Any fan of Delta blues should grab this reissue as fast they can get to it. These are vintage recordings, mostly from 1967, made by scholar-producer Pete Welding when Edwards was 51 years old. Edwards' itinerant lifestyle resulted in his missing many opportunities to record, so that this was only the fifth session he'd had in over 30 years in music, performing solo, with an acoustic guitar on eight of the 13 cuts here. Edwards cuts a daunting figure on the guitar, making the strings sing in several voices at once (check out the playing on "Love Me Over Slow"), and his singing is a match for his playing. The eight solo numbers, dating from 1967, feature the music he was most familiar with, including Robert Johnson's "Sweet Home Chicago" and the title track of this collection. The rest date from a March 1964 session on which Edwards shares the spotlight with singer-harpist John Lee Henley. As a bonus, the last track is an interview from his 1967 solo session in which Edwards talks about Robert Johnson and Tommy Johnson, both of whom he knew personally. The background ambient sound does nothing to detract from the worth of the music, which has a wonderful raw quality. (Bruce Eder, Allmusic)
trax:
01 Just Like Jesse James 02 Sweet Home Chicago 03 Blues Like Showers of Rain 04 Long Tall Woman Blues 05 Love Me Over Slow 06 Crawling Kingsnake 07 Skin & Bones Blues 08 Bull Cow Blues 09 Blue & Lonesome 10 My Baby's Gone 11 Ida Lou Blues 12 Angel Child 13 Love Me Over Slow
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14 comments:
DAVID "HONEYBOY" EDWARDS "Crawling Kingsnake"
...served by Gyro1966...
gitit! no pw
http://www13.zippyshare.com/v/40491270/file.html
...and now Honeyboy!! A big THANKS for so much good Blues!
Cheers Daniel, from Spain...
BONUS 6 OF 10
THE PEASALL SISTERS - Home To You (2005) @320
http://www40.zippyshare.com/v/77003701/file.html
Tennessee's Peasall Sisters sing with a mournful, melancholy and innocent quality that captures an acoustic classic country style of yesteryear. The sisters (Sarah, Hannah and Leah) ae only 18, 15 and 12, respectively. You might recognize their voices as those of George Clooney's daughters in "O Brother, Where Art Thou." Not just a lucky break or fluke, these kids have abundant talent. Their "First Offering" album was a success, and "Home to You" is also a very enjoyable followup. All three girls have an enchanting quality in their singing, and their close harmonies throughout a songs like "Freight Train Blues" are especially noteworthy. They each sing lead and harmony vocals. Sarah plays acoustic guitar and banjo, while Leah plays fiddle. Other joining in the instrumental fun are Randy Scruggs (guitar, slide guitar), Charlie Chadwick (bass, cello), Jamie Hartford (mandolin, electric guitar), Kenny Malone (drums), Laura Cash (fiddle), Larry Perkins (guitar), Leroy Troy (banjo), Gene Chrisman (drums), and Tony Harrell (accordion, piano, harmonium). This is one well-produced album by John Carter Cash. Sarah demonstrates her aptitude for songwriting ("Home to You" and "Logtown"), and Sarah and Hannah play a major role in arranging much of the other material.
