Blind Willie Mctell the Early Years (1927-1933) Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Blind Willie Mctell the Early Years (1927-1933) Mp3, Flac, Wma Blind Willie McTell The Early Years (1927-1933) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: The Early Years (1927-1933) Country: US Released: 1989 Style: Country Blues, East Coast Blues MP3 version RAR size: 1154 mb FLAC version RAR size: 1792 mb WMA version RAR size: 1409 mb Rating: 4.7 Votes: 613 Other Formats: DTS AHX MP2 DXD DMF AUD MOD Tracklist 1 Broke Down Engine Blues 3:09 2 Mama 'Tain't Long For Day 2:57 3 Georgia Rag 3:03 4 Love Changing Blues 3:10 5 Statesboro Blues 2:30 6 Stomp Down Rider 3:06 7 Savannah Mama 3:12 8 Travelin' Blues 3:15 9 Drive Away Blues 3:15 10 Warm It Up To Me 2:55 11 Three Women Blues 2:43 12 Writing Paper Blues 3:11 13 Southern Can Is Mine 3:14 14 Talkin' To Myself 3:09 Companies, etc. Mastered At – CMS Digital Phonographic Copyright (p) – Yazoo Records Credits Artwork By, Mastered By – Nick Perls Guitar, Vocals – Blind Willie McTell Liner Notes – David Evans Notes There is no barcode on this release, and the last page of the booklet has a white background and different layout than that of Blind Willie McTell - The Early Years (1927-1933), and does not credit Robert Vosgien for digital mastering. "We wish to thank Don Kent, Bernard Klatzko, Nick Perls, Dick Spottswood and Mike Stewart for the loan of their rare originals". Barcode and Other Identifiers Matrix / Runout: 1/92 1DA5 YAZOO1005 Other versions Category Artist Title (Format) Label Category Country Year Blind Willie The Early Years 1927-1933 (LP, Belzona L 1005 L 1005 US 1968 McTell Comp) Records Blind Willie The Early Years 1927-1933 (LP, L-1005 Yazoo L-1005 US 1968 McTell Comp) Blind Willie The Early Years 1927-1933 (LP, L 1005 Yazoo L 1005 US 1968 McTell Comp) Blind Willie The Early Years - 1927-1933 L-1005 Yazoo L-1005 US 1968 McTell (LP, Comp) Blind Willie The Early Years - 1927-1933 L-1005 Yazoo L-1005 US 1968 McTell (LP, Comp, Promo) Related Music albums to The Early Years (1927-1933) by Blind Willie McTell Curley Weaver With The Georgia Browns, Buddy Moss, Blind Willie McTell - (1933–1950) Blind Willie McTell - Broke Down Engine Blues Various - Texas Blues Blind Willie McTell And Memphis Minnie - Love Changin' Blues Blind Willie Reynolds - Third Street Woman Blues / Married Man Blues Blind Willie McTell - Blues In The Dark Various - The Greatest In Country Blues (1927-1956) Blind Willie McTell - Statesboro Blues Blind Willie McTell - Jazz & Blues Collection Various - East Coast Blues 1926-1935 Blind Willie McTell - Atlanta Twelve String Blind Willie McTell & Curley Weaver - Don't Forget It: The Post~War Years 1949 ~ 1950.
Recommended publications
  • Buddy Moss Talks to Valerie Wilmer
    Published Melody Maker, July 15, 1972 p.40, less a VW photo: Buddy Moss talks to Valerie Wilmer "BUDDY MOSS? Oh he's really a mean guy—you ought to stay clear of him!" That was one of several warnings I received on making it known that l intended to visit the Atlanta bluesman who had shared one of Josh White's first record dates. I'd been told Moss was moody and mean and knew he'd served a jail term stiff enough to put paid to his successful recording career back in the mid-thirties, so naturally I approached his house with some trepidation. Moss had rather barked down the telephone when I'd mumbled something about an interview and the man who thrust his head round the door looked like the voice sounded. Sturdy and well-muscled for a man of 58, his broad shoulders and close-cropped, pugnacious head represented much more than the arrogance that stems from insecurity. Moss is tough because he's had a lot to contend with in his life; he's also a man of great personal charm —something I not only experienced myself but observed from the warmth with which he was greeted later that afternoon. They'd also told me Buddy Moss was "difficult." What people who'd tried to exploit his talent did not —or did— realise is that Buddy Moss is not about to get talked over by anyone. "People been coming round here asking me to record things," said the guitarist. "Well, you have to give something every once in a while— but to a worthy cause.
