V.A. - Reefer Songs: Original Jazz and Blues Vocals - 1989.

Review:

This LP was the very first release by the Stash label and, as with its first dozen or so collections, it features vintage material that deals with illicit subject matter. Many of the best marijuana and drug-based recordings are on this set including Stuff Smith's "Here Comes the Man with the Jive" (which features some hot Jonah Jones trumpet), Trixie Smith's "Jack I'm Mellow," Barney Bigard's "Sweet Marijuana Brown" (which has Art Tatum on piano), Andy Kirk's "All the Jive Is Gone" and Harry "The Hipster" Gibson's classic "Who Put the Benzedrine in Mrs. Murphy's Ovaltine?" Other performers include Cab Calloway, Benny Goodman, Buster Bailey, Sidney Bechet, the Harlem Hamfats, Chick Webb and Clarence Williams. Some of this material has since been reissued on CD but the original set is still the best.

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V.A. - Ladies sing The Blues - 1992.

Review

Living Era's Ladies Sing the Blues compiles performances from some of the most popular female blues singers from the '30s and '40s. Lizzie Miles, Ida Cox, Marnie Smith, and Una Mae Carlisle are some of the artists included here, and performances like Bessie Smith's "Empty Bed Blues, Pt. 1-2," Ma Rainey's "Booze & Blues," Billie Holliday's "Long Gone Blues," and Ada Brown's "Evil Mama Blues" showcase the sultry, world-weary, and often humorous stylings of these pioneering blueswomen.

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V.A. - Mississippi Moaners: 1927-42

Sincerely buddies how cool this post is, uh?. One can't never get enough of Yazoo stuff!

AMG Review
Lots of Mississippi vocals and blues guitar are here by the best of the genre -- Charley Patton, Skip James, Son House, Rube Lacy, Mississippi John Hurt and others.

Tracks
1-The New Frisco Train [Washington White]
2-Down The Big Road Blues [Mattie Delaney]
3-Traveling Mama Blues [Joe Calicott]
4-Gas Man Blues [Mae Glover]
5-Stand Up Suitcase Blues [Uncle Bud Walker]
6-Special Rider Blues [Son House]
7-Mississippi Moan [The Mississippi Moaner]
8-Big Leg Blues [Mississippi John Hurt]
9-Lonesome Atlanta Blues [Bobby Grant]
10-Cherry Ball Blues [Skip James]
11-Ham Hound Crave [Rube Lacy]
12-Married Man Blues [Blind Willie Reynolds]
13-Two Little Tommies Blues [Papa Harvey Hull]
14-Devil Sent The Rain Blues [Charlie Patton]

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V.A. - Favorite Country Blues: Piano-Guitar Duets, 1929-1935

Tracks
1-Sloppy Drunk - Walter Davis
2-Don't Sell It, Don't Give It Away - Buddy Woods
3-Poker Woman Blues - Blind Blake
4-West Side Blues - Willie Harris
5-Shook It This Morning Blues - Joe Evans
6-Good Gal - Charlie Spand
7-New Orleans Stop Time - Bumble Bee Slim
8-Tired Of Being Mistreated - Roosevelt Sykes and Clifford Gibson
9-Poor Coal Passer - Springback James
10-Down In Black Bottom - Joe Evans
11-Back To The Wood Blues - Charlie Spand
12-Monkey Man Blues - Lofton
13-Sloppy Drunk Blues - Leroy Carr
14-The Blues Is All Wrong - Leola Manning


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V.A. - Before The Blues, Vols. 1, 2 and 3.

Review
Although the blues is the most renowned form of early 20th century African-American music (other than jazz), it didn't dominate rural Black music to the extent that many listeners often assume. Black and White folk musics mingled extensively before the advent of recorded technology, and Black musicians often performed gospel, religious hymns, folk ballads, and fiddle tunes as well as what we now recognize as the blues. This compilation does a good job of illustrating the diverse ancestry of African-American music with 23 rare sides from the 1920s and 1930s, when records and mass media had yet to fully introduce elements that would standardize musical genres and approaches to some degree. Some of these performers would indeed become classified as blues artists (Mississippi John Hurt, Robert Wilkins, Henry Thomas). But most of these tracks are not explicitly rooted in blues forms, examples being B.F. Shelton's banjo ballad interpretation of "Pretty Polly," Taylor's Kentucky Boys' fiddle breakdown version of "Forked Deer," or the Seventh Day Adventist Choir's "On Jordan's Stormy Banks We Stand." Remastered from old 78s, this may be of more educational than entertainment value to most modern listeners, but it's well done, with extensive liner notes explaining the various forms of Black music preserved on the disc.