The Peasalls choose songs that embody the traditional canon or its spirit and soul. It never hurts to give bonafide respect to the familiar folk ("Fair and Tender Ladies) or the material of the Carter Family ("I Never Will Marry"). They also show an appreciation and aptitude for bluegrass (Newton Thomas' "Rushing Around"), Irish ("Carrick Fergus") and Gospel ("Angel Band," "The Old Account"). Their own compositions are more ethereal in a slower-tempo'ed, acoustic country vein ("Logtown," "Gray County Line") that can turn misty skiies into blue ones. The middle of their set on this project could've used another pick-me-up selection, but at track eight, Jim Brasher's bouncy gospel composition, "The Old Church Yard," is a welcome statement that could've easily been done by the likes of Reno and Smiley decades ago. Individually, their voices are pleasant, and the girls will only get better as lead vocalists with smooth, silky personalities of their own. Their real strength is embodied in the magnetism of their collective vocal sound, best demonstrated on the album's a cappella closer, "Where No One Stands Alone." With an ample amount of rustic purity in their music, The Peasall Sisters are being groomed for even bigger things to come. (Joe Ross, staff writer, Bluegrass Now)
BONUS 6 OF 10 (Continued)
THE PEASALL SISTERS - Home To You (2005) @320
Old-time country music just doesn't get much younger than this, though the Peasall Sisters have practically become seasoned veterans over the five years since their childhood breakthrough on the O Brother, Where Art Thou? soundtrack. Sarah (now 18), Hannah (14), and Leah (12) may belong to a generation that has never known life without computers and cell phones, but they channel the inspiration of the Carter Family and conjure an era when some rural fans of the music didn't even have indoor plumbing. Though the results sometimes fail to distinguish between the timeless and the cloyingly quaint (the world hardly needs another version of the traditional "Angel Band" or A.P. Carter's "I Never Will Marry," especially renditions this mawkish), the spiritual material that opens and closes--the title track and the a cappella "Where No One Stands Alone"--finds the trio in truly transcendent harmony. It bodes well that what is arguably the best track here, "Gray County Line," is one of the album's three originals, while the production by John Carter Cash shows good ears as well as strong bloodlines. --Don McLeese
INFO
http://www.amazon.com/Home-You-THE-PEASALL-SISTERS/dp/B000A7Q1RE
BONUS 7 OF 10
Zoe Muth & the Lost High Rollers - Starlight Hotel (2011)
http://www73.zippyshare.com/v/60990220/file.html
(Thanks to Jillem for the share.)
An enjoyable country album, with fine singing and music, despite some bleak lyrics.
Zoe Muth opens her second album, Starlight Hotel, with the bouncy, infectious I've Been Gone in which she laments missing, of all things, the cold rain of her native Seattle.
The quality of the musicianship on the album is clear from the off, including the boisterous brass lines in the first song, and the tight assured work of her band, The Lost High Rollers, who take their name from the lyrics in Townes Van Zand's No Lonesome Tune.
The album brims with lovely mandolin and glossy pedal and steel guitar work from Ethan Lawton, Mike McDermott and Dave Harmonson, supported by Greg Nies on drums.
Muth's voice is excellent too - with a moody quality reminiscent of, although lighter than, Iris DeMent and she conveys the misery of some of her characters well in her slightly drawling delivery ("There’s no one who can make my tired old life seem new and unused" Muth sings on New Mexico).
The album ranges across a variety of soundscapes. Harvest Moon Blues is a pretty acoustic guitar travelling song while Come Inside has an upbeat country rock feel.
One highlight of the album is the dry and wry If I Can't Trust You With a Quarter (How Can I Trust You With My Heart?) which tells the story of a broke 'jukebox honey' in a bar, drinking her rum, weighing up the charms of a stranger. She lets him use her precious quarters and she distinctly unimpressed:
"When you said you’d never heard of John Prine, Well I knew right away you weren’t worth my time."
The album feel like authentic old country done afresh and there's no disguising that some songs are a bit bleak, especially Tired Worker's Song about struggling each day in a world that's "so untrue". (Telegraph)
Zoe Muth and the Lost High City Rollers are preserving the rich tradition of classic country phrasing and melodies on this album while writing meaningful lyrics for the 21st century. This album is both pleasing and a lot of fun to listen to. All but one of the songs are written by Zoe, who seems to have a masterful command of both the music and lyrical story telling. Some of the songs drift into a singer songwriter folk sound but they all sound honest and the artists remain true to the music. When Zoe sings "When you said that you'd never heard of John Prine well I knew right away you weren't worth my time" I knew right away that I had to have this album and I have not been disappointed. (No Depression)
INFO
http://www.telegraph.co.uk/culture/music/worldfolkandjazz/8458918/Zoe-Muth-And-The-Lost-High-Rollers-Starlight-Hotel-CD-review.html
BONUS 8 OF 10 (Pt.1)
DION - Son Of Skip James (2007) @320
http://www21.zippyshare.com/v/31463068/file.html
