The American Folk Blues Festival 1962-1969, Vol. 3 (1969) Review

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The American Folk Blues Festival 1962-1969, Vol. 3 (1969) ReviewI have been collecting the audio discs of "The American Folk Blues Festival" for many years with great anticipation that the mythic video documents would someday be released. Happily those and some new performances are included on this DVD output along with the others in the series. The performances are absolute gems. This disc is a mix of studio and live performances that are so great they bring a tear of joy to my eye. Most of the performers were so rarely filmed that it is a real delight to see them perform. The set list is identified above, but it is worthy of note that the musicians backing up the "A" list track artists are a who's who of blues legends.
I can't pick a favorite cut as they are all wonderful, but to see Otis Rush backing Big Joe Turner, or the ultra rare filmed appearance of Little Walter blowing harp for Hound Dog Taylor (four years before Hound Dog's stellar Alligator debut incidentally), or Buddy Guy's super cool reading of "Out Of Site", or the main man, T-Bone Walker, backing Helen Humes, etc. is a treat beyond explanation. The amazing Earl Hooker and Muddy Waters are bonus track features with Paul Oscher making a very cool appearance on "Got My Mojo Working." Run time is about an hour on this disc.
If you are a fan of music, especially blues, then you need this three volume DVD set, now.
The American Folk Blues Festival 1962-1969, Vol. 3 (1969) OverviewTracklistings 1. BIG MAMA THORNTON- Hound Dog 2. ROOSEVELT SYKES- Gulfport Boogie 3. BUDDY GUY- Out Of Sight 4. DR. ISAIAH ROSS- Feel So Good 5. JOE TURNER- Flip, Flop & Fly 6. SKIP JAMES- All Night Long 7. SKIP JAMES- Crow Jane 8. BUKKA WHITE Got Sick & Tired 9. SON HOUSE Death Letter Blues 10. HOUND DOG TAYLOR Wild About You 11. KOKO TAYLOR Wang Dang Doodle 12. SONNY TERRY & BROWNIE McGHEE-Stranger Blues 12. SONNY TERRY & BROWNIE McGHEE- Burnt Child (Afraid of Fire) 14. SONNY TERRY & BROWNIE McGHEE-Gonna Move Across The River 15. HELEN HUMES- THe Blues Ain't Nothing' But A Women BONUS TRACKS: 16. EARL HOOKER- Earl's Boogie 17. MUDDY WATERS- Long Distance Call & 16. MUDDY WATERS-I Got My Mojo Working

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The Very Best Of John Lee Hooker Review

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The Very Best Of John Lee Hooker ReviewEvery once in a while, a budget disc comes along that is surprisingly good. Such is the case with Rhino Records release of "The Very Best of John Lee Hooker." On this release, Rhino combines 16 stand out tracks and some nice liner notes which briefly describe the man as well as the origin of each of the tracks. The selection of songs range from Hooker's signature "Boogie Chillen'" recorded in 1948 through "Terraplane Blues" recorded with slide man Roy Rogers in 1987. This is not a comprehensive collection nor was it ever intended to be. Instead, you get a flavor for a younger John Lee Hooker and his amazing guitar work. The recording quality is excellent especially considering the age of the songs. Well worth the purchase.The Very Best Of John Lee Hooker Overview

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The Slide Guitar: Bottles, Knives & Steel Review

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The Slide Guitar: Bottles, Knives & Steel ReviewEternal thanks to Thomas Edison for inventing recording when he did because, had it been delayed for many more years, much of what you hear in this magnificent 1990 release from Sony/Columbia, which presents artists ranging from legends to the virtually unknown, may well have been just a dim memory.
Those that fall into the legend category are immediately recognizable, led by the master of the 12-string guitar (he could also play the accordion and concertina, violin, piano, mandolin, and harp or harmonica) Huddie William Ledbetter, better known as Lead Belly (or Leadbelly as he is sometimes listed). Born in January 1888, he left behind an extensive catalogue of Folk standards when he died on December 6, 1949, including this previously-lost version of Packin' Trunk Blues. Another in that vein is Robert Leroy Johnson, born May 8, 1911, a Delta Blues master whose singing, guitar, and song-writing skills influenced so many later arrivals (among them Muddy Waters, Bob Dylan, Jimi Hendrix, Led Zeppelin, The Rolling Stones, Jeff Beck, Jack White, and Eric Clapton) that, in its first year of existence in 1986, the Rock & Roll Hall Of Fame inducted him in the Early Influence Category (Lead Belly was also so honoured in 1988). Indeed, often called the Grandfather Of Rock `N' Roll, Clapton flat-out called him "the most important blues musician who ever lived" (and he didn't live long, passing away at age 27 on August 16, 1938). One listen to Traveling Riverside Blues and you'll hear why he so highly-regarded.
Also in the legend grouping are Tampa Red (You Can't Get That Stuff No More), Bukka White (Bukka's Jitterbug Swing and Special Stream Line), and Son House (Pearline). Hudson Woodbridge, born on January 8, 1904 in Smithville, Georgia, but known from his earliest days as Hudson Whittaker, developed a signature single-string bottleneck approach which, combined with his composing under the name Tampa Red, also had a profound effect on the great Muddy Waters as well as Elmo(re) James, Big Bill Broonzy and Mose Allison. His career lasted much longer as he passed away at age 77 on March 19, 1981. Another who lived to a ripe old age was Eddie James "Son" House, Jr. (born on March 21, 1902 and died October 19, 1988) whose strong, repetitive rhythms also influenced many big names that followed, while Bukka White (born Booker T. Washington White on November 12, 1909) passed away at the relatively young age of 68 on February 26, 1977. A Delta Blues guitarist and singer (and cousin of B.B. King), his unusual nickname Bukka resulted from an erroneous spelling of his first name by the Vocalion label back in 1937.
At the other end of the spectrum are Barbecue Bob and Sister O.M. Terrell, about whom very little is known. Born Robert Hicks on September 11, 1902, Barbecue Bob took his performing name from his main occupation as a cook and, indeed, one of the few photographs of him around show him decked out in his cook's garb. The untitled cut presented here, recorded in 1929 (two years before his death on October 21, 1931) sounds very much like Handy's St. Louis Blues - but with different lyrics. As for Sister Ola Mae Terrell, it appears she was a wandering Holy Ghost Preacher who somehow managed six cuts for Columbia in or around 1953 and then disappeared.
In between these two extremes are some of the best slide guitar artists ever recorded, including Oscar "Buddy" Woods, aka The Lone Wolf, who not only was one of the driving forces behind the development of the lap steel bottleneck blues slide guitar; but is credited by many historians as THE one who created the genre.
These and other details are contained in the six pages of liner notes written by musicologist and author Richard Spottswood (Ethnic Music on Records: A Discography of Ethnic Recordings Produced in the United States, 1893-1942), the AAD sound reproduction is excellent, and with the insert you get a discography of the contents.The Slide Guitar: Bottles, Knives & Steel Overview

