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- ARHOOLIE / IMPORT / LP(レコード) / AHL10011 / 1006945981 / 2016年06月28日
レコード
売切 注文不可テキサスのブルースマン、MANCE LIPSCOMBのARHOOLIE名盤がヴァイナル・リイシュー!米名門レーベルARHOOLIEの記念すべき一番最初のアルバムとなった本作。フォーク・リバイバル時に”発掘”され、レコーディングされた定番のアルバム。分厚いジャケットもバッチリです!■グリーン・ヴァイナル仕様¥2,970 (税込)ご注文できません -
VOL.2 ROUGH GUIDE TO UNSUNG HEROES OF COUNTRY BLUES
V.A. (ROUGH GUIDE TO UNSUNG HEROES OF COUNTRY BLUES)
ソウル・ブルース- WORLD MUSIC NETWORK / IMPORT / CD / RGNET1344CD / 1006924580 / 2015年12月22日
CD
売切 注文不可「UNSUNG HERO=影のヒーロー」を取り上げたシリーズ、カントリーブルース編に第2弾が登場!比較的知られていないブルースマンに焦点をあてたコンピレーション。■VOL.1はこちらThis second volume digs that bit deeper into the early days of recorded country blues and sheds light on other mysterious figures, many of whose contribution to the blues is easily overlooked. None more so than Sylvester Weaver who was the first artist to record a blues instrumental and whose featured ‘Guitar Rag’ shows off his slide-guitar brilliance which was much imitated by other players. Likewise Ramblin’ Thomas from Louisiana was famed for his bottleneck guitar playing and truly makes his guitar weep on his homesick lament ‘Poor Boy Blues’. By carefully selecting artists from across the different sub-genres this collection serves as a refreshing and alternative overview of country blues. The East Coast is well represented, being a real hotbed for guitar virtuosos. One such master was Willie Walker who was once described by Josh White as the best guitarist he had ever heard, even better than Blind Blake. Fellow East Coast bluesmen include the singing barber William Moore who, when not cutting hair, found time to cut several classic sides for Paramount, and Charley Lincoln, the brother of Barbecue Bob. The influence of these brother’s open-tuned, banjo-like guitar style can clearly be heard in the playing of the mysterious Willie Baker. The laid back blues of the East Coast is a far cry from the raw intensity and emotion of the Delta Blues. Both Kid Bailey and Ishmon Bracey were part of a circle of blues greats that included Tommy Johnson and Son House. One of the great blues mysteries is whether Kid Bailey was in actual fact the incredibly influential Willie Brown in disguise. The Delta blues diva Mattie Delaney’s variant of Tommy Johnson’s ‘Big Road Blues’ shows how she possessed one of the most remarkable voices in country blues. Aside from her two solitary recordings nothing more is really known of her life, which is a similar story to others on this compilation such as Bobby Grant and George Torey, both exceptionally gifted players who faded into total obscurity. Although not related Papa Charlie Jackson and Jim Jackson both bridged the gap between the blues and the earlier songster traditions. Armed with huge repertoires of songs from different genres they performed in minstrel and medicine shows and knew how to play something for any occasion. The sublime harmonica player Jaybird Coleman was another who worked the minstrel shows and proved that country blues wasn’t just about the guitar. The same can be said of the Memphis Jug Band who were made up of all manner of instruments and provided a training ground for musicians including Memphis Minnie, who coincidentally accompanies her first husband Kansas Joe on the classic opener ‘Bothering That Thing’. Blind Joe Taggart was one of the first guitar evangelists to record the gospel form of country blues, but also recorded "devil's” music under other pseudonyms. Ed Bell eventually turned his back on the blues for religion, and is joined in the track listing by his friend Pillie Bolling who’s raggy ‘Shake It Like A Dog’ is a real hidden gem. Many early country bluesmen had ragtime influenced songs in their repertoires not least Buddy Boy Hawkins whose sophisticated guitar playing can be heard to the full on ‘Snatch It And Grab It’. Most of these artists are just a small footnote in the story of the blues, however their songs have in common a timeless quality and passion to rival that of any of their more famous peers, beautifully demonstrated by Little Hat Jones who’s signature tune ‘Bye Bye Baby Blues’ winds things down to a perfect conclusion.¥1,650 (税込)ご注文できません -
