Mississippi John Hurt - Complete Studio Recordings CD

Complete Studio Recordings songs Recorded in Memphis, Tennessee and Chicago, Illinois between 1951 and March 1959. Originally released on Chess (9195) in 1959. Includes original liner notes by Ralph Bass. Recorded in Chicago, Illinois between June 24, 1957 and May 1961. Originally released on Chess in 1962. Includes original liner notes by Paul Ackerman. Simply put, this disc is indispensable for anyone interested in blues, rock, or good music in general. One of the rare, genuine "deals" on record store shelves, this two-fer compiles Howlin' Wolf's first two full-length albums on one CD and offers twenty-two tracks of the man's absolute finest. These are the essential documents of the man who was the last word in electric Chicago blues--a unique and riveting performer whose voice could loose buildings from their foundations and remove skin from bone. Wolf's visceral impact is overwhelming at times, and his performances on these tunes are definitive. All his best-known and loved are here, including "Shake For Me," "The Red Rooster," "Wang Dang Doodle" Spoonful," "Evil" and "Forty Four." As good, if not better, than any "best of" collection, MOANIN' IN THE MOONLIGHT/HOWLIN' WOLF is a must. 2 LPs on 1 CD. Includes liner notes by Don Kamerer. MOANIN' IN THE MOONLIGHT: Personnel: Howlin' Wolf (vocals, harmonica); Willie Johnson, Hubert Sumlin, Jody Williams, Lee Cooper, L.D. McGhee, Otis "Smokey" Smothers (guitar); Adolph "Billy" Dockins (tenor saxophone); Ike Turner, Hosea Lee Kennard, Otis Spann (piano); Willie Dixon (bass); Willie Steel, Earl Phillips, Fred Below, S.P. Leary (drums). HOWLIN' WOLF: Personnel: Howlin' Wolf (vocals, guitar, harmonica); Willie Dixon (vocals, bass); Hubert Sumlin, Jimmy Rogers, Otis "Smokey" Smothers, Willie Johnson (guitar); Abe Locke (tenor saxophone); Johnny Jones, Henry Gray, Hosea Lee Kennard, Otis Spann (piano); Sammy Lay, Earl Phillips, Fred Below, S.P. Leary (drums). Personnel: Howlin' Wolf (vocals, guitar, harmonica); Willie Dixon (vocals); L.D. McGhee, Lee Cooper, Hubert Sumlin, Jimmy Rogers , Jody Williams, Otis Smokey Smothers, William Johnson, Willie Johnson (guitar); Abe Locke, Adolph Dockins (tenor saxophone); Henry Gray, Ike Turner, Hosea Lee Kennard, Johnny Jones , Otis Spann (piano); Earl Phillips, Fred Below, Willie Steel, S.P. Leary, Sam Lay (drums). Liner Note Authors: Paul Ackerman; Ralph Bass. Recording information: Chicago, IL; Memphis.

Complete Studio Recordings buy CD music The giant left-handed guitarist was no stranger to the recording studio by 1966, but Albert King had still to make his mark with the record-buying public. When he linked up with the cream of Stax's Memphis musicians, including Booker T. And The MGs and the Memphis Horns, that connection was made. "Laundromat Blues", "Oh, Pretty Woman" and "Crosscut Saw" set the scene for "Born Under A Bad Sign" and "The Hunter", which quickly found their way into the repertoires of Cream and Free. The convolutions of his guitar style were perfectly complemented by the trademark Stax funk rhythms. The team went on to make many more singles and albums, none of which could surpass the achievements of their first meeting. Recorded at Stax Recording Studio, Memphis, Tennessee between March 1966 and June 1967. The Memphis Horns: Wayne Jackson, Andrew Love (horns). Personnel: Albert King (vocals, guitar); Steve Cropper (guitar); Joe Arnold, Andrew Love, The Memphis Horns, Wayne Jackson (horns); Isaac Hayes, Booker T. Jones (piano); Al Jackson, Jr. (drums). Audio Remasterer: George Horn. Liner Note Authors: Deanie Parker; Michael Point. Recording information: Stax Recording Studio, Memphis, TN (03/03/1966-06/09/1967). Photographer: Jim Marshall . Personnel includes: Albert King (vocals, guitar); Joe Arnold (horns); Isaac Hayes (piano). Booker T. & The MG's: Booker T. Jones (piano); Steve Cropper (guitar); Donald "Duck" Dunn (bass); Al Jackson, Jr. (drums).

Complete Studio Recordings album for sale Recorded between 1927 and 1930. Includes liner notes by Samuel Charters. Digitally remastered by David Mitson (Sony Music Studios, Los Angeles, California). A bottleneck guitarist of consummate skill, Blind Willie Johnson was a traveling evangelist who preached the gospel by playing and singing such message-heavy tunes as "I Know His Blood Can Make Me Whole," and "If It Had Not Been for Jesus." But there is not a whit of squeaky-clean, Sunday-morning sweetness to Johnson's music. Overwhelmingly intense, Johnson's performances are all open wounds and raw nerves. THE COMPLETE collects everything the artist ever recorded, and makes a case for Johnson as one of the most passionate, affecting bluesmen of all time. It is Johnson's singing that truly startles. A gruff yet finely nuanced bass, Johnson sings with a voice that could grind glass, wrenching out spiritually committed messages in a manner both primal and sublime. Johnson also displays great variety, be it the stark, understated intensity of "Dark Was the Night - Cold Was the Ground" (where he wordlessly vocalizes in a hush over ghostly riffs) or the full-tilt prophetic perfection of "John the Revelator" (a duet with Willie Harris). THE COMPLETE BLIND WILLIE JOHNSON is an utterly essential set of the most hair-raising gospel blues ever put to tape. Be prepared. This is part of Columbia/Legacy's Roots N' Blues series. Personnel includes: Blind Willie Johnson (slide guitar, vocals). Reissue producers: Lawrence Cohn, Gary Pacheco.

