CD Yonder Come the Blues (CD 867241),
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Yonder Come the Blues

  • 1. Agbekor - Ladzekpo & Ewe Drum Orchestra
    2. Ring Dance - Mamprusi Tribesman
    3. Fife and Drum Piece - Otha Turner
    4. Praise Song - Kunaal And Sosira
    5. Forty Four Blues - Willie Thomas/Butch Cage
    6. Halam Improvisation - Thyam Sy Griots
    7. Wild About My Loving - Lonnie Coleman
    8. Coon from Tennessee - North Carolina Ramblers/Charlie Poole
    9. Don't Think I'm Santa Claus - Lil McClintock
    10. Sweet Sara Blues - Jimmie Tarlton/Tom Darby
    11. Charleston Contest, Pt. 2 - Too Tight Henry
    12. Decatur Street 81 - The Georgia Browns
    13. Jug Rag - The Prairie Ramblers
    14. Caught Us Doing It - The Hokum Boys
    15. Brain Cloudy Blues - The Texas Playboys/Bob Wills
    16. Kid Man Blues - Bertha "Chippie" Hill
    17. Rabbit Foot Blues - Blind Lemon Jefferson
    18. Blue Bloomer Blues - Whistlin' Alex Moore
    19. Death's Black Train Is Coming - Reverend J.M. Gates
    20. When the War Was On - Blind Willie Johnson
    21. New Stock Yard Blues - Robert Wilkins
    22. Detroit Special - Big Bill Broonzy
    23. Press My Button (Ring My Bell) - Lil Johnson
    24. Fannie Mae Blues - Pinetop Burks
  • Additional Info
    Manufacturer Part Number (MPN): 32201

  • Credits
    ProducerGary Atkinson
    EngineerChris Strachwitz; David Evans; Tolia Nikiprowetzky; Paul Oliver

    Personnel: Jimmie Tarlton, Lil McClintock, Robert Wilkins, Big Bill Broonzy, Blind Lemon Jefferson, Blind Willie Johnson, Casey Bill Weldon (vocals, guitar); Lonnie Coleman, Charlie Poole (vocals, banjo); Butch Cage (vocals, fiddle); Pinetop Perkins, Whistlin' Alex Moore (vocals, piano); Angeline Johnson, Lil Johnson, Tommy Duncan, Bertha "Chippie" Hill (vocals); Salty Holmes (guitar, harmonica); Curley Weaver, Fred McMullen, Son Joe, Blind Norris, Roy Harvey, Tom Darby, Too Tight Henry, Willie B. Thomas (guitar); Lester Barnard, Jr. (electric guitar); Herb Remington (steel guitar); Jimmie Widener (banjo); Charles Hurt (mandolin); Posey Rorer, Sostra, Joe Holley, Jesse Ashlock, Tex Atchison, Bob Wills (fiddle); Otha Turner (fife); Buddy Moss (harmonica); Louis Armstrong (cornet); Millard Kelso, R.J. Jones, Black Bob (piano); Johnny Cuviello (drums); Reid Jones (bass drum); R.L. Boyd (kettle drum); Kid Spoons (spoons).
    Liner Note Authors: John Godrich; Paul Oliver; Tony Russell.
    Recording information: Atlanta, GA (11/09/1925-08/15/1970); Chicago, IL (11/09/1925-08/15/1970); Dagana, Senegal (11/09/1925-08/15/1970); Dallas, TX (11/09/1925-08/15/1970); Hollywood, CA (11/09/1925-08/15/1970); Jackson, MS (11/09/1925-08/15/1970); Legon, Ghana (11/09/1925-08/15/1970); Nangodi, Ghana (11/09/1925-08/15/1970); Navrongo, Ghana (11/09/1925-08/15/1970); New York, NY (11/09/1925-08/15/1970); San Antonio, TX (11/09/1925-08/15/1970); Senatobia, MS (11/09/1925-08/15/1970); Zazhary, LA (11/09/1925-08/15/1970).
    Editor: Paul Oliver.
    Unknown Contributor Roles: Thiam Sy; Sydney Thiam.
    Yonder Come the Blues has a duel life: it serves as a companion disc to the book of the same name and as a thoughtful guide to the birth of the genre now called the blues. Complier Paul Oliver has carefully chosen the tracks. This disc moves briskly from the early syncopations of fife player Othar Turner to the adoption of blues by the North Carolina Ramblers to the waxings of African-American bluesman Blind Willie Johnson. This collection does a better job than most of introducing acoustic blues because of its inclusion of earlier forms of the genre. The first two tracks, "Agbekor" and "Ring Dance," were recorded in Ghana and represent the propulsive rhythms that African slaves brought to America. Thyam Sy Griots plays a halam five-string chordophone on "Halam Improvisation," which sounds sort of like George Harrison playing the blues on a sitar. As the disc moves into its second stage, the listener is treated to Tom Darby and Jimmie Tarlton's "Sweet Sara Blues" and interestingly, Bob Wills and the Texas Playboys' "Brain Cloudy Blues." Finally, selections by Blind Lemon Jefferson and Big Bill Broonzy show the blues settling into a more recognizable form, while Pinetop Burks offers an early version of boogie-woogie. In time, acoustic guitars and pianos replaced fiddles and fifes, and many forgot that there were, indeed, other ways to play the blues. Yonder Come the Blues educates the listener by offering a generous and enjoyable collection that effectively traces the roots of a genre. ~ Ronnie D. Lankford, Jr.

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