- HiNC LUCEM ET POCULA SACRA .::. FROM HERE, LiGHT AND SACRED DRAUGHTS -
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░ VERiTAS ░ ░ very ░ 2 ▓ present ░ ░
Sonny Boy Williamson - Delta Blues
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░▀▄ ▄▀▄▓ RiPPER.......▐ VERiTAS ▓▄▀▄
▀ ▓█ LABEL......... Passport Audio █▓ ░█
░ ██ ENCODER......▐ LAME v3.97 ██ ▓
█▓ BiTRATE....... VBRkbps/44.1kHz ▓█ ░
▓▒ MODE.........▐ JStereo ▒▓
░░ GRABBER....... EACv0.95b3/--V2 ░░
YEAR.........▐ 2006
░░ RELEASE SiZE.. 52,3 MB ░░
▓▒ TUNES........▐ 10 ▒▓
█▓ SOURCE........ CDDA ▓█
██ GENRE........▐ Blues ██
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░▀▄▀▓ RLS DATE.....▐ 10.07.2008 ▓▀▄▀░▀▄
░▀▄ STR DATE.....▐ 27.06.2006 ▄▀░ ▄▀
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http://www.sonnyboy.com/
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▒▒ ▓ N. ▌▓ T R A C K N A M E. ▐ TiME.
░░ ▒ ▌ ∙ ▐
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01 ▌ Sonny's Slow Walk ▐ 02:46
02 ▌ Pontiac Blues ▐ 04:12
03 ▌ My Babe ▐ 03:35
04 ▌ I Don't Care No More ▐ 03:04
05 ▌ Baby Don't You Worry ▐ 05:11
06 ▌ Night Time is the Right Time ▐ 04:16
07 ▌ I'm Gonna Put You Down ▐ 04:25
08 ▌ Fattening Frogs for Snakes ▐ 04:06
09 ▌ Nobody But You ▐ 07:11
10 ▌ Bye Bye Sonny ▐ 02:49
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TOTAL 41:35 min
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▒▒ ▓ ▓ R E L E S E N O T E S
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An album by one of the greatest Harmonica players.
nJOY & happy bday me! ;|
---
Sonny Boy Williamson was, in many ways, the ultimate
blues legend. By the time of his death in 1965, he
had been around long enough to have played with
Robert Johnson at the start of his career and Eric
Clapton, Jimmy Page and Robbie Robertson at the end
of it. In between, he drank a lot of whiskey, hoboed
around the country, had a successful radio show for
15 years, toured Europe to great acclaim and simply
wrote, played and sang some of the greatest blues
ever etched into black phonograph records. His
delivery was sly, evil and world-weary, while his
harp-playing was full of short, rhythmic bursts one
minute and powerful, impassioned blowing the next.
His songs were chock-full of mordant wit, with
largely autobiographical lyrics that hold up to the
scrutiny of the printed page. Though he took his
namesake from another well-known harmonica player, no
one really sounded like him.
A moody, bitter, and suspicious man, no one wove such
a confusing web of misinformation as Sonny Boy
Williamson II. Even his birth date (stated as
December 5, 1899 in most reference books, but some
sources claim his birth may have been in either 1897
or 1909) and real name (Aleck or Alex or Willie
"Rice" -- which may or may not be a nickname --
Miller or Ford) cannot be verified with absolute
certainty. Of his childhood days in Mississippi,
absolutely nothing is known. What is known is that by
the mid-'30s, he was traveling the Delta working
under the alias of Little Boy Blue. With blues
legends like Robert Johnson, Robert Nighthawk, Robert
Jr. Lockwood, and Elmore James as interchangeable
playing partners, he worked the juke joints, fish
fries, country suppers and ballgames of the era. By
the early '40s, he was the star of KFFA's King
Biscuit Time, the first live blues radio show to hit
the American airwaves. As one of the major ruses to
occur in blues history, his sponsor -- the Interstate
Grocery Company -- felt they could push more sacks of
their King Biscuit Flour with Miller posing as
Chicago harmonica star John Lee "Sonny Boy"
Williamson. In today's everybody-knows-everything
video age, it's hard to think that such an idea would
work, much less prosper. After all, the real Sonny
Boy was a national recording star, and Miller's vocal
and harmonica style was in no way derivative of him.
But Williamson had no desire to tour in the South, so
prosper it did, and when John Lee was murdered in
Chicago, Miller became -- in his own words -- "the
original Sonny Boy." Among his fellow musicians, he
was usually still referred to as Rice Miller, but to
the rest of the world he did, indeed, become the
Sonny Boy Williamson.
The show was an immediate hit, prompting IGC to
introduce Sonny Boy Corn Meal, complete with a
likeness of Williamson on the front of the package.