    [Show full text]
  • Know My Mind, Lonnie Johnson (1926) / Honey, You Don’T Know, Sure Don’T Know My Mind, Doggone You Gal
    2 ISBN -86364-112-3 / lanche b from cryin’. just keep to I’m laughin’ see melaughing, When mind. you my know don’t sure know, don’t you gal, you doggone mind, my know don’t you know, suredon’t know, don’t you Honey, ’Amérique l ans d oir N e L leurer, p as p e n our p ire R — evet L pleurer. pas pour ne c’est juste je ris, passe par la tête. passe parlatête. tusaisriendecequime sûr, pour rien, tun’sais Chérie, J / ean-Paul Si www.editionsparentheses.com Take me back, baby, you don’t know my mind. I may look happy but I’m almost dyin’. Baby, you don’t know my mind, Lonnie Johnson (1926) / Honey, you don’t know, sure don’t know my mind, doggone you gal. You don’t know, sure don’t know my mind. When you see me laughing, I’m laughing just to keep from cryin’. Honey, you don’t know my mind, Barbecue Bob (1927) / Was your slave so many lonesome years, people thought I was happy, I was sheddin’ my misery in tears. When a man is treated like a dog, Lonnie 2 Johnson (1927) / Now these blues is an awful painful thing to have. I just to keep from cryin’, open my ISBN -86364-112-3 / mouth and laugh. Lonesome man blues, Georgia Tom (1928) / Oh babe, you don’t know my mind, I’m lanche b laughin’, baby, but I’m laughin’ just to keep from cryin’. Kind Babe Blues, James Stump Johnson (1929) / I’m going down to the station to meet the train, baby ain’t on it, I will go insane, because you don’t ’Amérique l know,ans sure don’t know my mind, now when you see me laughing, I’m just laughing to keep from crying.
    [Show full text]
  • “Covering” the Bluesman from a Distance
    Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago.
    [Show full text]
  • Georgia-I'm Gonna Make You Happy
    GEORGIA — I’M GONNA MAKE YOU HAPPY Georgia: I’m Gonna Make You Happy English convicts, militant Scottish Highlanders, German religious refugees, and slaves brought directly from Africa carved out in Georgia a harsh and often impoverished agricultural life.. Racial conflict and repression lasted in Georgia until late into the 20th century, but the state produced some of the stellar figures in Black music and American literary history, and nurtured the Sea Islands, where African-based ways of life and music- making went on relatively peacefully until the 1960s. These pioneering recordings made in the 1930s and 1940s feature Blind Willie McTell, Buster Brown, and great but lesser-known artists such as Reese Crenshaw, Camp Morris, the Smith Band, Sidney Stripling, Sophie Wing performing blues, ballads, folk ragtime, 19th century dance tunes, spirituals, and work songs. Deep River of Song These field recordings of African-American music made by Alan Lomax and John A. Lomax for the Library of Congress from 1933 to 1946 capture a transformative period when black singers of the South and the Caribbean created a new musical language and thousands of brilliant songs that would captivate people throughout the world. The Alan Lomax Collection The Alan Lomax Collection gathers together the American, European, and Caribbean field recordings, world music compilations, and ballad operas of writer, folklorist, and ethnomusicologist Alan Lomax. Recorded between 1934 and 1943 by John A. Lomax, Ruby T. Lomax, Alan Lomax, Mary Elizabeth Barnicle, Zora Neale Hurston, Lewis Jones, Willis James, and John Work. Compiled by Alan Lomax and Peter B. Lowry. Notes by David Evans, Ph.D.
