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No one less than Bob Dylan penned the lyric that stated, "nobody can sing the blues, like Blind Willie McTell." McTell's '20s and '30s work reminds one slightly of Robert Johnson's work in the '30s, with notable differences. While McTell has the same dexterity as a guitarist, combining single-note runs with rhythmic aplomb, his singing is never as shrill or as tortured as Johnson. Still, it's easy to imagine that Johnson might have picked up something in timing and delivery from "Death Cell Blues." For many listeners, this less intense approach will make Blind Willie's classic sides more accessible than his better-known counterpart. In fact, McTell, overall, is a more rounded performer, ranging from down-and-out blues like "Mama, Tain't Long fo' Day" to humorous fare like "Three Women Blues." The Best of Blind Willie McTell captures these and many other moods over the course of 23 sides from the bluesman's heyday. The variety, in fact, makes McTell much more compelling over the album's 70-minute running time than a singer like Blind Lemon Jefferson. The best-known piece here is "Statesboro Blues," a song later written large by the Allman Brothers on Live at Fillmore East. McTell's version is much more down-to-earth and immediate, highlighted by a soulful vocal and intense guitar work. The Best of Blind Willie McTell easily verifies the Dylan lyric, and is a great introduction to a fine blues singer and guitarist. ~ Ronnie D. Lankford, Jr.
Recorded in the 20's & 30's.
Personnel: Blind Willie McTell (vocals, guitar).
Audio Remasterer: Richard Nevins.
Liner Note Author: Don Kent.
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Purchase Best Of Blind Willie Mctell CD To buy, Click on price to add to cart | Johnny Otis 1945-1947 CD (2002)
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Growing up among Afro-Americans in Berkeley, CA, Greek-American Johnny Otis (born John Veliotes) always identified strongly with people of color. Before he had attained ...
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“Suantraighe†is a collection of Celtic lullabies, including traditional lullabies in Irish, Manx, and Scottish Gaelic, and in Welsh. It also includes an original lullaby Caera has written in the Irish language, and one poem from early medieval Irish literature, in Old Irish, which she has set to music with voice and harp. Caera is a singer, harper, teacher, and writer, who is very passionate about the music, languages, and history of her Gaelic ancestors. She plays a clairseach, a brass-strung harp modeled after medieval harps from Ireland, and sings in all three Gaelic languages (Irish, Scottish, and Manx) as well as other languages. Caera performs a variety of songs from a variety of time periods and places. She performs songs and chants from the Middle Ages, mostly from northern and western Europe. She also has an ever-growing repertoire of traditional songs from Ireland, Scotland, Wales, and the Isle of Man. Many of these songs are in the native languages of these countries. She has a particularly strong interest in the sean nos singing tradition of Ireland, and in the puirt a beul (mouth music) singing tradition in Scotland. She has studied these styles in the Boston area and in Ireland. In addition, Caera writes her own original songs, in English as well as in Irish Gaelic.In performance and in teaching, Caera strives to make the Celtic languages, especially Irish Gaelic, accessible and easy for anyone to understand -- whether they only speak English or not, whether they are familiar with traditional Celtic music or not, and whether they have Celtic ancestry or not. Throughout her career as a performing musician, Caera’s singing has been compared to that of Máire ‘Moya’ Brennan (of Clannad), NóirÃn nà Riain, Karen Mattheson (of Capercaillie), Karan Casey, Loreena McKennitt, and several other notable singers in Celtic music. She has also collected such comments from her audiences as "Now I know the angels sing in Gaelic," and "I would walk on broken glass to hear you sing." In 2004 Caera won three gold medals in the Columbus Feis for Gaelic singing and poetry, and in 2005 Caera returned to the Columbus Feis and won five gold medals, in Gaelic singing and poetry, and in harp performance.Caera has performed and taught at small cafes, large auditoriums, schools, libraries, ...
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