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  • blechtram 10:32 pm am January 20, 2020 Permalink | Antworten
    Tags: 8.6/10, , , Compilation, Otis Redding, R&B, Soul, Southern Soul   

    Otis Redding: The Very Best of Otis Redding 

    Rating: 8.6/10
    Rated as
    : Anthology
    Compilation Status
    : Decent Overview
    Released: 2000
    Recorded: 1962–1967
    Specific Genre: Southern Soul
    Main Genre: Soul, R&B
    Undertones
    : Deep Soul, Rhythm&Blues
    Label: Atco

    1.1 Respect 1.2 Try a Little Tenderness 1.3 Love Man 1.4 Shake 1.5 Mr. Pitiful 1.6 I Can’t Turn You Loose 1.7 Pain in My Heart 1.8 You Left the Water Running 1.9 My Lover’s Prayer 1.10 Tramp 1.11 Chained and Bound 1.12 That’s How Strong My Love Is 1.13 My Girl 1.14 Cigarettes and Coffee 1.15 It’s Growing 1.16 The Match Game 1.17 Nobody Know You (When You’re Down and Out) 1.18 I’m a Changed Man 1.19 Your One and Only Man 1.20 (Sittin‘ On) The Dock of the Bay
    2.1 I’ve Been Loving You Too Long (To Stop Now) 2.2 These Arms of Mine 2.3 Hard to Handle 2.4 That’s What My Heart Needs 2.5 Security 2.6 Satisfaction 2.7 Fa Fa Fa Fa Fa (Sad Song) 2.8 The Happy Song (Dum Dum) 2.9 Come to Me 2.10 A Change is Gonna Come 2.11 Lovey Dovey 2.12 You Don’t Miss Your Water 2.13 I’ve Got Dreams to Remember 2.14 Down in the Valley 2.15 Just One More Day 2.16 You Made a Man Out of Me 2.17 Tell the Truth 2.18 For Your Precious Love 2.19 Free Me 2.20 I Love You More than Words Can Say

    You know what, Otis? You’re country! –That’s all right!

    Consumer Guide: This contains all 16 songs from The Very Best of Otis Redding (Rhino), shares 9 (of 16) with Rhino’s Volume 2 and gives you 15 songs that are present on neither release. It also features two songs, „Nobody Knows You (When You’re Down and Out“ and „You Made a Man Out of Me“, that are not present on the four-disc box set Otis! The Definitive Otis Redding – which in my view qualifies as a counter-argument against that „definitive“ in the title. These tracks are criminally overlooked on most other compilations claiming to be „essential“ or „definite“. While the former is a blues standard, the latter is a hypnotically upbeat and essential gem of Redding’s posthumous catalogue (otherwise available on The Immortal Otis Redding, 1968). This puts this double-disc in a weird place, having at least one song that was overlooked even on the box set. Of course it doesn’t compare to the box set or even The Original Album Series. Anyway – it is a better catch than other single or twofer discs, comparable to the slightly better Dreams to Remember: The Otis Redding Anthology, only to be outshone by box sets and album collections. Actually, the main lesson I learned by reviewing this is that the Otis! box set is only worthwhile for the three pre-fame tracks and the live disc – you’ll need to get his (official and posthumous) album output anyway not to miss a highlight. Well then.

    Otis Redding is about energy. Maybe you like your Otis full of soul, maybe you like him danceable and fun, maybe you’re looking for a bluesy, rocking or sexually charged Otis. It’s all here of course, and he’ll always give it the absolute fullest . The curious thing about Redding is that his voice totally dominates the music while it simultaneously mingles with the band’s instrumentation – especially with the impeccable and precise horn section, like another weird, articulate trombone. Especially in the end of the songs, when Redding has run out of lyrics and the fade-out starts, he regularly goes into a mode of soulful, passionate mumbling, continuing to spout the song’s taglines, thus keeping up the energy of the song and accompanying it to its end. With Otis, the song isn’t overuntil it’s been ran over by his own voice.