    [Show full text]
  • The Georgia Crawl
    Introduction The Georgia Crawl by Jack L. Sammons * Imagine, if you will, that you are a lawyer and that you are observing a gathering of people sitting at a round table. The assembled group is there addressinga particularlydifficult problem in the local community-it does not really matter what the problem is so long as it is a complex one. The group includes a priest, an accountant, a business executive, a psychologist, an engineer, a philosopher,a physician, a city planner,an architect, and a lawyer; but you do not know the occupationsof any of the people. If I asked you to identify the lawyer, my guess is that you could do so readily, even if the conversation had not afforded the lawyer the opportunity to display his or her knowledge of legal matters. In fact, if I pressed you harder, and the conversation was long enough, you probably would be able to give me some gross assessment of the lawyer's merit as a lawyer The reason you would be able to do this is that the practice of law shapes lawyers toward certain habits of thought and manners of being that lawyers then recognize in each other. For example, * Griffin B. Bell Professor of Law, Walter F. George School of Law, Mercer University 985 986 MERCER LAW REVIEW [Vol. 53 consciously or not, to identify the lawyer in the group, another lawyer would likely look for: the ability to recognize what is shared in competing positions; an attentiveness to detail, especially linguistic detail; an attentiveness as well to the ambiguities of language;a use of these ambiguities both for structuring
    [Show full text]
  • ARSC Journal XXVI Ii 1996
    KIP LORNELL AND TED MEALOR A & R Men and the Geography of Piedmont Blues Recordings From 1924 - 1941 Blues is one of the most important forms ofAfrican American music to emerge in the 20th century. During the middle 1920s downhome blues began to attract the attention of commercial record companies interested in expanding their base of support among black American consumers. Because most of the record companies were based in the North, they utilized a rather haphazard network of musicians, furniture dealers, and a few of their own employees to scout this southern-based "race" talent. This article examines the relationship between the blues musicians who happen to reside in the Southeastern Piedmont of the United States and the record companies themselves. We found that there is a direct correlation between the recording of these blues musicians and the geographical location of the men who scouted talent for the companies. As Fig.1 illustrates, most of the blues musicians that recorded between 1924 and 1941 resided within or near the slowly developing urban corridor between Atlanta, Georgia, and Durham, North Carolina. merican folk and popular music has been studied by historians, sociolo­ A gists, folklorists, ethnomusicologists, and anthropologists, but with the notable exception of George 0. Camey, rarely by geographers. A cultural geographer by academic training, Camey has been especially interested in the spatial aspects of vernacular music in the United States. His research since the early 1970s has resulted in many engaging and groundbreaking publications, as well as the only course on "Geography of American Music" offered in the United States.1 Of all of the types of American music studied by geographers, African American folk music has been the most obvious form overlooked by cultural geographers.
    [Show full text]
  • Bruce Jackson and Diane Christian Collection
    Bruce Jackson and Diane Christian collection American Folklife Center, Library of Congress Washington, D.C. September 2020 Contact information: https://hdl.loc.gov/loc.afc/folklife.contact Catalog Record: https://lccn.loc.gov/2012655293 Additional search options available at: https://hdl.loc.gov/loc.afc/eadafc.af018002 Prepared by Marcia K. Segal Finding aid encoded by Marcia K. Segal, September 2020 Collection Summary Title: Bruce Jackson and Diane Christian collection Span Dates: circa 1961-1988 Call No.: AFC 2011/009 Creator: Jackson, Bruce, 1936-; Christian, Diane, 1939- Extent: approximately 3346 items Extent: 5 containers Extent: 27.5 linear feet Extent (manuscripts): 5 containers; approximately 1400 items Extent (sound recordings): 197 sound cassettes : analog Extent (sound recordings): 1062 sound tape reels (5 in., 7 in., 10 in.) : analog Extent (graphic materials): 10 photographs : film positives, color ; 35 mm Extent (graphic materials): 3 photographs : prints, black and white ; 5 x 6 in. and smaller Extent (moving images): approximately 614 film elements Extent (moving images): approximately 60 videocassettes Language: Collection materials mostly in English. Location: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. LC Catalog record: https://lccn.loc.gov/2012655293 Summary: Documentation of fieldwork conducted by Bruce Jackson in prisons in Indiana, Missouri, and Texas; recordings at concerts and festivals including the Newport Folk Festival 1963-1965, 1967-1968; interviews conducted at various events including Resurrection City, 1968; interviews with and performances by various blues artists, folk artists, and others including poets and literary figures, 1961-1980s; production footage for film documentaries on various topics by Bruce Jackson and Diane Christian.
