Old Time Religion

Five Blind Boys Of Alabama- 1948-1951



Biography:
"Evolving out of the Happyland Jubilee Singers, this traditional black gospel quartet was formed in 1937 at the Talladega Institute for the Deaf and Blind in Alabama. By the '40s they became "the Blind Boys" and recorded for Specialty, Vee Jay, Savoy, Elektra, and other labels. Their first hit was "I Can See Everybody's Mother But Mine" in 1949. Recently, their lineup has included Joe Watson, Jimmy Carter, Sam and Bobby Butler, Curtis Foster, Johnny Fields, andClarence Fountain. They appeared on Broadway in Gospel at Colonus, but gained much more fame during the late '90s and early 2000s while recording a series of albums for Peter Gabriel's Real World label, beginning with the collaboration-heavy Spirit of the Century. The group also appeared on Gabriel's 2002 album Up."
-Allmusic.com

Download Link: http://www.zshare.net/download/842893981ca5e9cd/

Rough Houston

Juke Boy Bonner- Life Gave Me A Dirty Deal



Album Review:
"Likely the most consistent and affecting collection you'll encounter by this singular Texas bluesman, whose strikingly personal approach was stunningly captured by Arhoolie's Chris Strachwitz during the late '60s in Houston. Twenty-three utter originals include "Stay Off Lyons Avenue," "Struggle Here in Houston," "I Got My Passport," and the title track. Bonner sang movingly of his painfully impoverished existence for Arhoolie, and the results still resound triumphantly today."
-Allmusic.com

Download Link: http://www.zshare.net/download/84042493a6688df6/

Mississippi Sheik

Walter Vincson- Complete Recorded Works (1928-1941)



Biography:
"One half of the legendary Mississippi Sheiks, singer/guitarist Walter Vinson was also among the most noteworthy blues accompanists of his era. Born February 2, 1901 in Bolton, Mississippi, Vinson (also known variously as Vincson and Vincent) began performing as a child, and during his teen years was a fixture at area parties and picnics. Even from the outset, however, he rarely if ever appeared as a solo act, seemingly much more at home in duets and trios; towards that end, during the 1920s he worked with Charlie McCoy, Rubin Lacy and Son Spand before forging his most pivotal and long-lasting union, with Lonnie Chatmon, in 1928. In addition to teaming with Chatmon in the Mississippi Sheiks, Vinson also recorded with him in the Mississippi Hot Footers, and even worked with Chatmon's brothers Bo and Harry. Upon the Sheiks' 1933 dissolution, Vinson recorded with various players in areas ranging from Jackson, Mississippi to New Orleans to finally Chicago; while an active club performer during the early 1940s, by the middle of the decade he had begun a lengthy hiatus from music which continued through 1960, at which point he returned to both recording and festival appearances. Hardening of the arteries forced Vinson into retirement during the early '70s; he died in Chicago in 1975."
-Allmusic.com

Download Link: http://www.zshare.net/download/835097447f370087/

New Orleans' Cousin Joe

Cousin Joe- Bad Luck Blues



Biography:
"Few blues legends have the presence of mind to write autobiographies. Fortunately, Pleasant Joseph did, spinning fascinating tales of a career in his 1987 tome Cousin Joe: Blues from New Orleans that spanned more than half a century.

Growing up in New Orleans, Pleasant began singing in church before crossing over to the blues. Guitar and ukulele were his first axes. He eventually prioritized the piano instead, playing Crescent City clubs and riverboats. He moved to New York in 1942, gaining entry into the city's thriving jazz scene (where he played with Dizzy Gillespie, Sidney Bechet, Charlie Parker, Billie Holiday, and a host of other luminaries).

He recorded for King, Gotham, Philo (in 1945), Savoy, and Decca along the way, doing well on the latter logo with "Box Car Shorty and Peter Blue" in 1947. After returning to New Orleans in 1948, he recorded for DeLuxe and cut a two-part "ABCs" for Imperial in 1954 as Smilin' Joe under Dave Bartholomew's supervision. But by then, his recording career had faded.

The pianist was booked on a 1964 Blues and Gospel Train tour of England, sharing stages with Muddy Waters, Otis Spann, Brownie McGhee and Sonny Terry, and Sister Rosetta Tharpe and appearing on BBC-TV with the all-star troupe. He cut a 1971 album for the French Black & Blue label, Bad Luck Blues, that paired him with guitarists Gatemouth Brown and Jimmy Dawkins and a Chicago rhythm section -- hardly the ideal situation, but still a reasonably effective showcase for the ebullient entertainer (it was reissued in 1994 by Evidence)."
-Allmusic.com

Download Link: http://www.zshare.net/download/83306620e9e30bbc/

Smeckin' Around

Roy Smeck- Plays Hawaiian Guitar, Banjo, Ukulele And Guitar



Album Review:
"The only problem with this album is the use of the word "play" in the title. Sure, with most musicians it can be called "playing" an instrument. With Roy Smeck, what he does on Hawaiian guitar or just plain old regular guitar is more like a consecration. His banjo work is more like a reordering of molecules. "Ukulele Bounce" sounds like a man playing a ukulele, and very well at that, but creates more of a historical impact as one realizes recordings from nearly a quarter of a century are represented on this collection. Colorful lettering by none other than R. Crumb just adds to the class of the whole affair. Smeck was a technical genius of stringed instruments and also an explorer. He created sounds behind the bridge and nut, and on the body of the instrument as well. Listeners might be used to these types of techniques from avant-garde music, but the real innovators in this type of playing were musicians such as Smeck. He used these techniques in the course of so-called "normal" music, but the fact that it is neither atonal nor really weird shouldn't make one think it isn't exciting or interesting to listen to. His early pieces were pretty straight from the Hawaiian style, Smeck tinkering energetically around the edges of what might be acceptable to the "aloha" crowd while establishing his mastery of the genre's traditions. Exposure to jazz players such as Eddie Lang apparently inspired him to sit the guitar up straight in his lap and attack it with a plectrum, which is the same way he took on the banjo. The results are imaginative and frequently wild, perfect musical miniatures with such a visual presence one might think they were landscape paintings. Some of the titles add to the fun: "Tough Pickin'," "Guitarese," "Slippery Fingers," and "Nifty Pickin'." Smeck plays wonderfully whether the track was recorded in the '20s, '30s, or '40s. That's no surprise, seeing how he was the fellow who described his ascension in the music industry thusly: "I didn't play any better for 1,250 dollars than for 150 dollars." Which goes to show that even he considered what he did "playing," no matter how miraculous it sounded. Nobody ever played any better than he did, either."
-Allmusic.com

Download Link: http://www.zshare.net/download/831393546611def6/

Tearin' Little Daddy

Sleepy John Estes- Newport Blues



Album Review:
"One of the phrases that obsessive blues collectors love to hear is "previously unreleased." They're always hoping that a label will unearth a rare John Lee Hooker or Lightnin' Hopkins recording that, for whatever reason, has remained in the can for 30 or 40 years. So imagine how ecstatic blues collectors were when, in 2002, Delmark described this Sleepy John Estes CD as a "never-before-released July 28, 1964, session." Those are the sort of words that drive collectors wild, especially when the bluesman in question is someone of Estes' stature. And Estes is in good to excellent form on these 1964 performances, which find the Tennessee country blues icon forming an acoustic trio with longtime colleagues Hammie Nixon (harmonica, jug) and Yank Rachell (mandolin, guitar, piano). Newport Blues is an appropriate title for this 65-minute CD because on July 28, 1964, Estes had just appeared at the Newport Folk Festival, and he popped into New York before heading back down south. This session was hardly the first time that Estes had joined forces with Nixon and Rachell -- the three of them had been playing together since the '20s, and in 1964 their rapport was still quite strong. One of the things that makes Newport Blues so much fun is the session's informal, jam-like atmosphere. Estes and his friends certainly don't sound like they're in a high-pressure situation; Newport Blues sounds like three musical friends getting together for some relaxed, good-natured fun. Most of the singing is handled by Estes, although the singer/acoustic guitarist occasionally features Nixon or Rachell on lead vocals. Newport Blues falls short of essential, but it's an enjoyable disc that Estes' more devoted fans will want to acquire."
-Allmusic.com

Download Link: http://www.zshare.net/download/830234699240c8d1/

All You Ladies, Gather 'Round

Mississippi John Hurt- Today!



Album Review:
"Today is Mississippi John Hurt's first and finest studio release since his "rediscovery" on his Avalon farm by folklorist Tom Hoskins in 1963. Eclipsed possibly only by his earlier 1928 Sessions, this album shows a more mature Hurt picking his way through standards and originals after the Depression years and Hurt's fall into obscurity before the folk revival of the 1960s. It shows, however, that all that the great bluesman has lost is years; his voice retains its characteristic Buddha-esque warmth and it is still difficult to believe that there is just one man playing on the seemingly effortless guitar work. The music on the album comes from a variety of different influences, from the fun and poppy "Hot Time in Old Town Tonight" and "Coffee Blues," to the bluesy standards "Candy Man" (Hurt's most famous song) and "Spike Driver's Blues" to the soulful spirituals "Louis Collins" and "Beulah Land." Hurt's tranquil guitar work -- mixing country, Scottish folk, and Delta blues -- strings all of the songs along the same simple and elegant thread. Hurt himself never could explain his guitar playing, as he used to say, "I just make it sound like I think it ought to." Regardless, that sound, along with a mellow and heartfelt voice, wizened here by decades, combine to make Today an unforgettable whole. A truly essential album of the folk revival, unrivaled in its beauty and warmth."
-Allmusic.com

Download Link: http://www.zshare.net/download/82865371ad48604f/

Pleasant Blues

Cousin Joe- New York And New Orleans Blues, 1945-1951



Biography:
"Few blues legends have the presence of mind to write autobiographies. Fortunately, Pleasant Joseph did, spinning fascinating tales of a career in his 1987 tome Cousin Joe: Blues from New Orleans that spanned more than half a century.