    I also like the fact that Redding’s voice doesn’t fit the mellifluous, full and silky tonality of soul prototypes at all: It is pretty hoarse for the fact he’s a singer totally accepted by mainstream, his technique relies on a phrasing that gives himjustenoughbreath (as opposed to the countless soul singers that use the music mainly to prove how long they can hold a note), he drops into a coarse whisper now and then, even sounds restrained, just to come back with a lot of pressure in the next line, and so on – but there’s just so much substance to his performance. Clearly Mick Jagger’s role model as a singer, instead of say, the later Motown scene. Redding did blues-based soul and rhythm&blues, but he steered towards rock&roll (without recording a single song that would classify as such – even the Stones‘ „Satisfaction“ is made into a redding-fied shuffle here).

    This twofer disc contains numerous classics. Don’t even bother with all the „My Girl“, all the „Tenderness“, the „Love Man“. Here we have the ultimate swag number „Hard to Handle“, which is the most concentrated dose of hyperbolic self-esteem boost containable in 140 seconds. Walking down the street listening to this, I have trouble not to stop in the middle of traffic shouting „PRETTYLITTLETHINGLEMMELIGHTYO’CANDLECOZMAMMAI’MSHO’HARDTOHANDLENOW(yes-i-am)!“ at pedestrians.

    Also, „You Made a Man Out of Me“, „Security“ and so on – a double disc of Otis might become a little overbearing, but this is single-oriented music anyway. Check out the hilarious „Tramp“, a duet where the woman accuses Otis of being exactly that, where Otis runs out of arguments constantly and simply going to the chorus everytime he runs out of things to say: „Ooooh, I’m a lover! – Papa was!“ („Matter of opinion!“ goes Carla Thomas. Otis, oblivious, responds: „Mama was, too.“). The only reason John Belushi rather used Sam & Dave as a cultural and musical reference as opposed to Otis is because Belushi knew that bringing up the comparison to Redding would make his own performance seem listless. While Sam & Dave are soul’s ultimate expressive gospel stylists, Redding is just too heavy-weight and deep in the blues for anyone to tackle. He is one of the artists whose prime output transcends any kind of genre-preferences.

    The track choice involves pickings from all his six studio albums as well as the from the four posthumous albums. It also contains all of the A-side of his US-singles during his lifetimes (and some more posthumous ones).

    Pain in My Heart (1964) 1.7, 2.2, 2.4, 2.5

    The Great Otis Redding Sings Soul Ballads (1965) 1.12, 1.11, 1.19, 2.18, 2.9, 1.5

    Otis Blue: Otis Redding Sings Soul (1965) 1.1, 2.10, 2.14, 2.1, 1.4, 1.13, 2.6, 2.12

    I Can’t Turn You Loose / Just One More Day (1965 single) 1.6

    The Soul Album (1966) 2.15, 1.15, 1.14, 1.17

    Complete & Unbelievable: The Otis Redding Dictionary of Soul (1966) 2.7, 1.2, 1.9

    King & Queen (1967) 1.10, 2.11

    The Dock of the Bay (posth. 1968) 1.20, 2.20

     The Immortal Otis Redding (posth. 1968) 2.13, 2.16, 2.3, 2.8

    Love Man (posth. 1969) 1.3, 1.18, 2.19,

    Tell the Truth (posth. 1970) 1.16, 2.17,

    You Left the Water Running / The Otis Jam [by the Memphis Studio Band] (posth. 1976 single, rec. 1966) 1.8

     
  • blechtram 11:41 am am January 9, 2020 Permalink | Antworten
    Tags: , , Bob Dylan, , Carter Burwell, Compilation, Elvis Costello, Erich Wolfgang Korngold, Ethan Coen, , Gipsy Kings, Henry Mancini, Joel Coen, Kenny Rogers, Meredith Monk, Moondog, , Nina Simone, , Piero Piccioni, , The Big Lebowski, The First Edition, Townes Van Zandt, , Yma Sumac   

    Various Artists: The Big Lebowski [Original Soundtrack] 

    Rating: 6.0/10
    Rated as
    : Compilation / Soundtrack
    Compilation Status
    : of Zeitgeist interest
    Released: 1998
    Recorded: 1959–1997
    Specific Genre: Soundtrack
    Main Genre: Soundtrack
    Undertones
    : Singer-Songwriter, Folk Rock, Experimental Rock, Pop Rock, Exotica, Big Band, Vocal Jazz, Third Stream, Experimental, Romanticism, Lounge, Latin Rock, Electronic
    Label: Mercury

