MetaFilter posts tagged with blues and gospel

Sister Rosetta Tharpe

nebulawindphone — Tue, 21 Jul 2009 10:51:03 -0800

"She was a rock star," recalls Ira Tucker Jr., who grew up watching Tharpe with his father's gospel group in the 1940s and '50s. "You know, like Beyonce today and people like that. That's what Rosetta was to us." Sister Rosetta Tharpe wasn't the first one to bring black popular music into the church. (Here's the great Arizona Dranes playing barroom honky-tonk piano on the gospel side I Shall Wear a Crown in 1927.) But her fierce stage presence and her original blend of gospel, boogie-woogie, swing and smoking hot blues guitar was a crucial forgotten influence on what we now recognize as rock and roll. (Many more recordings inside. Enjoy!) If you're here for the electric guitar action, you'll want the Red Foley duet and the '60s TV appearances. My personal favorites are the stunning acoustic duets she recorded a decade or two earlier with the Sanctified gospel shouter Marie Knight — try "Up Above my Head" and "Daniel in the Lion's Den." But her range was incredible, everything she recorded was excellent, and comparing her late electric recordings with the earlier versions is a hoot if you're into that sort of thing. Early success with Lucky Millinder's big band: The Lonesome Road (scantily clad dancing girls at 0:45!), Four or Five Times, Trouble in Mind Mid-40s boogie-woogie gospel mega-hit: Strange Things Happening Every Day With Marie Knight in the late '40s: Up Above My Head, Beams of Heaven, My Journey to the Sky, Daniel in the Lion's Den [scroll down to the 7th set] With jubilee singers The Dependable Boys: Everybody's Going to Have a Wonderful Time Up There, My Lord's Gonna Move This Wicked Race, Down By the Riverside Her SCANDALOUS! return to blues in the '50s: Don't Leave Me Here to Cry Duet with country and rockabilly star Red Foley: Have a Little Talk with Jesus Straight-up church choir gospel from the '60s: I Do, Don't You, Seeking for Me, Lily of the Valley TV appearances from the '60s blues revival: Didn't It Rain, Trouble in Mind, Up Above My Head, Down By the Riverside Bonus — the Harmonizing Four singing at Tharpe's stadium-concert-slash-wedding in '51: Mighty Long Way. Sadly, no video. But how rock-star is that?

You like vinyl? I've got your vinyl right here.

msalt — Sat, 31 Jan 2009 11:55:31 -0800

Desperate Man Blues Edward Gillen's documentary about Joe Bussard, renowned collector of 25,000+ blues, folk and gospel 78rpm records from the 20s and 30s. It's about the hunt and the hunter, as much as what he found. One week only on Pitchfork TV As plugged by UbuRoivas previously.

There's Always One More Time

nola — Sun, 06 Jul 2008 18:36:17 -0800

September 14, 1998 "the Tan Canary" passes away. He started out as a gospel singer but went on to perform blues, soul, county, and jazz. In 1968 he covered the country standard "Release Me" and it became a hit. His audience grew, but stardom outside of his home in New Orleans was not to be his. Tom Surowicz pointed out in the Minneapolis Star Tribune, "Adams could sing sophisticated jazz. He could sing sentimental pop, or stirring gospel. He had precious few peers when tackling Southern deep-soul classics. And on the right night, with the right band, he all but owned the blues." I Won't Cry was his first hit 1959, and from the same site Part Of Me His song Hell Yes I Cheated is featured on an interesting compilation called More Dirty Laundry: The Soul of Black Country Myspace

You want the Old Skool? You can't handle the Old Skool! You don't even have a clue what the Old Skool is! chops down door Here's ...Johnny!!!

y2karl — Fri, 29 Jun 2007 14:13:53 -0800

Here is Uncle John Scruggs singing and playing Little Log Cabin Round the Lane in RealAudio Dial Up and DSL format. The dancing is great and I do like the walk-on kitten part, myself.

That's from the Center For Southern African-American Music Video Link Page. Their audio link page is a wonder, too with individual artists galore. But, for the real deal, check out the Various Artist compilation album pages. Those may be 20 second of so mp3 clips but, still, those Yazoo, Document and Folkways albums are the bomb and there you get a taste of what they offer. And anywhere you can hear, for example, even a few bars of Blind Alfred Reed's How Can A Poor Man Stand Such Times And Live ? or Estil C. Ball and Lacey Richardson's Trials, Troubles, Tribulations rules in my world.