Growing up in New Orleans, Pleasant began singing in church before crossing over to the blues. Guitar and ukulele were his first axes. He eventually prioritized the piano instead, playing Crescent City clubs and riverboats. He moved to New York in 1942, gaining entry into the city's thriving jazz scene (where he played with Dizzy Gillespie, Sidney Bechet, Charlie Parker, Billie Holiday, and a host of other luminaries).

He recorded for King, Gotham, Philo (in 1945), Savoy, and Decca along the way, doing well on the latter logo with "Box Car Shorty and Peter Blue" in 1947. After returning to New Orleans in 1948, he recorded for DeLuxe and cut a two-part "ABCs" for Imperial in 1954 as Smilin' Joe under Dave Bartholomew's supervision. But by then, his recording career had faded.

The pianist was booked on a 1964 Blues and Gospel Train tour of England, sharing stages with Muddy Waters, Otis Spann, Brownie McGhee and Sonny Terry, and Sister Rosetta Tharpe and appearing on BBC-TV with the all-star troupe. He cut a 1971 album for the French Black & Blue label, Bad Luck Blues, that paired him with guitarists Gatemouth Brown and Jimmy Dawkins and a Chicago rhythm section -- hardly the ideal situation, but still a reasonably effective showcase for the ebullient entertainer (it was reissued in 1994 by Evidence)."
-Allmusic.com

Download Link: http://www.zshare.net/download/827840330ae1f1f5/

Reverend At Newport

Reverend Gary Davis- Live At Newport



Biography:
"In his prime of life, which is to say the late '20s, the Reverend Gary Davis was one of the two most renowned practitioners of the East Coast school of ragtime guitar; 35 years later, despite two decades spent playing on the streets of Harlem in New York, he was still one of the giants in his field, playing before thousands of people at a time, and an inspiration to dozens of modern guitarist/singers including Bob Dylan, Taj Mahal, and Donovan; and Jorma Kaukonen, David Bromberg, and Ry Cooder, who studied with Davis.

Davis was partially blind at birth, and lost what little sight he had before he was an adult. He was self-taught on the guitar, beginning at age six, and by the time he was in his 20s he had one of the most advanced guitar techniques of anyone in blues; his only peers among ragtime-based players were Blind Arthur Blake, Blind Lemon Jefferson, and Blind Willie Johnson. Davis himself was a major influence on Blind Boy Fuller.

Davis' influences included gospel, marches, ragtime, jazz, and minstrel hokum, and he integrated them into a style that was his own. In 1911, when Davis was a still teenager, the family moved to Greenville, SC, and he fell under the influence of such local guitar virtuosi as Willie Walker, Sam Brooks, and Baby Brooks. Davis moved to Durham in the mid-'20s, by which time he was a full-time street musician. He was celebrated not only for the diversity of styles that his playing embraced, but also for his skills with the guitar, which were already virtually unmatched in the blues field.

Davis went into the recording studio for the first time in the '30s with the backing of a local businessman. Davis cut a mixture of blues and spirituals for the American Record Company label, but there was never an equitable agreement about payment for the recordings, and following these sessions, it was 19 years before he entered the studio again. During that period, he went through many changes. Like many other street buskers, Davis always interspersed gospel songs amid his blues and ragtime numbers, to make it harder for the police to interrupt him. He began taking the gospel material more seriously, and in 1937 he became an ordained minister. After that, he usually refused to perform any blues.

Davis moved to New York in the early '40s and began preaching and playing on street corners in Harlem. He recorded again at the end of the 1940s, with a pair of gospel songs, but it wasn't until the mid-'50s that a real following for his work began developing anew. His music, all of it now of a spiritual nature, began showing up on labels such as Stinson, Folkways, and Riverside, where he recorded seven songs in early 1956. Davis was "rediscovered" by the folk revival movement, and after some initial reticence, he agreed to perform as part of the budding folk music revival, appearing at the Newport Folk Festival, where his raspy voiced sung sermons; most notably his transcendent "Samson and Delilah (If I Had My Way)" -- a song most closely associated with Blind Willie Johnson -- and "Twelve Gates to the City," which were highlights of the proceedings for several years. He also recorded a live album for the Vanguard label at one such concert, as well as appearing on several Newport live anthology collections. He was also the subject of two television documentaries, one in 1967 and one in 1970.

Davis became one of the most popular players on the folk revival and blues revival scenes, playing before large and enthusiastic audiences; most of the songs that he performed were spirituals, but they weren't that far removed from the blues that he'd recorded in the 1930s, and his guitar technique was intact. Davis' skills as a player, on the jumbo Gibson acoustic models that he favored, were undiminished, and he was a startling figure to hear, picking and strumming complicated rhythms and counter-melodies. Davis became a teacher during this period, and his students included some very prominent white guitar players, including David Bromberg and the Jefferson Airplane's Jorma Kaukonen (who later recorded Davis' "I'll Be Alright" on his acclaimed solo album Quah!).

The Reverend Gary Davis left behind a fairly large body of modern (i.e. post-World War II) recordings, well into the 1960s, taking the revival of his career in his stride as a way of carrying the message of the gospel to a new generation. He even recorded anew some of his blues and ragtime standards in the studio, for the benefit of his students."
-Allmusic.com

Download Link: http://www.zshare.net/download/8274987347a3af40/

...And A Shot Of Good Booze

Mississippi John Hurt- The Immortal



Album Review:
"One of the best albums of country blues ever recorded. The fingerpicking is delicate, the vocals mellow and sweet. Many tunes that remain associated with Hurt are included here in versions that rival his legendary recordings from the late '20s. "Richland Woman Blues," "Stagolee," "The Chicken," and "Since I've Laid My Burden Down" sound as fresh as ever in these '60s versions. This album leaves little doubt as to why Hurt was so beloved after his rediscovery."
-Allmusic.com

Download Link: http://www.zshare.net/download/846883954ad48933/

Bone

T-Bone Walker- The Original Source



Album Review:
"This is, especially for the money, an excellent overview of the career of Aaron Thibeaux Walker (aka T-Bone Walker). Beginning at the beginning in 1929, this set travels all the way through the '40s (where he developed his style as the electric blues genre), through 1951 on labels from Columbia to Capitol to Black and White and others in between. This set's 90 cuts paint the most intricate portrait of his signature sound as it developed to become one of the models for the blues of B.B. and Freddie King, and virtually every electric guitarist after him. The sound is great and the price is irresistible."
-Allmusic.com

Download Link: http://www.zshare.net/download/8238495555b61648/

Rare Buddy Guy From 1982

Buddy Guy & Junior Wells- Live At Biddy Mulligan's, 1982



Biography:
"He's Chicago's blues king today, ruling his domain just as his idol and mentor Muddy Waters did before him. Yet there was a time, and not all that long ago either, when Buddy Guy couldn't even negotiate a decent record deal. Times sure have changed for the better -- Guy's first three albums for Silvertone in the '90s all earned Grammys. Eric Clapton unabashedly calls Buddy Guy his favorite blues axeman, and so do a great many adoring fans worldwide.

High-energy guitar histrionics and boundless on-stage energy have always been Guy trademarks, along with a tortured vocal style that's nearly as distinctive as his incendiary rapid-fire fretwork. He's come a long way from his beginnings on the 1950s Baton Rouge blues scene -- at his first gigs with bandleader "Big Poppa" John Tilley, the young guitarist had to chug a stomach-jolting concoction of Dr. Tichenor's antiseptic and wine to ward off an advanced case of stage fright. But by the time he joined harpist Raful Neal's band, Guy had conquered his nervousness.

Guy journeyed to Chicago in 1957, ready to take the town by storm. But times were tough initially, until he turned up the juice as a showman (much as another of his early idols, Guitar Slim, had back home). It didn't take long after that for the new kid in town to establish himself. He hung with the city's blues elite: Freddy King, Muddy Waters, Otis Rush, and Magic Sam, who introduced Buddy Guy to Cobra Records boss Eli Toscano. Two searing 1958 singles for Cobra's Artistic subsidiary were the result: "This Is the End" and "Try to Quit You Baby" exhibited more than a trace of B.B. King influence, while "You Sure Can't Do" was an unabashed homage to Guitar Slim. Willie Dixon produced the sides.

When Cobra folded, Guy wisely followed Rush over to Chess. With the issue of his first Chess single in 1960, Guy was no longer aurally indebted to anybody. "First Time I Met the Blues" and its follow-up, "Broken Hearted Blues," were fiery, tortured slow blues brilliantly showcasing Guy's whammy-bar-enriched guitar and shrieking, hellhound-on-his-trail vocals.

Although he's often complained that Leonard Chess wouldn't allow him to turn up his guitar loud enough, the claim doesn't wash: Guy's 1960-1967 Chess catalog remains his most satisfying body of work. A shuffling "Let Me Love You Baby," the impassioned downbeat items "Ten Years Ago," "Stone Crazy," "My Time After Awhile," and "Leave My Girl Alone," and a bouncy "No Lie" rate with the hottest blues waxings of the '60s. While at Chess, Guy worked long and hard as a session guitarist, getting his licks in on sides by Waters, Howlin' Wolf, Little Walter, Sonny Boy Williamson, and Koko Taylor (on her hit "Wang Dang Doodle").