    1 Bob Dylan – The Man in Me 2 Captain Beefheart – Her Eyes Are a Blue Million Miles 3 Elvis Costello – My Mood Swings 4 Yma Sumac – Ataypura 5 Piero Piccioni – Traffic Boom 6 Nina Simone – I Got It Bad and That Ain’t Good 7 Moondog – Stamping Ground 8 Kenny Rogers & The First Edition – I Just Dropped In (to See What Condition My Condition Was In) 9 Meredith Monk – Walking Song 10 Erich Wolfgang Korngold – Glück das mir verblieb 11 Henry Mancini – Lujon 12 Gipsy Kings – Hotel California 13 Carter Burwell – Wie glauben 14 Townes Van Zandt – Dead Flowers

    We believe in nussing

    An expectedly tasteful and quirky choice of songs by the Coen Brothers, but ultimately just that: Some songs and artists you might not get acquainted with otherwise set next to each other. Of course the film context adds a lot of consistency to the experience, but musically speaking, this playlist, say, on a mix tape would merit some respect for musical knowledge and eclectic boldness, but people would ask: Where’s the actual flow?

    Admittedly, some things go together nicely, at least conceptually: Exotica-diva Yma Sumac and Mancini’s death-by-tropic-lounge „Lujon“ on the same album is a good idea, as well is one of Dylan’s greatest underrated tunes next to Costello’s very good „My Mood Swings“, surprisingly recorded for this soundtrack. Kenny Rogers and The First Edition add the nowadays monumental „Condition“, which is the best psychedelic country-rock number that I know this side of „Eight Miles High“ (even as pastiche), so this is also a good buy if you’re looking for just that (as it isn’t really representative of how Rogers would develop).

    The ultimate avantgarde obscurity Moondog makes an appearance and this is the one song that sounds as if was made for the movie in a kind of prophetic move by Moondog a few decades earlier), and kudos to the Coens for picking „Her Eyes Are a Blue Million Miles“, whose inclusion here I’m sure introduced legions of teens to Captain Beefheart. That’s worth a lot.

    So, while I see many good things about this as a cultural artefact, and I admire the boldness of putting a bunch of avantgarde artists next to Mancini and a piece of Austrian classical Opera (in German, nonetheless), this is hardly something you’ll listen through over and over as a musical document. It’s more like an educational effort: „Look, teenagers, you liked our movie about a stoner. Your subconscience noticed it being accompanied perfectly by the song picks. Now, learn and listen to what you’ve actually listened“, hopefully prompting further research. And why not?

    Oh, and all the Creedence tracks are missing – for copyright and run-time reasons, I assume, but it’s kind of a great in-joke between soundtrack and film.

     
  • blechtram 8:54 am am November 11, 2019 Permalink | Antworten
    Tags: 8.1/10, , , , Cannon's Jug Stompers, , Compilation, Decent Overview, Gus Cannon   

    Cannon’s Jug Stompers: The Complete Works 1927–1930 

    Rating: 8.1/10
    Rated as
    : Collection
    Compilation Status: Decent Overview
    Released: 1992
    Recorded: 1927–1930
    Specific Genre: Jug Band
    Main Genre: Blues, Acoustic Blues
    Label: Yazoo

    1 Minglewood Blues 2 Walk Right In 3 Going to Germany 4 Bring It With You When You Come 5 Bugle Call Rag 6 Prison Wall Blues 7 Feather Bed 8 Noah’s Blues 9 Wolf River Blues 10 Madison Street Rag 11 Viola Lee Blues 12 Cairo Rag 13 Last Chance Blues 14 Mule Get Up in the Alley 15 Pretty Mama Blues 16 Money Never Runs Out 17 Pig Ankle Strut 18 Jonestown Blues 19 The Rooster Crowing Blues 20 Hollywood Rag 21 Heart Breakin‘ Blues 22 Ripley Blues 23 Tired Chicken Blues 24 Big Railroad Blues

