(Delta Blues / Country Blues) [LP] [24/44.1] VA - Memphis Swamp Jam (2LP) - 1969, FLAC (tracks), (feat. Fred McDowell, Johnny Woods, Furry Lewis, Sleepy John Estes, Bukka White, Napoleon Strickland, John Fahey, Bill Barth, etc.)

Various Artists - Memphis Swamp Jam (2LP) Жанр: Delta Blues / Country Blues Носитель: LP Год выпуска: 1969 Лейбл: Blue Thumb Records – BTS 6000 Страна-производитель: US Аудио кодек: FLAC Тип рипа: tracks Формат раздачи: 24/44.1 Продолжительность: 00:77:32 Наличие сканов в содержимом раздачи: полный комплект, вкл. буклет со сведениями о музыкантах, "пятаки" и т.д.Треклист: A1. Christmas Eve Blues - Booker "Bukka" White A2. Columbus, Miss. Blues - Booker "Bukka" White A3. Sad Day Blues - Booker "Bukka" White A4. Mobile Blues - Piano Red A5. Abel Street Stomp - Piano Red B1. Nathan's Bumble Bee Blues - Nathan Beauregard B2. 'Bout a Spoonful - Nathan Beauregard B3. Need More Blues - Sleepy John Estes B4. President Kennedy Stayed Away Too Long - Sleepy John Estes C1. Shake 'Em On Down - Fred McDowell & Johnny Woods C2. Fred's Blues - Fred McDowell & Johnny Woods C3. Keep Your Lamp Trimmed and Burning - Fred McDowell & Johnny Woods C4. Back Water Rising - Napoleon Strickland C5. Other's Piece - Napoleon Strickland C6. Shimmy She Wobble - Napoleon Strickland D1. Judge Boushay Blues - Furry Lewis D2. Walking Blues - Furry Lewis D3. Memphis Rag - R.L. Watson & Josiah Jones* D4. St. Louis Blues - R.L. Watson & Josiah Jones* D5. Praying On the Old Camp Ground & Lonesome Blues - R.L. Watson & Josiah Jones** - Three guitar duets by John Fahey, and Bill Barth using the pseudonyms of R L Watson and Josiah Jones.Recorded June 9, 11 and 12, 1969 in Memphis, Tenn.Источник оцифровки: третьим лицом Источник (релизер): Источник - ват, релизёр - linosi Обработка: no sound restoration, just normal vinyl cleaning  Техническая информация от linosiRipped with :IONTTUSB10 (Line Level Output) into Digi 003 Rack at 24bit 96kHz into Pro Tools(no sound restoration, just normal vinyl cleaning)The end of "C5 - Other's Piece - Napoleon Strickland" ends roughly, this is conform to the original.  Спектр/АЧХ/Уровень записи Доп. информация: Феноменальные записи дельта-блюза! В июне 1969 г. Крис Стрэшвиц (Chris Strachwitz) - основатель лейбла Arhoolie Records - целую неделю записывал всех этих парней на Мемфисском Блюзовом Фестивале!(В раздаче имеется полный комплект сканов, включая сведения о музыкантах. Для тех, кого устроит CD-качество, вот здесь можно скачать всё то же + дополнительно 7 песен - http://rutracker.org/forum/viewtopic.php?t=5210949 . Кто любит прожигать на болванки, может переконвертировать в 16/44 с помощью foobar2000, согласно этой инструкции - http://audiophilesoft.ru/publ/my/16_44/11-1-0-36 )Приятного всем прослушивания.  Об альбоме (сборнике)A review:Released to commemorate the 1969 Memphis Blues Festival, Memphis Swamp Jam features 20 songs by the event's most notable performers. However, this is not a live album. Although the tracks date from the same period as the festival, they were recorded at Ardent Recording Studio and Royal Recording Studio in Memphis. Chris Strachwitz produced this two-LP set, and it marks one of the few occasions (if not only) when he worked in this capacity for a company other than his own Arhoolie Records. The likely idea behind this production was to release it on a label with greater distribution capability than Strachwitz's in an effort to give the musicians wider exposure to the record-buying public. 