Upon leaving Chess in 1967, Guy went to Vanguard. His first LP for the firm, A Man and the Blues, followed in the same immaculate vein as his Chess work and contained the rocking "Mary Had a Little Lamb," but This Is Buddy Guy and Hold That Plane! proved somewhat less consistent. Guy and harpist Junior Wells had long been friends and played around Chicago together (Guy supplied the guitar work on Wells' seminal 1965 Delmark set Hoodoo Man Blues, initially billed as "Friendly Chap" because of his Chess contract); they recorded together for Blue Thumb in 1969 as Buddy and the Juniors (pianist Junior Mance being the other Junior) and Atlantic in 1970 (sessions co-produced by Eric Clapton and Tom Dowd), and 1972 for the solid album Buddy Guy & Junior Wells Play the Blues. Buddy and Junior toured together throughout the '70s, their playful repartee immortalized on Drinkin' TNT 'n' Smokin' Dynamite, a live set cut at the 1974 Montreux Jazz Festival.

Guy's reputation among rock guitar gods such as Eric Clapton, Jimi Hendrix, and Stevie Ray Vaughan was unsurpassed, but prior to his Grammy-winning 1991 Silvertone disc Damn Right, I've Got the Blues, he amazingly hadn't issued a domestic album in a decade. That's when the Buddy Guy bandwagon really picked up steam -- he began selling out auditoriums and turning up on network television (David Letterman, Jay Leno, etc.). Feels Like Rain, his 1993 encore, was a huge letdown artistically, unless one enjoys the twisted concept of having one of the world's top bluesmen duet with country hat act Travis Tritt and hopelessly overwrought rock singer Paul Rodgers. By comparison, 1994's Slippin' In, produced by Eddie Kramer, was a major step back in the right direction, with no hideous duets and a preponderance of genuine blues excursions. Last Time Around: Live at Legends, an acoustic outing with longtime partner Junior Wells followed in 1998. In 2001, Guy switched gears and went to Mississippi for a recording of the type of modal juke-joint blues favored by Junior Kimbrough, R.L. Burnside, and the Fat Possum crew. The result was Sweet Tea: arguably one of his finest albums and yet a complete anomaly in his catalog. Oddly enough, he chose to follow that up with Blues Singer in 2003, another completely acoustic effort that won a Grammy. For 2005's Bring 'Em In, it was back to the same template as his first albums for Silvertone, with polished production and a handful of guest stars. Skin Deep appeared in 2008 and featured guest spots by Susan Tedeschi, Derek Trucks, Eric Clapton, and Robert Randolph. Snakebite was released in 2009, followed by Living Proof a year later in 2010.

A Buddy Guy concert can sometimes be a frustrating experience. He'll be in the middle of something downright hair-raising, only to break it off abruptly in midsong, or he'll ignore his own massive songbook in order to offer imitations of Clapton, Vaughan, and Hendrix. But Guy, whose club remains the most successful blues joint in Chicago (you'll likely find him sitting at the bar whenever he's in town), is without a doubt the Windy City's reigning blues artist -- and he rules benevolently."
-Allmusic.com

Download Link: http://www.zshare.net/download/82230900a9d900d8/

Buddy's Living Proof

Buddy Guy- Living Proof



Biography:
"He's Chicago's blues king today, ruling his domain just as his idol and mentor Muddy Waters did before him. Yet there was a time, and not all that long ago either, when Buddy Guy couldn't even negotiate a decent record deal. Times sure have changed for the better -- Guy's first three albums for Silvertone in the '90s all earned Grammys. Eric Clapton unabashedly calls Buddy Guy his favorite blues axeman, and so do a great many adoring fans worldwide.

High-energy guitar histrionics and boundless on-stage energy have always been Guy trademarks, along with a tortured vocal style that's nearly as distinctive as his incendiary rapid-fire fretwork. He's come a long way from his beginnings on the 1950s Baton Rouge blues scene -- at his first gigs with bandleader "Big Poppa" John Tilley, the young guitarist had to chug a stomach-jolting concoction of Dr. Tichenor's antiseptic and wine to ward off an advanced case of stage fright. But by the time he joined harpist Raful Neal's band, Guy had conquered his nervousness.

Guy journeyed to Chicago in 1957, ready to take the town by storm. But times were tough initially, until he turned up the juice as a showman (much as another of his early idols, Guitar Slim, had back home). It didn't take long after that for the new kid in town to establish himself. He hung with the city's blues elite: Freddy King, Muddy Waters, Otis Rush, and Magic Sam, who introduced Buddy Guy to Cobra Records boss Eli Toscano. Two searing 1958 singles for Cobra's Artistic subsidiary were the result: "This Is the End" and "Try to Quit You Baby" exhibited more than a trace of B.B. King influence, while "You Sure Can't Do" was an unabashed homage to Guitar Slim. Willie Dixon produced the sides.

When Cobra folded, Guy wisely followed Rush over to Chess. With the issue of his first Chess single in 1960, Guy was no longer aurally indebted to anybody. "First Time I Met the Blues" and its follow-up, "Broken Hearted Blues," were fiery, tortured slow blues brilliantly showcasing Guy's whammy-bar-enriched guitar and shrieking, hellhound-on-his-trail vocals.

Although he's often complained that Leonard Chess wouldn't allow him to turn up his guitar loud enough, the claim doesn't wash: Guy's 1960-1967 Chess catalog remains his most satisfying body of work. A shuffling "Let Me Love You Baby," the impassioned downbeat items "Ten Years Ago," "Stone Crazy," "My Time After Awhile," and "Leave My Girl Alone," and a bouncy "No Lie" rate with the hottest blues waxings of the '60s. While at Chess, Guy worked long and hard as a session guitarist, getting his licks in on sides by Waters, Howlin' Wolf, Little Walter, Sonny Boy Williamson, and Koko Taylor (on her hit "Wang Dang Doodle").

Upon leaving Chess in 1967, Guy went to Vanguard. His first LP for the firm, A Man and the Blues, followed in the same immaculate vein as his Chess work and contained the rocking "Mary Had a Little Lamb," but This Is Buddy Guy and Hold That Plane! proved somewhat less consistent. Guy and harpist Junior Wells had long been friends and played around Chicago together (Guy supplied the guitar work on Wells' seminal 1965 Delmark set Hoodoo Man Blues, initially billed as "Friendly Chap" because of his Chess contract); they recorded together for Blue Thumb in 1969 as Buddy and the Juniors (pianist Junior Mance being the other Junior) and Atlantic in 1970 (sessions co-produced by Eric Clapton and Tom Dowd), and 1972 for the solid album Buddy Guy & Junior Wells Play the Blues. Buddy and Junior toured together throughout the '70s, their playful repartee immortalized on Drinkin' TNT 'n' Smokin' Dynamite, a live set cut at the 1974 Montreux Jazz Festival.

Guy's reputation among rock guitar gods such as Eric Clapton, Jimi Hendrix, and Stevie Ray Vaughan was unsurpassed, but prior to his Grammy-winning 1991 Silvertone disc Damn Right, I've Got the Blues, he amazingly hadn't issued a domestic album in a decade. That's when the Buddy Guy bandwagon really picked up steam -- he began selling out auditoriums and turning up on network television (David Letterman, Jay Leno, etc.). Feels Like Rain, his 1993 encore, was a huge letdown artistically, unless one enjoys the twisted concept of having one of the world's top bluesmen duet with country hat act Travis Tritt and hopelessly overwrought rock singer Paul Rodgers. By comparison, 1994's Slippin' In, produced by Eddie Kramer, was a major step back in the right direction, with no hideous duets and a preponderance of genuine blues excursions. Last Time Around: Live at Legends, an acoustic outing with longtime partner Junior Wells followed in 1998. In 2001, Guy switched gears and went to Mississippi for a recording of the type of modal juke-joint blues favored by Junior Kimbrough, R.L. Burnside, and the Fat Possum crew. The result was Sweet Tea: arguably one of his finest albums and yet a complete anomaly in his catalog. Oddly enough, he chose to follow that up with Blues Singer in 2003, another completely acoustic effort that won a Grammy. For 2005's Bring 'Em In, it was back to the same template as his first albums for Silvertone, with polished production and a handful of guest stars. Skin Deep appeared in 2008 and featured guest spots by Susan Tedeschi, Derek Trucks, Eric Clapton, and Robert Randolph. Snakebite was released in 2009, followed by Living Proof a year later in 2010.

A Buddy Guy concert can sometimes be a frustrating experience. He'll be in the middle of something downright hair-raising, only to break it off abruptly in midsong, or he'll ignore his own massive songbook in order to offer imitations of Clapton, Vaughan, and Hendrix. But Guy, whose club remains the most successful blues joint in Chicago (you'll likely find him sitting at the bar whenever he's in town), is without a doubt the Windy City's reigning blues artist -- and he rules benevolently."
-Allmusic.com

Album Review:
"On Buddy Guy's 2010 release, "Living Proof", Buddy does, indeed, prove many things. He shows that when he's not goofing off at a small arena, refusing to finish his own songs at a concert mostly populated by middle-aged whites who are Classic Rock and Stevie Ray Vaughan fans, his hysterical, violent guitar is still up to par. The 74 year old Buddy Guy's incendiary guitar is present throughout the album. In fact, this is the best his guitar playing has been since his legendary "Stone Crazy" album. With that being said, there is a great sameyness to a couple of the songs on the first half of the disc.

Buddy's vocals are still there. His voice sounds just as good as it did on 1993's "Feels Like Rain", though I'm not sure how his voice holds up in concert after he's been on stage for an hour.