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Booker's Guitar Review

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Booker's Guitar ReviewThe half-spoken, half-sung song Eric Bibb wrote for Bukka White is even more striking, and touching, than the chance encounter with the fan toting White's legendary National steelbody resonator guitar that prodded Bibb to write the piece (and play it on the actual guitar) in the first place. And what follows from there is one of the most unique modern exercises in the acoustic blues tradition you'll hear this or any year.
Bibb lays away from the slamming chords and slashing slides that have become as much a cliche of acoustic blues as have boring sheets of overdrive, distortion, feedback, and external effects become of electric blues these days. Instead, he rolls gentle fingerpicking, softly deep low-register notes, almost fondled chords, and understated upper register notes---in tandem with Grant Dermody's refreshing, almost vocal harmonica passages---below his expressive baritone, on a round of mostly original material that might become new blues standards if the overdrive or slam-and-slash crowds allow themselves make room for them.
"Flood Water" alone would be worth the price if tributes to the dead masters aren't your idea of blues revelation (it may be the most haunting song Bibb has written to date), but so would his answer song to Robert Johnson's often-bypassed "Walking Blues," "Walkin' Blues Again." Bibb comes up with his own answer and makes it as mesmerising as was Taj Mahal's gripping, understated electric re-imagination of the Johnson classic. So is his re-imagnining of Blind Willie Johnson's "Nobody's Fault But Mine," laying off his guitar but singing with a conviction that doesn't have to be barked or growled to hit you in the heart and binding it with Dermody's rhythmically horn-like harmonica over almost muted gospel handclaps. (It beats the living hell out of Led Zeppelin's piledriving rewrite, for one.) So is his re-imagining of the acoustic standard "Wayfaring Stranger," on which you can feel the quietly dusty wind of the backroad, not quite obscuring hoof steps from an exhausted horse, from Dermody's harmonica. It almost feels like the kind of low-keyed song you'd expect at the end of a film about its subject, between the fadeaway of a dusty sunset and the yellowed hue of the closing credit.
"Flood Water" and "Booker's Guitar" have serious competition, for the title of Bibb's best original of the set, from "Sunrise Blues," a pleasantly loping string-walk beneath a lyric he fashioned based on a self-professed Delta flashback, "a little sepia film in my head," he says in the booklet notes, and he backs it up with a series of poetic lyric clips (if Bibb isn't the most poetic blues lyricist working now, he's in a dead heat with whomever might be number one), a vocal that whispers as much as it speaks, and softly punchy little low-string lines. And "Tell Riley," his affectionate tribute to Bukka White's slightly more renowned cousin (B.B. King), manages to say thank you without cliche or sentimentalism. Anyone writing songs in tribute to their inspirations could take a powerful lesson from this execution. (He does likewise with a brief but affecting instrumental, "Train From Aberdeen," which he says was provoked during the time he'd become gripped by falling upon White's guitar, thinking about White constantly, and remembering what trains meant to White's story.)
This is the best acoustic bluesman working that too-often-bypassed side of the blues road today. Once upon a time, English blues tributary John Mayall boasted of a lineup playing "blues without bashing." Eric Bibb has achieved it. And while you may not think of acoustic blues as blues with bashing, one playing of Bibb's new masterwork and you'll figure out how even the acoustic bluesmen can bash and slash and sometimes shove the soul of their work a little to the side in the doing. Somewhere, walking the backstreets and byways of heaven, Charlie Patton, Bukka White, no few of Bibb's own family (he's a nephew of Modern Jazz Quartet mastermind John Lewis, who never forgot the blues himself), and Robert Johnson are listening in awe. As should you.Booker's Guitar Overview

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