    Played around the little town, your head chock full of rum

    Jug band blues is an odd hybrid of folksy and urban, ragtime-y, jazzy and country blues elements. The reverbarting, murmuring sound of the jug, the rattling banjo and dominating harp make for an overall make-shift street corner atmosphere. Gus Cannon’s Jug Stompers were among the most successful and – since some of their numbers became blues standards as well as pop hits for other, much later artists – endurig combos for this comparatively small and short-lived genre. It’s restricted, free-wheeling sound is removed from deep blues through the hustling, bustling city sound it had to dwell in – playful, hurried, sketchy, but always amiable and slightly mischievous. There’s little here in terms of melody or heavy emotion, but the shaggy underdog attitude makes more than up for it, at least when consumed in slight doses – this is about entertainment, presented by next-door-rascals – their lyrics often revolve around trouble with small town judges for petty crimes. As one of the quintessential outfits of this sound, the Jug Stompers are among the quintessential roots of urban blues, there is a strict need to have their material, even if you mostly find yourself listening to the odd grumbling of «Viola Lee Blues» or the tumbling, hungover «Minglewood Blues» every so often. Good stuff.

    As for this particular collection, here’s from my series of «consumer guide reviews», so to speak:

    Gus Cannon recorded 26 sides (as in 13 singles) with the Jug Stompers. While the vinyl version (Yazoo 1989) of this CD contained all 13 sides plus the solo material Cannon recorded as Banjo Joe, this CD-reissue only contains tracks by the Jug Stompers and is even missing 2 of their sides («Riley’s Wagon» and «Springdale Blues»).

    If you want to avoid tedious holes in your collection and get the real deal (that is, Cannon’s solo stuff plus the Jug Stompers catalogue), you’ll need to get Gus Cannon’s Complete Recorded Works in Chronological Order: Volume 1 and theComplete Recorded Works in Chronological Order: Volume 2 (credited to Gus Cannon & Noah Lewis) by the Document Records label: They have all of it and some more side stuff, so they are the definite CD-picks. If you then get Cannon’s revival record Walk Right In from 1963, you’re about set.

    Having said that, when this came out, it was the most complete Jug Stompers compilation on a single CD – which it remains until today. All the other single disc compilations claiming to be complete have less track than this one. If you want an overview of how to acquire the complete recordings of Cannon and his Jug Stompers, compare my list Complete Blues Discographies: What to Get.

     
  • blechtram 11:26 am am November 1, 2019 Permalink | Antworten
    Tags: , , Compilation, ECM Style Jazz, , Keith Jarrett, Newbie Baiting   

    Keith Jarrett: The Impulse! Story 

    Rating: 3.7/10
    Rated as
    : Anthology
    Compilation Status
    : Newbie Baiting
    Released: 2006
    Recorded: 1973–1976
    Specific Genre: ECM Style Jazz
    Main Genre: Jazz
    Undertones
    : Avant-Garde Jazz, Post-Bop, Bebop, Piano Jazz
    Label: Impulse!

    1 De Drums 2 The Rich (and the Poor) 3 Blue Streak 4 Treasure Island 5 Introduction and Yaqui Indian Folk Song 6 Victoria 7 Everything that Lives Laments 8 Konya 9 Bop-Be 10 Mushi Mushi 11 Silence

    Good music, very questionable reason of existence as a compilation

    Problems first: This compilation is called „The Impulse Story“, so the title suggests a sort of narrative for Jarrett’s American Quartet recordings for that label (1973–1976) – or it should, anyway. More complete compilations and box sets of Jarrett’s Impulse output had been issued before this (occupying both in name and completeness the „Impulse Years“ tag), and the question arises to what end there has to be a single disc compilation of that period. A plot? Sure. But there is no plot here, so let’s take a look.

    Academically (and moronically) reconstructing the track choice, you‘ll be left with the knowledge that seven of the eleven tracks (make that ten actually – „Victoria“ wasn‘t issued on Jarrett‘s original Impulse albums – but it was first released on The Impulse Years: 1973–1974, so there is no point to view it as the selling point here) stem from just two of the eight albums while three albums aren’t represented at all. You‘ll also notice that the chronology hasn’t been touched (leading to the fact that the four tracks of Treasure Island come in a row). And you‘ll notice that the track choice as well as the liner notes were done by jazz expert Ashley Kahn. I was hoping to find an answer to the choices he made in his liner notes, and he only hints at it by mentioning that the last four albums for Impulse stem from roughly the same sessions Jarrett did in 1975/76. As there is no other information directly relating to the track choice, we’re left with a bunch of questions (why is it called story? Why such a stress on Treasure Island? Why a single disc compilation about a guy whose work has been documented excellently and comprehensively, and whose specialty were 20-minute-suites?), we‘re left to construct a) the scheme that this was called story to imply a personal and artistical ‚development‘ of Jarrett‘s Impulse years and b) the suspicion that the last four albums didn’t contribute so well to represent that arc (as they were part of temporarily close sessions as opposed to long evolution processes). Suspicion also arises this is a cash-in to lure in newbies. Who needs this?