One thing that's evidently missing on this album is lyrics. "Living Proof" has some awfully corny lines, just as the duet with B.B. King does. The difference between the two is that B.B.'s guitar, which has an angelic presence that can bring a person to tears with one note, makes the lyrics in "Stay Around A Little Longer" rise above their otherwise mediocre level. It's extremely obvious that many of the lyrics on this album were touched up or, in some cases, written entirely, by Buddy's drummer or professional lyricists who did not come up with Buddy back in Louisiana. For a veteran Blues-listener, it takes only one listen to hear that an outside source has tampered with the lyric writing process. This doesn't mean that whites can't write Blues lyrics, but it does mean that songwriters take the grit and urgency out of what could possibly be more "authentic" lyrics. We all know that the great Muddy Waters performed and recorded a plethora of songs that were written by Willie Dixon, but Dixon was a man who had a connection- a vital connection- to the people, places and situations which he wrote about, even if the lyrics were sometimes light and humorous.

Luckily, Carlos Santana, in all his noisy grandiosity, does not destory "Where The Blues Begins", as I had feared he would. If there were ever a case of a guy who played too many notes on an electric guitar, to the point of making electrified Blues sound like Ritchie Blackmore-era Deep Purple, this is it. Carlos really ought to focus more on composing music, as opposed to creating obnoxiously loud solos that all sound identical. When the song is over, one remembers Buddy's fine vocals, but not Santana's guitar madness.

"Too Soon", in terms of its beat and lyrics, sounds like a track that Otis Rush could have recorded in the 1950s for Cobra Records. It's a fun song that just rises above being filler.

"Everybody's Got To Go" could do without the backing vocalists, or at least the backing vocalists' excessive presence. The solo at around 2:00 is just sort of, well, there. This song would have faired much better if it were just Buddy, his guitar, and the Hammond Organ. That certainly would have sounded a lot different than this "Feels Like Rain" knock-off.

If Buddy would have never recorded "Damn Right, I've Got The Blues", then perhaps there would have been a reason to record "Let The Door Knob Hit Ya". Is there frenetic guitar work? Yes. Does the frenetic guitar work sound any different from what's played during Guy's live version(s) of "Damn Right, I've Got The Blues"? No!

Guess what! What? "Guess What", which has a final verse resesmbling Hendrix's "Red House", is a very, very good song that would have sounded even better if so many tunes on the album didn't sound similar to it. Still, this one has more intensity to it than anything Eric Clapton has done since...

"Skanky" is a tour de force that is well deserving of its name. As the songs come to a close, you realize that tracks 11 and 12 are, along with the infamous "Stone Crazy", the finest examples of Buddy Guy's influence on, or at least association with, Hendrix."
-Hard Luck Child

Download Link: http://www.zshare.net/download/819397660eefb2d0/

Playing With Ms. Gibson

Reverend Gary Davis- At Home And Church: 1962-1967, At Home (Disc 2)



Biography:
"In his prime of life, which is to say the late '20s, the Reverend Gary Davis was one of the two most renowned practitioners of the East Coast school of ragtime guitar; 35 years later, despite two decades spent playing on the streets of Harlem in New York, he was still one of the giants in his field, playing before thousands of people at a time, and an inspiration to dozens of modern guitarist/singers including Bob Dylan, Taj Mahal, and Donovan; and Jorma Kaukonen, David Bromberg, and Ry Cooder, who studied with Davis.

Davis was partially blind at birth, and lost what little sight he had before he was an adult. He was self-taught on the guitar, beginning at age six, and by the time he was in his 20s he had one of the most advanced guitar techniques of anyone in blues; his only peers among ragtime-based players were Blind Arthur Blake, Blind Lemon Jefferson, and Blind Willie Johnson. Davis himself was a major influence on Blind Boy Fuller.

Davis' influences included gospel, marches, ragtime, jazz, and minstrel hokum, and he integrated them into a style that was his own. In 1911, when Davis was a still teenager, the family moved to Greenville, SC, and he fell under the influence of such local guitar virtuosi as Willie Walker, Sam Brooks, and Baby Brooks. Davis moved to Durham in the mid-'20s, by which time he was a full-time street musician. He was celebrated not only for the diversity of styles that his playing embraced, but also for his skills with the guitar, which were already virtually unmatched in the blues field.

Davis went into the recording studio for the first time in the '30s with the backing of a local businessman. Davis cut a mixture of blues and spirituals for the American Record Company label, but there was never an equitable agreement about payment for the recordings, and following these sessions, it was 19 years before he entered the studio again. During that period, he went through many changes. Like many other street buskers, Davis always interspersed gospel songs amid his blues and ragtime numbers, to make it harder for the police to interrupt him. He began taking the gospel material more seriously, and in 1937 he became an ordained minister. After that, he usually refused to perform any blues.

Davis moved to New York in the early '40s and began preaching and playing on street corners in Harlem. He recorded again at the end of the 1940s, with a pair of gospel songs, but it wasn't until the mid-'50s that a real following for his work began developing anew. His music, all of it now of a spiritual nature, began showing up on labels such as Stinson, Folkways, and Riverside, where he recorded seven songs in early 1956. Davis was "rediscovered" by the folk revival movement, and after some initial reticence, he agreed to perform as part of the budding folk music revival, appearing at the Newport Folk Festival, where his raspy voiced sung sermons; most notably his transcendent "Samson and Delilah (If I Had My Way)" -- a song most closely associated with Blind Willie Johnson -- and "Twelve Gates to the City," which were highlights of the proceedings for several years. He also recorded a live album for the Vanguard label at one such concert, as well as appearing on several Newport live anthology collections. He was also the subject of two television documentaries, one in 1967 and one in 1970.

Davis became one of the most popular players on the folk revival and blues revival scenes, playing before large and enthusiastic audiences; most of the songs that he performed were spirituals, but they weren't that far removed from the blues that he'd recorded in the 1930s, and his guitar technique was intact. Davis' skills as a player, on the jumbo Gibson acoustic models that he favored, were undiminished, and he was a startling figure to hear, picking and strumming complicated rhythms and counter-melodies. Davis became a teacher during this period, and his students included some very prominent white guitar players, including David Bromberg and the Jefferson Airplane's Jorma Kaukonen (who later recorded Davis' "I'll Be Alright" on his acclaimed solo album Quah!).

The Reverend Gary Davis left behind a fairly large body of modern (i.e. post-World War II) recordings, well into the 1960s, taking the revival of his career in his stride as a way of carrying the message of the gospel to a new generation. He even recorded anew some of his blues and ragtime standards in the studio, for the benefit of his students."
-Allmusic.com

Download Link: http://www.zshare.net/download/81871314e526ad47/

John Adam Estes' Poetry

Sleepy John Estes- The Legend Of Sleepy John Estes



Album Review:
"In the late '50s Sleepy John Estes wasn't nearly as visible as he had been before and during World War II -- in fact, he had become so obscure that some historians wondered if he had died. But the blues veteran was still very much alive, and in 1962 a 63-year-old Estes (some claimed he was 58 or 57) made an impressive comeback with The Legend of Sleepy John Estes. Produced by Delmark president Bob Koester on March 24, 1962, this historic acoustic session finds singer/guitarist Estes joined by Ed Wilkinson on bass, John "Knocky" Parker on piano, and long-time ally Hammie Nixon on harmonica. Legend isn't much different from Estes' recordings of the '20s, '30s, and '40s, and the Tennessee native successfully revisits old favorites like "Divin' Duck Blues," "Someday Baby Blues," "Stop That Thing," "Milk Cow Blues," and "Married Woman Blues." Although not the definitive recordings of these songs, Estes' 1962 versions are captivating nonetheless. Delmark has a lot to be proud of, and getting Estes back into the studio after many years of neglect (reunited with Hammie Nixon, no less!) is certainly among the Chicago indie's greatest accomplishments."
-Allmusic.com

Download Link: http://www.zshare.net/download/8182955798a1e687/

Sally Actually Got Her Liquor From Gary!

Reverend Gary Davis- At Home And Church: 1962-1967, At Home (Disc 1)



Biography:
"In his prime of life, which is to say the late '20s, the Reverend Gary Davis was one of the two most renowned practitioners of the East Coast school of ragtime guitar; 35 years later, despite two decades spent playing on the streets of Harlem in New York, he was still one of the giants in his field, playing before thousands of people at a time, and an inspiration to dozens of modern guitarist/singers including Bob Dylan, Taj Mahal, and Donovan; and Jorma Kaukonen, David Bromberg, and Ry Cooder, who studied with Davis.

Davis was partially blind at birth, and lost what little sight he had before he was an adult. He was self-taught on the guitar, beginning at age six, and by the time he was in his 20s he had one of the most advanced guitar techniques of anyone in blues; his only peers among ragtime-based players were Blind Arthur Blake, Blind Lemon Jefferson, and Blind Willie Johnson. Davis himself was a major influence on Blind Boy Fuller.

Davis' influences included gospel, marches, ragtime, jazz, and minstrel hokum, and he integrated them into a style that was his own. In 1911, when Davis was a still teenager, the family moved to Greenville, SC, and he fell under the influence of such local guitar virtuosi as Willie Walker, Sam Brooks, and Baby Brooks. Davis moved to Durham in the mid-'20s, by which time he was a full-time street musician. He was celebrated not only for the diversity of styles that his playing embraced, but also for his skills with the guitar, which were already virtually unmatched in the blues field.

Davis went into the recording studio for the first time in the '30s with the backing of a local businessman. Davis cut a mixture of blues and spirituals for the American Record Company label, but there was never an equitable agreement about payment for the recordings, and following these sessions, it was 19 years before he entered the studio again. During that period, he went through many changes. Like many other street buskers, Davis always interspersed gospel songs amid his blues and ragtime numbers, to make it harder for the police to interrupt him. He began taking the gospel material more seriously, and in 1937 he became an ordained minister. After that, he usually refused to perform any blues.

