Some Recent Country Blues Collections- Part III

 The Document label keeps chugging along issuing a seemingly bottomless supply of pre-war blues of both the well known and utterly obscure. Document has changed ownership recently and the change has definitely been for the better with a number of titles featuring remastered sound and better packaging. The latest reissues are uniformly good leaning heavily on the Delta blues.

 Mississippi Blues Vol. 3 (1936-1942) collects the complete recorded works of Robert Petway, Mississippi Matilda and Sonny Boy Nelson. Robert Petway goes down in blues history for recording the first version of the blues standard "Catfish Blues" in 1941. Petway recorded a total of 14 rough and ready sides of percussive Delta blues and was fine singer with a booming voice that that was powerful enough to be heard over the din of a juke joint and a limited but exciting guitar player. All his sides make for great listening but special mention goes to the raucous "Boogie Woogie Woman" featuring partner Tommy McClennan adding guitar and vocals to the mayhem. Both Mississippi Matilda and Sonny Boy Nelson made their way on to record through the instigation of Bo Carter who took them down to New Orleans to cut sides for the Bluebird label. Matilda's 3 sides showcase a wonderful soft voiced singer singing with a moving falsetto, particularly effective on the amazing "Hard working Woman" with fine backing by Nelson and Willie Harris on guitars. Nelson's 6 sides feature Harris' guitar on a fine low key set of blues. The highlight is the driving "Pony Blues" the true masterpiece of this session.

 Tommy McClennan Vols. 1 & 2 collect all 42 sides the gravel voiced McClennan cut for the Bluebird label. McClennan's music is pure undiluted Delta blues that radiates a power intensity that was rarely captured on records. McCLennan can barley contain himself on these manic sides as he bashes the hell out of guitar, he was no guitar virtuoso but it sure sounds good, with frequent entertaining spoken asides, laughter and some crazed scatting that all add to the charm. Highlights include "New Shake Em On Down", "Bottle It Up And Go", Whiskey Headed", Woman", "Cross Cut Saw Blues" and "Deep Blue Sea Blues" (aka "Catfish Blues") among many other gems.

 Rock Me, Shake Me: Field Recordings Vol. 15 Mississippi 1941-1942 collects some fascinating field recordings made by the tireless Alan Lomax in Coahoma County, Mississippi. This collection will be of great interest to blues scholars and researchers but fans of early blues and gospel will find much to enjoy. The bulk of the material is accapella gospel with a few blues and interviews. Highlights include seven songs by Roxie Threadgill and group including the moving and forceful "I'm Goin Lean On The Lord" and the remarkable breathless solo by Manuel Casey on "Rock Me, Shake Me." Other highlights include a fine unissued blues by David Edwards (Honeyboy Edwards), a pair of field hollers by Muddy Waters associate Charles Berry and exciting string band music by Sid Hemphill and his band on the vigorously ragged "The Roguish Man" and the moving "Soon I'll Be At Home." The high quality performances on this 15th volume of field recordings makes a strong case for investigating the previous volumes.

 Muddy Waters (1941-1950) collects Muddy's recordings he made for Alan Lomax for the Library of Congress as well as his first commercial recordings cut in Chicago a few years later. Muddy's Library of Congress recordings have been issued more completely on MCA's 2-CD Complete Plantation Recordings with the Document collection omitting the interviews. This is much more than simply an historical document and the music, while bearing the strong influence of Son House and Robert Johnson, is marvelous showing the seeds of Muddy's greatness particularly on the superb "Country Blues", "I Be's Troubled", "Burr Clover Blues" and "I Be Bound to Write You." Muddy made his first commercial recording for 20th Century in 1946 with "Mean Red Spider" a good piece but marred by an obtrusive soprano sax. Later sides on Columbia are even better with Muddy cutting loose with some vicious slide whether backing singer Homer Harris on three excellent sides or with Muddy himself on vocals on fine numbers like "Hard Day Blues" and "Buryin' Ground." The blueprint is all right here and it wouldn't be long before the whole world knew who Muddy Waters was.

 Skip James: 1931 Paramount Recordings collects all 18 sides of James lone pre-war blues session. James session constitutes one of the greatest country blues sessions standing right besides historic sessions by Delta legends Son House in 1930 and Robert Johnson's two sessions in 1936-37. Unlike those two Delta giants, and their inspiration- Charlie Patton, James music sounds like no one else. With his eerie, superbly controlled falsetto and dour subject matter James casts an almost palpable sense of despair over the listener. Nowhere is this more evident than his masterpiece, "Devil Got My Woman" although "Hard Time Killin Floor Blues" and "Hard-Luck Child" are not far behind. James' guitar playing is equally brilliant displaying some amazingly fast fingerpicking especially on the remarkable "I'm So Glad" (covered by Cream in the 60's). The last four cuts feature James on piano and his off kilter, percussive attack sounds like no one else. James made a comeback in the 60's proving his talent remained intact but he never equaled this brilliant 1931 session.

 Sound quality throughout is generally very good and in the case of the Skip James CD the sound is as good as these poorly pressed records have ever sounded. Liner notes are always informative written by a variety of well respected blues scholars. Make sure to visit the Document website which is filled with informative information and a fully searchable online catalog: http://www.document-records.co.uk/

Related Links

Country Blues Reissues Part I

Country Blues Reissues Part II