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Devil Got My Woman: 16 Classic Blues Songs From 1926-1937This unique album collection contains 16 classic blues songs from the 1920s and 1930s including the title track Devil Got My Woman by Skip James and 15 more songs by other great blues singers including Charley Patton, Willie Brown, Blind Blake, Ma Rainey and others. 12 of the 16 songs on the album have the original artwork promoting these songs when they were first released included on a insert. All tracks are newly re-mastered from the finest copies of the original 78 rpm records. Reissued on 180 gram vinyl with an insert which features original artwork for most of the songs on the album.1. Devil Got My Woman (Skip James)
2. Love My Stuff (Charley Patton)
3. M&O Blues (Willie Brown)
4. He Calls That Religion (Mississippi Sheiks)
5. Champagne Charlie Is My Name (Blind Blake)
6. Lost Man Blues (Ida Cox)
7. The Gone Dead Train (King Solomon Hill)
8. War Time Blues (Blind Lemon Jefferson)
9. Ma Rainey's Black Bottom (Ma Rainey)
10. Skoodle Um Skoo (Papa Charlie Jackson)
11. Guitar Boogie (Blind Roosevelt Graves and Brother)
12. Christmas In Jail (Leroy Carr)
13. Tallahatchie River Blues (Mattie Delaney)
14. How You Want Your Rollin' Done (Louie Lasky)
15. Married Woman Blues (George Torey)
16. Cypress Grove Blues (Skip James)$18.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
$18.99 $15.00 Save $3.99 (21%)
Rough Guide To Blind Blake (On Sale)Lovingly Remastered Using Pioneering Restoration Techniques
Famous for his 'piano-sounding' guitar, Blind Blake was one of the greatest blues guitarists that ever lived. A true pioneer of 'finger-style' guitar, he was also a zealous musical experimenter who re-defined the limitations of the guitar. Enjoy his six-string wizardry on such re-mastered classics as 'West Coast Blues', 'He's In The Jailhouse Now' and 'Diddie Wah Diddie'.1. Blind Arthur''s Breakdown (1929)
2. He's In The Jailhouse Now (1927)
3. Police Dog Blues (1929)
4. Diddie Wah Diddie (1929)
5. You Gonna Quit Me Blues (1927)
6. West Coast Blues (1926)
7. Come On Boys Let's Do That Messin' Around (1926)
8. I Was Afraid Of That: Part 2 (1929)
9. Southern Rag (1927)
10. Hey Hey Daddy Blues (1927)
11. That Will Never Happen No More (1927)
12. Too Tight Blues No. 2 (1929)$18.99 $15.00 Save $3.99 (21%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Lonesome RavePresumably born in Jacksonville, FL in 1893, Blind Blake came to prominence recording for Paramount from 1926 until the label closed in 1932. In fact, Blake was Paramount's best-selling and most recorded artist, with over a hundred sides to his name.
The tracks on this LP were recorded in the Paramount Studios in Chicago in May of 1928, with blues singer Bertha Henderson on vocals on That Lonesome Rave, Leavin' Gal Blues and several others. Guest vocalists also appear on Beulah Land (Daniel Brown) and Elzadie's Policy Blues (Elzadie Robinson).
Many of these songs have long been considered early American blues classics. Blake is best known for his development of the ragtime guitar style, the sheer complexity of which has baffled would be imitators for the past eight decades. His mastery of this approach was so complete that none have ever come close to being able to imitate him.1. Good-bye Mama Moan
2. Tootie Blues
3. That Lovin I Crave
4. That Lonesome Rave
5. Terrible Murder Blues
6. Leavin Gal Blues
7. No Dough Blues
8. Lead Hearted Blues
9. Let Your Love Come Down
10. Rumblin & Ramblin Boa Constrictor Blues
11. Bootleg Rum Dum Blues
12. Detroit Bound Blues
13. Beulah Land
14. Panther Squall Blues
15. Elzadies Policy Blues$27.99Vinyl LP - Sealed Buy Now
The Vanished Bluesman In RichmondAfter their success with Blind Lemon Jefferson, Chicagos Paramount was scouting for more male blues talent, and they found it in 1926 in a man called Blind Blake (1893-1933), a sophisticated guitar player who was the antithesis of the Delta blues. In fact, Blake soon became Paramounts best-selling and most recorded artist, with over a hundred sides to his name.
Blake, one of the greatest blues guitarists of all time, is best known for his development of the ragtime guitar style, the sheer complexity of which has baffled would-be imitators for the past eight decades. His mastery of this approach was so complete that none have ever come close to being able to imitate him.
