| | Elzadie Robinson Complete Works, Vol. 2 (1928-1929) CD Elzadie Robinson Discography of CDs
The final 17 selections (including a previously unreleased alternate take) from the obscure Elzadie Robinson's recording career are on this excellent Document CD. Robinson was a second-level blues singer whose voice seemed to get stronger with time; he is accompanied by pianist Tiny Parham on two numbers and Will Ezell for the other 15. On such selections as "Wicked Daddy," "It's Too Late Now," "Unsatisfied Blues," "Cheatin' Daddy" and "Ain't Got Nobody," Robinson shows that her work should be re-evaluated, for she is quite effective. This CD is rounded off by six alternate versions of songs recorded by the even lesser-known vocalist Lottie Beaman in 1924. Beaman is joined by either the Pruitt Twins (banjoist Milas Pruitt and guitarist Miles Pruitt) or pianist Jimmy Blythe and (on one number) banjoist Papa Charlie Jackson. While Beaman fares well, the reason to acquire this CD is the long-forgotten Elzadie Robinson. ~ Scott Yanow
The last six tracks on COMPLETE WORKS 2 are sung by Lottie Beaman AKA Lottie Kimbrough, the Kansas City Butterball.
Personnel includes: Elzadie Robinson, Lottie Beaman (vocals); The Pruitt Twins, Jimmy Blythe, Papa Charlie Jackson.
Living Blues (1-2/95, p.93) - "...Her music stands between country and classic blues....Robinson's traditional lyrics show an absence of the risque material common in blues of that period....Elzadie Robinson was an accomplished, journeywoman blues singer. For a blues fan whose collection has moved beyond obvious purchases, this disc is worth buying." Complete Works, Vol. 2 (1928-1929) Music Elzadie Robinson Complete Works, Vol. 2 (1928-1929) Songs | 1. | Pleading Misery Blues |
| 2. | Mad Blues |
| 3. | Wicked Daddy |
| 4. | It's Too Late Now |
| 5. | Arkansas Mill Blues |
| 6. | Gold Mansion Blues |
| 7. | Rowdy Man Blues (Take 1 & 2) |
| 8. | Going South Blues |
| 9. | Need My Lovin' Need My Daddy |
| 10. | Unsatisfied Blues |
| 11. | This Is Your Last Night With Me |
| 12. | Cheatin' Daddy |
| 13. | My Pullman Porter Blues |
| 14. | Driving Me South |
| 15. | Past and Future Blues |
| 16. | Ain't Got Nobody |
| 17. | Regular Man Blues |
| 18. | Honey Blues |
| 19. | Red River Blues |
| 20. | Sugar Daddy Blues |
| 21. | Low Down Painful Blues |
| 22. | Mama Can't Lose (All Take 2) |
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Complete Works, Vol. 2 (1928-1929) Review
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Purchase Complete Works, Vol. 2 (1928-1929) CD To buy, Click on price to add to cart | Helen Gross 1924-1925 CD (1996) Import
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Not a blues singer in the classic sense, like a Bessie Smith, but more of a vaudeville performer, Helen Gross recorded some of the strangest material ever marketed as blues. Recorded in New York in the mid-'20s with many of the best jazz players of the day -- including horn players Bubber Miley and Louis Metcalf from Duke Ellington's band and stride pianist Cliff Jackson -- Gross was a competent singer, but it's the arrangements on these extremely rare 78s that are most arresting. Combining traditional blues elements with odd sound effects and strange, swooping horn charts, some of these tracks are nothing less than bizarre. The ukulele ...
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This is an all-instrumental disc that is exclusively neither blues nor jazz, but a blend of each. It marked the first time the tasty Chicago guitarist recorded only instrumentals, but folks who were Specter fans before this one could probably feel it coming. Though he has worked with some delightful vocalists (Barkin' Bill Smith, Lenny Lynn, Tad Robinson, and Lynwood Slim) he has sprinkled a few instrumentals into previous albums, and the format clearly suits him perfectly. For the most part, Specter is accompanied here by his working band and gives Rob Waters plenty of room to roam on Hammond B-3. Nine tunes are originals (one by Waters), and covers include Dizzy Gillespie's "Birk's Works," the Meters' "Look-Ka Py Py," and "Hot Cha" (a Willie Woods tune that became a hit for Junior Walker). The band also swings on soul-jazz organist Charles Earland's "The Mighty Burner" (the flipside to Earland's "More Today Than Yesterday"). You won't find many covers of this one, save a 1970 recording by Clarence Wheeler and the Enforcers. "At Whit's End" is Specter's tribute to his late compadre and guitar pal, Bob Whitman. The minor-key cha-cha spotlights Specter's frugal, delicately paced guitar style and Waters' rapid B-3 runs. "Blues A-La-King," with phrasing similar to some of B.B. Kings' earlier work, is a "backward" shuffle that best demonstrates how tight this band is. Specter and Waters adopt a marvelously aloof, sassy mood and take off together on the opening phrases ...
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