| | Leadbelly Black Folk Singers (The Remaining Titles 1937-1946) CD Leadbelly Discography of CDs
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Remaining Titles (1937-1946) Black Folk Singers (The Remaining Titles 1937-1946) Music Leadbelly Black Folk Singers (The Remaining Titles 1937-1946) Songs | 1. | When You Get to Sleep, Please Don't Sleep Long | |
| 2. | Careless Love | |
| 3. | Motherless Children | |
| 4. | One Meat Ball | |
| 5. | One Meat Ball | |
| 6. | Jelly Jelly | |
| 7. | Beloved Comrade | |
| 8. | Hitler Song | |
| 9. | Hold On | |
| 10. | Don't Lie Buddy | |
| 11. | In My Time of Dying | |
| 12. | Take a Gal Like You | |
| 13. | Trouble | |
| 14. | Free and Equal Blues | |
| 15. | Uncle Sam Says (Bottle up and Go) | |
| 16. | Dear Mr. President/President Roosevelt | |
| 17. | If You Want to Do Your Part | |
| 18. | Rock Island Line | $0.99 | |
| 19. | Number 12 Train | |
| 20. | No More Blues (No More Bread Lines) | |
| 21. | Jim Crow Blues | |
| 22. | Motherless Children | |
| 23. | When I Lay Down | |
| 24. | Evil Hearted Man | |
| 25. | Whatcha Gonna Do (Sometime) | |
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Black Folk Singers (The Remaining Titles 1937-1946) Review
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Purchase Black Folk Singers (The Remaining Titles 1937-1946) CD To buy, Click on price to add to cart | Tinsley Ellis Speak No Evil CD (2009)
Black Folk Singers (The Remaining Titles 1937-1946)
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Tinsley Ellis has worked hard since the early 1980s to establish himself on the contemporary blues scene. As a result, he has become one of the most consistent, and therefore quintessential, electric blues men. He's also a good songwriter in that he stretches the blues form as far as it will go, and occasionally he crosses into solid hard rock territory. On SPEAK NO EVIL, it seems as though Ellis has been listening to some of Robin Trower's early to mid-period records. And what seems to be at work on SPEAK NO EVIL is Ellis trying to push the blues form in a decidedly more rockist direction without losing its emotional feel. Check out ...
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SAD STREET was nominated for a 1997 Grammy Award for Best Contemporary Blues Album.
One of the most sumptuously produced of Bland's '90s album, SAD STREET features a lush string section, as well as the impeccable rhythm section of bassist David Hood and drummer Roger Hawkins, two Muscle Shoals studio veterans who have played on R&B/soul hits. Bland himself seems thoroughly engaged, particularly on the title tune, a song which inhabits a neighborhood somewhere near Ray Charles' classic "Lonely Avenue." Other highpoints include "My Heart's Been Broken Again," which has a jaunty melody that's nicely at odds with the lyrical sentiments, and a particularly impassioned cover of Billie Holiday's "God Bless the Child."
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As easy as it is to characterize Howard Armstrong as the last link in the once great African-American string band tradition, he really had the kind of personality and talent that transcended simple genre labels. A visual artist as well as a consummate musician (he is rumored to have been able to play 22 different types of instruments), his grasp of musical styles was panoramic, ranging from blues, jazz, country, and pop to all manner of jigs, reels, waltzes, and spirituals, and he could sing and entertain in four languages, including German, Polish, and Italian as well as English. Although he tended to concentrate on fiddle and mandolin in his later years, no musical style or instrument was ever safely out of reach of Armstrong's sweeping vision. This marvelous disc was originally released in 1995 (it won a W.C. Handy Award that year) and it stands as Armstrong's only solo project (although he is helped here on bass by his son, Ralphe Armstrong, a veteran of stints with John McLaughlin and Jean-Luc Ponty, and the swing-style guitar of Ray Kamalay). Armstrong ...
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Depeche Mode's American career took the British synthpop band from hipster curios to cult artists to teenage heroes to, with 1989's VIOLATOR, genuine alternative-rock superstardom. It's a majestic album that reflects the buildup of angst over a decade of playing; it stays true to the outfit's basic form while exploring new aural worlds.
The album contains three massive MTV hits, the unusually guitar-oriented "Personal Jesus," the more typical but still obtuse "Enjoy the Silence," and the off-kilter and emphatic "Policy of Truth." Martin Gore's songs explore his usual themes of sex ("Blue Dress"), redemption ("Clean"), and desperation ("Waiting for the Night"), but the arrangements are more detailed and lush than on the band's spartan early albums; it's a new style that suits Dave Gahan's deepening voice well. VIOLATOR's commercial success may have brought turmoil to Depeche Mode's career and lives, but it remains one of the band's finest and (unlikely enough) truest albums. With VIOLATOR, the band pulls off the not unremarkable ...
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