    Call me picky, but I simply expect better from the normally unerring Impulse!-label.

    Economics aside, let’s take a look at the material. Like the albums it’s taken from, it is quite alright to excellent, a particular stand-out is the opener „De Drums“, with its swinging, swirling, breezy and moving pattern, akin to cape jazz, followed by some shorter tunes that all share the same airy and weightless atmosphere – an overall summer feeling permeates this. Things get a bit edgier in the last third, when the group shifted its sound away from the acoustic improvs from the beginning, and went for a less free-flowing, harder bopping approach once again (very sneaky by calling that last album Bop-Be). I prefer to listen to the first half, excellent for mornings and sunny afternoons, very laid-back music. Maybe that was the point, to lounge-ify Jarrett‘s Impulse output, possibly cross-financed by Starbucks. A thin plot: Good music, very questionable reason of existence as a compilation. As I said, I can’t imagine anyone seriously interested in this who wouldn’t want the albums in the first place.

    1: Fort Yawuh (1973)
    2–5: Treasure Island (1974)
    6: from the Backhand (1975) sessions, but first released on The Impulse Years: 1973–1974 (1997)
    7: Mysteries (1976)
    8: Byablue (1977)
    9–11: Bop-Be (1977)

     
  • blechtram 9:57 am am March 31, 2019 Permalink | Antworten
    Tags: 1.5/10, , , , , , Compilation, , Electric Texas Blues, Lightnin' Hopkins,   

    Lightnin‘ Hopkins: Goin‘ Back Home 

    Rating: 1.5/10
    Rated as: Anthology
    Compilation Status: Useless
    Released: 1997
    Recorded: 1964–1969
    Main Genre: Blues
    Specific Genres: Acoustic Blues, Electric Blues, Acoustic Texas Blues, Electric Texas Blues
    Label: Comet 43324

    1 Shaggy Dog 2 Santa Fe Blues [New Santa Fe] 3 Shinin‘ Moon [Shining Moon] 4 I’ll Be Gone 5 Shake It Baby 6 Goin‘ Back Home 7 Good Times 8 I’m Wit‘ It [What’d I Say] 9 Don’t Wake Me 10 Talk of the Town 11 California Landslide [California Mudslide] 12 Rosie Mae 13 Easy on Your Heals 14 Leave Jike Mary Alone 15 You Treat Po‘ Lightnin‘ Wrong

    Good times here, but it’s better down the road

    Another European cheapo collection by one of the greatest. A mix of some infectious, driving electric blues numbers in classic jaunty Hopkins-style and his trademark acoustic texas blues. Excellent, if unspectacular fret work, some surprising horn sections (on a Hopkins record!) and overall a more polished sound compared to his earlier stuff from the 1960s.

    Some research: Tracks 1 and 3–10 are from 1967’s Something Blue (recorded 1965), tracks 2 and 11–13 are from 1969’s California Mudslide and the last two acoustic numbers (14–15) are from 1964’s Live at the Bird Lounge. Some track names have been slightly changed, I think intentionally, to cover up that this is probably a borderline illegal compilation just grabbing randomly from different sources (which also explains the indiscriminate mix of electric and acoustic tracks from different sessions).

    Anyhow, the album Something Blue is here in its entirety though with scrambled sequencing (and inferior sound quality). So that’s okay if you find this in some one-dollar-trash bin, but any serious collector can skip this and go for the actual albums. There really is no point to any of this.

