Robert Nighthawk Black Angel Blues Mp3, Flac, Wma

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Robert Nighthawk Black Angel Blues mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: Black Angel Blues Country: Italy Released: 1984 Style: Electric Blues, Piano Blues MP3 version RAR size: 1609 mb FLAC version RAR size: 1738 mb WMA version RAR size: 1332 mb Rating: 4.1 Votes: 706 Other Formats: DMF MPC XM MPC RA AHX AAC Tracklist A1 Down The Line A2 Handsome Lover A3 My Sweet Lovin' Woman A4 Sweet Black Angel A5 Anna Lee Blues A6 Return Mail Blues A7 Sugar Papa B1 She Knows How To Love A Man B2 Good News B3 Six Three O B4 Prison Bound B5 Jackson Town Gal B6 Sorry My Angel B7 Someday Credits Bass – Jack Meyers (tracks: B5), Willie Dixon Drums – Clifton James (tracks: B5) Guitar – Buddy Guy (tracks: B5) Harmonica – Shakey Horton* (tracks: B5) Piano – Ernest Lane, Lafayette Leake (tracks: B5) Vocals – Ethel Mae (tracks: A1, A2, A7, B2) Barcode and Other Identifiers Barcode: 8481501351 Other versions Category Artist Title (Format) Label Category Country Year Black Angel Blues (LP, Chess, P-Vine PLP-6015 Robert Nighthawk PLP-6015 Japan 1984 Comp) Special Sweet Black Angel (CD, 33054 Robert Nighthawk Roots 33054 2000 Shape, Comp, RE) Related Music albums to Black Angel Blues by Robert Nighthawk Sonny Boy Williamson - Stop Crying Buddy Guy - Stone Crazy Fleetwood Mac, Otis Spann, Willie Dixon, Shakey Horton, J.T. Brown, Guitar Buddy, Honeyboy Edwards, S.P. Leary - Blues Jam In Chicago - Volume One Willie Dixon - The Willie Dixon Collection 20 Golden Greats Black Angel - Black Angel Muddy Waters - The Chess Box Robert Nighthawk & Forrest City Joe - Robert Nighthawk & Forrest City Joe B.B. King - Sweet Little Angel The Rolling Stones - Tumbling Dice/Sweet Black Angel/Happy/All Down The Line 45's Singles Case The Rolling Stones - Tumbling Dice / Sweet Black Angel Black Angel - Various - Blues Masters, Volume 8: Mississippi Delta Blues.

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Ho Li Day Se Asons and Va Ca Tions Fei Er Tag Und Be Triebs Fe Rien BEAR FAMILY Will Be on Christmas Ho Li Days from Vom 23
Ho li day se asons and va ca tions Fei er tag und Be triebs fe rien BEAR FAMILY will be on Christmas ho li days from Vom 23. De zem ber bis zum 12. Ja nuar macht De cem ber 23rd to Ja nuary 12th. During that peri od BEAR FAMILY Weihnach tsfe rien. Bestel len Sie in die ser plea se send written orders only. The staff will be back Zeit bitte nur schriftlich. Ab dem 12. Janu ar 2004 sind ser ving you du ring our re gu lar bu si ness hours on Mon- wir wie der für Sie da. Bei die ser Ge le gen heit be dan ken day 12th, 2004. We would like to thank all our custo - wir uns für die gute Zusam menar beit im ver gange nen mers for their co-opera ti on in 2003. It has been a Jahr. plea su re wor king with you. BEAR FAMILY is wis hing you a Wir wünschen Ihnen ein fro hes Weih nachts- Merry Christmas and a Happy New Year. fest und ein glüc kliches neu es Jahr. COUNTRY...............................2 BEAT, 60s/70s.........................66 AMERICANA/ROOTS/ALT. ........................19 SURF ........................................73 OUTLAWS/SINGER-SONGWRITER ..................22 REVIVAL/NEO ROCKABILLY .......................75 WESTERN .....................................27 BRITISH R&R ...................................80 C&W SOUNDTRACKS............................28 INSTRUMENTAL R&R/BEAT ........................80 C&W SPECIAL COLLECTIONS ......................28 COUNTRY AUSTRALIA/NEW ZEALAND ...............29 POP ......................................82 COUNTRY DEUTSCHLAND/EUROPE .................30 POP INSTRUMENTAL ............................90
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Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events.