With all this local success, however, Sonny Boy was
not particularly anxious to record. Though he often
claimed in his twilight years that he had recorded in
the '30s, no evidence of that appears to have
existed. Lillian McMurray, the owner of Trumpet
Records in Jackson, MS, had literally tracked him
down to a boarding house in nearby Belzoni and
enticed him to record for her. The music Sonny Boy
made for her between 1951 to 1954 show him in peak
form, his vocal, instrumental, and songwriting skills
honed to perfection. Williamson struck paydirt on his
first Trumpet release, "Eyesight to the Blind" and
though the later production on his Chess records
would make the Trumpet sides seem woefully
under-recorded by comparison, they nonetheless stand
today as classic performances, capturing juke joint
blues in one of its finest hours.
Another major contribution to the history of the
blues occurred when Sonny Boy brought King Biscuit
Time guest star Elmore James into the studio for a
session. With Williamson blowing harp, a drummer
keeping time, and the tape machine running
surreptitiously, Elmore recorded the first version of
what would become his signature tune, Robert
Johnson's "Dust My Broom." By this time Sonny Boy had
divorced his first wife (who also happened to be
Howlin' Wolf's sister) and married Mattie Gordon.
This would prove to be the longest and most enduring
relationship of his life outside of music, with
Mattie putting up with the man's rambling ways, and
living a life of general rootlessness in the bargain.
On two different occasions Sonny Boy moved to
Detroit, taking up residence in the Baby Boy Warren
band for brief periods, and contributed
earth-shattering solos on Warren sides for Blue Lake
and Excello in 1954.
By early 1955, after leasing a single to Johnny
Vincent's Ace label, McMurray had sold Williamson's
contract to Buster Williams in Memphis, who in turn
sold it to Leonard Chess in Chicago. All the pieces
were finally tumbling into place, and Sonny Boy
finally had a reason to take up permanent residence
north of the Mason-Dixon line; he now was officially
a Chess recording artist. His first session for Chess
took place on August 12, 1955, and the single pulled
from it, "Don't Start Me to Talkin'," started doing
brisk business on the R&B charts. By his second
session for the label, he was reunited with longtime
musical partner Robert Jr. Lockwood. Lockwood -- who
had been one of the original King Biscuit Boys -- had
become de facto house guitarist for Chess, as well as
moonlighting for other Chicago labels. With
Lockwood's combination of Robert Johnson rhythms and
jazz chord embellishments, Williamson's harp and
parched vocals sounded fresher than ever and
Lockwood's contributions to the success of Sonny
Boy's Chess recordings cannot be overestimated.
For a national recording artist, Williamson had a
remarkable penchant for pulling a disappearing act
for months at a time. Sometimes, when Chicago
bookings got too lean, he would head back to
Arkansas, fronting the King Biscuit radio show for
brief periods. But in 1963 he was headed to Europe
for the first time, as part of the American Folk
Blues Festival. The folk music boom was in full swing
and Europeans were bringing over blues artists, both
in and past their prime, to face wildly appreciative
white audiences for the first time. Sonny Boy
unleashed his bag of tricks and stole the show every
night. He loved Europe and stayed behind in Britain
when the tour headed home. He started working the
teenage beat club circuit, touring and recording with
the Yardbirds and Eric Burdon's band, whom he always
referred to as "de Mammimals." On the folk-blues
tours, Sonny Boy would be very dignified and
laid-back. But in the beat club setting, with young,
white bands playing on eleven behind him, he'd pull
out every juke joint trick he used with the King
Biscuit Boys and drive the kids nuts. "Help Me"
became a surprise hit in Britain and across Europe.
Then in his mid-'60s (or possibly older), Williamson
was truly appreciative of all the attention, and
contemplated moving to Europe permanently. But after
getting a harlequin, two-tone, city gentleman's suit
(complete with bowler hat, rolled umbrella and
attache case full of harmonicas) made up for himself,
he headed back to the States -- and the Chess studios
-- for some final sessions. When he returned to
England in 1964, it was as a conquering hero. One of
his final recordings, with Jimmy Page on guitar, was
entitled "I'm Trying to Make London My Home."
In 1965, he headed home, back to Mississippi one last
time, and took over the King Biscuit show again.
Still wearing his custom-made suit, he regaled the
locals with stories of his travels across Europe.
Some were impressed, others who had known him for
years felt he could have just as well substituted the
name "Mars" for Europe in explaining his exploits, so
used were they to Sonny Boy's tall tales. But after
hoboing his way around the United States for
thirty-odd years, and playing to appreciative
audiences throughout Europe, Sonny Boy had a
perfectly good reason for returning to the Delta; he
had come home to die. He would enlist the help of old
friends like Houston Stackhouse and Peck Curtis to
take him around to all the back-road spots he had
seen as a boy, sometimes paying his respects to old
friends, other days just whiling away an afternoon on
the banks of a river fishing.
