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Artist - Big Joe Williams
Album - The Sonet Blues Story
Label - Universal
Street Date - xx/xx/2005
Release Date - 06/29/2006
Genre - Blues
# NAME TIME
01. I Been Wrong But Ill Be Right 03:18
02. Black Gal Youre Sure Looking Warm 02:35
03. When I First Left Home 03:11
04. Little Annie Mae 02:03
05. Levee Vreak Blues 01:57
06. Hang It Up On The Wall 02:24
07. Lone Wolf 02:27
08. This Heavy Stuff Of Mine 02:33
09. Tell My Mother 02:28
10. Big Fat Mama 02:48
11. Back On My Feet 03:21
12. Jefferson An Franklin Blues 02:48
13. Mary Lou 02:43
14. Thea Stopped Me At The Border 02:27
15. Canary Bird 02:53
16. Do The Mess Around 02:14
17. On My Way Back 02:20
44:30 min
61,8 Mb
Big Joe Williams may have been the most cantankerous human
being who ever walked the earth with guitar in hand. At the
same time, he was an incredible blues musician: a gifted
songwriter, a powerhouse vocalist, and an exceptional
idiosyncratic guitarist. Despite his deserved reputation as a
fighter (documented in Michael Bloomfield's bizarre booklet
Me and Big Joe), artists who knew him well treated him as a
respected elder statesman. Even so, they may not have chosen
to play with him, because -- as with other older Delta
artists -- if you played with him you played by his rules.
As protΘgΘ David "Honeyboy" Edwards described him, Williams
in his early Delta days was a walking musician who played
work camps, jukes, store porches, streets, and alleys from
New Orleans to Chicago. He recorded through five decades for
Vocalion, Okeh, Paramount, Bluebird, Prestige, Delmark, and
many others. As a youngster, I met him in Delmark owner Bob
Koester's store, the Jazz Record Mart. At the time, Big Joe
was living there when not on his constant travels. According
to Charlie Musselwhite, he and Big Joe kicked off the blues
revival in Chicago in the '60s.
When I saw him playing at Mike Bloomfield's "blues night" at
the Fickle Pickle, Williams was playing an electric
nine-string guitar through a small ramshackle amp with a pie
plate nailed to it and a beer can dangling against that. When
he played, everything rattled but Big Joe himself. The total
effect of this incredible apparatus produced the most
buzzing, sizzling, African-sounding music I have ever heard.
Anyone who wants to learn Delta blues must one day come to
grips with the idea that the guitar is a drum as well as a
melody-producing instrument. A continuous, African-derived
musical tradition emphasizing percussive techniques on
stringed instruments from the banjo to the guitar can be
heard in the music of Delta stalwarts Charley Patton, Fred
McDowell, and Bukka White. Each employed decidedly percussive
techniques, beating on his box, knocking on the neck,
snapping the strings, or adding buzzing or sizzling effects
to augment the instrument's percussive potential. However,
Big Joe Williams, more than any other major recording artist,
embodied the concept of guitar-as-drum, bashing out an
incredible series of riffs on his G-tuned nine-string for
over 60 years.
Note: We consider ourselves at MP3 to be ahead of
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