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Band/Surname First Name Title Label No
BAND/SURNAME FIRST NAME TITLE LABEL NO DVD 13 Featuring Lester Butler Hightone 115 2000 Lbs Of Blues Soul Of A Sinner Own Label 162 4 Jacks Deal With It Eller Soul 177 44s Americana Rip Cat 173 67 Purple Fishes 67 Purple Fishes Doghowl 173 Abel Bill One-Man Band Own Label 156 Abrahams Mick Live In Madrid Indigo 118 Abshire Nathan Pine Grove Blues Swallow 033 Abshire Nathan Pine Grove Blues Ace 084 Abshire Nathan Pine Grove Blues/The Good Times Killin' Me Ace 096 Abshire Nathan The Good Times Killin' Me Sonet 044 Ace Black I Am The Boss Card In Your Hand Arhoolie 100 Ace Johnny Memorial Album Ace 063 Aces Aces And Their Guests Storyville 037 Aces Kings Of The Chicago Blues Vol. 1 Vogue 022 Aces Kings Of The Chicago Blues Vol. 1 Vogue 033 Aces No One Rides For Free El Toro 163 Aces The Crawl Own Label 177 Acey Johnny My Home Li-Jan 173 Adams Arthur Stomp The Floor Delta Groove 163 Adams Faye I'm Goin' To Leave You Mr R & B 090 Adams Johnny After All The Good Is Gone Ariola 068 Adams Johnny After Dark Rounder 079/080 Adams Johnny Christmas In New Orleans Hep Me 068 Adams Johnny From The Heart Rounder 068 Adams Johnny Heart & Soul Vampi 145 Adams Johnny Heart And Soul SSS 068 Adams Johnny I Won't Cry Rounder 098 Adams Johnny Room With A View Of The Blues Demon 082 Adams Johnny Sings Doc Pomus: The Real Me Rounder 097 Adams Johnny Stand By Me Chelsea 068 Adams Johnny The Many Sides Of Johnny Adams Hep Me 068 Adams Johnny The Sweet Country Voice Of Johnny Adams Hep Me 068 Adams Johnny The Tan Nighinggale Charly 068 Adams Johnny Walking On A Tightrope Rounder 089 Adamz & Hayes Doug & Dan Blues Duo Blue Skunk Music 166 Adderly & Watts Nat & Noble Noble And Nat Kingsnake 093 Adegbalola Gaye Bitter Sweet Blues Alligator 124 Adler Jimmy Midnight Rooster Bonedog 170 Adler Jimmy Swing It Around Bonedog 158 Agee Ray Black Night is Gone Mr.
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ELECTRIC BLUES the DEFINITIVE COLLECTION Ebenfalls Erhältlich Mit Englischen Begleittexten: BCD 16921 CP • BCD 16922 CP • BCD 16923 CP • BCD 16924 CP
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] PLUG IT IN! TURN IT UP! ELECTRICELECTRIC BBLUESLUES DAS STANDARDWERK G Die bislang umfassendste Geschichte des elektrischen Blues auf insgesamt 12 CDs. G Annähernd fünfzehneinhalb Stunden elektrisch verstärkte Bluessounds aus annähernd siebzig Jahren von den Anfängen bis in die Gegenwart. G Zusammengestellt und kommentiert vom anerkannten Bluesexeperten Bill Dahl. G Jede 3-CD-Ausgabe kommt mit einem ca. 160-seitigen Booklet mit Musikerbiografien, Illustrationen und seltenen Fotos. G Die Aufnahmen stammen aus den Archiven der bedeutendsten Plattenfirmen und sind nicht auf den Katalog eines bestimmten Label beschränkt. G VonT-Bone Walker, Muddy Waters, Howlin' Wolf, Ray Charles und Freddie, B.B. und Albert King bis zu Jeff Beck, Fleetwood Mac, Charlie Musselwhite, Ronnie Earl und Stevie Ray Vaughan. INFORMATIONEN Mit insgesamt annähernd dreihundert Einzeltiteln beschreibt der Blueshistoriker und Musikwissenschaftler Bill Dahl aus Chicago die bislang umfassendste Geschichte des elektrischen Blues von seinen Anfängen in den späten 1930er Jahren bis in das aktuelle Jahrtausend. Bevor in den Dreißigerjahren Tonabnehmersysteme, erste primitive Verstärker und Beschallungssysteme und schließ- lich mit Gibsons ES-150 ein elektrisches Gitarren-Serienmodell entwickelt wurde, spielte die erste Generation der Gitarrenpioniere im Blues in den beiden Jahrzehnten vor Ausbruch des Zweiten Weltkriegs auf akustischen Instrumenten. Doch erst mit Hilfe der elektrischen Verstärkung konnten sich Gitarristen und Mundharmonikaspielern gegenüber den Pianisten, Schlagzeugern und Bläsern in ihrer Band behaupten, wenn sie für ihre musikalischen Höhenflüge bei einem Solo abheben wollten. Auf zwölf randvollen CDs, jeweils in einem Dreier-Set in geschmackvollen und vielfach aufklappbaren Digipacks, hat Bill Dahl die wichtigsten und etliche nahezu in Vergessenheit geratene Beispiele für die bedeutendste Epoche in der Geschichte des Blues zusammengestellt.
