| | Classic Blues Collection Volume 4 CD - Import Classic Blues Collection Volume 4 Discography of CDs
Includes: Sonny Boy Williamson, Roosevelt Skyes, Lonnie Johnson, Percy Mayfield & Many Others. Classic Blues Collection Volume 4 Music Classic Blues Collection Volume 4 Songs | 1. | Bull Cow Blues - Big Bill Broonzy |
| 2. | Rock Me Mama - Arthur Big Boy Crudup |
| 3. | Sarah Jane - Jazz Gillum |
| 4. | Train Whistle Blues - Sonny Terry |
| 5. | Gone Astray - Percy Mayfield |
| 6. | Good Morning, School Girl - John Lee Sonny Boy Williamson |
| 7. | Lost Baby Blues - Big Walter Horton |
| 8. | You Can't Stop Me from Drinking - Peetie Wheatstraw |
| 9. | Easy Rider - Leadbelly |
| 10. | Walking Blues - Robert Johnson |
| 11. | Four Hands Are Better Than Two - Lonnie Johnson |
| 12. | Tell Me How You Like It - Byther Smith |
| 13. | Black Train Blues - Bukka White |
| 14. | Cummins Prison Farm - Magic Sam |
| 15. | Born for Bad Luck - Brownie McGhee |
| 16. | Jivin Live - Roosevelt Sykes |
| 17. | No Rollin' Blues - Jimmy Witherspoon |
| 18. | Mean Mistreatin' Mama - Leroy Carr |
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Classic Blues Collection Volume 4 Review
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Purchase Classic Blues Collection Volume 4 CD To buy, Click on price to add to cart | Paul Butterfield Blues Band CD (1965)
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Recorded between 1980 & 1990. Includes liner notes by Andy Aledort.
Epic's ...
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| | Johnny's Blues: A Tribute To Johnny Cash CD (2003)
Classic Blues Collection Volume 4 album
$12.65 
Effectively honoring an amazing song from an amazing performer requires that you kick against the grass marking the steps of the master. Cash's country music re-oriented toward its blues element gives kickers a general direction for a collection hitting more shin than soupçon. Paul Reddick's "Train of Love" whirs into life on its master tape capstan and jumps track 13 seconds in a show of off-roading; "I have wondered," he ponders in the liner notes, "how things might have been if Johnny had hired Mississippi Fred McDowell (Luther Perkins is chopped liver?) as the guitar player for the Tennessee Three." Clarence "Gatemouth" Brown joins forces with Benjy Davis to swing out "Get Rhythm," taking turns sounding agreeably road-wearied. Chris Thomas King tunes his 12-string guitar "down to B flat standard, which is the way Leadbelly played it," and recasts "Rock Island Line" as a talking blues, which it almost was anyway, then skates away on the train engineer's cheer at cheating the toll (though no one ever asks whether the burned toll man's waiting for him on the return trip). Faced with doing over a perfect song with a perfect arrangement, Garland Jeffreys brilliantly deduces that a little more makes a lot more, and filigrees "I Walk the Line" in accordion and a more pronounced "boom-chicka-boom." Harry Manx's "Long Black Veil" shimmers under his predictable but effective slide guitar and surprising touches of Indian instrumentation, plus desperate gospel-fueled backing vocals, stripping finality from tone, turning the song over into an unsolved mystery. OK, Alvin Youngblood Hart doesn't sound like he knows what he's doing on "Sunday Morning Coming Down"; he asks "Well, who hasn't been there?" in the notes, and the problem is he sounds like almost everybody else who's been there. But then along comes Sleepy LaBeef, sounding like his voice went down one half-step for each of his 68 years, singing "Frankie's Man Johnny" like no one ever told him it wasn't his. Don't settle for walking if you can swoosh. ~ Andrew Hamlin
Johnny Cash's music is America, and what better way to celebrate his music than through the music that started it all, the blues. 13 all new recordings including ...
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| | Kyle Eastwood Metropolitan CD (2009)
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Kyle Eastwood's fourth recording takes the bassist into a populist mode, playing music much more on the contemporary side of the jazz dichotomy. Far from a mainstream or swinging date, the acoustic and electric bassist seems as if he's determined to compose music for the screenplay in his head from his time spent in Paris, France, where this was recorded. The fine drummer Manu Katche, keyboardist Eric Legnini, and trumpeter Till Brönner are focused into making this music less standardized and more rhythm & blues oriented. It's produced by longtime collaborator Michael Stevens with help from the son of Miles Davis, Erin Davis, and sports the quadruple attachment to Eastwood's Rendezvous production ...
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