1969, of course, was a year well known for its numerous music festivals. The blues revival that had begun earlier in the decade was at its apex. With many in the counterculture embracing old blues singers as the spiritual fathers of particular rock & roll musicians, the timing seemed right for a release such as this.Judging by the quality of the performances, the artists on Memphis Swamp Jam seemed to sense the importance of this project. Sure, you've probably heard different versions of these same songs on other releases by the featured musicians. However, they all seem to go that extra mile on this album perhaps aware that they were now recording for something other than small specialty labels. Bukka White starts things off in fine fashion with his characteristic slide playing on the resonator guitar and powerful gravelly singing voice on "Christmas Eve Blues," "Columbus, Miss. Blues," and "Sad Day Blues," with the last of these bearing a strong similarity to his version of "Po' Boy" recorded at the infamous Parchman Farm penitentiary in 1939. The two numbers by the redoubtable Piano Red (nee William Lee Perryman), "Mobile Blues" and "Abel Street Stomp," show his style to be somewhere between that of Roosevelt Sykes and Little Brother Montgomery. In other words, he's good. Having been discovered only the year before and passing away in 1970, Nathan Beauregard is probably the most obscure performer on this album. Combining an archaic playing style with a modern electric guitar, he provides interesting takes on blues standards "Bumble Bee" (a rambling 10+ minute version) and "Spoonful." The legendary Sleepy John Estes chips in with "Need More Blues" and the JFK tribute "President Kennedy Stayed Away Too Long," while Tommy Garry does an excellent job of playing in the style of the bluesman's long-time harmonica player Hammie Nixon on both tracks. Even if Mississippi Fred McDowell seemed to do renditions of "Shake 'Em On Down" and "Keep Your Lamp Trimmed and Burning" on just about every album he recorded, I can never get enough of his beautiful, one-of-a-kind bottleneck guitar playing. On these two tracks, in addition to "Fred's Blues," he is backed by the capable harmonica of Johnny Woods. The three Napoleon Strickland performances - "Back Water," "Other's Piece," and "Shimmy She Wobble" - are representative of the northern Mississippi hill country's drum-and-fife band tradition, the most African sounding of all proto-blues. Furry Lewis' "Judge Boushay Blues" is an update of his "Judge Harsh Blues" and features some nice slide guitar. "Walking Blues" is not a cover of the Robert Johnson classic but instead an amalgam of floating verses patched together in a compelling stream-of-consciousness fashion. If you consider yourself a blues aficionado but can't say that you've heard of R.L. Watson & Josiah Jones, there's good reason for that. These names are in fact pseudonyms for John Fahey and Bill Barth (guitarist for The Insect Trust), who were assistant producers for Memphis Swamp Jam. "Memphis Rag," "St. Louis Blues," and "Praying On the Old Camp Ground & Lonesome Blues" are all elegant instrumentals that are perhaps just a bit too rarefied to have been performed by genuine black blues guitarists. That's not to denigrate these selections, but their refined nature makes them stick out in comparison to the earthier, down-home styles displayed by the other musicians on this album.  СоставDrums [Snare] [Bass] – Johnny Woods (tracks: C4 to C6) Drums [Snare] [Bass], Fife – Other Turner (tracks: C4 to C6) Guitar – Josiah Jones (tracks: D3 to D5), Mike Stewart (tracks: B1 to B4), R.L. Watson (tracks: D3 to D5) Harmonica – Johnny Woods (tracks: C1 to C3), Tommy Garry (tracks: B3, B4) Liner Notes – Pete Welding Photography By – Jim Marshall Producer [Assistant] – Bill Barth, John Fahey Producer, Supervised By – Chris Strachwitz Vocals, Fife – Napoleon Strickland (tracks: C4 to C6) Vocals, Guitar – Booker White (tracks: A1 to A3), Fred McDowell (tracks: C1 to C3), Furry Lewis (tracks: D1,D2), Nathan Beauregard (tracks: B1, B2), Sleepy John Estes (tracks: B3, B4) Vocals, Piano – Piano Red (tracks: A4, A5) Мои раздачи