| | American Primitive Volume 1: Raw Pre-War Gospel (1926-36) CD
This is a fine addition to the long line of early 20th century blues anthologies. Put together by noted guitarist and musicologist John Fahey, this 26-track set shows early Gospel music at its most brutal and intense. It also includes a fascinating essay by Fahey on the intricate relationship between Christian theology and blues and "social" musics in general.
Of note here are appearances by country blues legends Charley Patton and Bukka White under different names (Elder J.J. Hadley and Washington White, respectively), making this a must for any true blues collector. Also interesting is the original version of "Down on Me," popularized by Janis Joplin in the 1960's. There's an incredible mini-sermon delivered in Elder Otis James' "Holy Mountain," and Austin Coleman's vocal-and-handclap "Good Lord (Run Old Jeremiah)" could give '80s hardcore band Bad Brains competition in terms of velocity and exuberance. Mastered from old 78s, the sound here is excellent, and the packaging and design are first rate. Whether you're a blues aficionado, novice, or just curious, this CD is bound to please.
Includes liner notes by John Fahey.
Personnel: Bertha Lee (vocals).
Liner Note Authors: Gayle Dean Wardlow; John Fahey.
1926-36Spin (4/98, p.130) - "...there is blazingly twisted shit here, much of which has never been reissued before. In some ways, AMERICAN PRIMITIVE...is even more mind-bending than Harry Smith's ANTHOLOGY..." American Primitive Volume 1: Raw Pre-War Gospel (1926-36) Music American Primitive Volume 1: Raw Pre-War Gospel (1926-36) Songs American Primitive Volume 1: Raw Pre-War Gospel (1926-36) Review
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Purchase American Primitive Volume 1: Raw Pre-War Gospel (1926-36) CD To buy, Click on price to add to cart | Soft Machine Vols. 1 & 2 CD (1989)
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The Helio Sequence's first two albums were dense, exciting blasts of noise, melody, and electronic wildness that seemed to jump out of the speakers. Their third album, Love and Distance, is still fairly loud, dreamy rock, but the wall of sound has been pared back and the vocals have been brought to the forefront. Instead of dreamily floating along with the waves of noise, now Brandon Summers grittily shouts over the top. The guitars no longer howl and crash about; they are layered carefully and applied cautiously. Instead of sounding like the teenage spawn of My Bloody Valentine and Mouse on Mars, now they sound like a cousin to Radiohead. The closing "Looks Good (But You Looked Away)" is the kind of cosmic country that Beachwood Sparks do so well, with a very nice laid-back, outer space feel. Maybe to a fresh set of ears, Love and Distance might sound like an interesting take on the whole modern Radiohead-y guitar rock with electronics thing, and this is certainly better than South or Elbow. Chalk it up as a holding pattern on the way to something else, and maybe even a "grower." ~ Tim Sendra
The Helio Sequence's first two albums were dense, exciting blasts of noise, melody, and electronic wildness that seemed to jump out of the speakers. Their third album, Love and Distance, is not exciting, not very melodic, and quite mature. It is still fairly loud, dreamy rock, but the wall of sound has been pared way back and the vocals have been brought to the forefront. Instead of dreamily floating along with the waves of noise, now Brandon Summers grittily shouts over the top. The guitars no longer howl and crash about; they are layered carefully and applied cautiously. The tempos drag, the lyrics are nothing special, the electronics nothing much to care about. Instead of sounding like the teenage spawn ...
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