- WOLF / IMPORT / CD / BC011 / 1006938316 / 2016年01月28日
CD
売切 注文不可BROWNIE MCGEEとのコンビで名を馳せたハーモニカ奏者SONNY TERRY、その戦前録音がウルフ・レコーズよりリリース!録音時期は1938-1946年。SANDERS TERRYという別名での吹き込みや、後にコンビを組むことになるBROWNIE MCGEEとのセッションを収録。また、その他にもBLIND BOY FULLER、WOODY GUTHRIEをバンジョー/ギター/ヴァイオリンに迎えたナンバー、WASHBOARD SAMとの共演をまとめており、SONNY TERRYの素の魅力が存分に伝わる内容となっております。本録音のディスコグラフィーを記した、6ページライナーノーツ付属。■WOLF RECORDSより同時発売:BONNIE LEE, NICK HOLT他『CLASSIC CHICAGO BLUES: LIVE & UNRELEASED』はこちら- ベストアルバム
- 試聴可能
¥1,815 (税込)盤質：- B
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- MISSISSIPPI RECORDS / IMPORT / 10"(レコード) / MRP093 / 1006975152 / 2016年02月05日
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売切 注文不可ワンマン・バンドで人気を博したサンフランシスコ・ベイ・ブルースマン、JESSE FULLERの54年初録音盤が10インチで登場!本作ではギター、ハーモニカ、カズー、フットデラ (足に取り付ける自作のベース)の全てを自ら演奏。レパートリーもブルースからスピリチュアル・ソング、バラッド、フォークソングと幅広く、その個性には多くの人気が集まりました。付属のライナーノーツには未発表写真を掲載。1000枚限定プレス。■参考動画¥2,420 (税込)ご注文できません -
- WORLD MUSIC NETWORK / IMPORT / CD / RGNET1346CD / 1006968910 / 2016年02月29日
CD
売切 注文不可入門に最適なシリーズ、ROUTH GIDEにボトル・ネックギター特集が登場!サン・ハウスやチャーリー・パットン、ブラインド・ウィリー・ジョンソン、ブッカ・ホワイト他、ボトルネックを独特の音楽表現に変えた革新者達の名曲・名演集。¥1,650 (税込)ご注文できません -
- オールデイズ・レコード / JPN / CD / ODR6177 / 1006917413 / 2015年12月08日
CD
売切 注文不可※本商品は発売日以降の出荷となることがございます。オールデイズ・レコードが贈るクリスマス・プレゼント。スタッフが自信を持って選曲。第1弾がロックンロール、ポップス編、第2弾がジャズとその周辺のスウィング編、そして3弾がブルース編。さぁ楽しんで下さい。20年代後半から60年代前半まで多くのブルース・アーティストが多種多様に発表してきたクリスマス・ソング。カントリーブルースから始まりアーバン・ブルース、ジャンプ・ブルースなどこの1枚で大雑把に歴史が聞き取れる。- 紙ジャケ
¥1,650 (税込)盤質：- A
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- JSP / IMPORT / CD / JSP77184 / 1006642455 / 2015年03月30日
CD
廃盤6弦バンジョー奏者、パパ・チャーリー・ジャクスンの音源集が英JSPより登場!録音を始める以前に少なくとも10年はメディスン・ショウ等で渡り歩いたという、その芸達者な技が楽しくわかる内容の本盤。彼のレコードは大恐慌が起きるまで非常に人気だったといいます。DISC4に収録のBO WEAVIL JACKSONは、初期の他のブルースマン同様あまり素性のわからない未知の人物。しかしながらパパ・チャーリー同様ギターと歌声の素晴らしいシンガーです!- 試聴可能
¥4,070 (税込)ご注文できません -
- ACE / IMPORT / CD / CDTOP21440 / 1006716184 / 2015年06月29日
CD
売切 注文不可スライド・ギターの魔術師"タンパ・レッドの未発表曲入り超絶2枚組!戦前~戦後にかけ300曲以上を残したブルース巨人タンパ・レッド。1945~53年RCA/Victor録音を中心にキャリア後期の50曲を収録した画期的2枚組が登場です。なんと!42年Bluebirdセッションで録音されていた幻の未発表曲「I Got My Habits On」と「Mary Lou Blues」が世界初音盤化! (メーカーインフォメーションより)Tampa Red’s later recordings for RCA Victor (1945-53) have never been officially reissued on CD and rarely on LP, yet are a crucial element in the post-war blues canon. Many of his songs were covered by B.B. King, Muddy Waters and other top bluesmen. Features the majestic piano of latter-day Elmore James sideman, Little Johnnie Jones, and includes the harmonica of Big Walter “Shakey” Horton and Sonny Boy Williamson II.“The Unsung King Of The Blues” is an appropriate subtitle for this double CD release as Tampa Red was one of the most prolific and influential artists of his era. He recorded successfully for about 20 years for Bluebird and then RCA Victor, with many of his songs having entered the repertoires of B.B. King, Elmore James, Muddy Waters and others, yet his significance in the post-World War II years has often failed to be acknowledged by the blues cognoscenti. My own introduction came in 1965 when I purchased a wonderful Tampa Red UK RCA EP compiled by Blue Horizon’s Mike Vernon which, along with one featuring Champion Jack Dupree, was the most