When Ronnie Hawkins' ex-bandmates, the Hawks, were
playing in the area, they made a special point of
seeking out Sonny Boy and spent an entire evening
backing him up in a juke joint. All through the
night, Williamson kept spitting into a coffee can
beside him. When Robbie Robertson got up to leave the
bandstand during a break, he noticed the can was
filled with blood. On May 25, 1965, Curtis and
Stackhouse were waiting at the KFFA studios for Sonny
Boy to do the daily King Biscuit broadcast. When
Williamson didn't show, Curtis left the station and
headed to the rooming house where Sonny Boy was
staying, only to find him lying in bed, dead of an
apparent heart attack. He was buried in the Whitfield
Cemetery in Tutwiler, MS, and his funeral was
well-attended. As Houston Stackhouse said, "He was
well thought of through that country." He was elected
to the Blues Foundation Hall of Fame in 1980. ~ Cub
Koda, All Music Guide
---
http://www.amazon.com/Delta-Blues-Sonny-Boy-Williamso
n/dp/B000FGFUV8/ref=sr_1_12?ie=UTF8&s=music&qid=12154
30993&sr=1-12
http://www.artistdirect.com/nad/music/artist/bio/0,,5
10409,00.html
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▒▒ ▓ ▓ G R O U P/ N E W S
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We are a new group of experienced rippers who would like
to step up and share whatever we got with the Scene. We
are here to share music of all genres, styles and langu-
ages. Scene is a colorful place, different people, dif-
ferent nationalitis, languages and tastes. We're here
to try to fill the blanks, we're here to share.
We are concerned with two things: quality and security.
We guarantee the highest possible quality of our stuff.
From our side we can guarantee full confidentiality and
security (in terms of sites) we can possibly provide.
Nukers gonna do their job, we gon do ours. Trust only
your ears, they will never let you down. Feel free to
check our releases with EncSpot or any other tool any-
time.
Some groups/ individuals may wonder, why ascii? The
reason for that is simple, we do not believe there is
a relation between groups using ascii and recent busts.
However, the scene and ascii are bound together. As
Team SHOCK puts it:
"Security starts at home. If you're not secure, your
friends aren't either. If they aren't secure, neither
are you"
█████████████████████████████████████████████████████████
█ █
█ PLEASE KEEP OUR RELEASES FROM WWW/P2P/FXP-boards. WE █
█ DO THIS FOR FUN. WE SHARE ONLY FOR THE PEOPLE WHO █
█ SHARE TOO > THE SCENE. IF YOU GOT OUR RELEASE, NJOY. █
█ OUR WORK IS A PRIVELEGE, NOT A RIGHT. PLEASE, RESPECT █
█ OUR WISHES STATED ABOVE. █
█ █
█ TORRENTS ARE KILLING THE SCENE, IDIOTS! TORRENTERS,WE █
█ REALLY DO HOPE YOU ALL DIE A HORRIBLE DEATH/ OF SOME █
█ WASTING DISEASE! KTNXBYE. █
█ █
█████████████████████████████████████████████████████████
"LET THE SCENE BE WITH US" because we are the white Jedi's.
Siths will be defeated, and the balance of the Scene restored ;)
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▒▒ ▓ ▓ G R E E T S
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We would like to say THANK YOU and greet all our loyal
members and suppliers for BUYing/ supplying and sharing
all the stuff they have access to. Thank you! YOU make
it all possible, you make our team what it is now.
Also, we would like to make a special shout-out to our
fellow sceeners at following teams:
JUST-S4L-NTX-D2H-iNViSiBLE-WEMmisc-C4DVD-XXL-EHB-EDF
A B.I.G. thanks goes out to all the sites that suppor-
ted us and assisted in our work and its distribution.
And last but not least, TEAM PANDORA, your philosophy
is special, it is the future. Thank you.
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▒▒ ▓ ▓ W A N T E D
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We are always opened for offers from 10MBiT+ sites that
would like to affill with us.
Open positions atm:
1. 10MBiT+ sites. ONLY well-established joints.
No rented crap please. ASIA/EU/RUSSIA only, !!NO .US!!
2. 10MBiT+ dumps for INTERNAL group use only.
3. Bot-net owners/shell (bnc, eggs) account providers.
4. Rippers. RETAIL only. FR,RU,SP,HU are welcomed the most.
Got stuff in any other languages? CONTACT US!
5. Big (OLD) pre-db owners.
If you like our work and you want to have us as your
affil or for any other inquiries please contact us
using the following e-mail/ info:
veritas.crew@gmail.com or find us on IRC.
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SpAwN!RCA