Davis moved to New York in the early '40s and began preaching and playing on street corners in Harlem. He recorded again at the end of the 1940s, with a pair of gospel songs, but it wasn't until the mid-'50s that a real following for his work began developing anew. His music, all of it now of a spiritual nature, began showing up on labels such as Stinson, Folkways, and Riverside, where he recorded seven songs in early 1956. Davis was "rediscovered" by the folk revival movement, and after some initial reticence, he agreed to perform as part of the budding folk music revival, appearing at the Newport Folk Festival, where his raspy voiced sung sermons; most notably his transcendent "Samson and Delilah (If I Had My Way)" -- a song most closely associated with Blind Willie Johnson -- and "Twelve Gates to the City," which were highlights of the proceedings for several years. He also recorded a live album for the Vanguard label at one such concert, as well as appearing on several Newport live anthology collections. He was also the subject of two television documentaries, one in 1967 and one in 1970.

Davis became one of the most popular players on the folk revival and blues revival scenes, playing before large and enthusiastic audiences; most of the songs that he performed were spirituals, but they weren't that far removed from the blues that he'd recorded in the 1930s, and his guitar technique was intact. Davis' skills as a player, on the jumbo Gibson acoustic models that he favored, were undiminished, and he was a startling figure to hear, picking and strumming complicated rhythms and counter-melodies. Davis became a teacher during this period, and his students included some very prominent white guitar players, including David Bromberg and the Jefferson Airplane's Jorma Kaukonen (who later recorded Davis' "I'll Be Alright" on his acclaimed solo album Quah!).

The Reverend Gary Davis left behind a fairly large body of modern (i.e. post-World War II) recordings, well into the 1960s, taking the revival of his career in his stride as a way of carrying the message of the gospel to a new generation. He even recorded anew some of his blues and ragtime standards in the studio, for the benefit of his students."
-Allmusic.com

Download Link: http://www.zshare.net/download/81638215f0504bdf/

Hallelujah!

Reverend Gary Davis- The Guitar & Banjo Of Reverend Gary Davis



Album Review:
"Because this is an all-instrumental recording, it's an offbeat entry into the catalog of a performer known both as an important guitarist and as a singer. Some might miss Davis' vocals on this 1964 recording, but on the other hand there are plenty of records with him singing around. This gives listeners a chance to hone in on his dexterous guitar skills, blending ragtime, folk, and blues, usually on guitar (though he plays banjo on a couple of songs, and harmonica on one). "Maple Leaf Rag" is a natural showcase for Davis' talents, and "Candy Man," which may be his most well-known song, is here presented without words, making for an interesting juxtaposition with more commonly heard versions on which he (or others) sings. As further evidence of his eclecticism, there's a version of "United States March aka Soldier's Drill" -- not the best format for his strengths, certainly, but an illustration of his ability to adapt his style to unexpected material."
-Allmusic.com

Download Link: http://www.zshare.net/download/8141986818467466/

Harp Wizard

Big Walter Horton- Mouth Harp Maestro



Album Review:
"Long before he arrived in Chicago, Horton was knocking 'em dead with his amplified harmonica wizardry in Memphis. Sam Phillips produced the classic sides that comprise much of this album in 1951, when Horton was billed as "Mumbles." Sizzling backup by guitarists Joe Hill Louis and Calvin Newborn urged the introverted harp giant on to dazzling heights on his earliest sides as a leader."
-Allmusic.com

Download Link: http://www.zshare.net/download/8121434147f50f58/

Highway 49

Big Joe Williams- The Sonet Blues Story



Biography:
"Big Joe Williams may have been the most cantankerous human being who ever walked the earth with guitar in hand. At the same time, he was an incredible blues musician: a gifted songwriter, a powerhouse vocalist, and an exceptional idiosyncratic guitarist. Despite his deserved reputation as a fighter (documented in Michael Bloomfield's bizarre booklet Me and Big Joe), artists who knew him well treated him as a respected elder statesman. Even so, they may not have chosen to play with him, because -- as with other older Delta artists -- if you played with him you played by his rules.

As protégé David "Honeyboy" Edwards described him, Williams in his early Delta days was a walking musician who played work camps, jukes, store porches, streets, and alleys from New Orleans to Chicago. He recorded through five decades for Vocalion, Okeh, Paramount, Bluebird, Prestige, Delmark, and many others. As a youngster, I met him in Delmark owner Bob Koester's store, the Jazz Record Mart. At the time, Big Joe was living there when not on his constant travels. According to Charlie Musselwhite, he and Big Joe kicked off the blues revival in Chicago in the '60s.

When I saw him playing at Mike Bloomfield's "blues night" at the Fickle Pickle, Williams was playing an electric nine-string guitar through a small ramshackle amp with a pie plate nailed to it and a beer can dangling against that. When he played, everything rattled but Big Joe himself. The total effect of this incredible apparatus produced the most buzzing, sizzling, African-sounding music I have ever heard.

Anyone who wants to learn Delta blues must one day come to grips with the idea that the guitar is a drum as well as a melody-producing instrument. A continuous, African-derived musical tradition emphasizing percussive techniques on stringed instruments from the banjo to the guitar can be heard in the music of Delta stalwarts Charley Patton, Fred McDowell, and Bukka White. Each employed decidedly percussive techniques, beating on his box, knocking on the neck, snapping the strings, or adding buzzing or sizzling effects to augment the instrument's percussive potential. However, Big Joe Williams, more than any other major recording artist, embodied the concept of guitar-as-drum, bashing out an incredible series of riffs on his G-tuned nine-string for over 60 years."
-Allmusic.com

Download Link: http://www.zshare.net/download/810968033af7508f/

Bluesiana

Herman E. Johnson & Smoky Babe- Louisiana Country Blues



Album Review:
"A reissue (on compact disc) of a reissue (on Arhoolie) of an album originally released on the Folk Lyric label, this combines two albums of Louisiana country blues material on one CD. Smoky Babe may have been a semi-pro musician, but the feel of the 12 sides suggests that he was full command of his powers when folklorist Dr. Harry Oster hit the "record" button. Combined with another album's worth of material from the equally obscure Herman E. Johnson (who performs four tracks on electric guitar in a most chaotic manner), this is back porch country blues of the highest order. Just because neither is a "famous name," don't let that keep you checking this superlative release out."
-Allmusic.com

Download Link: http://www.zshare.net/download/80865403e5b22582/

Foremost Guitar Picker

Blind Blake- All The Published Sides (Disc 5)



Album Review:
"As with many comprehensive pre-1940s blues sets, especially those devoted to artists who recorded on the old Paramount label, the five-CD All the Published Sides set is both a godsend and a study in frustration. Paramount wasn't known for its high-quality pressings when it was in business, and its bankruptcy in the early '30s and the destruction of its masters completed the picture, as far as sound quality. That said, this set is a modest improvement over Document Records' various Blind Blake CD issues of the late '80s, as well as being significantly cheaper; there's still plenty of noise on some of the tracks, and even the third version of "West Coast Blues" -- the best-sounding side on disc one -- contains some minor noise and slight distortion. This pattern is repeated throughout the 110 sides, very clean-sounding 78s juxtaposed with what must be the most abominable condition sources imaginable. Nowhere is this more frustrating than what ought to be a highlight of the entire set, "Papa Charlie and Blind Blake Talk About It, Pt. 1" and "Papa Charlie and Blind Blake Talk About It, Pt. 2," pairing the almost primordial bluesman Papa Charlie Jackson with Blake -- yet neither side is in good enough shape to yield more than the most minimally audible playing and vocals; it's just possible to make use of that material, and it is followed by two wonderfully clean-sounding sides featuring Blake and "Chocolate Brown" Irene Scruggs, on which every nuance of his playing can be heard, and then two more that are in wretched shape. Those wildly variable tracks, however, pale next to the dazzling displays of music dexterity that pour out of Blake's fingers and off of his guitar -- he may well have been one of the great virtuoso talents of the 20th century, as you're reminded constantly on these CDs -- and his nearly as impressive vocal skills. The annotation is reasonably thorough if a bit repetitive; there's just not that much known about Blake's life or career -- the producers do appreciate the significance of such matters as his momentary move toward gospel music on "Beulah Land," and provide plenty about his occasional sidemen and collaborators, but basically this set is a lot like his whole legacy, brimming over with talent supported by precious little information."
-Allmusic.com

Download Link: http://www.zshare.net/download/80689273eaa229b9/

Babe's Rhythm

Smoky Babe- Hottest Brand Goin'



Album Review:
"In an ideal world, singer/acoustic guitarist Smoky Babe would have left behind a huge catalog. But, regrettably, the southern bluesman wasn't well known, and he only recorded a few albums. One of them was Hottest Brand Goin', which was recorded for Prestige's Bluesville label in Baton Rouge, LA, in 1961, and was reissued on CD for Fantasy's Original Blues Classics (OBC) series in 2001. Everything on this album is pure, unadulterated acoustic country blues; however, Babe doesn't embrace any one style of country blues exclusively. A Mississippi native who moved to Louisiana, Babe gets his inspiration from a variety of southern sources. The Louisiana influence is present, but his approach also owes something to Mississippi Delta blues (Robert Johnson, Mississippi John Hurt) as well as Piedmont blues (Sonny Terry & Brownie McGhee) and Texas blues (Lightnin' Hopkins). The Hopkins influence is prominent -- "Long Way from Home," "Cold Cold Snow," and "Insect Blues" are the sort of moody, dusky gems that Hopkins would have embraced -- and yet, you can't overlook the Louisiana, Mississippi, and Georgia influences that also do their part to enrich this CD. Babe's vocals are soulful and authoritative, his acoustic guitar playing rugged and gritty. Most of the time, Babe is unaccompanied, although three selections find him joined by either Clyde Causey or Henry Thomas on harmonica. Again, it's most regrettable that Babe didn't do a lot more recording, but it's better to have only a few albums by him than none at all -- and Hottest Brand Goin' is enthusiastically recommended to lovers of earthy, unpretentious southern country blues."
-Allmusic.com