exciting volume in a cherished brief Rhythm & Blues series. It comprised four tracks from 1953 and it is recordings from these sessions that open this compilation. Collectors will be delighted at the inclusion of the unissued ‘If I Don’t Find Another True Love’ from the second session, and the vaults provided a real bonus in the shape of a different and superior stomping take of ‘Evalena’ from that used on the RCA EP. Here, accompanists Walter “Shakey” Horton on harmonica, Willie Lacey (a personal favourite) on guitar and the gloriously gifted Little Johnnie Jones on piano each take exciting solos. Horton had replaced Sonny Boy Williamson II (Rice Miller) whose playing embellished the tracks at the first 1953 session. These names, along with that of Tampa himself, should be more than enough to whet the blues appetite, but there’s much more to relish.The music broadly divides into three segments. There are 12 tracks fromTampa’s vaunted partnership with the vibrant pianist Big Maceo, 1941-46, which include two charming Leroy Carr-type unissued recordings from 1942. In addition there is Maceo’s own ‘Texas Stomp’ with Tampa driving mightily on guitar. Then come five tracks from two jump-blues sessions held in 1947 which saw Tampa accompanied by bigger bands including saxes – these really swing, with ‘Keep Jumping’ being a potential jitterbug dancefloor filler. The remainder and majority of the compilation comprises recordings from Tampa Red’s great musical association with Little Johnnie Jones, which kicked off in 1949 and ran through to 1953. Words cannot describe the magnificence of this body of work – Jones is superb throughout, marrying perfectly with Tampa’s subtle vocals and delicate guitar work. It is worth noting that Jones and another Tampa accompanist, drummer Odie Payne, became the core of Elmore James’ Broomdusters.The tracks here have never sounded better, having been taken from master tapes and original metalwork, whilst the profusely illustrated booklet is furnished with notes by Jim O’Neal, co-founder of Living Blues magazine who interviewed Tampa Red in his twilight years, and an introduction by project supervisor John Broven describes the background to this important release.Tampa Red left a fine legacy of recordings in the post-war part of his long musical career which has been largely overlooked in previous legitimate reissue programmes. This captivating compilation, which is in reverse chronological order to highlight the later mainly-un-reissued tracks, should redress this shortcoming and place Tampa Red’s name alongside the blues greats from the golden era.- 試聴可能
¥3,300 (税込)ご注文できません -
- JSP / IMPORT / CD / JSP77174 / 1006731758 / 2015年06月15日
CD
廃盤英名門JSPより、テキサス・ブルース音源集が登場!- 試聴可能
¥3,410 (税込)ご注文できません -
- SUTRO PARK / IMPORT / LP(レコード) / 10191 / 1006981456 / 2016年05月17日
レコード
売切 注文不可After Skip James was rediscovered in the early 60s he went on to record an amazing body of material. These 1964 recordings recorded by Dick Spottswood are some of the best. They initially came out on Melodian which was later sold to Biograph who reissued them. Some of these recordings have been featured on other Skip James records, but Greatest Of The Delta Blues Singers is one of the rarest of Skip James releases, featuring a beautiful cover drawing of the blues legend. This reissue includes two bonus tracks that were rarely recorded by James, 'Motherless and Fatherless' and 'Skip's Worried Blues. ' Limited edition blue starburst. ■BLUE VINYL仕様¥3,190 (税込)ご注文できません -
- HIDDEN CHARMS / IMPORT / LP(レコード) / LP002 / 1007034379 / 2016年05月09日
