition of a Dylan classic in Fairport's last live box set. Say No More! This entire 3 CD box release is worth it not only for the classics but for one great new song - "Rain." My favorite weather condition has been contemporized and bathed in passion by Simon Nicol & Co. Yes, Nancy Covey, I hope to make myself a goer for the live offing before I wither.