Download Link: http://www.zshare.net/download/80622822bab26bc3/

Paramount's Guitar Superstar

Blind Blake- All The Published Sides (Disc 4)



Album Review:
"As with many comprehensive pre-1940s blues sets, especially those devoted to artists who recorded on the old Paramount label, the five-CD All the Published Sides set is both a godsend and a study in frustration. Paramount wasn't known for its high-quality pressings when it was in business, and its bankruptcy in the early '30s and the destruction of its masters completed the picture, as far as sound quality. That said, this set is a modest improvement over Document Records' various Blind Blake CD issues of the late '80s, as well as being significantly cheaper; there's still plenty of noise on some of the tracks, and even the third version of "West Coast Blues" -- the best-sounding side on disc one -- contains some minor noise and slight distortion. This pattern is repeated throughout the 110 sides, very clean-sounding 78s juxtaposed with what must be the most abominable condition sources imaginable. Nowhere is this more frustrating than what ought to be a highlight of the entire set, "Papa Charlie and Blind Blake Talk About It, Pt. 1" and "Papa Charlie and Blind Blake Talk About It, Pt. 2," pairing the almost primordial bluesman Papa Charlie Jackson with Blake -- yet neither side is in good enough shape to yield more than the most minimally audible playing and vocals; it's just possible to make use of that material, and it is followed by two wonderfully clean-sounding sides featuring Blake and "Chocolate Brown" Irene Scruggs, on which every nuance of his playing can be heard, and then two more that are in wretched shape. Those wildly variable tracks, however, pale next to the dazzling displays of music dexterity that pour out of Blake's fingers and off of his guitar -- he may well have been one of the great virtuoso talents of the 20th century, as you're reminded constantly on these CDs -- and his nearly as impressive vocal skills. The annotation is reasonably thorough if a bit repetitive; there's just not that much known about Blake's life or career -- the producers do appreciate the significance of such matters as his momentary move toward gospel music on "Beulah Land," and provide plenty about his occasional sidemen and collaborators, but basically this set is a lot like his whole legacy, brimming over with talent supported by precious little information."
-Allmusic.com

Download Link: http://www.zshare.net/download/8062219548f78023/

Too Tight

Blind Blake- All The Published Sides (Disc 3)



Album Review:
"As with many comprehensive pre-1940s blues sets, especially those devoted to artists who recorded on the old Paramount label, the five-CD All the Published Sides set is both a godsend and a study in frustration. Paramount wasn't known for its high-quality pressings when it was in business, and its bankruptcy in the early '30s and the destruction of its masters completed the picture, as far as sound quality. That said, this set is a modest improvement over Document Records' various Blind Blake CD issues of the late '80s, as well as being significantly cheaper; there's still plenty of noise on some of the tracks, and even the third version of "West Coast Blues" -- the best-sounding side on disc one -- contains some minor noise and slight distortion. This pattern is repeated throughout the 110 sides, very clean-sounding 78s juxtaposed with what must be the most abominable condition sources imaginable. Nowhere is this more frustrating than what ought to be a highlight of the entire set, "Papa Charlie and Blind Blake Talk About It, Pt. 1" and "Papa Charlie and Blind Blake Talk About It, Pt. 2," pairing the almost primordial bluesman Papa Charlie Jackson with Blake -- yet neither side is in good enough shape to yield more than the most minimally audible playing and vocals; it's just possible to make use of that material, and it is followed by two wonderfully clean-sounding sides featuring Blake and "Chocolate Brown" Irene Scruggs, on which every nuance of his playing can be heard, and then two more that are in wretched shape. Those wildly variable tracks, however, pale next to the dazzling displays of music dexterity that pour out of Blake's fingers and off of his guitar -- he may well have been one of the great virtuoso talents of the 20th century, as you're reminded constantly on these CDs -- and his nearly as impressive vocal skills. The annotation is reasonably thorough if a bit repetitive; there's just not that much known about Blake's life or career -- the producers do appreciate the significance of such matters as his momentary move toward gospel music on "Beulah Land," and provide plenty about his occasional sidemen and collaborators, but basically this set is a lot like his whole legacy, brimming over with talent supported by precious little information."
-Allmusic.com

Download Link: http://www.zshare.net/download/80586858e3df679e/

Blind Blake And His Guitar

Blind Blake- All The Published Sides (Disc 2)



Album Review:
"As with many comprehensive pre-1940s blues sets, especially those devoted to artists who recorded on the old Paramount label, the five-CD All the Published Sides set is both a godsend and a study in frustration. Paramount wasn't known for its high-quality pressings when it was in business, and its bankruptcy in the early '30s and the destruction of its masters completed the picture, as far as sound quality. That said, this set is a modest improvement over Document Records' various Blind Blake CD issues of the late '80s, as well as being significantly cheaper; there's still plenty of noise on some of the tracks, and even the third version of "West Coast Blues" -- the best-sounding side on disc one -- contains some minor noise and slight distortion. This pattern is repeated throughout the 110 sides, very clean-sounding 78s juxtaposed with what must be the most abominable condition sources imaginable. Nowhere is this more frustrating than what ought to be a highlight of the entire set, "Papa Charlie and Blind Blake Talk About It, Pt. 1" and "Papa Charlie and Blind Blake Talk About It, Pt. 2," pairing the almost primordial bluesman Papa Charlie Jackson with Blake -- yet neither side is in good enough shape to yield more than the most minimally audible playing and vocals; it's just possible to make use of that material, and it is followed by two wonderfully clean-sounding sides featuring Blake and "Chocolate Brown" Irene Scruggs, on which every nuance of his playing can be heard, and then two more that are in wretched shape. Those wildly variable tracks, however, pale next to the dazzling displays of music dexterity that pour out of Blake's fingers and off of his guitar -- he may well have been one of the great virtuoso talents of the 20th century, as you're reminded constantly on these CDs -- and his nearly as impressive vocal skills. The annotation is reasonably thorough if a bit repetitive; there's just not that much known about Blake's life or career -- the producers do appreciate the significance of such matters as his momentary move toward gospel music on "Beulah Land," and provide plenty about his occasional sidemen and collaborators, but basically this set is a lot like his whole legacy, brimming over with talent supported by precious little information."
-Allmusic.com

Download Link: http://www.zshare.net/download/80485648d045b9d9/

Doin' That Rag

Blind Blake- All The Published Sides (Disc 1)



Album Review:
"As with many comprehensive pre-1940s blues sets, especially those devoted to artists who recorded on the old Paramount label, the five-CD All the Published Sides set is both a godsend and a study in frustration. Paramount wasn't known for its high-quality pressings when it was in business, and its bankruptcy in the early '30s and the destruction of its masters completed the picture, as far as sound quality. That said, this set is a modest improvement over Document Records' various Blind Blake CD issues of the late '80s, as well as being significantly cheaper; there's still plenty of noise on some of the tracks, and even the third version of "West Coast Blues" -- the best-sounding side on disc one -- contains some minor noise and slight distortion. This pattern is repeated throughout the 110 sides, very clean-sounding 78s juxtaposed with what must be the most abominable condition sources imaginable. Nowhere is this more frustrating than what ought to be a highlight of the entire set, "Papa Charlie and Blind Blake Talk About It, Pt. 1" and "Papa Charlie and Blind Blake Talk About It, Pt. 2," pairing the almost primordial bluesman Papa Charlie Jackson with Blake -- yet neither side is in good enough shape to yield more than the most minimally audible playing and vocals; it's just possible to make use of that material, and it is followed by two wonderfully clean-sounding sides featuring Blake and "Chocolate Brown" Irene Scruggs, on which every nuance of his playing can be heard, and then two more that are in wretched shape. Those wildly variable tracks, however, pale next to the dazzling displays of music dexterity that pour out of Blake's fingers and off of his guitar -- he may well have been one of the great virtuoso talents of the 20th century, as you're reminded constantly on these CDs -- and his nearly as impressive vocal skills. The annotation is reasonably thorough if a bit repetitive; there's just not that much known about Blake's life or career -- the producers do appreciate the significance of such matters as his momentary move toward gospel music on "Beulah Land," and provide plenty about his occasional sidemen and collaborators, but basically this set is a lot like his whole legacy, brimming over with talent supported by precious little information. "
-Allmusic.com

Download Link: http://www.zshare.net/download/8041610095b69c19/

Shake Your Boogie

Big Joe Williams- Blues For 9 Strings



Biography:
"Big Joe Williams may have been the most cantankerous human being who ever walked the earth with guitar in hand. At the same time, he was an incredible blues musician: a gifted songwriter, a powerhouse vocalist, and an exceptional idiosyncratic guitarist. Despite his deserved reputation as a fighter (documented in Michael Bloomfield's bizarre booklet Me and Big Joe), artists who knew him well treated him as a respected elder statesman. Even so, they may not have chosen to play with him, because -- as with other older Delta artists -- if you played with him you played by his rules.

As protégé David "Honeyboy" Edwards described him, Williams in his early Delta days was a walking musician who played work camps, jukes, store porches, streets, and alleys from New Orleans to Chicago. He recorded through five decades for Vocalion, Okeh, Paramount, Bluebird, Prestige, Delmark, and many others. As a youngster, I met him in Delmark owner Bob Koester's store, the Jazz Record Mart. At the time, Big Joe was living there when not on his constant travels. According to Charlie Musselwhite, he and Big Joe kicked off the blues revival in Chicago in the '60s.