    [Show full text]
  • Hand Me My Travelin' Shoes Collection
    Georgia Southern University Digital Commons@Georgia Southern Finding Aids 2010 Hand Me My Travelin' Shoes collection Zach S. Henderson Library Special Collections Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/finding-aids Part of the Social History Commons, and the United States History Commons Recommended Citation Zach S. Henderson Library Special Collections, "Hand Me My Travelin' Shoes collection" (2010). Finding Aids. 190. https://digitalcommons.georgiasouthern.edu/finding-aids/190 This finding aid is brought to you for free and open access by Digital Commons@Georgia Southern. It has been accepted for inclusion in Finding Aids by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. HAND ME MY TRAVELIN’ SHOES COLLECTION FINDING AID OVERVIEW OF COLLECTION Title: Hand Me My Travelin' Shoes collection Date: 1991-2010 Extent: 7 Boxes (3.87 linear feet) Collector: Gray, Michael, 1946- Language: English Repository: Zach S. Henderson Library Special Collections, Georgia Southern University, Statesboro, GA. [email protected]. 912-478-7819. library.georgiasouthern.edu. Processing Note: Collection reprocessed in 2021 by Tyler Hendrix, Graduate Assistant, under the supervision of Autumn Johnson, Special Collections Librarian. INFORMATION FOR USE OF COLLECTION Conditions Governing Access: The collection is open for research use. Access to Box 4, Folder 36 is restricted. Physical Access: Materials must be viewed in the Special Collections Reading Room under the supervision of Special Collections staff. Technical Access: Additional equipment may be required to access parts of this collection. Conditions Governing Reproduction and Use: In order to protect the materials from inadvertent damage, all reproduction services are performed by the Special Collections staff.
    [Show full text]
  • JEMF 106 Booklet
    r \ ~ eJEMF-106 A Collection of Previously Unissued Recordings by Blind Willie McTe1l1 ues Curley Weaver and Buddy Moss 1933 CONTENTS; Introduction Atlanta Blues. Curley Weaver. Buddy Moss. Blind Willie MeTell. The Songs. .. 25 Bibliography . .30 Discography .. 31 SIDE I 1. NEXT DOOR MAN-Georgia Browns 2. IT'S YOUR TIME TO WORRY-Blind Willie MeTell and Curley Weaver 3. YOU WAS BORN TO DIE-Curley Weaver and Blind Willie MeTell 4. DIRTY MISTREA TER - Curley Weaver and Buddy Moss 5. BACK TO MY USED TO BE- Buddy Moss and Curley Weaver 6. CAN'T USE YOU NO MORE-Buddy Moss and Curley Weaver 7. BROKE DOWN ENGINE NO.2-Blind Willie MeTell 8. LOVE·MAKIN· MAMA-Blind Willie McTell and Curley Weaver SIDEll 1. DEATH ROOM BLUES-Blind Willie McTell and Curley Weaver 2. LORD, SEND ME AN ANGEL-Blind Willie McTell 3. BROKE DOWN ENGINE NO.2-Buddy Moss and Curley Weaver 4. EMPTY ROOM BLUES-Curley Weaver and Buddy Moss 5. SOME LONESOME DAY - Buddy Moss and Curley Weaver 6. BAND 0 BLUES NO.2-Blind Willie McTell and Curley Weaver 7. BELL STREET LiGHTNIN'-Blind Willie McTell and Curley Weaver 8. EAST ST. LOUIS BLUES (FARE YOU WELL)-Blind Willie McTell and Curley Weaver Library of Congress Catalog Card Number 77-751284 Production of this album is supported by a grant from the National Endowment for the Arts in Washington, D.C., a Federal Agency. Included w ith this album is an illustrated booklet containing an introductory discussion of the blues in Atlanta, biographies of the performers, and text transcriptions and annotations for each of the selections.