     
  • blechtram 6:27 pm am March 12, 2019 Permalink | Antworten
    Tags: , , , , Compilation, , ,   

    Billie Holiday: The Silver Collection 

    Rating: 6.0/10
    Rated as:
    Anthology
    Compilation Status: Obsolete
    Released: 1985
    Recorded: 1956–1957
    Specific Genre: Vocal Jazz
    Main Genre: Jazz
    Undertones: Swing
    Label: Verve

    1 I Wished on the Moon 2 Moonlight in Vermont 3 Say It Isn’t So 4 Our Love Is Here to Stay 5 Darn That Dream 6 But Not for Me 7 Body and Soul 8 Comes Love 9 They Can’t Take That Away From Me 10 Embraceable You 11 Let’s Call the Whole Thing Off 12 Gee Baby Ain’t I Good to You 13 All or Nothing at All 14 We’ll Be Together Again

    Half a love, never appealed to me

    This compilation combines songs from the 1957 studio album Body and Soul and 1958’s All or Nothing at All. Many of the late 1950s recordings by Holiday which were issued as albums between 1957 and 1959 come from these same sessions (from 1956/57). No surprise then that nowadays, you can buy a double disc compilation also called All or Nothing at All (as part of the Billie Holiday Story, Part 7) which contains all the songs of the two mentioned albums as well as the whole Songs for Distingué Lovers album from 1957 (same session as for Body and Soul) – that’s all of the 1956/57 session recordings that were seperately issued on said three albums.

    Anyhow, as an early single-disc-compilation compiling the alleged highlights of two late 1950s albums, this does a respectable job. Late night vocal jazz with subtly swinging arrangements and, compared to the 1930s takes, a much more foregrounded, if subdued, horn section showing up now and then. Many nice standards, but Holiday had a softer and more professional tone at this stage of her career – personally, I prefer her more emotionally aggressive tone from earlier on.

    Of course it’s about the vocals from start to finish, but I don’t see anything specific about the compilation: either you already have the original albums, or you should buy the mentioned reissue of All or Nothing at All which gives you the complete picture. But actually, you should get the box set The Complete Billie Holiday on Verve: 1945-1959 which gives the total overview. Or you haphazardly got a hold of this, like me.

    1, 3, 4, 6, 13, 14: All or Nothing at All (1958)
    2, 5, 7, 8, 9, 10, 11, 12: Body and Soul (1957)

    Trivia: Note the compilation cover: „Over 60 Minutes of Music“. Can you remember a time when this was a selling point? Anyway, all the more reason to get the double disc with all the sessions.

     
  • blechtram 10:29 am am February 26, 2019 Permalink | Antworten
    Tags: 7.8/10, , , , , , Compilation, , Texas Alexander   

    Texas Alexander: Complete Recordings in Chronological Order, Volume 1 (1927–1928) 

    Rating: 7.8/10
    Rated as: Collection
    Compilation Status: Essential
    Released: 1995
    Recorded: 1927–1928
    Specific Genre: Acoustic Texas Blues
    Main Genres: Acoustic Blues, Blues
    Undertones: Work Songs, Field Holler
    Label: Document Records

    1 Range in My Kitchen Blues 2 Long Lonesome Day Blues 3 Corn-Bread Blues 4 Section Gang Blues 5 Levee Camp Moan Blues 6 Mama, I Heard You Brought It Right Back Home 7 Farm Hand Blues 8 Evil Women Blues 9 Sabine River Blues 10 Death Bed Blues 11 Yellow Girl Blues 12 West Texas Blues 13 Bantam Rooster Blues (Take A) 14 Bantam Rooster Blues (Take B) 15 Deep Blue Sea Blues 16 No More Women Blues 17 Don’t You Wish Your Baby Was Built Up Like Mine? 18 Bell Cow Blues 19 Sittin‘ on a Log 20 Mama’s Bad Luck Child 21 Boe Hog Blues 22 Work Ox Blues 23 The Risin‘ Sun

    Don’t get mad at me, woman, because I stays by myself

    With a soaring holler, a vocal presence that is imposing even when he seems to murmur rather than belt something, blind Alger „Texas“ Alexander is one of the more fascinating obscure blues masters. He was so early in the game, in fact, that these recordings hardly can contain the field-holler and work song environment he was dragged from into the studios. Alexander barely follows predictable patterns in his singing, skipping bars and always preferring winding, tempo-shifting delivery of his stanzas and interjections over what the instrumentalists are anticipating – often, he just resorts to powerful, vibrating humming to end a song or glide through the mid-section.