Dion being back with a major has done the opposite of what would be expected. This isn't some nostalgia record. It's a tightrope walker. If anything, with the stakes increased, it's made him more raw, immediate, and utterly full of life, spunk, grit, and truth than ever; he's as hungry for the meaning in the music and as cockily self-assured as "the Wanderer" who laid "Ruby Baby" down nearly 50 years ago. DiMucci's voice is a thing of wonder; he has lost none of his vitality and none of his range, and his control over it is simply amazing. He also plays a pretty mean guitar. He didn't need any big-name producer or all-star band, either. Dion produced Son of Skip James himself, plays acoustic guitar and harmonica, and sings his rear off. Rick Krive accompanies him on piano on a few tracks, and Bob Guertin is on percussion and Hammond B-3 on others. That's it. The program consists of a number of classic blues tunes and some that should be considered that way. For starters, it opens with a killer reading of Chuck Berry's "Nadine"; in it you can hear unmistakably that -- in a great singer's voice -- what separates the blues from rock & roll is invisible. Dion's covers of Willie Dixon's "My Babe" and "Hoochie Coochie Man," Junior Wells' "Hoodoo Man Blues," Sleepy John Estes' "Drop Down Mama," Robert Johnson's "Preachin' Blues" and "If I Had Possession Over Judgment Day," and yeah, Skip James' "Devil Got My Woman" are deeply personal, swaggering, and the real thing: original. He's not singing these songs because they are classics, but because he hears something in them calling his name. He's had plenty of time to hear those sounds, to take them into himself and now to spit them back out through his own experience. There isn't a note here that's tired, clichéd, or inauthentic.
BONUS 8 OF 10 (pt.2)
DION - Son Of Skip James (2007) @320
One piece of evidence that this is the truth is that he's also written a few tunes here that hold water next to these towering monoliths of the American music canon. Check "The Thunderer," a rambling bluesy folk tune with Rhodes piano and spare percussion, where Dion sings about St. Jerome (an early translator of the Bible as a deeply conflicted, sexist, prejudicial, and blessed if contradictory madman -- "God's crotchety scholar"). Dion's conclusion is not unlike those of the bluesmen before him: "...It takes all kinds to make it to heaven...love without truth is just sentimental/Truth without love is sterile...." This isn't Dion preaching the gospel, but affirming the loopy sense of inconsistency that humans walk the earth with, and affirming his belief in a God that not only understands this but celebrates it. He offers a little tale about Dylan performing "Blowin' in the Wind," at the 1997 World Eucharistic Conference, which will strike some as preachy, as will the title track. So, if religion offends you -- particularly Christian religion -- this might put you off a bit, but too bad. The title track spells out a confident smiling conviction that the tough-guy bravado he showed on Saturday night is no act: as he walks to church on Sunday morning he lays it out straight to the guy across the street selling wolf tickets and laughing at him: "I'm a lover not a fighter/But I could kick your ass." Uh-huh. Anybody who would be so audacious as to lay that tune down before the Holy Grail of the blues in Johnson's "Preachin' Blues," followed by "If I Had Possession Over Judgment Day" and the set-closing "Devil Got My Woman," has got a pair. In other words, Dion's either crazy or he knows something of what he's singing. He knows that the other side of Saturday night is Sunday morning. To be honest, it wouldn't matter if he were singing The Anarchist Cookbook (although it might endear him to a few more politically correct types); he'd still sing like a lonesome midnight angel wailing in front of a burning trash can on some trash-strewn street corner. Just before 2007 slips away, Dion strolls right back in the front door like he's never been gone, with one of the best records of the year under his arm. (Thom Jurek, Allmusic)
INFO
http://www.allmusic.com/album/son-of-skip-james-mw0000781400
BONUS 9 OF 10
Pete Molinari - Theosophy (2014) @320
http://www64.zippyshare.com/v/46340175/file.html
A new millennium New Dylan long before Jake Bugg came along and stole the crown, Pete Molinari always made hay of the comparisons to the Bard and Woody Guthrie, but unlike so many other latter-day troubadours, he also had an ear for good-sounding records. He worked with Billy Childish at the dawn of his career, but even that flirtation with garage rock offers little preparation for the colorfulness of Theosophy, his fourth album. Working with producer Liam Watson, along with mixer/producer Tchad Blake and Andrew Weatherall, and finding space for a cameo from Black Key Dan Auerbach, Molinari pushes his music into the swirling head space of the psychedelic '60s, spending as much time reveling in the dimensions of sound as in the wonder of words. This unexpected emphasis on sonics makes Theosophy grabbing in a way Bugg's cod-Dylanisms are not, but the groovy thing about this record is that its bones are as well-constructed as the production. Molinari's songwriting is exceptionally tight, so all the flourishes -- some borrowed from the swinging London of 1966, some borrowed from U.S. garage rock, a lot of ringing guitars coming out of Los Angeles -- winds up accentuating, not distracting. It's a nifty record: a double-edged throwback, evoking the singer/songwriters of the '60s but sounding like a different part of that decade, which is why its retro-ism winds up as invigorating. (Allmusic)
INFO
http://www.allmusic.com/album/theosophy-mw0002648177
BONUS 10 OF 10
From Jillem:
Pete Molinari - Train Bound for Glory (2010)
MP3 VBR V2
http://www43.zippyshare.com/v/21979112/file.html
Packed to the gunwales with Brill Building hooks and decorated with wafting pedal steel.
