Singer/Guitarist Brownie McGhee and his life-long musical partner, blind harp-man, Sonny Terry are best known as champions of the "Piedmont"-style blues pioneered by artists such as Blind Blake, Blind Willie McTell and Blind Boy Fuller. In the 1960s, they became icons of the folk-blues revival. The recording presented here however showcase a different chapter of the story. This is a collection of raw and rocking jump blues cut between 1947 and 1955 for juke boxes in black beer joints and dancehalls by the New Jersey-based Savoy Record company. Essential blues recordings from two of the genres' most revered artists.
DVD One: Mississippi Delta meets Memphis country and goes electric! Jim Weider shows how the most influential electric blues and country guitarists got their powerful sounds. Includes the Delta, Louisiana and Cajun-inflected tones of James Burton, Roy Buchanan, Muddy Waters, Lonnie Mack, Keith Richards, Jerry Reed, and others, plus technique building exercises and ideas, and jam-alongs with the band. 90-MIN.
This DVD lesson has been designed to help beginner and intermediate students of fingerpicking country blues guitar improve their playing skills and increase their repertoires using an alternating bass technique. Stefan Grossman illustrates and explains in detail ten fingerstyle arrangements in the keys of C, D, E, A, G and F. These popular blues and ragtime songs come from the playing of Mississippi John Hurt, Rev. Gary Davis, Mance Lipscomb and Elizabeth Cotten. Each tune is discussed and taught phrase by phrase and played slowly on a split screen so that you can clearly see what each hand is doing. A detailed 44 page tab/music booklet is included with this lesson. Tunes include: My Creole Belle, Louis Collins, Oh Babe Ain't No Lie, All My Friends Are Gone, See See Rider, Sugarbabe, Monday Morning Blues, Candyman, Sister Kate and The F Rag.
First up is Big Bill Broonzy pulling out all the stops for a smokey bistro set in '56 and '57, followed by a Roosevelt Sykes studio session from '61. Songs include The Honeydripper; Night Time Is the Right Time; Sweet Old Chicago; House Rent Stomp; Saturday Night Blues; Guitar Shuffle, and more.
Although Hammond had already recorded electric material, he went back to a solo acoustic format for his fourth album, accompanying himself on guitar and harmonica on faithful interpretations of standards by Robert Johnson, Blind Willie McTell, John Lee Hooker, Sleepy John Estes, Jimmy Reed, Willie Dixon, and Bo Diddley. If it sounds a bit unimaginative and routine today, one has to remember that the general listening audience was much less aware of these artists and songs in the mid-'60s. Hammond did a commendable job of rendering them here, with fine guitar work and vocals that were a considerable improvement over his earliest efforts.–by Richie Unterberger
Beginning to build a repertoire of songs that you can play comfortably is the first important step in getting started in the Country Blues. But once you've got that repertoire-building process started, it can be enormously helpful to become acquainted with the Blues in a more general, less song-specific way, learning the various stylistic pathways that enable experienced blues players who have never met or played together before to sit down and make music together. When you see that happen, it seems like magic, but it's really just a matter of their knowing and understanding the language of the blues.