    This makes the guitar-accompanied songs here much more enjoyable, as the always superior Lonnie Johnson can work around Alexander’s rhythmic idiosyncrasies to a much better degree (using free form lick clusters, really, especially on „Levee Camp Moan Blues“) than pianist Eddie Heywood, who mostly sticks to vaudevillian barrelhouse patterns on track A6–B1 (6–9). Texas Alexander presents some astonishingly moaning, soaring blues, and while these recordings are less polished and accomplished than the not unsimilar Blind Willie Johnson, as the first third of his complete recordings, this Document Records LP is just that: a document to the blues and its power.

     
  • blechtram 11:37 am am February 24, 2019 Permalink | Antworten
    Tags: , , Bessie Smith, , , , Compilation, Elmore James, Genre-Sampler, Jelly Roll Morton, John Lee Hooker, , Memphis Jug Band, Mildred Jones, , Muddy Waters, , Robert Johnson, Son House, Sonny Boy Williamson II, , Stephen James Taylor, Tommy McClennan, , W. C. Handy   

    Various Artists: Warming by the Devil’s Fire [Martin Scorsese Presents the Blues] 

    Various Artists - Martin Scorsese Presents The Blues: Warming by the Devil's Fire

    Rating: 8.0/10
    Rated as: Genre-Sampler, Soundtrack
    Compilation Status: Historically Informative
    Released: 2003
    Recorded:1924–1966
    Main Genre: Blues
    Specific Genres: Electric Blues, Acoustic Blues, Vaudeville Blues, Gospel Blues, Spirituals
    Label: Columbia / Legacy

    1 Jelly Roll Morton – Turtle Twist 2 Ma Rainey – See See Rider 3 Son House – Death Letter 4 Billie Holiday – I’m a Fool to Want You 5 Mississippi John Hurt – Big Leg Blues 6 Memphis Jug Band – K.C. Moan 7 Robert Johnson – Sweet Home Chicago 8 Tommy McClennan – Deep Blue Sea Blues 9 Bessie Smith – Muddy Water 10 Sonny Boy Williamson II – Cross My Heart 11 Elmore James – Dust My Broom 12 Muddy Waters – You Can’t Lose What You Ain’t Never Had 13 W. C. Handy – Beale Street Blues 14 Charley Patton – Hang It on the Wall 15 Sister Rosetta Tharpe – Up Above My Head (I Hear Music in the Air) 16 Stephen James Taylor – Give Me Freedom 17 Mildred Jones – Mr. Thrill 18 John Lee Hooker – I’ll Never Get Out of These Blues Alive

    Headed homebound just once more, to my Mississippi Delta home

    Even among his largely very good Martin Scorsese presents the Blues series, Warming by the Devil’s Fire is a standout blues compilation. Some hidden classics, some shining obscurities, great sequencing. This puts you right in the Mississippi Delta. The compilation isn’t exclusively about the big guys and girls of blues, although besides some unadventurous standards (from Elmore James, Ma Rainey or Son House), director Charles Burnett (no relation to T-Bone Burnett) picks some not too obvious tracks by Muddy Waters, John Lee Hooker etc. – and the stunning, earthy, non-vaudeville Bessie Smith-track „Muddy Water“, one of her most stellar numbers. While these evergreens help to form a historically informed sort of listening canon, for the blues aficionado, the stress is on the less overly exposed tracks: check out Tommy McClennan howling to the deep blue sea, the completely obscure Stephen James Taylor conjuring an ominous, mesmerizing gospel blues, the legendary Charley Patton crashing the party with his cragged guitar and Sister Rosetta Tharpe forcing the whole congregation into crazed dancing right around that devil’s fire with a hollering gospel-blues duet.

    In this almost binary choice between standards and obscurities lies the competence of the compilation: It’s like a broad summyary over blues history with occasional swoops into the weird forgotten details. The music goes from swinging New Orleans pieces in the ragtime channel to rural acoustic delta blues to the great female vaudeville blues/jazz vocalists that emerged in the 1920s, features some urban electric blues examples to conclude the development, and also presents some excellent gospel-flavoured blues, mostly from the 1930s to 1940s, yet stretching into the urban 1950s and -60s. The sequencing is chronologically accurate enough to teach you a little implicit lesson of music history, but it never feels stubborn. The diversity is just right for repeated listening while rowing up the Mississippi.

    As even the most common blues fan will know most or all of these artists already, it’s nonetheless a great introduction disc for your niece or nephew.

     
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