| | Alex Moore Complete Recorded Works 1929-1951 CD Alex Moore Discography of CDs
Complete Recorded Works (1929-1951) rounds up all of Whistlin' Alex Moore's early recordings for Columbia, Decca and RPM/Kent. The sound quality is a little rough, and since it spans several decades, the collection doesn't quite gel into a cohesive listening experience, but there's no denying that these rowdy barrelhouse blues are powerful and entertaining -- they're worth the time of any serious piano blues fan.~ Stephen Thomas Erlewine
Audio Remasterer: Gerhard Wessely.
Recording information: Dallas, TX (12/05/1929/12/06/1929).
Personnel includes: Alex Moore, Nick Nichols, Perry Dixon, Blind Norris.
Personnel: Whistlin' Alex Moore (vocals, whistling, piano); Nick Nichols (vocals); Coley Jones, Andrew Hogg (guitar).
Complete Recorded Works 1929-1951 Music Alex Moore Complete Recorded Works 1929-1951 Songs | 1. | They May Not Be My Toes | |
| 2. | West Texas Woman | $0.99 | |
| 3. | Heart Wrecked Blues | |
| 4. | Ice Pick Blues | |
| 5. | Rugger Blues - (vocal) | |
| 6. | Riverside Blues - (vocal) | |
| 7. | Frankie and Johnny (The Shooting Scene), Pt. 1 - (vocal) | |
| 8. | Frankie and Johnny (The Courtroom Scene), Pt. 2 - (vocal) | |
| 9. | It Wouldn't Be So Hard | |
| 10. | Blue Bloomer Blues | |
| 11. | Back to Georgia Blues - (vocal) | |
| 12. | Be Mean to Your Baby - (vocal) | |
| 13. | Sundown Blues - (vocal) | |
| 14. | Katy Blues, The - (vocal) | |
| 15. | Blue Bloomer Blues | |
| 16. | Come Back Baby | |
| 17. | Bull Cow Blues | |
| 18. | Hard Hearted Woman | |
| 19. | I Want My Mary | |
| 20. | Miss No Good Weed | |
| 21. | If I Lose You Woman | |
| 22. | Neglected Woman | |
| 23. | Lillie Mae Boogie | |
| Complete Recorded Works 1929-1951 Review
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$14.75 There is no doubt that Laura Love is a smokin' bass player and a talented musician. Her records have always been mixed bags though. Welcome to Pagan Place may be her most consistent and successful recording to date, with a seamless weaving of folk, pop, jazz, a tad of rock and blues, and some shimmering reggae here and there. Compositionally Love is always engaging and often even remarkable. Lyrically, however -- and pardon what may appear to be cynicism -- she doesn't match her other talents. She doesn't pretend to be anybody other than what she is, a singer and songwriter, but this album offers a vision of her as a lot more and a little less. In her genre, she is peerless as a composer. Her deep understanding of rhythm, textures, and instrumental phrasing is singular in the "folk" world. And surrounding herself with musicians such as violinist Barbara Lamb and guitarist Rod Cook doesn't hurt either. Lyrically, however, she seems to fall short or is at least at odds with her music. "Santa Rosa," which comes off as a sophisticated Victoria Williams tune without Williams' poetry, is one example. The jazz interlude in the bridge is brilliant. On "Can't Nobody," which is deeply rooted in organic funk and blues, the words seem to be repetitive and only scratch the surface of what it is she is trying to say. An exception is the gorgeous country ballad "Gonna Rain Hard." The simplicity of the lyric with the earthy sensibility of the acoustic guitars and single-note bassline is perfect, and Love's voice is sublime on the track. The layered vocals on the stomping bluegrass is super, so much so the words just go by until the funky break at the end of the refrain. The fusion of Steve Miller's "Fly Like an Eagle" and the Beatles "Come Together" is clever, and the bass groove is tremendous, but it doesn't hold up to repeated listens. "I Want You Gone" feels like something Wendy & Lisa would do and has the same sexy funkiness that is oh so greasy but squeaky clean at the same time. Again, Love's vocals are lovely, but the words are, well, trite. There is nothing insincere in Love's lyrics. Quite the opposite. The complaint is small: it's simply that Love's musical gifts are so plentiful it makes what might be perfectly passable for a lesser composer seem like a flaw in her otherwise amazing oeuvre. All of that said, this album is highly recommended because another listener might not have the same difficulty. ~ Thom Jurek
Welcome to Pagan Place may be Laura Love's most consistent and successful recording to date, with a seamless weaving of folk, pop, jazz, a tad of rock and blues, and some shimmering reggae here and there. Compositionally Love is always engaging and often even remarkable. She doesn't pretend to be anybody other than what she is, a singer and songwriter. In her genre, she is peerless as a composer. Her deep understanding of rhythm, textures, and instrumental phrasing is singular in the "folk" world. And surrounding herself with musicians such as violinist ...
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