Complete Blind Willie Johnson CD

Complete Blind Willie Johnson 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 Blind Willie Johnson album for sale THE COMPLETE STUDIO RECORDINGS contains TODAY! (1966)/THE IMMORTAL MISSISSIPPI JOHN HURT (1967)/LAST SESSIONS (1966). Although not as consistently magnificent as Hurt's 1928 recordings, the performances the artist recorded for Vanguard in the mid 1960's would be the zenith of many blues artist's entire careers. Songs like the opening "Payday" and "Poor Boy, Long Ways From Home" rank with any folk-blues song ever recorded. This fantastic set collects the three albums Vanguard released in Hurt's lifetime and as such is undeniably the package to go for to acquire these later gems. ~ Thomas Ward All tracks have been digitally remastered. Recorded at Manhattan Towers Hotel, New York, New York in February 1966. Includes liner notes by John Milward. Solo performer: Mississippi John Hurt (vocals, guitar). Producer: Patrick Sky. Reissue producer: Tom Vickers. 3 Cds

Complete Blind Willie Johnson 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 Blind Willie Johnson buy CD music This collection contains all the Skip James tracks released by Paramount records in 1931 in chronological order. THE COMPLETE EARLY RECORDINGS by Skip James is one of the most essential blues albums in existence. With a voice that sounds like wind carving away rock (he sings in a high, quavering falsetto ringed with knowledge and pain), James laid down some of the most chilling acoustic blues ever set to wax. "Devil Got My Woman," which opens this collection, is a case in point: a snaking siren song that leads down to the root of loss and mortal dread (if that description sounds like an exaggeration, listen to the track). James's deft, fingerpicking is everywhere in evidence, especially on the uncharacteristically ebullient "I'm So Glad." The surface noise of these old 78s is a distraction, but even that can't dilute the unbelievable power of these performances. Includes liner notes by Steve Calt. Personnel includes: Skip James (vocals, guitar, piano). Personnel: Skip James (vocals, guitar, piano). Recording information: 02/1931.

Complete Blind Willie Johnson songs This CD compiles all the songs recorded for the Victor and Paramount labels between 1928 - 1929. An essential Tommy Johnson collection, Document's Complete Recorded Works (1928-1929) features 17 songs from the Delta blues pioneer, including two alternative takes and a pair of previously unissued songs known respectively as "Morning Prayer Blues" and "Boogaloosa Blues." Culled from the great Delta musician's recording sessions in Memphis and Grafton, WI, from February 1928 to December 1929, this collection shines a light on all of Johnson's known output during his most active recording years. As with most music taken straight from original 78s, the sound quality varies between tracks; all in all, the pops and static aren't too distracting here. The music is well-worth seeking out as the writing, guitar playing, and singing are all exceptional. Johnson's voice, one of the distinctive early Delta blues voices along with Son House and Charley Patton, changes from a deep rumble to a woeful falsetto while his guitar playing is characteristic of the early Delta style. With the exception of a few of the tracks from an August 1928 session, other players accompany Johnson on the tracks. Highlights include the well-known material such as "Cool Drink of Water Blues" and "Canned Heat Blues," as well as scratchy lesser-known gems from his later sessions. The tracks "Ridin' Horse" and "Alcohol and Jake Blues" were taken from what is believed to be the only remaining copy of the 78 they were originally released on. These two songs had not been released on CD prior to this collection. On the two versions of "Black Mare Blues" included, Johnson is joined by the New Orleans Nehi Boys, featuring Kid Ernest Marshall on clarinet and Charley Taylor on piano. The CD includes informative notes by Paul Oliver, personnel lineups for each session, along with issue numbers for the original releases. This is highly recommended for those who have never heard Johnson's music and equally recommended for those who have. ~ Jeff Schwachter Includes liner notes by Paul Oliver. Personnel includes: Tommy Johnson (vocals, guitar); Charlie McCoy (guitar); Kid Ernest Michall (clarinet); Charley Taylor (piano).

Complete Blind Willie Johnson album for sale 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.