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mp3 128 kbps - 182 Mb
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V.A.- 10 Years In Memphis 1927-1937

Dirty:

Fantastic Yazoo shit!

Tracks:
George Torey - Married Woman Blues - Lonesome Man Blues Gus Cannon - Poor Boy Allen Shaw - Moanin' The Blues Robert Wilkins - Jailhouse Blues - Falling Down Blues Big Boy Cleveland - Goin' To Leave You Blues Furry Lewis - Billy Lyons And Stack O 'Lee - Big Chief Blues Frank Stokes - What's The Matter Blues - Jazzin' The Blues Tom Dickson - Happy Blues - Death Bell Blues Kansas Joe - Pile Drivin' Blues

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V.A. - Alabama Blues 1927-1931

Review
Along with Austria's Document, blues re-issue label Yazoo has done a great deal to reassemble the faded history of American country blues music. While they have received great acclaim for anthologies of blues greats like Charlie Patton, Skip James, and Blind Willie Johnson, they've also compiled the work of a number of more mysterious figures. Enter Alabama Blues: 1927-1931. The collection focuses on the output of two largely unknown players: Clifford Gibson, a guitar player who spent a great deal of time in the St. Louis area, even backing Jimmie Rodgers on recordings for Victor, and the even more obscure Edward Thompson. The set is fleshed out with sides from harmonica wizard Jay Bird Coleman (perhaps the biggest name here), George "Bullet" Williams, Marshall Owens, and Barefoot Bill. Gibson's recordings are most notable for some fine guitar playing, his mediocre vocal abilities failing to distinguish him from many of his contemporaries. Edwards has a stronger vocal presence, almost overshadowing his rough but competent lines. Of the bluesmen who join them on this disc, Williams stands out with "The Escaped Convict," an otherworldly piece that combines fierce harp playing with vocal hollering. At the time they were made, these recordings were nothing less than bids by the musicians for wider fame outside their local circles. Unbeknownst to them, however, they were also bids for a place in musical history; a place Yazoo has reserved for them. While this music is not the recommended introduction to the genre, it will no doubt be a revelation for country blues collectors.

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V.A. - Barrelhouse Blues 1927-1936

Dirty:
EXCELLENT STUFF!

Tracks:

1. Cow Cow Davenport: State Street Jive (1928)

2. Little Brother Montgomery: Vicksburg Blues No. 2 (1935)

3. Montana Taylor: Indiana Avenue Stomp (1929)

4. Bob Call: Thirty-One Blues (1929)

5. Lonnie Johnson: Sam, You're Just A Rat (1932)

6. George Noble: Seminole Blues (1935)

7. Joe Dean: I'm So Glad I'm Twenty-One Years Old Today (1930)

8. Charley Taylor: Heavy Suitcase Blues (1930)

9. Barrelhouse Welsh: Dying Pickpocket Blues (1929)

10. Louise Johnson: On The Wall (1930)

11. Jabo Williams: Polack Blues (1932)

12. Jesse James: Ramrod (1936)

13. Raymond Barrow: Walking Blues (1929)

14. Raymond Barrow: Walking Blues (1929

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V.A. - Blues From The Western States - 1927 / 1949.

Dirty:
More Yazoo Stuff!

Tracks
1. Down On My Bended Knee - King Solomon Hill
2. Sunrise Blues - Will Day
3. Lock and Key Blues - Ramblin' Thomas
4. No Good Woman Blues - Jesse "Babyface" Thomas
5. Howling Wolf Blues - Willie Lane
6. James Alley Blues - Richard "Rabbit" Brown
7. Cherry Street Blues - Little Hat Jones
8. You'll Like My Loving - Otis Harris
9. Don't Sell It, Don't Give It Away - Oscar Woods
10. Little Hat Blues - Little Hat Jones
11. Blue Goose Blues - Jesse "Babyface" Thomas
12. Black Cat Rag (unissued take) - Willie Lane
13. Double Crossing Blues - Texas Alexander
14. Cross the Water Blues - Little Hat Jones

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V.A. - Mississippi Delta Blues Jam In Memphis, Vol.1 - 1993, Recorded in 1969.

Review
Arhoolie label chief Chris Strachwitz was in the right place at the right time, capturing this marvelous set of studio performances from artists appearing at the 1969 Memphis Blues Festival. Kicking off with spirited fife and drum work from Napoleon Strickland with the Como Drum Band, the set also includes turns from Fred McDowell (both solo and with harmonica man Johnny Woods), Memphis Piano Red, Otha Turner, Furry Lewis, and the mysterious deaf-mute guitar team of R.L. Watson and Josiah Jones. There are some really great performances here, all well-recorded. A marvelous document.

