| | Bessie Smith Complete Recordings, Vol. 4 CD Bessie Smith Discography of CDs
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Our Price: $15.95  CDFor Sale Usually ships in 1-2 days
(Only 1 available)
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23 tracks including "Soft Pedal Blues," "Dixie Flyer Blues," "Nashville Woman's Blues," "Careless Love Blues," "J.C. Holmes Blues," "I Ain't Goin' To Play Second Fiddle," "He's Gone Blues," "Nobody's Blues But Mine," "I Ain't Got Nobody," "My Man Blues" Complete Recordings, Vol. 4 Music Bessie Smith Complete Recordings, Vol. 4 Songs | 1. | Soft Pedal Blues | |
| 2. | Dixie Flyer Blues | $0.99 | |
| 3. | Nashville Woman's Blues | $0.99 | |
| 4. | Careless Love Blues | $0.99 | |
| 5. | J.C. Holmes Blues | $0.99 | |
| 6. | I Ain't Goin' to Play Second Fiddle | $0.99 | |
| 7. | He's Gone Blues | $0.99 | |
| 8. | Nobody's Blues But Mine | $0.99 | |
| 9. | I Ain't Got Nobody | $0.99 | |
| 10. | My Man Blues - (Duet with Clara Smith) | |
| 11. | New Gulf Coast Blues  | |
| 12. | Florida Bound Blues | $0.99 | |
| 13. | At the Christmas Ball | $0.99 | |
| 14. | I've Been Mistreated and I Don't Like It | $0.69 | |
| 15. | Red Mountain Blues | $0.99 | |
| 16. | Golden Rule Blues | $0.69 | |
| 17. | Them Has Been Blues | |
| 18. | - (Previously Unreleased) | |
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Complete Recordings, Vol. 4 Review
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| | Long John Baldry Right To Sing The Blues CD (1996) (Import) Canada
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One of the founding fathers of the '60s British blues scene, Long John Baldry owns one of the great white blues voices, a power that remains undiminished for Right to Sing the Blues. The disc forms another consistent Baldry primer visiting the rich diversity of blues styles, from the quiet folk-blues of "Whoa Back Buck" (longtime colleague Papa John King tearing up his slide guitar) to jump blues party tunes like opener "They Raided the Joint." Vocal sidekick Kathi McDonald also carries the torch, especially on an incendiary title track already highlighted by a scorching Colin James guitar riff. On occasion, the tall one is too much the mannered gentleman for the good of his muse. It would be nice to hear him bust loose more frequently, as he does on "I'm Shakin'," his pipes sounding like gargled nails with an Irish Cream chaser. It would also be nice to find him writing again. While mostly recognized as a judicious interpreter, Baldry has proven his capability over the years, and the complete absence of self-penned material strikes ...
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Recording information: Cambridge, MA (11/28/1972-??/??/1996); Chicago, IL (11/28/1972-??/??/1996); ...
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Though THE BEST OF JOHN COLTRANE is a rather misleading title (no single-disc collection could claim to represent the true range and grandeur of the saxophonist's career), this fine Prestige sampler does bring together highlights from the artist's sessions for the label in the late 1950s. Coltrane's Prestige albums were contemporaneous with his tenure in Miles Davis's stellar first quintet, and are in the same vein of sophisticated and highly complex hard bop.
While Coltrane's most radical innovations were still to come in the '60s, Prestige albums such as SOULTRANE, BAHIA, and BLACK PEARLS reinforced the popular understanding--established by his work with Davis--that he was one of the most commanding and technically accomplished musicians around. Trane is joined ...
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For his solo records, Fat Jon has mostly concerned himself with making instrumental downtempo music, though his production for artists like Talib Kweli and Rakim, as well as his own work (both as MC and producer) with his groups Five Deez and 3582 showed his capabilities in the hip-hop world. On his latest effort, this time with Belgian producer/musician/vocalist Arne VanPetegem, better known as Styrofoam, Fat Jon marries the two genres, and the result, The Same Channel, is an indie-electronica/hip-hop album that should thrill backpackers who are tired of soul- and funk-based beats and are looking for something fractured and galactic with that sad mechanicality that is a necessary element of any Morr Music release. Actually, The Same Channel ends up sounding a lot like 13 & God's self-titled record, minus Doseone's nasally vocals (a welcome subtraction, in fact), with subtle, muted drums and purposeful synths and guitars playing their chords hesitantly. Fat Jon seems to have taken his cues from the returned Dr. Octagon, both musically and lyrically, rapping about extraterrestrial thugs and women, though he's a lot more introspective and less bizarre than Kool Keith, and Styrofoam's sad indie-boy vocals give the album an overall feeling of near hopelessness, an exception being the space-age G-funk of "Scream It Out," the one track that might work in a club. It all comes together seamlessly, though, painting images of post-industrial desolation and loneliness, of lives in which melancholy is always there, like the dark clouds and concrete that ...
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