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Songs by Title
Songs by Title Title Artist Title Artist - Human Metallica (I Hate) Everything About You Three Days Grace "Adagio" From The New World Symphony Antonín Dvorák (I Just) Died In Your Arms Cutting Crew "Ah Hello...You Make Trouble For Me?" Broadway (I Know) I'm Losing You The Temptations "All Right, Let's Start Those Trucks"/Honey Bun Broadway (I Love You) For Sentimental Reasons Nat King Cole (Reprise) (I Still Long To Hold You ) Now And Then Reba McEntire "C" Is For Cookie Kids - Sesame Street (I Wanna Give You) Devotion Nomad Feat. MC "H.I.S." Slacks (Radio Spot) Jay And The Mikee Freedom Americans Nomad Featuring MC "Heart Wounds" No. 1 From "Elegiac Melodies", Op. 34 Grieg Mikee Freedom "Hello, Is That A New American Song?" Broadway (I Want To Take You) Higher Sly Stone "Heroes" David Bowie (If You Want It) Do It Yourself (12'') Gloria Gaynor "Heroes" (Single Version) David Bowie (If You're Not In It For Love) I'm Outta Here! Shania Twain "It Is My Great Pleasure To Bring You Our Skipper" Broadway (I'll Be Glad When You're Dead) You Rascal, You Louis Armstrong "One Waits So Long For What Is Good" Broadway (I'll Be With You) In Apple Blossom Time Z:\MUSIC\Andrews "Say, Is That A Boar's Tooth Bracelet On Your Wrist?" Broadway Sisters With The Glenn Miller Orchestra "So Tell Us Nellie, What Did Old Ironbelly Want?" Broadway "So When You Joined The Navy" Broadway (I'll Give You) Money Peter Frampton "Spring" From The Four Seasons Vivaldi (I'm Always Touched By Your) Presence Dear Blondie "Summer" - Finale From The Four Seasons Antonio Vivaldi (I'm Getting) Corns For My Country Z:\MUSIC\Andrews Sisters With The Glenn "Surprise" Symphony No.
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Tampa Red: Guitar Wizard , RCA AXM2-5501
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Delta Music Heritage Research Project - Part I
II’m’m GGoin’oin’ OOverver ’’nn OOl’l’ HHelenaelena Arkansas Delta Music Heritage Research Project - Part I Prepared for Department of Arkansas Heritage Delta Cultural Center Helena, Arkansas Helena-West Helena Prepared by Advertising and Promotion Commission Mudpuppy & Waterdog, Inc. Helena, Arkansas Versailles, Kentucky December 31, 2015 I’m Goin’ Over’ n Ol’ Helena . Delta Music Heritage Research Project Part I Prepared by Joseph E. Brent Maria Campbell Brent Mudpuppy & Waterdog, Inc. 129 Walnut Street Versailles, Kentucky 40383 Prepared for Katie Harrington, Director Department of Arkansas Heritage Delta Cultural Center 141 Cherry Street Helena, Arkansas 72342 Cathy Cunningham, Chairman Helena-West Helena Advertising and Promotion Commission PO Box 256 Helena, Arkansas 72342 December 31, 2015 Table of Contents Part I Acknowledgments ...............................................................................................................1 Introduction ........................................................................................................................3 Musical Heritage of the Arkansas Delta ............................................................................5 Blues Music in the Arkansas Delta ....................................................................................7 Blues Artists of the Arkansas Delta ....................................................................................37 Part II The Growth of Popular Music ...........................................................................................1
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'Some Sweet Day'
‘SOME SWEET DAY’ TAMPA RED & BIG MACEO Mapping the careers of two of the most distinctive artists – and one of the greatest partnerships – in the history of Chicago blues. almost certainly prefer to acquire by selection, and that’s what this article will aim to help with. Tampa Red’s real name was Hudson Woodbridge, but he took the surname of his grandmother, Whittaker. He was born in Georgia, but grew up in Tampa, Florida, and it seems to have been there that he developed his very particular slide guitar style. Unlike many other bottleneck players of his generation, who exploited the excitement that could be generated by slashing the slide across chords, with the strings jangling out in harmony (or exhilarating dischord), Tampa Red developed his own, more carefully controlled style, which involved picking chords and runs with his fingers, and