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V.A. - Sun Records The Blues Years - 1950- 1958 (8 cd Box Set)

Review

This multi-disc set has most of the major blues classics of the late 1940's and 1950's that went on to spawn the rock era; from Ike Turner and Rocket 88 to Howlin' Wolf's best sides. Sam Phillips and Sun Records got every major player south of Chicago to record there sooner or later--and even some who had done work in Chicago came back to do work in the landmark Memphis studio (which is a GREAT tourist destination!). The recordings are primitive by today's standards, even some crackles and pops--never mind the mix (!), but the performances are consistently superb! Awesome singers (including my personal favorite, Howlin' Wolf), awesome harp players, awesome guitarists (even young B.B. King) abound---this is a holy grail of American music classics that lay down the blueprint for the best of rock music's next half century, not to mention the music Elvis heard on the radio before his fateful 1954 visit to Sun studios. This multi-disc collection is the best way I've yet found to enjoy these blues.

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V.A. - St. Louis Town: 1929-1933.

Review

This 14-track collection of St. Louis blues guitarists includes Henry Spaulding ("Cairo Blues"), Charley Jordan ("Spoonful Blues"), Hi Henry Brown ("Skin Man"), Jelly Jaw Short ("Snake Doctor Blues"), and others.

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V.A. - Hawaiian Steel Guitar Classics 1927-1938 - Released in 1993.

Review

Similarities between Hawaiian steel players and blues, country, and jazz artists abound on Hawaiian Steel Guitar Classics, a new anthology that contains 26 songs recorded over an 11-year period in the '20s and '30s. A song like Sol K. Bright's "La Rosita" has a marked similarity to both "St. James Infirmary" and "The Yellow Rose of Texas," while Sol Hoopi was a master player whose speed, facility, and range are impressive today, and were unparalleled in his genre at this time. Hoopi is the most dazzling player, but others who deserve examination include Bright, King Nawahi, the duo Jim And Bob, and The Kaai Serenaders. These selections have been transferred from vinyl 78s to digital tape and sound remarkable.

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V.A. - Carolina Blues 1937-1947.

Review

Containing the complete recorded works of Piedmont guitarists Floyd Council and brothers Richard and Welly Trice, Carolina Blues features gentle melodic blues pieces that clearly show the pervasive influence of Blind Boy Fuller in the region. Council's major claim to fame is that his first name was taken by Syd Barrett and combined with the first name of another bluesman, Pink Anderson, to make the moniker Pink Floyd, although the British group has never had much, if anything, in common with East Coast blues. Richard and Welly Trice aren't a performing duo, and their selections feature each of them playing separately, with Welly emerging as the more interesting of the two. The real treat here may well be the eight tracks by Eddie Kelly's Washboard Band, a jug band-like ensemble featuring harmonica, kazoo, acoustic guitar, and washboard. The sheer messy joy in the group's playing makes the band a complete delight.

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mp3 320 kbps - 141 mb
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V.A. - Giants Of Country Blues Guitar , Vols 1, 2 and 3.

Vol.1

Giants of Country Blues Guitar, Vol. 1 is a curious and fascinating collection of field recordings of Mississippi country blues guitarists done between 1967 and 1991, most of the selections recorded in the musicians' homes, which means there is a good deal of incidental background noise, including people talking and laughing, dogs barking, and a whole lot of foot stomping. All of this adds a certain degree of intimacy to the performances, which range from excellent to incredibly shaky. Jessie Mae Hemphill, Sam Chatmon, and Jack Owens fare the best, while the lone track by Son House, "Baby Please Don't Dog Me 'Round," is a horrible recording, with more distorted foot stomp than guitar (although it is still a fascinating track, in spite of it all). Furry Lewis does "Going to Brownsville" here on electric guitar, which is interesting, since he was normally recorded in an acoustic setting. Also worth noting is a single cut by Mager Johnson, Tommy Johnson's brother, who does "Traveling Blues" on electric guitar. Not always a smooth listen, Giants of Country Blues Guitar, Vol. 1 has probably more archival and historical value than anything else, but the sheer intimacy of some of these recordings gives it a very special grace.