These recordings from 1929 are a collection of sessions Blake recorded for Paramount in the Gennett Studios in Richmond, Indiana. Blake is accompanied by Charlie Spand on piano on several tracks, the king of the 1920s barrel house piano style and one of the most influential piano players of his day.1. Poker Woman Blues
2. Doing A Stretch
3. Fightin' The Jug
4. Hookworm Blues
5. Slippery Rag
6. Hastings Street
7. Diddie Wah Diddie
8. Too Tight Blues
9. Chump Man Blues
10. Ice Man Blues
11. Police Dog Blues
12. I Was Afraid Of That
13. Georgia Bound$24.99Vinyl LP - Sealed Buy Now
AvosAlbums of guitar duets are rare. Albums of guitar duets featuring one American and one Englishman, synthesizing their geographically specific approaches in a collection of new compositions, are rarer. Not since Stefan Grossman and John Renbourns partnerships of the 1970's has there been such a happy reconciliation of Merrie Old England and the good old USA, in which baroque meets the blues, music-hall steps out to ragtime, and Benjamin Britten sits down with Blind Blake.
James Elkington moved from London to Chicago around the turn of the millennium and has since released a string of albums as leader of The Zincs for Thrill Jockey Records. After dissolving the band in 2008, Elkington has concentrated on acoustic, folk-tinged music with his band The Horses Ha (that he shares with Freakwaters Janet Bean).
Nathan Salsburg is best known as an archivist and producer for the Alan Lomax Archive, curator of the Twos & Fews vernacular music imprint on Drag City Records, and host of the Root Hog Or Die program on East Village Radio. He appears on Tompkins Squares Imaginational Anthem Volume 3 compilation, and produced a tribute album to EC Ball, also on Tompkins Square.
Elkington suggested a leap of faith into a collaboration, despite the fact that the two had never previously played guitar together. Avos, then, hither and thither over several seasons, between a porch in Louisville and a kitchen in Chicago, slowly took shape. Aptly, the name comes from the Russian word for the confident approach to new situations, and the faith that nothing tragic will occur once in them.No Listing Available.$17.99Vinyl LP - Sealed Buy Now
Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress)
Six LPs, 800 Digital Tracks, Two Definitive Large-Format Books. All Housed In A Polished Aluminum Case Evoking The Era's High Art Deco Stylings And America's Own Machine Age Modernism.
800 Newly-remastered Digital Tracks, Representing 175 Artists
90+ Fully-restored Original 1920s-30s Paramount Ads From Chicago Defender
6 X 180g LPs Pressed On Alabaster-white Label-less Vinyl, Each Side With Its Own Hand-Etched Numeral And Holographic Image
250 Pg. Large-Format Clothbound Hardcover Book Featuring Original Paramount Art And The Label's Curious Tale
400 Pg. Encyclopedia-Style Softcover Field Guide Containing Artist Bios & Portraits And Full Paramount Discography
Polished Aluminum And Stainless Steel Cabinet, Evoking 1930s High Art Deco Stylings And America's Own Machine Age Modernism
First-Of-Its-Kind Music And Image Player App Containing All Tracks And Ads, Housed On Sculpted Metal USB Drive
Last November, Jack White's Third Man and John Fahey's Revenant issued The Rise & Fall of Paramount Records, Volume One (1917-27), the first installment of the curious tale of America's most important record label. It was called spectacular (New York Times), unprecedented (Rolling Stone), breathtaking (Boing Boing), a cabinet of wonder, indeed (Pitchfork), and the most perfectly realized attempt to combine music and documentation (Fretboard Journal) and damnedest musical objet d'art (Nashville Scene) folks had ever seen.
Third Man-Revenant now presents the final volume in the Paramount story - The Rise & Fall of Paramount Records, Volume Two (1928-32).
As Volume Two begins, Paramount is entitled to a breather - in the previous 5 years it's been home to giants like King Oliver, Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, Alberta Hunter, Blind Blake, Ethel Waters, Ma Rainey, Papa Charlie Jackson, Eubie Blake, Fletcher Henderson, Big Bill Broonzy, Roosevelt Sykes, James P. Johnson, Jaybird Coleman, Clarence Williams, and Fats Waller.