interspersing them with very clean slide lines, on single strings, with rarely an echo from another string to be heard (one exception is on his very first recorded side, the one-off Paramount recording, ‘Through Train Blues’). He recorded a wide range of music (within a broad blues context), and his considerable appeal depended on a variety of factors – including his voice, his way with risqué and other comic material, his interplay with other musicians – but his guitar playing was evidently a key factor, a fact that seems clear from his recorded solos. If you want a close look at the Tampa Red style, take his 1929 solo instrumental, ‘You Got To Reap What You Sow’. He had already been recording for about a year at this point, and had already racked up a very large number of sides, and established a reputation as an entertainer, but this was his first outing entirely on his own.
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Lady Sings the Blues: a Woman’S Perspective on Authenticity
Lady Sings the Blues: A Woman’s Perspective on Authenticity Meghan Winsby White people have no business playing the blues ever, at all, under any circumstances. What the fuck do white people have to be blue about? Banana Republic ran out of khakis? ~ George Carlin. What, indeed, do white people have to be blue about? The position that Carlin’s clever remark sketches for us–that blues performance belongs exclusively to one group of people–can be reformulated as follows: 1. In order for a person or group of persons legitimately to sing the blues, they must suffer, or have suffered, in the relevant way. 2. White people do not suffer, or have not suffered, in the relevant way. 3. Therefore, white people “have no business” singing the blues. The argument above captures a few related objections to white people performing the blues. Some blues purists object for largely aesthetic reasons; the blues just doesn't ring true somehow when interpreted and performed by whites. Others suggest that in addition to this aesthetic problem, there are good moral reasons for white musicians to abstain from adopting–and profiting from–the blues style. These objections invoke the idea of ownership, and of these what amounts to cultural theft is the most serious charge. We’ll look briefly at a couple of these arguments later. Though there may be reasons in favor of rejecting the first premise of the argument altogether, let’s assume for the sake of discussion that there is a certain kind of lived experience that may be vital to blues performance–for both artist and audience.
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85:40:28 Total Tracks Size: 11.4 GB
Total tracks number: 1576 Total tracks length: 85:40:28 Total tracks size: 11.4 GB # Artist Title Length Genre 01 Aaron "T-Bone" Walker Trinity River Blues 03:11 02 Albert Collins Ice Pick 03:08 03 Albert King Angel Of Mercy 05:55 04 Albert King Bad Luck Blues 03:01 05 Albert King Be On Your Merry Way 02:51 06 Albert King Born Under A Bad Sign 03:31 07 Albert King California 02:46 08 Albert King Don't Burn Down The Bridge 04:10 09 Albert King Flat Tire 02:48 10 Albert King Get Out Of My Life Woman 03:43 11 Albert King Howlin' For My Darlin' 03:02 12 Albert King I Get Evil 03:59 13 Albert King I Got The Blues 09:09 14 Albert King Searchin' For A Woman 03:03 15 Albert King The Feeling 05:00 16 Albert King The Very Thought Of You 04:21 17 Albert King We All Wanna Boogie 03:17 18 Albert King Wild Woman 02:38 19 Albert King Won't Be Hangin' Around 02:54 20 Alberta Hunter Downhearted Blues 03:09 21 Allen Shaw Moanin' The Blues 02:59 22 Arthur Big Boy Crudup Black Pony Blues 03:23 23 Arthur Big Boy Crudup Boy Friend Blues 03:01 24 Arthur Big Boy Crudup Chicago Blues 03:11 25 Arthur Big Boy Crudup Cool Disposition 03:10 26 Arthur Big Boy Crudup Crudup's After Hours 02:57 27 Arthur Big Boy Crudup Death Valley Blues 03:15 28 Arthur Big Boy Crudup Give Me A 32-20 02:58 29 Arthur Big Boy Crudup I Don't Know It 02:50 30 Arthur Big Boy Crudup If I Get Lucky 03:05 31 Arthur Big Boy Crudup Kind Lover Blues 03:09 32 Arthur Big Boy Crudup Mean Old Frisco Blues 02:38 33 Arthur Big Boy Crudup Raised To My Hand 03:09 34 Arthur Big Boy Crudup So Glad You're Mine 02:48 35 Arthur 'big Boy' Crudup That's All Right 02:55 36 Arthur Big Boy Crudup That's Your Red Wagon 03:15 37 Arthur Big Boy Crudup Who's Been Foolin' You 03:18 38 Arthur Pettis Good Boy Blues 03:11 39 B.B.
