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Though Odetta's commercial breakthrough came in the midst of the early-'60s collegiate folk revival, the singer/guitarist had been recording professionally for close to a decade before that. The recordings collected on THE TIN ANGEL were recorded in 1953 and 1954 by the short-lived duo of Odetta and Larry. It's rather obvious on first listen that the reason the duo of Odetta and Larry didn't last is that while Larry is a perfectly competent instrumentalist and has a fine tenor voice that complements Odetta's clear alto nicely, he seems superfluous. Odetta's voice and guitar are so deeply satisfying on their own that any other additions are unnecessary. Focusing almost entirely on folk standards like "John Henry" or "Old Cotton Fields at Home" and spirituals like the rousing "Wade in the Water, Children" and "He's Got the Whole World in His Hands," this is an excellent example of traditional '50s folk.
Recorded in 1953 & 1954. Tin Angel Review
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Ultradiscs are mastered from the original master tapes using Mobile Fidelity's proprietary mastering technique, then plated with 24-karat gold and housed in a stress-resistant lift-lock jewel box.
"You Can't Lose What You Ain't Never Had" and "The Same Thing" did not appear on the original version of FOLK SINGER. They were recorded at a separate session in April 1964, three months after FOLK SINGER was released.
The title and cover photo of this 1963 recording were an attempt to cash in on the burgeoning American folk revival, but this is pure acoustic blues. Muddy began his career as a Robert Johnson-style solo acoustic performer, and the tunes on FOLK SINGER hark back to those days. He's accompanied sparsely by Willie Dixon, drummer Clifton James and a young Buddy Guy, who provide a stark, deliberate backdrop for Muddy's rich vocal and expressive bottleneck guitar work. The richness of Muddy's baritone is showcased effectively here, with more room than usual for his voice to resonate.
The low-key setting allows Muddy to explore a fuller dynamic range as well. From the romantic yearning of "Long Distance Call" to the fatalism of the chain gang song "My Captain," Muddy's voice expresses entire worlds of emotion with only subtle dynamic changes. On FOLK SINGER's more downhearted cuts, there's a doomy, ominous quality that rivals the deepest emotional journeys of John Lee Hooker. By scaling down, Muddy managed to make his songs, guitar and voice seem exponentially magnified. ...
| | Philipp Fankhauser Talk To Me CD (2004)
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Talk To Me is the title of the latest album from Philipp Fankhauser, the highly regarded blues artist based in Thun, Switzerland, and his first for Memphis International Records. Fankhauser is well known to European audiences but he is also familiar to North Americans as a result of his role as guest vocalist with the band of the late blues great Johnny "Clyde" Copeland. While the bulk of Talk To Me is comprised of l Fankhauser originals it does include two Johnny Copeland compositions and Shemekia Copeland, Johnny's daughter and a renowned star in her own right, penned the liner notes. "Philipp will always be very special to the Copeland family; his music is special for just about everyone," she wrote.The album includes a version of "Members Only," a song that was an R&B hit for Bobby Bland in the 1980s and produced for Fankhauser by Dennis Walker (Robert Cray, B.B. King, Maria Muldaur) with an appearance by the Memphis Horns. Bobby Bland finally met Fankhauser in the '90s and expressed great admiration for the Swissman's interpretation of one of his signature songs.Downbeat's review of Talk To Me noted "Fankhauser doesn't sound the least bit like a visitor from Switzerland that unrealistically fancies himself a blues singer. He displays empathy for Johnny Copeland songs, and he dramatizes soul-blues originals ...
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Liner Note Author: Quinton Scott.
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