But just as it seems the label might be losing steam, it begins a second act that threatens to dwarf its first. In its final 5 year push from 1928-32, Paramount embarks on a furious run for the ages, birthing the entire genre of Mississippi Delta blues and issuing some of the most coveted recordings in the history of wax - a staggering playlist including Skip James, Charley Patton, Son House, Tommy Johnson, Blind Roosevelt Graves, Willie Brown, King Solomon Hill, Tampa Red, Georgia Tom Dorsey, Little Brother Montgomery, Lottie Kimbrough, Rube Lacy, Meade Lux Lewis, Buddy Boy Hawkins, Ramblin' Thomas, Jaydee Short, George Bullet Williams, Cow Cow Davenport, Clifford Gibson, Ishman Bracey, Charlie Spand, Jabo Williams, Louise Johnson, Blind Joe Taggart, Geeshie Wiley & Elvie Thomas, and The Mississippi Sheiks.
Paramount simply killed. But more than that, it changed how this country thought of itself. It was the first and most comprehensive chronicler of what America really sounded like in the 1920s and '30s - on its street corners, at its fish fries and country suppers, in its nightclubs and dance halls and showtents. In the process, Paramount - not some preservationist-minded enterprise like the Library of Congress - inadvertently created the most significant repository of this young nation's greatest art form.6 LPs feature tracks from the collection.
USB Drive contains 800 digital tracks by 175 artists across the Paramount family of labels.$469.99180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed AWAITING REPRESS Buy Now
Rough Guide To The Blues SongstersBefore there was the bluesman there was the songster and it was these traveling troubadours who helped lay the foundations for the development of the blues. In the decades preceding the phonograph and radio and before the American national entertainment industry had reached into the deepest parts of the South, it was these wandering musicians who provided the musical entertainment for all manner of social events.
In order to be able to scrape a living together, the songster had to be incredibly versatile and come up with something for everyone. Armed with a banjo or guitar they performed every form of popular music of the day from folk songs and ballads to rags and spirituals. Priding themselves on their huge repertoires, they could be described as the human jukeboxes of their time.
Along with the many musicians shrouded in mystery, this collection boasts tracks by legendary bluesmen such as Leadbelly, Charley Patton, and Mississippi John Hurt. Aside from the blues, these great performers would have been able to play everything asked of them at local bars and rural dances, and it is said that Leadbelly could draw on a repertoire of over 500 songs from many different genres. Likewise, the 'Father of the Delta Blues', Charley Patton left glimpses into his songster roots and true musical versatility with songs such as the featured 'Mississippi Boweavil Blues'. Henry Thomas's projected birthdate of 1874 predates that of Charley Patton by a good 17 years and gives us an idea of what rural black music sounded like before the turn of the twentieth century. He was 53 years old during his first recording session in 1927 by which point much of his music was already a representation of a bygone era. The same could be said of Richard 'Rabbit' Brown from New Orleans who worked as a ferryman on lake Pontchartrain and whose recorded legacy of just five songs includes 'James Alley Blues' which has been covered by Bob Dylan. Also from New Orleans, Papa Charlie Jackson accompanied himself with a banjo guitar and became one of the first songsters to record from the mid-1920s. His unique brand of hokum, used comic, often sexually suggestive lyrics and lively, danceable rhythms.
This selection features several variations on traditional ballads about legendary characters such as Frankie and Johnny, Stagger Lee, John Henry and Railroad Bill. These became standards in the repertoires of songsters, both black and white, who shared a similar colour-blindness when it came to the racial origins of a tune. Frank Hutchison and Dick Justice were both white performers whose styles were heavily influenced by black musicians, in particular, Luke Jordan whose featured track 'Pick Poor Robin Clean' is a gambling song masterpiece. Like Jordan, many other well-known East Coast songsters such as Blind Blake, Pink Anderson, and Peg Leg Howell worked with traveling shows, which became a major factor in the spreading of the blues. Many of these shows were operated by vendors of patent medicines who would attract crowds by putting on a performance.