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'Til) I Kissed You (2:20
(‘Til) I kissed you (2:20) - The Everly Brothers (All I Can Do Is) Dream You (3:38) - Roy Orbison (At The) Woodchoppers Ball (7:48) - Ten Years After (Back Home) In Indiana (2:54) - Julie London (Back to the) Heartbreak Kid (3:50) - Restless Heart (Beat by) Jealousy (3:23) - Heart (Before We) Think (4:19) - King Biscuit Boy (Believed You Were) Lucky (3:34) - Til Tuesday (Between A) Rock And A Hard Place (3:46) - Cutting Crew (Can I) Find The Right Words (To Say) (3:07) - Blondie (Can’t Believe) This Is Me (4:45) - Jennifer Lopez (Come ‘Round Here) I’m the One You Need (2:30) - Smokey Robinson & the Miracles (Da Le) Yalleo (5:53) - Santana (Do The) Instant Mash (3:11) - Joe Jackson (Don’t Gimme That) Once Over (3:50) - Shania Twain (Don’t Go Back To) Rockville (4:32) - R.E.M. (Don’t Take Her) She’s All I Got (3:02) - Johnny Paycheck (Don’t You Mess Around With) My Little Sister (2:38) - Michelle Shocked (Everything I Do) I Do It for You (4:08) - Brandy (Everything I Do) I Do It for You (6:34) - Bryan Adams (Get Your Kicks On) Route 66 ( (live) (2:42) - The Rolling Stones (Get Your Kicks On) Route 66 (2:50) - Asleep At The Wheel (Get Your Kicks On) Route 66 (4:11) - Asleep At The Wheel (Ghost) Riders In The Sky (3:47) - Johnny Cash (Ghost) Riders in the Sky [Live) (7:05) - The Outlaws (Goin’) Wild for You Baby (5:25) - Bonnie Raitt (Good Old Electric) Washing Machine (Circa 1943) (2:08) - John Hartford (Gotta Get A) Meal Ticket (4:01) - Elton John (Honey) It’s Tight Like That (2:38) - Tampa Red (How Will I Know) I’m Falling In Love Again
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Queer Blues Women Final Paper (To Submit)
Jankoski !1 Olivia Jankoski Professor Maria Sonevytsky Music, Gender, and Sexuality 18 May 2018 Where Girls Will Be Boys The Blues evolved post-abolition as a musical genre from its roots in Gospel music. Like its predecessor, which developed during slavery, the Blues was a uniquely African American art form that held the promise of freedom from oppression in its lyrics. Gospel music, with its focus on the sacred, held the hope of deliverance from slavery in the idea of heaven and the afterlife. The Blues, however, had its focus on the secular need for immediate gratification; it promised freedom from all kinds of oppression, especially sexual repression. African Americans were no longer the property of owners who had the right to choose their slaves’ breeding partners, or who took sexual advantage of them at will. African American women were, for the first time, able to choose who they partnered with in their personal lives, and they could decide if and when they wanted to leave a particular relationship. While black men continued to lead the formalized church and religious-themed revival meetings, women’s voices became the vehicle of this new sexuality, and they quickly overtook men as the dominant voice of the Blues. Male Blues singers celebrated their freedom with songs of travelling and wandering without the burden of home or obligations. The female singer, however, enthusiastically celebrated ownership over herself, and her songs preached about the thrill of indulging her appetites. The founding mothers of the genre wrote and sang about matters that once were only spoken about in private, or not at all, and they Jankoski !2 went on to inspire African American art, life, and culture throughout the Twentieth Century and beyond.
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