On this excellent release from the World Music Network's ever-reliable Rough Guide series, a host of unknown early blues artists get their due. While Robert Johnson, Son House, and a handful of other greats from the 1920s and '30s have become widely recognized icons of the pre-war blues era, so many lesser-known, though no less talented, players have slipped through the cracks. Opening with Henry Thomas' spirited "Fishing Blues" (complete with a pan flute solo), The Rough Guide to Unsung Heroes of Country Blues winds its way through a series of wonderful and obscure country-blues gems.
The Wild West cowboy occupies a symbolic and central place in popular culture. The lone rider, out on the range… The white-hatted hero facing up to a gang of outlaws in a gunfight… The wagon train heading out over the horizon… Celebrated in cinema since the beginning of movies, the cowboy has also found a regular home on record, as this double CD collection testifies. Listen to these songs and, with just a little imagination, you can picture the solitary cowboy on his trusty steed, watching a cattle round-up, or making his way into a town like Tombstone… A timeless myth, captured forever in these Songs Of The Wild West…
El País launches for sale LORCA VIVO, a unique CD-book in which the poetry of Lorca is performed by great flamenco artists and also in which great prestigious firms such as José Manuel Caballero Bonald and Cristina Cruces-Roldán write about the most iconic poet of twentieth century literature. The passion of Lorca and flamenco united in an unprecedented book-CD. An exclusive edition.
Music was paramount in New Orleans, a town where they liked jazz with their blues. Regular blues musicians like Richard ‘Rabbit’ Brown got on disc when the record companies came to town. In general bluesmen and women came from out of town for their sessions, Texans like Lillian Glinn, Will Day, Oscar Woods and Blind Willie Johnson or Mississippians Bo Carter, the Mississippi Sheiks and Walter Jacobs, or out-of-towners like Little Brother Montgomery. New Orleans also saw the first recordings by fascinating Cajun musicians like Amédé Ardoin, Dewey Segura, Lawrence Walker and Cléoma Falcon, who put down their version of 12-bar blues.
Mention Nashville and the first thing that enters most minds will be Country Music and the Grand Ole Opry. Then again, for true believers the city is also the nation’s centre for Bible publishing. Perhaps less well-known but in striking contrast to God and double-knit suits is that throughout the late 1940s and 1950s, Nashville was also the home of a thriving blues and R&B recording industry. Principal among the labels were Bullet, Republic, Tennessee, Nashboro and Excello, with a welter of smaller ones such as World, Mecca, J-B and Cheker.
Detroit in the 1940s and ‘50s didn’t have a thriving record industry like Chicago. Detroit artists went there because that’s where the companies were. Even musicologist Alan Lomax made just one visit for the Library of Congress in 1938, when he recorded Calvin Frazier and Sampson Pittman. Nevertheless, enterprising individuals like Jack and Devora Brown, Bernard Besman and Joe Von Battle did their best to reflect the city’s musical talent.
It goes without saying that 1968 doesn't have the same kind of cachet as 1967 - a year that, in musical terms, will always be indelibly associated with the Summer of Love, Sgt Pepper and the emergence of psychedelia. But although the major players turned away from the excesses of the previous year in favour of a back-to-basics musical approach, there were arguably a greater number of psychedelic records made in 1968 than during the preceding twelve months. Vital, lysergically-inclined 45s emerged from a whole host of younger groups, with The Factory, Mike Stuart Span, Fleur de Lys, The Fire, The Barrier, Boeing Duveen, Rupert's People and numerous others all releasing singles that have long been widely regarded by psychedelic collectors as genre classics.
The record includes recordings of monumental figures of cante and toque, such as Camarón de la Isla, Paco de Lucía, Bambino or Carmen Linares. It is a compilation of a variety of styles with recordings of recent years. The legend of time, the legendary Camarón record and one of the greatest landmarks in the history of flamenco, is the starting point of the album Pa saber de flamenco. It is an instrument to begin to know and to distinguish the different styles of this music.
California experienced a phenomenal growth in independent recording in the postwar years, after decades of dominance by the major labels. Millions had flocked there during the war years and they needed entertainment.