Complete Studio Recordings CD music In 1965, Son House recorded the 21 tracks featured on FATHER OF THE DELTA BLUES for Columbia Records. Whereas the nine songs on disc one were released that year as THE LEGENDARY SON HOUSE, the 12 alternate takes and previously unissued songs on disc two, including an elegy called "President Kennedy," remained unheard until this 1992 release. Contains 9 tracks previously released on Columbia as THE LEGENDARY SON HOUSE: FATHER OF FOLK BLUES and 12 previously unreleased and/or alternate takes from the same session. The set also includes liner notes in which Son House relates a story about Robert Johnson. By the time his name was spreading through the collegiate blues circles of the early '60s, Eddie James "Son" House, Jr. had been retired for nearly 20 years. Son House was already legendary for a small collection of live field recordings made by folklorist Alan Lomax in 1941 and 1942-and for having taught some important licks to both Robert Johnson and Muddy Waters. Tracked down by his new fans in 1964, Son House regained his chops and went out on the college blues circuit for several years, showing worshipful youngsters just why he deserved the title "Father of the Delta Blues."

Complete Studio Recordings buy CD music Track Listing of songs: DISC 1: Pony Blues; Spoonful Blues, A; Down the Dirt Road Blues; Prayer of Death, Pt. 1; Prayer of Death, Pt. 2; Screamin' and Hollerin' the Blues; Banty Rooster Blues; Tom Rushen Blues; It Won't Be Long; Shake It and Break It; Pea Vine Blues; Mississippi Boll Weevil Blues; Lord, I'm Discouraged; I'm Goin' Home; Snatch It and Grab It; Rag Blues, A; How Come Mama Blues; Voice Throwin' Blues; DISC 2: Hammer Blues: Take 1; I Shall Not Be Moved; High Water Everywhere, Pt. 1; High Water Everywhere, Pt. 2; I Shall Not Be Moved; Rattlesnake Blues; Going to Move to Alabama; Hammer Blues: Take 2; Joe Kirby; Frankie and Albert; Magnolia Blues; Devil Sent the Rain Blues; Runnin' Wild Blues; Some Happy Day; Mean Black Moan; Green River Blues; That's My Man; Honey Dripper Blues: No.2; Eight Hour Woman; Nickel's Worth of Liver Blues: No. 2; DISC 3: Some of These Days I'll Be Gone; Elder Green Blues: Take 2; Jim Lee: Pt. 1; Jim Lee: Pt. 2; Mean Black Cat Blues; Jesus Is A-Dying; Elder Green Blues: Take 2; When Your Way Gets Dark; Some of These Days I'll Be Gone: Take 2; Heart Like Railroad Steel; Circle Round the Moon; You're Gonna Need Somebody When You Die; Be True, Be True Blues; Farrell Blues; Tell Me Man Blues; Come Back Corrina; DISC 4: Some Summer Day; Bird Nest Bound; Future Blues; M and O Blues; Walkin' Blues; My Black Mama, Pt. 1; My Black Mama: Pt. 2; Preachin' the Blues: Pt. 1; Preachin' the Blues: Pt. 2; Dry Spell Blues, Pt. 1; Dry Spell Blues, Pt. 2; All Night Long Blues; On the Wall; All Night Long Blues; By the Moon and Stars; Long Ways from Home; DISC 5: Dry Well Blues; Moon Going Down; We All Gonna Face the Rising Sun; Moaner Let's Go Down in the Valley; Jesus Got His Arms Around Me; God Won't Forsake His Own; I'll Be Here; Where Was Eve Sleeping?; I Know My Time Ain't Long; Watch and Pray; High Sheriff Blues; Stone Pony Blues; Jersey Bull Blues; Hang It on the Wall; 34 Blues; Love My Stuff; Poor Me; Revenue Man Blues; Troubled 'Bout My Mother; Oh Death; Yellow Bee; Mind Reader Blues;

Complete Studio Recordings songs In almost diametrical opposition to the raw, boisterous styles of other Delta bluesmen of the same period, Mississippi John Hurt sings and plays in a quiet, understated, and frankly beautiful manner. Whereas Charlie Patton and Robert Johnson impress with pyrotechnically rhythmic fretwork and gutsy, dramatic vocal performances, Hurt's deft, strictly metrical guitar style and hushed but nuanced and sensitive voice dazzle in their own way. A farmhand in Avalon, Mississippi--a town of less than 100 people--Hurt spent the evenings of the '20s playing "household music," music intended only for the entertainment of family and friends and not for commercial gain. There is no way Hurt could have imagined the impact his music would have on the '60s folk revival movement or the significance and longevity that his achievements would enjoy. 1928 SESSIONS, issued by Yazoo with astonishingly clear sound, is arguably the finest document of Hurt's music. Shifts from traditional blues ("Avalon") to church music ("Blessed Be The Name") and such rags a "Stack O'Lee Blues" vary the tempo but never disrupt the gentle, homespun atmosphere. More textured works, such as "Frankie," spotlight Hurt's accomplished accenting technique on guitar. 1928 SESSIONS is an essential addition to any blues collection. Unknown Contributor Role: Mississippi John Hurt.