As these shows began to disappear and recorded music and dancing in juke joints became popular, so the older songster style became less fashionable. Apart from the few waxed recordings which leave a tempting glance into a world before the blues, many of the featured artists faded into obscurity, as the songsters were overtaken by blues singers whose music was heavily promoted by record companies. Those songsters who were able to embrace this new music such as Charley Patton and Leadbelly became seminal figures and the rest is history.1. Pick Poor Robin Clean - By Luke Jordan
2. Don't Leave Me Here - By Henry Thomas
3. The Spasm - By Daddy Stovepipe & Mississippi Sarah
4. Your Baby Ain't Sweet Like Mine - By Papa Charlie Jackson
5. John Henry (The Steel Driving Man) - Part 1 - By Furry Lewis
6. Mississippi Boweavil Blues - By Charley Patton
7. Cocaine - By Dick Justice
8. Midnight Special - By Leadbelly
9. Come On Boys Let's Do That Messin' Around - By Blind Blake
10. Stackalee - By Frank Hutchison
11. James Alley Blues - By Richard 'Rabbit' Brown
12. Going To Germany - By Cannon's Jug Stompers
13. Coal Man Blues - By Peg Leg Howell$19.99Vinyl LP - Sealed Buy Now
$34.99 $31.49 Save $3.50 (10%)
Paradise & Lunch (On Sale)
Desert Island-Worthy Paradise and Lunch Will Renew Your Faith in Music: Diverse 1974 Ry Cooder Set Comes on Like a Secret History of Song, Features Exquisite Interplay and Inspirational Harmonies
Paradise and Lunch Mastered on 180g Vinyl from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Mobile Fidelity LP Graced With Organic Sound
Ry Cooder's exceptional Paradise and Lunch takes a popular precept - music as the common denominator across all languages and styles - to extremes few artists have envisioned let alone fulfilled. Considered by many diehards to be the California native's finest hour, the 1974 set unfurls with rarified levels of joyousness, ingenuity, and sophistication. A prime contender for any Desert Island list and an album that repeatedly restores your faith in the inimitable effects experienced upon listening to special performances, Paradise and Lunch is an eternal musicians' musician record - an adventurous, ambitious, soulful leap down roads well-traveled and paths less known.
Such eclecticism, virtuosity, and ebullience resonate with unmatched verve on Mobile Fidelity's 180g LP reissue. Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, this vinyl LP boasts dead-quiet surfaces, superb transient response, front-to-back soundstaging, and an organic immediacy that heightens the enjoyment, character, and craft of the arrangements. Cooder's inspired guitar playing sounds tremendously lifelike, replete with proper scale, full-bodied tones, and a sense of decay that presents the trail ends of each note. Horns pop with three-dimensional detail and brassy colors. Akin to the contributions of all the all-star participants, Jim Keltner's percussion benefits from added stability and depth. Paradise and Lunch has never been more transparent.
On the surface a collection of seemingly disparate jazz, blues, spiritual, and roots songs, the diversified album comes across as a secret history of music. It remains a paragon of seamless convergence in which sonic DNA differences reveal shared traits and quilt a fabric united by feeling, reinvention, and elation. Beginning with a recast rendition of a traditional folk number, Tamp 'Em Up Solid, believed to be a close descendant of the group-vocal tune sung by field hands when they stacked bales of cotton, and ending with a stirring stripped-down cover of Arthur Blake's Ditty Wah Ditty - a show-stealing duet sent up with just an acoustic guitar and jazz icon Earl Fatha Hines' spritely walking-the-line piano riffs - Paradise and Lunch charms with exquisite interplay, inspirational harmonies, and innate flair.
At no point do the experimentations sound forced, artificial, or retro. Cooder transforms what initially appear to be obscurities into coherent, approachable songs that could have been recorded yesterday - or decades ago. In his world, a marvelous reggae-spiced and R&B-driven rendition of Bobby Womack's It's All Over Now coexists with a sanctified, harmony-based march through the gospel hymn Jesus on the Mainline anchored by restrained Dixieland accents and tolling bells. Another standard, albeit more modern, Burt Bacharach's Mexican Divorce strolls across dusty plains via gently clopping beats, shimmering Spanish motifs, and sympathetic support vocals.
Cooder also turns up the electricity a smidge for his idea of Bobby Miller's If Walls Could Talk, a melodic snapshot of doo-wop shot through with reverb-drenched grooves. He rains funky vibes, chicken-scratch slide guitar, and churchgoing lessons down on a top-to-bottom remake of Blind Willie McTell's Married Man's a Fool, the revision evocative of the imagination, proficiency, and blending that help make Paradise and Lunch an absolute must-own album - and now, an audiophile choice for those wished-for Desert Island trips.
This title is not eligible for further discount.1. Tamp 'Em Up Solid
3. Married Man's a Fool
4. Jesus on the Mainline
5. It's All Over Now
6. Fool for a Cigarette/Feelin' Good
7. If Walls Could Talk
8. Mexican Divorce
9. Ditty Wah Ditty$34.99 $31.49 Save $3.50 (10%)180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now