Vol.2

Although the recording dates on Giants of Country Blues Guitar, Vol. 2 are quite modern, covering 1975-1991, the direct connections go back to the mid-century, Joe Willie Wilkins having played guitar for Sonny Boy Williamson II (i.e., Rice Miller) on his Trumpet sides. Actually, the players here, of whom the best known is R.L. Burnside, are practically a living museum of the rural blues styles on display. James "Son" Thomas' six songs represent the unvarnished authentic Delta blues style, while Cornelius Bright's track displays the "Bentonian" style embodied by Skip James. Burnside's performance of "Rollin' and Tumblin'," which would make Muddy Waters' Chess Records version seem almost slick, is worth the price of admission, but even he seems mannered and commercial next to some of what's here. Some of the rest -- especially Bright's and Jimmy Holmes' "Devil's Blues" -- sound like it came out of a time machine.

Vol.3

Drawn from field recordings done by Andrea and Hannes Folterbauer in the Deep South in 1991 (one track is from 1981), Giants of Country Blues, Vol. 3 concentrates mostly on a trio of North Mississippi country blues players, Jessie Mae Hemphill, Ranie Burnette, and Junior Kimbrough (Jacob Stuckey is from Bentonia, MS and L.V. Conerly is from LA), whose rough, modal juke style has become well known in the blues community thanks to the various Fat Possum releases. The chief attraction of the tracks collected here is the complete lack of slickness they demonstrate, giving these traditional blues pieces the kind of immediacy and freshness that is too often lacking in what passes for blues on the contemporary commercial circuit. These are artists whose music is still in service to their local communities, providing entertainment at house parties and juke joints. Highlights include Hemphill's "Train, Train," Roosevelt Holts' update of Tommy Johnson's classic "Big Road Blues," Kimbrough's signature "All Night Long," and Tommy West's shaky but affecting version of "Catfish Blues."


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V.A. - Jazzin' the Blues Vols 1 and 2 - DOCUMENT.

Review

This interesting CD is a gap filler, featuring later recordings by Ada Brown, Ruby Smith, Bertha "Chippie" Hill, and Lizzie Miles plus the only title by an unknown singer, Mama Alberta Price. Actually most of these performances are available elsewhere. Ada Brown is heard on "That Ain't Right" from the 1943 soundtrack of the film Stormy Weather; she is joined by an all-star group led by Fats Waller (who "assists" her with his vocal interjections). The four numbers by Ruby Smith from 1947 are particularly interesting because she is joined by tenor saxophonist Gene Sedric's sextet. Even though three of the six musicians were formerly with Fats Waller, the playing is surprisingly boppish. The Price number and the eight selections from Chippie Hill are all taken from This Is Jazz broadcasts hosted by Rudi Blesh in 1947. They are all available along with the complete programs in an extensive series put out by the Jazzology label. Finally, the six Dixielandish tunes from Lizzie Miles in 1952 has her singing with Sharkey Bonano's Kings of Dixieland and were originally part of a few Capitol albums released under Bonano's name. The music overall is enjoyable although more serious collectors may want to acquire these sessions elsewhere; however the Ruby Smith sides are scarce.

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V.A. - The Stuff That Dreams Are Made Of - 2006.

Review

For anyone who's collected 78-rpm records, enjoyed Harry Smith's Anthology of American Folk Music, or expressed interest in the great missing old-time and blues records of yesteryear, The Stuff That Dreams Are Made Of will be the Holy Grail. Whereas it isn't unusual for Yazoo to place a rarity on a new collection by Blind Blake or Blind Lemon Jefferson, this two-disc collection -- all 46 cuts -- is a testament to rarities. Perhaps the best-known (to a general old-time/blues audience) performer here is Son House, and the collection includes recordings of "Mississippi County Farm Blues" and "Clarksdale Moan." Others might be familiar with Dock Boggs ("Old Rub Alcohol Blues"), Ken Maynard ("Sweet Betsey from Pike"), and the Memphis Jug Band ("Jim Strainer Blues"). Incredibly, several of these tracks were recorded as test pressings and never officially released, meaning that as far as the recording industry is concerned, they don't exist. It's probable that all of the fuss made over this collection of rarities will make little sense to folks who don't spend all of their spare money and time hunting down 78-rpm records, and there's a point here. If you don't know that a certain item is rare, you won't value it in the same way a collector might. In this sense, one CD filled with scratchy old recordings is as good as another. But even for those who might not understand why they should be excited by The Stuff That Dreams Are Made Of, the collection nonetheless holds up as good old-time folk and blues, and expense-wise, Yazoo always offers lots of quality music for one's money. As an added bonus the cover art and inside cartoon has been put together by none other than Robert Crumb, a record collector and one-time string band performer himself.

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