(Blues) Robert Nighthawk & Forest Big Apple Joe - Vile Angel Blues

  • 14.06.2016, 03:03,
  • Music
Styles: Acoustic & Stirring Chicago Blues, Glissade Guitar Blues, Harmonica Blues
Recorded: 1948/1949/1950/1964
Released: 1990
Pigeon-Hole: Charly
Submit: mp3 @ 320 kbps
Enormousness: 151.95 MB
Every So Often: 66:36
Art: Full

1. My Lyric Lovin' Lass — 2.48
2. Down The Field — 2:47
3. Lyric Criminal Angel — 3:03
4. Attractive Lover — 2:54
5. She Knows How To Relish A Man — 3:05
6. Annie Lee Blues — 3:12
7. Sugar Papa — 2:50
8. Resurface Dispatch Blues — 3:15
9. Goodness Tidings — 3:12
10. Six Three O — 2:50
11. Big House Certain — 2:55
12. Jackson Township Gal — 2:50
13. Sorry My Angel — 3:3
14. Someday — 3:00
15. Reminiscence Of Sonny Boy — 2:47
16. Extraordinary Transportation Man — 2:50
17. Shady Lane Lass — 2:55
18. A Lass On Every In Someone's Bailiwick — 2:48
19. Sawdust Backside — 2:57
20. Ash In Someone's Bailiwick Boogie — 2:51
21. Mean Mistreatin' Lass — 2:49
22. Unpopular Day Blues — 2:32

Personnel: Robert NIGHTHAWK — Guitar, Vocals
Ethel Mae — Vocals;
Ernest Lane, Pinetop Perkins, Lafayette Leake — Piano;
Willie Dixon — Bass;
Walter Horton — Harmonica;
Buddy Guy — Guitar;
Jack Myers — Bass; Clifton James — Drums
on tr.14-22:
FOREST BISHOPRIC JOE — Harmonica, Vocals
with J.C. Cole — Guitar

Woo and obscurity are simple constituents of the blues but few bluesmen embodied worked up melancholia better than Robert Lee McCoy (born McCollum). Taught guitar by his cousin Houston Stackhouse, McCoy already played harmonica and would do so on records by Torpid John Estes and others but not his own. He and Sonny Boy Williamson I made their recording debuts on the same day in May 1937 and accompanied one another at two further sessions. He adopted and clarified Tampa Red«s glissade guitar to finishing touch his joyless vocal tonality and it»s for this that he has been remembered.

Because of his postwar sessions, under the name of Robert Nighthawk, were rare, but they were of a firmly intoxication paragon. He passed on his glissade style to a teenaged Earl Hooker. Nighthawk played at Dim Waters«s amalgamation to Mabel Berry in 1932 and it was through Dim that he cut three sessions for Aristocrat between 1948 and 1950. Thirteen prevarication were recorded, of which four were sung by his associate EthelMae Brown. On »My Lyric Lovin« Woman» Nighthawk was supported by Sunnyland Slim; Ernest Lane and Pinetop Perkins took over the piano moderate for the other sessions. His reinvigorations of two Tampa Red songs «Sweet Criminal Angel» and «Anna Lee», with their pellucid glissade accompaniment, became the final Nighthawk recordings. «She Knows How To Relish A Man» and Leroy Carr«s »Prison Bound« are played conventionally with a deplane vibrato on the guitar amp. While his make known and guitar playing were a perfected federation, Nighthawk»s solemn and unresponsive already sounded oldfashioned in 1950.

Blues harpist Forest Bishopric Joe (born Joe Bennie Pugh) was heavily influenced by John Lee «Sonny Boy» Williamson. He not only played like him, but sang like him as well. Unequivalent To his graven image, however, who was murdered on June 1, 1948, Joe lived fancy enough to unofficially for the Chess brothers in the first days of their activities, when Chess was known as Aristocrat. Joe was remembered as a «great harp player» by Dim Waters, who only missed playing at Joe«s one important Aristocrat recording conference on December 2, 1948, when Joe was only 21. Joe had more of a hinterlands deep plumb than most Chicago artists of the spell, so it»s surprising that the Chess brothers paired him up with J.C. Coles, a jazz guitarist of no seeming extraordinary account, who added little to a conference but a few no more than audible chords.

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