When I saw him playing at Mike Bloomfield's "blues night" at the Fickle Pickle, Williams was playing an electric nine-string guitar through a small ramshackle amp with a pie plate nailed to it and a beer can dangling against that. When he played, everything rattled but Big Joe himself. The total effect of this incredible apparatus produced the most buzzing, sizzling, African-sounding music I have ever heard.

Anyone who wants to learn Delta blues must one day come to grips with the idea that the guitar is a drum as well as a melody-producing instrument. A continuous, African-derived musical tradition emphasizing percussive techniques on stringed instruments from the banjo to the guitar can be heard in the music of Delta stalwarts Charley Patton, Fred McDowell, and Bukka White. Each employed decidedly percussive techniques, beating on his box, knocking on the neck, snapping the strings, or adding buzzing or sizzling effects to augment the instrument's percussive potential. However, Big Joe Williams, more than any other major recording artist, embodied the concept of guitar-as-drum, bashing out an incredible series of riffs on his G-tuned nine-string for over 60 years."
-Allmusic.com

Download Link: http://www.zshare.net/download/8025142790b25701/

Memphis Blues Jam

Furry Lewis, Bukka White & Friends- Party! At Home: Recorded In Memphis 1968



Album Review:
"Party! At Home: Recorded in Memphis 1968 is a fascinating document of two old country blues players, Bukka White and Furry Lewis, playing and talking in a completely relaxed, small-party session, surrounded by friends, none of whom treat the recording going on with any special reverence, meaning the whole set sounds exactly like what it is: a party. Recorded by Bob West in three sessions (one at the home of Albino Red and the other two at Lewis' apartment) in 1968 in Memphis and originally released on LP in 1972 (minus the talking and laughing), it remains one of the most intimate glimpses of the country blues in a neutral setting ever captured on tape. While there are some strong musical performances here by both White ("Hambone Blues") and Lewis (a beautifully natural rendition of "Let Me Call You Sweetheart"), its chief function is historical, letting the light in behind the scenes. The joy the folks at the party have in each other is uplifting, and the music is a bonus. It doesn't add anything startling to the cache of either blues player, but it will make you smile."
-Allmusic.com

Download Link: http://www.zshare.net/download/802140695435f82d/

Did They Even Try?

The Blues- Red, White And Blues



Here is The Blues in all of its glory, or, perhaps, shame. This highly flawed series is unfortunately the longest Blues documentary we have. If you're a serious fan of the music, which you probably are, I highly suggest the Down The Tracks documentaries on Led Zeppelin and Bob Dylan, as they have more to do with Blues than this mess. Chasin' Gus' Ghost is also a fantastic Blues and Blues-related documentary. Anyway, let me know what you think of this disastrous series.

Downloading Instructions:
1) Download file below
2) Download GOM Player from Download.com
3) Play downloaded documentary in GOM Player. It will probably ask you to find/download a special Codec. Kindly agree!
4) Install whatever it is they want you to
5) Watch documentary

Download Link: http://www.zshare.net/download/8016661956444097/

Steady Rollin'

Robert Johnson- Legendary Blues 2



Biography:
"If the blues has a truly mythic figure, one whose story hangs over the music the way a Charlie Parker does over jazz or a Hank Williams does over country, it's Robert Johnson, certainly the most celebrated figure in the history of the blues. Of course, his legend is immensely fortified by the fact that Johnson also left behind a small legacy of recordings that are considered the emotional apex of the music itself. These recordings have not only entered the realm of blues standards ("Love in Vain," "Crossroads," "Sweet Home Chicago," "Stop Breaking Down"), but were adapted by rock & roll artists as diverse as the Rolling Stones, Steve Miller, Led Zeppelin, and Eric Clapton. While there are historical naysayers who would be more comfortable downplaying his skills and achievements (most of whom have never made a convincing case as where the source of his apocalyptic visions emanates from), Robert Johnson remains a potent force to be reckoned with. As a singer, a composer, and as a guitarist of considerable skills, he produced some of the genre's best music and the ultimate blues legend to deal with. Doomed, haunted, driven by demons, a tormented genius dead at an early age, all of these add up to making him a character of mythology who -- if he hadn't actually existed -- would have to be created by some biographer's overactive romantic imagination.

The legend of his life -- which by now, even folks who don't know anything about the blues can cite to you chapter and verse -- goes something like this: Robert Johnson was a young black man living on a plantation in rural Mississippi. Branded with a burning desire to become great blues musician, he was instructed to take his guitar to a crossroad near Dockery's plantation at midnight. There he was met by a large black man (the Devil) who took the guitar from Johnson, tuned it, and handed it back to him. Within less than a year's time, in exchange for his everlasting soul, Robert Johnson became the king of the Delta blues singers, able to play, sing, and create the greatest blues anyone had ever heard.

As success came with live performances and phonograph recordings, Johnson remained tormented, constantly haunted by nightmares of hellhounds on his trail, his pain and mental anguish finding release only in the writing and performing of his music. Just as he was to be brought to Carnegie Hall to perform in John Hammond's first Spirituals to Swing concert, the news had come from Mississippi; Robert Johnson was dead, poisoned by a jealous girlfriend while playing a jook joint. Those who were there swear he was last seen alive foaming at the mouth, crawling around on all fours, hissing and snapping at onlookers like a mad dog. His dying words (either spoken or written on a piece of scrap paper) were, "I pray that my redeemer will come and take me from my grave." He was buried in a pine box in an unmarked grave, his deal with the Devil at an end.

Of course, Johnson's influences in the real world were far more disparate than the legend suggests, no matter how many times it's been retold or embellished. As a teenage plantation worker, Johnson fooled with a harmonica a little bit, but seemingly had no major musical skills to speak of. Every attempt to sit in with local titans of the stature of Son House, Charley Patton, Willie Brown, and others brought howls of derision from the older bluesmen. Son House: "We'd all play for the Saturday night balls, and there'd be this little boy hanging around. That was Robert Johnson. He blew a harmonica then, and he was pretty good at that, but he wanted to play a guitar. He'd sit at our feet and play during the breaks and such another racket you'd never heard." He married young and left Robinsonville, wandering the Delta and using Hazelhurst as base, determined to become a full-time professional musician after his first wife died during childbirth. Johnson returned to Robinsonville a few years later and he encountered House and Willie Brown at a juke joint in Banks, MS; according to House, "When he finished all our mouths were standing open. I said, 'Well, ain't that fast! He's gone now!'" To a man, there was only one explanation as how Johnson had gotten that good, that fast; he had sold his soul to the Devil.

But Johnson's skills were acquired in a far more conventional manner, born more of a concentrated Christian work ethic than a Faustian bargain with old Scratch. He idolized the Delta recording star Lonnie Johnson -- sometimes introducing himself to newcomers as "Robert Lonnie, one of the Johnson brothers" -- and the music of Scrapper Blackwell, Skip James, and Kokomo Arnold were all inspirational elements that he drew his unique style from. His slide style certainly came from hours of watching local stars like Charley Patton and Son House, among others. Perhaps the biggest influence, however, came from an unrecorded bluesman named Ike Zinneman. We'll never really know what Zinneman's music sounded like (we do know from various reports that he liked to practice late at night in the local graveyard, sitting on tombstones while he strummed away) or how much of his personal muse he imparted to Johnson, if any. What is known is that after a year or so under Zinneman's tutelage, Johnson returned with an encyclopedic knowledge of his instrument, an ability to sing and play in a multiplicity of styles, and a very carefully worked-out approach to song construction, keeping his original lyrics with him in a personal digest. As an itinerant musician, playing at country suppers as well as on the street, his audience demanded someone who could play and sing everything from blues pieces to the pop and hillbilly tunes of the day. Johnson's talents could cover all of that and more. His most enduring contribution, the boogie bass line played on the bottom strings of the guitar (adapted from piano players), has become part-and-parcel of the sound most people associate with down-home blues. It is a sound so very much of a part of the music's fabric that the listener cannot imagine the styles of Jimmy Reed, Elmore James, Eddie Taylor, Lightnin' Slim, Hound Dog Taylor, or a hundred lesser lights existing without that essential component part. As his playing partner Johnny Shines put it, "Some of the things that Robert did with the guitar affected the way everybody played. He'd do rundowns and turnbacks. He'd do repeats. None of this was being done. In the early '30s, boogie on the guitar was rare, something to be heard. Because of Robert, people learned to complement theirselves, carrying their own bass as their own lead with this one instrument." While his music can certainly be put in context as part of a definable tradition, what he did with it and where he took it was another matter entirely.

Although Robert Johnson never recorded near as much as Lonnie Johnson, Charley Patton, or Blind Lemon Jefferson, he certainly traveled more than all of them put together. After his first recordings came out and "Terraplane Blues" became his signature tune (a so-called "race" record selling over three or four-thousand copies back in the early to mid-'30s was considered a hit), Johnson hit the road, playing anywhere and everywhere he could. Instilled with a seemingly unquenchable desire to experience new places and things, his wandering nature took him up and down the Delta and as far a field as St. Louis, Chicago, and Detroit (where he performed over the radio on the Elder Moten Hour), places Son House and Charley Patton had only seen in the movies, if that. But the end came at a Saturday-night dance at a juke joint in Three Forks, MS, in August of 1938. Playing with Honeyboy Edwards and Sonny Boy Williamson (Rice Miller), Johnson was given a jug of moonshine whiskey laced with either poison or lye, presumably by the husband of a woman the singer had made advances toward. He continued playing into the night until he was too sick to continue, then brought back to a boarding house in Greenwood, some 15 miles away. He lay sick for several days, successfully sweating the poison out of his system, but caught pneumonia as a result and died on August 16th. The legend was just beginning.