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売切 注文不可全世界限定500枚プレス!オランダはHIDDEN CHARMS RECORDSより、第一弾も大好評だった戦前モノSP音源のコンピレーション続編が到着!アフロ・アメリカンによるエンター・テイメント色の強い曲をチョイスする路線は今回も同様。所謂戦前ブルースからジャズよりのものまで、DOCUMENTレーベル並の気合の入った仕事をアナログで楽しみたい方にはまたとない朗報と言えましょう。しかも今回はジャケットはゲイトホールド仕様の2枚組。見開き部の写真も最高だけなのに、写真入りの詳細なブックレットも付属。特に収録音源中のフィドラー奏者HENRY JOHNSONの変名、PERRY & HIS STOMP BOYS名義のBLACK PATTIの盤のラベルの写真は貴重!目と耳の双方で楽しめるお宝アイテムと断言させて頂きます。¥4,070 (税込)ご注文できません -
- HIDDEN CHARMS / IMPORT / LP(レコード) / LP001 / 1001654711 / 2012年03月23日
レコード
売切 注文不可※再入荷しました!オランダのHIDDEN CHARMS RECORDSより、20~30年代に録音されたCountry Blues、Jug Bands、Hokum groups、Barrelhouse piano Blues、raw gut-bucket Jazz、Medicine Show Songsters等、戦前ブルースの中でもエンターテイメント色の強いスタイルのSP音源コンピレーションが世界限定500枚プレスのアナログ盤で登場。BIG BILL BROONZYのいたグループHarum Scarumsの30年代レア音源や、(恐らく)初リイシューとなるJack Kelly & His South Memphis Jug Bandの「Highway No.61 Blues No.2」他マニアも唸る楽曲多数収録。勿論このLPの為にSPから取り込んだ音を丁寧にリマスター、180グラム重量盤の仕様で音質にも十分な拘りを見せる心意気、当時の写真も満載の12ページ英文ライナーノーツを担当するのは著名なブルース収集家にして研究家 ALEX VAN DER TUUK で資料性高し、ディープな戦前ブルース・ファンには見逃せない造りとなっています。■2016年に第2弾が登場!『EVERYDAY IN THE WEEK VOL.2 (2LP)』はこちら¥2,420 (税込)ご注文できません -
- オールデイズ・レコード / JPN / CD / ODR6226 / 1007043771 / 2016年05月01日
CD
売切 注文不可深く心にしみ入る優しいヴォーカルとフィンガー・ピッキング・ギターでブルース・ファンのみならず多くの音楽ファンを魅了してきたブルース・マン。全盛期(戦前1920年代)を経て63年の再発見となった発売された記念すべきファースト・アルバムの登場。CD解説より抜粋-----・・・一般に黒人ブルースは、苦悩・憂鬱などを題材とすることから暗いイメージや泥臭いサウンドを伴う音楽だと言われている。それが魅力だ、という点には異論がないが、1960年代のフォーク・リヴァイヴァルの折に、こうしたイメージから離脱したブルース歌手が人気者となったことがある。その人物の名は、ミシシッピ・ジョン・ハート。あの時代のフォーク・ファンはハートの心優しいヴォーカルと、気持ち良い音色のフィンガー・ピッキング・ギターに心が奪われてしまう。黒人ブルースの暗いイメージを払拭、ハートのほのぼのとしたブルースは、ある意味においてフォーク・リヴァイヴァルから生まれた大スター、ボブ・ディランと同じような位置だったと思う。・・・(鈴木カツ)- 紙ジャケ
¥1,650 (税込)盤質：- B
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- EASY ACTION / IMPORT / LP(レコード) / DEVILP003 / 1007043775 / 2016年05月02日
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売切 注文不可スキップ・ジェイムスが1931年以降に録音した、戦前録音のすべてを収録したコンピレーションがアナログ盤LPで登場!独特の歌声とギターの音色で聞く者を離さない、カントリー・ブルースの個性派の魅力が満載。¥2,860 (税込)ご注文できません -
- WORLD MUSIC NETWORK / IMPORT / LP(レコード) / RGNET1346LP / 1007181684 / 2016年09月13日
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廃盤Whatever the worldly origins of using a glass or metal object to slide across the strings of a guitar, this style has become famously associated with the blues. For many of the finest early blues practitioners it was the ultimate mode of musical expression as it could emulate the sound of the human voice to great effect. Employing open tunings, guitarists would use anything that they could find to produce the desired sound, ranging from pocketknives to medicine bottles and even bones, but because using a broken bottleneck (without the sharp edges) was probably the most popular method, the term 'bottleneck' has endured. The profound effect of the bottleneck style on the Mississippi Delta blues is demonstrated by legends such as Charley Patton, Son House and Bukka White. They were able to harness the heightened resonance and volume that it allowed, and create extraordinary effects such as that of a train whistle. Bukka White's 'Jitterbug Swing' shows how his guitar style was influenced by playing the diddley bow or jitterbug as a child, a single-stringed instrument played using a slide and thought to derive from West Africa. Far away from the raw intensity of the Delta blues sound, both Barbecue Bob and Curley Weaver were prominent figures on the East Coast who displayed bottleneck finesse with an incredible rhythmic feel. Also from the East Coast, Darby And Tarleton were a white, early country music duo whose playing was heavily influenced by the Hawaiian guitar style popular in American mainstream culture at the time, and largely responsible for spreading the slide guitar craze throughout the country. The Genial Hawaiians (Jim & Bob) were native islanders of Hawaii before moving to the US to seek their fame. Many feel that the duo's technique was never topped, which is clearly demonstrated by Bob Pauole's (Bob) improvisational mastery on 'Hula Blues'. The Hawaiian style was adopted by an important set of featured blues guitarists in the 1930s including Kokomo Arnold (Gitfiddle Jim), Casey Bill Weldon, Oscar Woods, Tampa Red, and Black Ace who incorporated the Hawaiian practice of playing long melodic lines, as opposed to a blues style defined by short, staccato riffs. Significantly, most blues players of the era held their guitars in the upright position, in contrast to the Hawaiian style in which the instrument is rested on the performer's lap. Charley Patton was an exception who played in both styles and here, 'The Father of the Delta Blues' gives us a prime example of how country blues and gospel have long been intertwined with his version of the spiritual 'Prayer Of Death'. The truly magnificent Blind Willie Johnson gives further evidence of this with his much covered opener 'It's Nobody's Fault But Mine', undoubtedly one of the finest bottleneck recordings ever made. He is joined by fellow guitar evangelists Rev. Edward Clayborn and Blind Willie Harris. Sylvester Weaver was a true pioneer and the first to record blues songs and instrumentals using the bottleneck style. Here he teams up with Walter Beasley for the appropriately titled 'Bottleneck Blues'. Also included are songsters such as Leadbelly, Gus Cannon and Furry Lewis who bridged the gap between the country blues and its earlier musical traditions and who show an adept use of the slide in their variations on classic country blues standards. Much less is known about the featured trio of backwoods blues artists Bo Weavil Jackson, King Solomon Hill and Bobby Grant whose few dazzling recordings continue to fascinate blues scholars. Bobby Grant's 'Lonesome Atlanta Blues' is a fitting closure to the album, with his guitar imitating the cries and moans of the human voice with a haunting quality and expressiveness unique to the sound of the bottleneck. SIDE1:1. Blind Willie Johnson - It?s Nobody's Fault But Mine (1927) - Blind Willie Johnson2. Weaver And Beasley - Bottleneck Blues (1927) - Sylvester Weaver & Walter Beasley3. Bukka White - Bukka's Jitterbug Swing (1940) - Bukka White4. Curley Weaver - No No Blues (1933) - Curley Weaver5. Casey Bill Weldon - Has My Gal Been Here (1936) - Casey Bill Weldon6. Son House - Dry Spell Blues - Part 1 (1930) - Son House7. Jim And Bob (The Genial Hawaiians) - The Hula Blues (1933) - Jim and BobSIDE2:1. Furry Lewis - John Henry (The Steel Driving Man) ? Part 1 (1928)2. Darby And Tarleton - Sweet Sarah Blues (1929)3. Blind Willie Davis - When The Saints Go Marching In (1928)4. Gus Cannon - Poor Boy, Long Ways From Home (1927)5. Black Ace - You Gonna Need My Help Some Day (1937)6. Charley Patton - Prayer Of Death - Part 1 (1929)7. Bobby Grant - Lonesome Atlanta Blues (1927)¥2,420 (税込)ご注文できません -
- WORLD MUSIC NETWORK / IMPORT / LP(レコード) / RGNET1335LP / 1007012525 / 2016年04月16日
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売切 注文不可入門者~中級には最適のコンピ盤『ROUGH GUIDE』がアナログで登場! こちらは1926-1937年の録音を収録したイースト・コースト・ブルース編。