Sings Big Bill

In his younger days, Billy Boy Arnold was captivated by the recordings of Big Bill Broonzy. He even met the pre-war generation bluesmaster and asked him if he would play on his recording session (what Big Bill denied).
The 15 songs that Billy Boy selected for this CD, in collaboration with producer and guitarist Eric Noden, were ones that Big Bill recorded between the late 1930s and the early 1950s. Even though they represent only a small fraction of the several hundred songs Big Bill wrote over his thirty-year career, they showcase his versatility as a songwriter.
The talented musicians who have chosen to pay tribute to Big Bill have accomplished this successfully by playing in the spirit of his work rather than trying to reproduce it precisely as it was recorded…

Big Bill Morganfield continues to forge his own sound with a delicate balancing act on this, his forth album. He pays tribute to his dad and the Chicago sound he helped create on the title track, but he has a jazzy side that keeps moving the blues in a more sophisticated direction as well. Al Duncan's "Too Late Brother" opens things with a juke-joint rocker in the style of Morganfield's dad, with Steve Guyger's harp tossing some fat on the fire. "High Gas Prices," a Morganfield original, gives the country blues an urban edge with a tune too many sang in the waning months of 2009. Morganfield sings Pearl Woods' "I Play Dirty" with a winning combination of humor and aggression, with Clark Stern's organ giving the tune a sanctified feel. "Who's the Fool," another original, is a shuffle on the familiar subject of a faithless woman, and Morganfield growls out the lyric with plenty of panache. What really distinguishes Morganfield from his dad is his way with love songs. Muddy always sounded dangerous, even when he was proclaiming his passion. Big Bill's voice is smoother and more mellow, and when he sings a soulful tune like Buddy Guy's neo-R&B ballad "My Love Is Real," his voice has a seductive power his dad lacked.

Although Chess didn't bother to anthologize these sides into album form until the early '60s, this marvelous collection actually dates from 1953. Broonzy and Sam are both in great form here, sharing the vocals throughout and recalling their earlier days as Bluebird label and session mates. The sound is fleshed out by the addition of guitarist Lee Cooper (who at times almost sounds a bit too modern for the genre being explored here, throwing in what can only be described as Chuck Berry licks) and Big Crawford on upright bass.

This is a miscellany of Big Bill Broonzy's fifties recordings. The first CD begins with "Big Bill's Blues", ten recordings made in February 1956 in Philips studios in Holland, which the original sleeve note represents as a private party rather than a recording session, presumably to deflect the charge of commercialism. That is followed by "Big Bill Broonzy Sings The Blues", nine recordings made a week earlier in Paris with Kansas Fields on drums, and issued in full on a French 10" LP, and minus "Diggin' My Potatoes" on two UK EPs……

Blasters founders Dave Alvin and Phil Alvin have had a famously combative relationship over the years, but as Dave once said, "We argue sometimes, but we never argue about Big Bill Broonzy." So it's fitting that their love of Big Bill brings them together in the recording studio for their first album together since the Blasters' Hard Line in 1985. Common Ground: Dave Alvin & Phil Alvin Play & Sing the Songs of Big Bill Broonzy features the Alvin Brothers performing a dozen songs from the Broonzy songbook, and while listening to this is a potent reminder of how good Broonzy's songs still sound in the 21st century, it also demonstrates the complementary talents of Dave and Phil Alvin.

The Blues originated in African-American communities of, primarily, the "Deep South" of the United States towards the end of the 19th century. This collection compiles 16 complete blues LPs, all of them classics, which serve as an easy introduction to the genre. Most of them were recorded between the mid-1950s and the early 1960s, when recording techniques had advanced significantly with respect to previous years. Represented here are some of the best figures of the blues world, heard on some of the finest LPs of the genre.

We are always sitting on a handful of unreleased songs that didn’t make their way to albums. Listening back to these gems we decided to launch a new series entitled Big Crown Vaults and the first volume features the music of Lee Fields & the Expressions. These tunes were cut during the Special Night & It Rains Love sessions.

The veteran vocalist wraps his suave, bottomless pipes around a well-chosen cross-section of covers, from Duke Henderson's jump blues "Get Your Kicks" and Johnny "Guitar" Watson's "I Love to Love You" to tougher straightforward blues originally cut by Freddy King, Guitar Slim, Jimmy Rogers, and Little Walter. A cadre of local session aces provides fine support, especially guitarist Steve Freund (who receives a couple of instrumental showcases).