In the mid-'60s, Columbia Records released King of the Delta Blues Singers, the first compilation of Johnson's music and one of the earliest collections of pure country blues. Rife with liner notes full of romantic speculation, little in the way of hard information and a painting standing for a picture, this for years was the world's sole introduction to the music and the legend, doing much to promote both. A second volume -- collecting up the other master takes and issuing a few of the alternates -- was released in the '70s, giving fans a first-hand listen to music that had been only circulated through bootleg tapes and albums or cover versions by English rock stars. Finally in 1990 -- after years of litigation -- a complete two-CD box set was released with every scrap of Johnson material known to exist plus the holy grail of the blues; the publishing of the only two known photographs of the man himself. Columbia's parent company, Sony, was hoping that sales would maybe hit 20,000. The box set went on to sell over a million units, the first blues recordings ever to do so.

In the intervening years since the release of the box set, Johnson's name and likeness has become a cottage growth merchandising industry. Posters, postcards, t-shirts, guitar picks, strings, straps, and polishing cloths -- all bearing either his likeness or signature (taken from his second marriage certificate) -- have become available, making him the ultimate blues commodity with his image being reproduced for profit far more than any contemporary bluesman, dead or alive. Although the man himself (and his contemporaries) could never have imagined it in a million years, the music and the legend both live on."
-Allmusic.com

Download Link: http://www.zshare.net/download/80140318686f24c4/

Robert Johnson, Pristine Sound

Robert Johnson- Legendary Blues



Biography:
"If the blues has a truly mythic figure, one whose story hangs over the music the way a Charlie Parker does over jazz or a Hank Williams does over country, it's Robert Johnson, certainly the most celebrated figure in the history of the blues. Of course, his legend is immensely fortified by the fact that Johnson also left behind a small legacy of recordings that are considered the emotional apex of the music itself. These recordings have not only entered the realm of blues standards ("Love in Vain," "Crossroads," "Sweet Home Chicago," "Stop Breaking Down"), but were adapted by rock & roll artists as diverse as the Rolling Stones, Steve Miller, Led Zeppelin, and Eric Clapton. While there are historical naysayers who would be more comfortable downplaying his skills and achievements (most of whom have never made a convincing case as where the source of his apocalyptic visions emanates from), Robert Johnson remains a potent force to be reckoned with. As a singer, a composer, and as a guitarist of considerable skills, he produced some of the genre's best music and the ultimate blues legend to deal with. Doomed, haunted, driven by demons, a tormented genius dead at an early age, all of these add up to making him a character of mythology who -- if he hadn't actually existed -- would have to be created by some biographer's overactive romantic imagination.

The legend of his life -- which by now, even folks who don't know anything about the blues can cite to you chapter and verse -- goes something like this: Robert Johnson was a young black man living on a plantation in rural Mississippi. Branded with a burning desire to become great blues musician, he was instructed to take his guitar to a crossroad near Dockery's plantation at midnight. There he was met by a large black man (the Devil) who took the guitar from Johnson, tuned it, and handed it back to him. Within less than a year's time, in exchange for his everlasting soul, Robert Johnson became the king of the Delta blues singers, able to play, sing, and create the greatest blues anyone had ever heard.

As success came with live performances and phonograph recordings, Johnson remained tormented, constantly haunted by nightmares of hellhounds on his trail, his pain and mental anguish finding release only in the writing and performing of his music. Just as he was to be brought to Carnegie Hall to perform in John Hammond's first Spirituals to Swing concert, the news had come from Mississippi; Robert Johnson was dead, poisoned by a jealous girlfriend while playing a jook joint. Those who were there swear he was last seen alive foaming at the mouth, crawling around on all fours, hissing and snapping at onlookers like a mad dog. His dying words (either spoken or written on a piece of scrap paper) were, "I pray that my redeemer will come and take me from my grave." He was buried in a pine box in an unmarked grave, his deal with the Devil at an end.

Of course, Johnson's influences in the real world were far more disparate than the legend suggests, no matter how many times it's been retold or embellished. As a teenage plantation worker, Johnson fooled with a harmonica a little bit, but seemingly had no major musical skills to speak of. Every attempt to sit in with local titans of the stature of Son House, Charley Patton, Willie Brown, and others brought howls of derision from the older bluesmen. Son House: "We'd all play for the Saturday night balls, and there'd be this little boy hanging around. That was Robert Johnson. He blew a harmonica then, and he was pretty good at that, but he wanted to play a guitar. He'd sit at our feet and play during the breaks and such another racket you'd never heard." He married young and left Robinsonville, wandering the Delta and using Hazelhurst as base, determined to become a full-time professional musician after his first wife died during childbirth. Johnson returned to Robinsonville a few years later and he encountered House and Willie Brown at a juke joint in Banks, MS; according to House, "When he finished all our mouths were standing open. I said, 'Well, ain't that fast! He's gone now!'" To a man, there was only one explanation as how Johnson had gotten that good, that fast; he had sold his soul to the Devil.

But Johnson's skills were acquired in a far more conventional manner, born more of a concentrated Christian work ethic than a Faustian bargain with old Scratch. He idolized the Delta recording star Lonnie Johnson -- sometimes introducing himself to newcomers as "Robert Lonnie, one of the Johnson brothers" -- and the music of Scrapper Blackwell, Skip James, and Kokomo Arnold were all inspirational elements that he drew his unique style from. His slide style certainly came from hours of watching local stars like Charley Patton and Son House, among others. Perhaps the biggest influence, however, came from an unrecorded bluesman named Ike Zinneman. We'll never really know what Zinneman's music sounded like (we do know from various reports that he liked to practice late at night in the local graveyard, sitting on tombstones while he strummed away) or how much of his personal muse he imparted to Johnson, if any. What is known is that after a year or so under Zinneman's tutelage, Johnson returned with an encyclopedic knowledge of his instrument, an ability to sing and play in a multiplicity of styles, and a very carefully worked-out approach to song construction, keeping his original lyrics with him in a personal digest. As an itinerant musician, playing at country suppers as well as on the street, his audience demanded someone who could play and sing everything from blues pieces to the pop and hillbilly tunes of the day. Johnson's talents could cover all of that and more. His most enduring contribution, the boogie bass line played on the bottom strings of the guitar (adapted from piano players), has become part-and-parcel of the sound most people associate with down-home blues. It is a sound so very much of a part of the music's fabric that the listener cannot imagine the styles of Jimmy Reed, Elmore James, Eddie Taylor, Lightnin' Slim, Hound Dog Taylor, or a hundred lesser lights existing without that essential component part. As his playing partner Johnny Shines put it, "Some of the things that Robert did with the guitar affected the way everybody played. He'd do rundowns and turnbacks. He'd do repeats. None of this was being done. In the early '30s, boogie on the guitar was rare, something to be heard. Because of Robert, people learned to complement theirselves, carrying their own bass as their own lead with this one instrument." While his music can certainly be put in context as part of a definable tradition, what he did with it and where he took it was another matter entirely.

Although Robert Johnson never recorded near as much as Lonnie Johnson, Charley Patton, or Blind Lemon Jefferson, he certainly traveled more than all of them put together. After his first recordings came out and "Terraplane Blues" became his signature tune (a so-called "race" record selling over three or four-thousand copies back in the early to mid-'30s was considered a hit), Johnson hit the road, playing anywhere and everywhere he could. Instilled with a seemingly unquenchable desire to experience new places and things, his wandering nature took him up and down the Delta and as far a field as St. Louis, Chicago, and Detroit (where he performed over the radio on the Elder Moten Hour), places Son House and Charley Patton had only seen in the movies, if that. But the end came at a Saturday-night dance at a juke joint in Three Forks, MS, in August of 1938. Playing with Honeyboy Edwards and Sonny Boy Williamson (Rice Miller), Johnson was given a jug of moonshine whiskey laced with either poison or lye, presumably by the husband of a woman the singer had made advances toward. He continued playing into the night until he was too sick to continue, then brought back to a boarding house in Greenwood, some 15 miles away. He lay sick for several days, successfully sweating the poison out of his system, but caught pneumonia as a result and died on August 16th. The legend was just beginning.

In the mid-'60s, Columbia Records released King of the Delta Blues Singers, the first compilation of Johnson's music and one of the earliest collections of pure country blues. Rife with liner notes full of romantic speculation, little in the way of hard information and a painting standing for a picture, this for years was the world's sole introduction to the music and the legend, doing much to promote both. A second volume -- collecting up the other master takes and issuing a few of the alternates -- was released in the '70s, giving fans a first-hand listen to music that had been only circulated through bootleg tapes and albums or cover versions by English rock stars. Finally in 1990 -- after years of litigation -- a complete two-CD box set was released with every scrap of Johnson material known to exist plus the holy grail of the blues; the publishing of the only two known photographs of the man himself. Columbia's parent company, Sony, was hoping that sales would maybe hit 20,000. The box set went on to sell over a million units, the first blues recordings ever to do so.

In the intervening years since the release of the box set, Johnson's name and likeness has become a cottage growth merchandising industry. Posters, postcards, t-shirts, guitar picks, strings, straps, and polishing cloths -- all bearing either his likeness or signature (taken from his second marriage certificate) -- have become available, making him the ultimate blues commodity with his image being reproduced for profit far more than any contemporary bluesman, dead or alive. Although the man himself (and his contemporaries) could never have imagined it in a million years, the music and the legend both live on."
-Allmusic.com

Download Link: http://www.zshare.net/download/80044502ed26e0ee/