■ダウンロード・コード封入The East Coast blues is a style born in the Piedmont region of the US, which lies between the Appalachian Mountains and the coastal plain, running from Richmond, Virginia, southwards through the Carolinas and Georgia to Atlanta. Often referred to as the Piedmont blues, it is very different in style from the harder and intense sounding Mississippi Delta blues and was pioneered by some of the greatest blues guitarists that ever lived. Their unique approach to the instrument was primarily influenced by the ragtime traditions of the early twentieth century, as well as string band, banjo and other forms of minstrel/medicine show music. This musical development was due to the cultural blurring of musical boundaries in this region and a more relaxed racial atmosphere, as blacks and whites borrowed musical ideas, tunes and instruments from each other. This was quite unlike the more supervised and stricter lifestyles of the vast plantations in the Delta where such musical interaction was more limited. Typically, the Piedmont guitarist would create an alternating rhythmic bass accompaniment by moving the thumb of the picking hand between the different bass strings of the guitar, whilst one or more fingers of the same hand would pick out the melody on the higher strings. Essentially this approach gives the impression that the guitar is being played like a piano. One of the greatest of all the East Coast players, Reverend Gary Davis, would often joke that the guitarist was lucky as he had three hands: a fret hand which fingered the chord shape; the thumb of the picking hand which would imitate the left hand of the pianist; and the index and other fingers of the picking hand to play what the right hand of the pianist would play. Like the guitar style, the vocal delivery tends to be friendlier, more relaxed and without the tortured emotional intensity of the Delta blues. This gives the music an instant accessibility and warmth, beautifully highlighted by the laid back vocals of East Coast favourites Curley Weaver and Barbecue Bob. Blind Blake was the first commercially successful performer of this style, whose intricate fingerstyle technique and diverse repertoire ranging from upbeat rags and hokum tunes to slow blues numbers influenced all who followed, from the likes of Blind Boy Fuller, Josh White and Reverend Gary Davis, to modern day guitarists Ry Cooder, Ralph McTell and Jorma Kaukonen. Another huge influence on guitarists past and present was Blind Willie McTell who exclusively used a twelve-string guitar and, like Blake, could draw on a huge repertoire of songs from different styles. McTell was also a brilliant slide guitarist, which was unusual among the East Coast players. No East Coast blues compilation would be complete without Blind Boy Fuller who became the most well known and recorded of bluesmen from the Carolinas. In a similar way to Robert Johnson in the Delta, Blind Boy Fuller was able to bring together the many different styles of the Piedmont region and serve them up in a way that encapsulates the essence of the East Coast blues Little is known about many of these artists, none more so than Willie Walker. According to Josh White, he was 'The best guitarist he had ever heard', but who only ever recorded two sides in 1930, with 'South Carolina Rag' being one of the absolute masterpieces of ragtime guitar playing. This is just one of many highlights on an album full of melodic grace and instrumental virtuosity from what is undoubtedly the most varied and fun loving form of country blues. ★★2016年4月16日 RECORD STORE DAY 限定商品★★¥3,410 (税込)ご注文できません -
ROUGH GUIDE TO UNSUNG HEROES OF COUNTRY BLUES
V.A. (ROUGH GUIDE TO UNSUNG HEROES OF COUNTRY BLUES)
ソウル・ブルース- WORLD MUSIC NETWORK / IMPORT / LP(レコード) / RGNET1334LP / 1007012526 / 2016年04月16日
レコード