David Sheppard 2010
There’s an intrinsic danger in a musician acquiring public renown by association with a gimmick. In Pete Molinari’s case the attention-grabber involved the Kent-born, Maltese/Italian/Egyptian singer-songwriter being cast as the guinea pig act on author Will Hodgkinson’s Big Bertha label – an imprint launched so the urbane scribe could detail the travails of the would-be record mogul in his Guardian column.
To his credit, Molinari transcended the hype, gaining props from Ray Davies and Richard Hawley along the way and subsequently wriggling free of the fourth estate and basing himself in the USA – recording A Train Bound for Glory, his third album, in Nashville with producer Adam Landry. Obsessed with ‘golden age’ American music, Molinari is, dependent on your viewpoint, an ingenuous pop classicist or wilfully old fashioned, so firmly rooted in pre-Beatles rock’n’roll, pop, country and blues are his songs. His titles may augur ill; an unprepossessing roll call of the derivative (Streetcar Named Desire, the title-track) and the hackneyed (Since You’ve Been Gone, Heartbreak Avenue) but they embody the keening-voiced Molinari’s chosen milieu so perfectly that, in context, everything makes sense.
Packed to the gunwales with Brill Building hooks and decorated with wafting pedal steel, the album’s dozen essays unfurl in a procession of such instantly familiar tropes that listening inevitably becomes something of a ‘guess-the-blueprint’ exercise. Thus, (To Be Close to) Your Heart’s Desire is Roy Orbison’s Crying stripped of melodrama; Heartbreak Avenue the kind of innocuous, mid-tempo rocker that propped up many an Elvis movie (with vocal backup from the aged Jordanaires, to boot); and A Place I Know So Well is surely a Sonny Bono outtake. Only Minus Me goes off message, trawling the mid-70s for its ‘grand theft auteur’ of Bob Dylan’s You’re a Big Girl Now.
And yet… for all the carefully observed battlefield re-enactments, Molinari is perfectly capable of conjuring affecting originality. Closing track What a Day, What a Night, What a Girl is actually a quite sublime ballad, drenched in baroque strings and full of stirring, redemptive lyrics. It’s genuinely poignant and, crucially, sounds like no one other than Pete Molinari.
INFO
http://www.bbc.co.uk/music/reviews/5cb6
Thanks
Wow, thanks for more Pete Molinari! :))
Wow what a bonus bounty. I'm bouncing back & forth between albums from here and listening to new releases on Tidal. Musical gluttony in action.
Dion always strolls in with the record of the year. He is the man.
To put him in there with Dave Honeyboy Edwards, that's inspired.
I saw Honeyboy a few years back, in a small pub in a northern city in the UK. About fifteen of us around the stage seated at tables, Honeyboy sitting on a chair in the middle of the stage, built like granite, like a man who's spent forty years working in a stoneyard.
I'm one of those sixties guys who walked around feeling like a mountain after hearing Levon and the Band - Dave Honeyboy Edwards was granite. Voice, face, expression, tapping foot, guitar, presence - don't ask him the time.
Eighty six years old.
His own man.
Thanks as ever for all the great work and the offerings.
Thank you very much for this 1960's Honeyboy Edwards album when he was still at the peak of his considerable talents.
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