Monday, September 27, 2010

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/

Wednesday, September 22, 2010

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/

Monday, September 20, 2010

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/

Sunday, September 19, 2010

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/

Thursday, September 16, 2010

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/

Wednesday, September 15, 2010

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/

Thursday, September 9, 2010

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/

Wednesday, September 8, 2010

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/

Tuesday, September 7, 2010

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/

Monday, September 6, 2010

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/

Friday, September 3, 2010

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/

Thursday, September 2, 2010

Where Do The Blues Come From?

I'd like to give a big thanks to everyone for their kind words regarding the Jelly Roll Morton posts. Unfortunately, I do not have the PDF file that accompanies the set. If anyone buys the actual product or receives the expensive thing for a birthday gift, feel free to scan the PDF file. There are some things that one feels inclined to purchase despite having downloaded the audio in its entirety, and this is one of them.

I want to give a special thanks to Olde Edo for the exhaustive track listings that he provided us. I'm just curious if any of the songs were improperly labeled, Olde.

I'd like to take this time to urge you all to take a look at Elijah Wald's Escaping the Delta: Robert Johnson and the Invention of the Blues. It's a fantastic book that takes a much-needed second look at what the word Blues actually means. The entire book revolves around how African Americans' taste in Blues and what they perceived to be Blues during the golden age of recording is totally different from how whites subsequently defined the music. The majority of black Blues fans and musicians seemed to view Blues not as a primal cry expressing great sorrow, but as a modern popular music that was deeply associated with escaping conditions in the South and the promise of moving to cities like Chicago and St. Louis and driving nice cars. Wald also says- get this- that there's no more of a reason to think that Ma Rainey and the Classic Blues singers' music came from guys like Garfield Akers, Son House, Texas Alexander, etc., than there is to think that the countrified Blues players borrowed heavily from the Blues queens because their performances and subsequent records were received so well. Mr. Wald also states that what we hear on the records of the masters from the '20s and '30s is an incomplete picture of their repertoire. He says that record companies demanded 12-bar Blues songs from black musicians who were equally adept at playing waltzes, Pop songs, Hillbilly, Polish folk songs, etc. Wald even makes a claim that it's quite possible that the 12-bar Blues developed in New Orleans, a gigantic port city which exerted a great influence upon every place from Florida to St. Louis. Perhaps Mr. Morton would be happy to hear me say this. On another note, we have a book called Devil at the Confluence which asserts that Blues developed in St. Louis and not in Mississippi, and we have information from Youtube phenom Little Brother Blues that Curley Weaver's daughter said her grandfather was playing "No No Blues" in the 1880s! This would lead us to Nobody Knows Where the Blues Come From, a book I'm strongly looking forward to reading.

So, what are your thoughts on this?