    [Show full text]
  • EAST COAST BLUES.- Orbis Publishing Ltd. 1996
    ON TOP QUALITY CD OR CASSETTE £3. 99 DE AGOSTINI GROUP PART 84 HOW TO CONTINUE YOUR COLLECTION Customer Services EAST COAST If you have any queries on THE BLUES COLLECTION please telephone (0990) 673331. BLUES UK & REPUBLIC OF IRELAND Subscriptions Simply call our subscriptions hotline on (0990) 673331 (Mon-Fri, 9am-5pm) to find out about our subscriptions offers. Back Issues You can order back issues by phoning (0990) 673331 (Mon-Fri, 9am-5pm). Or write to: Back Issues Department, THE BLUES COLLECTION, Orbis Publishing Ltd, PO Box 1, Hastings TN35 4TJ. When ordering, please enclose: 1) Your name, address and postcode. THE MUSIC EAST COAST BLUES’ 2) The issue number(s) and number of copies of each issue you require. 1 WASH-BOARD CUT OUT 8 ROLLIN’ DOUGH BLUES 8 PLAY MY JUKE BOX Important: Remember to specify whether you require cassette or CD. 3) Your payment of the cover price plus 50p per copy, postage 2 CAROLINA BLUES and packing. This can be made by postal order or cheque made NINETY-NINE YEAR 9 SLIPPIN' AND SLIDIN’ UP THE payable to Orbis Publishing Ltd. Binders (UK) BLUES GOLDEN STREET 1 5 DOWN IN THE BOTTOM Please phone (0990) 673331 for details. 3 SOUTHERN RAG 1 0 TOM BROWN SITS IN HIS 1 6 GAS RATION BLUES AUSTRALIA 4 IF I CALL YOU MAMA PRISON CELL 1 7 I GOT WHAT MY DADDY LIKES Subscriptions 5 POOR 5 DEPRESSION'S GONE FROM ME 18 A AND B BLUES Telephone (02) 9979 0222. Or write to: THE BLU ES COLLECTION, JANE BLUES c/o Weldon-by-Mail Pty Ltd, PO Box 993, Mona Vale NSW 1658.
    [Show full text]
  • Acoustic Blues 1923-2012 the Roots of It All Volume 2
    BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] ACOUSTIC BLUES 1923-2012 THE ROOTS OF IT ALL VOLUME 2 G Second volume in this series of four 2-CD digipac sets. G Covering the story of acoustic blues from 1941 to 1959. G Pre-war and post-war recordings, a total of 55 tracks, carefully re-mastered from the original sources. G 124-page booklet with rare photos and in-depth liner notes and bios. G Blues greats like Big Joe Williams, Brownie McGhee, McKinley Morganfield, John Lee Hooker, and Big Bill Broonzy alongside lesser-known pickers like William Brown, Alabama Slim, Manny Nichols, a.m.o. INTRODUCTION TO ACOUSTIC BLUES VOLUME 2 Our second volume in this series commences at just about the time that amplification was beginning to permanently alter the definition of the blues guitar. Texan T-Bone Walker was at the vanguard of the new electrified approach. He inspired an army of daring young disciples who picked out dazzling single-string solos that fit right into the urban jump blues phenomenon swee- ping the country during the immediate postwar era. Yet there was still a market for downhome acoustic blues guitar. Indie labels introduced a new batch of guitarists who stubbornly refused to amplify their instruments. Most of them were solidly rooted in pre-war tradition. A few such as Nat Terry, Willie Lane, Julius King, and Johnny Beck made one or two now-prized 78s and were never heard from again.
    [Show full text]
  • Piedmont Blues: a Search for Salvation 2017——18 BE PRESENT
    2017-18 UMS LEARNING GUIDE Field Trip Piedmont Blues: A Search for Salvation 2017——18 BE PRESENT BE PRESENT 1 Table of Contents 04 05 06 25 ATTEND THE DETAILS LEARN CONNECT 07 Why? 26 Being an Audience Member 09 Artist 29 Arts Online 13 Art Form 30 Recommended Reading 23 Performance 33 Writing About Live Performance 36 About UMS 38 Credits and Sponsors March 14 March UMS SCHOOL DAY PERFORMANCE Piedmont Blues: A Search for Salvation Wednesday, March 14 // 11 am–12:15 pm Michigan Theater BE PRESENT 3 Attend Coming to your E-mail Inbox! Map and Driving Directions Logistical Details (drop-off/pick-up locations) Venue Information 734.764.2538 ——— UMS.ORG BE PRESENT 4 The Details ACCESSIBILITY We aim to maximize accessibility at our performances and below are details regarding this performance’s points of accessibility. If you have further questions, e-mail [email protected] or call 734-615-0122. PARKING There is a drop-off area west of the main entrance on Liberty Street that coincides with a crosswalk ramp. This is a great entrance to use to avoid stepping onto curbs. Several accessible spaces are located within a block’s radius on State St., Thompson St., E. Liberty St., and E. Washington St., as well as in the nearby Maynard parking structure. WHEELCHAIR ACCESSIBILITY Michigan Theater is wheelchair accessible with a completely ramped consessions lobby. The auditorium has wheelchair accessible seating VENUE ADDRESS locations two thirds of the way back on its main floor. Courtesy wheelchairs Michigan Theater, 603 E. Liberty St, Ann Arbor, MI 48104 are available for audience members.
    [Show full text]