y2karl's 78 RPM jukebox-o-rama

y2karl — Fri, 25 Aug 2006 14:20:55 -0800

For murder ballads, here's your Mississippi John Hurt's Louis Collins and your Grayson & Whitter's Ommie Wise. Then, for some early white blues bottleneck guitar, here's your Frank Hutchison's K. C. Blues. Not to mention Charley Patton's Screamin' And Hollerin' The Blues. All courtesy the Internet Archives 78 RPM tag. where there is way more--like Bix Beiderbecke's first record, Davenport Blues, Louis Armstrong's Ain't Misbehavin' and Geeshie Wiley's Last Kind Words, among many others. Then, for more, Nugrape Records has an mp3 page. The standout there, at least for me, is Gus Cannon's Poor Boy Long Ways From Home. As for their namesake, the Nugrape Twins, well, the Archive has the mp3 of I've Got Your Ice Cold Nugrape. And don't let me omit mentioning PublicDomain4U. They have Mississippi John Hurt's Frankie, for one. Tyrone's Record and Phonograph Links will lead you to more 78 RPM goodness. And don't forget the inestimable and erudite vacapinta first directed us to Dismuke's Virtual Talking Machine.

It was raining the day mama picked me up from prison

Miko — Thu, 02 Feb 2006 07:11:16 -0800

So You Think You Hate Country Music? Then listen to this. The roots of American country music may surprise you. In this series of NPR programs, trace the gradual development of real country music through the first half of the 20th century. Learn how a woman's instrument of the late 1800s, the parlor guitar, became the the central symbol of country and rock; see how African-American musical forms like gospel and blues meshed with the development of country and early rock and influenced the traditional forms in turn; listen to German-Mexican hybrids of accordian style; find out why women had so many honky-tonk torch songs to sing in the late 40s. The series contains hours of content (narrative, interviews, music tracks), and a multitude of excellent links for deeper digging.

The Vera Hall Project and Songs by Vera Hall

y2karl — Sat, 17 Sep 2005 21:31:56 -0800

Vera Hall was a black woman born near Livingston, Alabama at the turn of the century. She grew up in a supportive family and community, but in difficult, poor rural living conditions. At a young age, Hall became a respected and devout member of the church, and remained so for the rest of her years. But after leaving home, she also fell in with more worldly crowd, for whom blues, craps, and alcohol were the entertainments of choice. The tension between these two spheres-- that of spirituals and the church, on one hand, and that of blues and the juke-joint, on the other-- is a theme that recurred throughout her life and infused her music. She drew upon both perspectives to cope with and overcome her life's perennial difficulties; sadly, it was dotted with tragedy: she lost both parents, a sister, a husband, a daughter, and two grandchildren-- all before she herself passed away in 1964 at the age of 58.

The Vera Hall Project [+}

Dark Was The Night--Cold Was The Ground by Blind Willie Johnson

y2karl — Thu, 15 Sep 2005 04:12:36 -0800

Ry Cooder once said Dark Was The Night--Cold Was The Ground was the most soulful, transcendent piece of American music recorded in the 20th Century. Unearthly and music of the spheres were common descriptions long before both became fact when it was included on a golden record was affixed to the star bound Voyager space probe. My first encounter with Dark Was The Night was while watching, and then listening to the soundtrack album of, Piero Paulo Pasolini’s The Gospel According To St. Matthew--or as it is known in Sicily kickin' Bootsville, Il Vangelo de Matteo--which is, in my humble opinion, the Greatest. Jesus. Movie. Evar. Ironically, coincidentally and serendipitously, it was an apt choice by Pasolini, as the hymn from which Blind Willie Johnson's wordless moan derives is a song about Christ’s passion—his suffering and crucifixion. (Continued with much more within)

Vernacular Music from the American Memory historical collections at the Library of Congress

y2karl — Mon, 14 Apr 2003 12:43:06 -0800

"Now What a Time": Blues, Gospel, and the Fort Valley Music Festivals, 1938-1943
Approximately one hundred sound recordings, primarily blues and gospel songs, and related documentation from the folk festival at Fort Valley State College (now Fort Valley State University), Fort Valley, Georgia. The documentation was created by John Wesley Work III in 1941 and by Lewis Jones and Willis Laurence James in March, June, and July 1943. Also included are recordings made in Tennessee and Alabama by John Work between September 1938 and 1941. Audio Title Index

The John and Ruby Lomax 1939 Southern States Recording Trip
Folk singers and folksongs documented during a three-month trip through the southern United States. Audio Title Index

California Gold: Northern California Folk Music From the Thirties
Materials from the WPA California Folk Music Project Collection, including sound recordings, still photographs, drawings, and written documents from a variety of European ethnic and English- and Spanish-speaking communities in Northern California. The collection comprises 35 hours of folk music recorded in twelve languages representing numerous ethnic groups and 185 musicians. Audio Title Index (As Always, More Inside)