売切 注文不可入門者~中級には最適のコンピ盤『ROUGH GUIDE』がアナログで登場!こちらは1927-1935年の録音を収録したカントリー・ブルース編。■ダウンロード・コード封入Very little is known about many of these featured early blues artists, other than the simple fact that their classic recordings are like arrows through time and have a cutting edge coolness which defies the age in which they were recorded. These tracks are essential listening for any blues connoisseur, and an adventure into some of the more hidden recesses of country blues. There is no space for the likes of Charley Patton, Robert Johnson or Son House in this roll of honour, as it's time for the usual suspects to stand aside and let the limelight fall on some of the lesser-known country blues masters, whose brilliance has always been slightly under the radar. This handpicked selection of beautifully re-mastered tracks ranks alongside anything by the more decorated blues greats of the time, and delves that bit deeper into the early origins of the genre. Far from being a best of the rest, this album brings to the fore classic masterpieces that need to be heard. Aside from the much reduced crackle and hiss synonymous with old country blues recordings, it is hard to believe that all of these tracks date from the late 1920s/early 1930s, as they have an evergreen quality and emotional depth quite unlike anything else recorded at this time in history. Being such a broad term, country blues is best described as acoustic, mainly guitar-driven forms of the blues, often incorporating elements of ragtime, gospel, hillbilly and Dixieland jazz. This makes for an incredibly diverse selection of tracks, from sublime bottleneck guitar playing to upbeat rags and classic songster tunes to free work song inspired rhythms. Several of the more widely recorded artists on this compilation such as Gus Cannon, Henry Thomas, Frank Stokes and Peg Leg Howell bridged the gap between early blues and the minstrel and folk styles that preceded it and are central figures in the story of the blues. Likewise the music of Geeshie Wiley, who only recorded three records, provides the perfect example of how black secular music was merging with the blues, with truly mesmerising results. Some of the most haunting blues tracks ever recorded, by country blues diva Lottie Kimbrough and the slide guitar wizard King Solomon Hill, are complemented by the upbeat novelties of part-time bootlegger Charley Jordon and Freddie Spruell, one of the first Delta bluesmen ever to be recorded. Hambone Willie Newbern is hardly a household name, but there was always going to be room for his seminal track 'Roll And Tumble Blues', which has become a blues classic. If only guitarist extraordinaires Henry Spaulding, Garfield Akers and Bo Weavil Jackson had been invited back into the recording studio to cut a few more sides, as it's hard not to ruminate on what else they may have had in their arsenal of songs, now lost without a trace. These precious recordings will hopefully open your ears to some of the often overlooked & greatest blues pioneers of their day. ★★2016年4月16日 RECORD STORE DAY 限定商品★★¥3,410 (税込)ご注文できません -
- MISSISSIPPI RECORDS / IMPORT / LP(レコード) / MR005 / 1000252546 / 2009年03月27日
レコード
売切 注文不可音楽マニアの御用達レーベル、米MISSISSIPPIより1920-50年代の知られざるデルタ・ブルースをまとめたコンピLPが登場!レーベルMISSISSIPPIにとって最初のコンピレーションが7年ぶりに再プレス!BLIND WILLIE MCTELL、CANNON'S JUG STOMPERS、MEMPHIS MINNIE等のカントリーブルース、バラードの名演を収録。- 試聴可能
¥2,200 (税込)ご注文できません -
- FREMEAUX & ASSOCIES / IMPORT / CD / FA5480 / 1006627192 / 2015年03月10日
CD
売切 注文不可学術的探求を進める仏FREMEAUX & ASSOCIESより、”政治を歌う”ブルースマン・ブルースウーマン達の特集が登場。副題は「公民権運動の原点における、差別に抗う政治的・社会的ブルース」ということで、戦前・戦後の幅広いナンバーから社会的なテーマを歌った演奏をコンパイル。ブルースといえば「女がいねぇ」「飯がねぇ」「金がねぇ」をテーマとするものですが、そんな中でも社会や政治に関心を向け歌っていたミュージシャンも多くいたのです!ありそうでなかった、素晴らしいコンピレーションです。- 試聴可能
¥2,750 (税込)ご注文できません -
- JSP / IMPORT / CD / JPS77193 / 1006841307 / 2015年10月05日
CD
廃盤英JSPより巨大なコンピレーションが登場!ブルースの聖地ミシシッピより響く、多種多様なスタイルのブルースを4枚組100曲でドカンと聞けます!入門用にも、守備範囲を広げるにも使えるナイスなセット!- 試聴可能
¥3,630 (税込)ご注文できません
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