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│ Charley_Patton-Dirt_Road_Blues-Remastered-2008-NHH │
└············································································┘
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█ Artist : Charley Patton █
█ Album : Dirt Road Blues █
█ Bitrate : VBR 113 Average KB/s (High Quality 44.1 kHz Joint Stereo) █
█ URL : http://www.pristineclassical.com/LargeWorks/Jazz/PABL006.php █
█════════════════════════════════════════════════════════════════════════════█
█ Source : CD (LP) NFO [√] █
█ Label : Pristine Audio SFV [√] █
█ Year : 2008 M3U [√] █
█ Genre : Blues JPG [√] █
█ Ripper : NHH █
█ Rip date : 2009-01-03 █
█ Store date : 2008-05-00 █
█ Rip tool : EAC 0.99 prebeta 4 (Secure Mode) █
█ Encoder : Lame 3.97 -V2 --vbr-new █
█ Size : 49.64 megs █
█ Catalog# : PABL006 █
█ Supplier : NHH █
█└··········································································┘█
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█ Total Tracks : 20 █
█ 1. Screamin' And Hollerin' The Blues 3:00 █
█ 2. Down The Dirt Road Blues 3:00 █
█ 3. Pony Blues 3:02 █
█ 4. It Won't Be Long 3:21 █
█ 5. Pea Vine Blues 3:06 █
█ 6. Tom Rushen Blues 3:08 █
█ 7. A Spoonful Blues 3:14 █
█ 8. Shake It And Break It (But Don't Let It Fall, Mama) 3:07 █
█ 9. Elder Greene Blues 3:04 █
█ 10. Circle Round The Moon 2:35 █
█ 11. Some Of These Days I'll Be Gone 2:52 █
█ 12. When Your Way Gets Dark 3:09 █
█ 13. Heart Like Railwood Steel 2:52 █
█ 14. Jim Lee Blues, Part 1 3:00 █
█ 15. High Water Everywhere, Part 1 3:00 █
█ 16. Rattlesnake Blues 2:49 █
█ 17. Some Summer Day 3:03 █
█ 18. Moon Going Down 3:18 █
█ 19. Dry Well Blues 3:22 █
█ 20. Revenue Man Blues 2:37 █
█ ----------------------------------------------------------------------- █
█ 60:39 █
█└··········································································┘█
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█▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀█
█ Charley Patton: Vocals, Guitar/Slide Guitar █
█ Violin on tracks 9, 10, 16: Henry Sims - █
█ Guitar on tracks 17, 18, 19: Willie Brown █
█ █
█ Tracks 1-8 Recorded in Richmond, Virginia, 14 June 1929 █
█ Tracks 9-16 Recorded in Grafton, Wisconsin, October, 1929 █
█ Tracks 17-19 Recorded in Grafton, Wisconsin, June, 1930 █
█ Track 20 Recorded in New York City, 31st January, 1934 █
█ XR remastering by Andrew Rose at Pristine Audio, May 2008 █
█ █
█ Biography by Cub Koda █
█ █
█ If the Delta country blues has a convenient source point, it would █
█ probably be Charley Patton, its first great star. His hoarse, █
█ impassioned singing style, fluid guitar playing, and unrelenting beat █
█ made him the original king of the Delta blues. Much more than your █
█ average itinerant musician, Patton was an acknowledged celebrity and a █
█ seminal influence on musicians throughout the Delta. Rather than bumming █
█ his way from town to town, Patton would be called up to play at █
█ plantation dances, juke joints, and the like. He'd pack them in like █
█ sardines everywhere he went, and the emotional sway he held over his █
█ audiences caused him to be tossed off of more than one plantation by the █
█ ownership, simply because workers would leave crops unattended to listen █
█ to him play any time he picked up a guitar. He epitomized the image of a █
█ '20s "sport" blues singer: rakish, raffish, easy to provoke, capable of █
█ downing massive quantities of food and liquor, a woman on each arm, with █
█ a flashy, expensive-looking guitar fitted with a strap and kept in a █
█ traveling case by his side, only to be opened up when there was money or █
█ good times involved. His records -- especially his first and biggest █
█ hit, "Pony Blues" -- could be heard on phonographs throughout the South. █
█ Although he was certainly not the first Delta bluesman to record, he █
█ quickly became one of the genre's most popular. By late-'20s Mississippi █
█ plantation standards, Charley Patton was a star, a genuine celebrity. █
█ █
█ Although Patton was roughly five foot, five inches tall and only weighed █
█ a Spartan 135 pounds, his gravelly, high-energy singing style (even on █
█ ballads and gospel tunes it sounded this way) made him sound like a man █
█ twice his weight and half again his size. Sleepy John Estes claimed he █
█ was the loudest blues singer he ever heard and it was rumored that his █
█ voice was loud enough to carry outdoors at a dance up to 500 yards away █
█ without amplification. His vaudeville-style vocal asides -- which on █
█ record give the effect of two people talking to each other -- along with █
█ the sound of his whiskey- and cigarette-scarred voice would become major █
█ elements of the vocal style of one of his students, a young Howlin' █
█ Wolf. His guitar playing was no less impressive, fueled with a █
█ propulsive beat and a keen rhythmic sense that would later plant seeds █
█ in the boogie style of John Lee Hooker. Patton is generally regarded as █
█ one of the original architects of putting blues into a strong, █
█ syncopated rhythm, and his strident tone was achieved by tuning his █
█ guitar up a step and a half above standard pitch instead of using a █
█ capo. His compositional skills on the instrument are illustrated by his █
█ penchant for finding and utilizing several different themes as █
█ background accompaniment in a single song. His slide work -- either █
█ played in his lap like a Hawaiian guitar and fretted with a pocket █
█ knife, or in the more conventional manner with a brass pipe for a █
█ bottleneck -- was no less inspiring, finishing vocal phrases for him and █
█ influencing contemporaries like Son House and up-and-coming youngsters █
█ like Robert Johnson. He also popped his bass strings (a technique he █
█ developed some 40 years before funk bass players started doing the same █
█ thing), beat his guitar like a drum, and stomped his feet to reinforce █
█ certain beats or to create counter rhythms, all of which can be heard on █
█ various recordings. Rhythm and excitement were the bywords of his style. █
█ █
█ The second, and equally important, part of Patton's legacy handed down █
█ to succeeding blues generations was his propensity for entertaining. One █
█ of the reasons for Charley Patton's enormous popularity in the South █
█ stems from his being a consummate barrelhouse entertainer. Most of the █
█ now-common guitar gymnastics modern audiences have come to associate █
█ with the likes of a Jimi Hendrix, in fact, originated with Patton. His █
█ ability to "entertain the peoples" and rock the house with a █
█ hell-raising ferociousness left an indelible impression on audiences and █
█ fellow bluesmen alike. His music embraced everything from blues, █
█ ballads, ragtime, to gospel. And so keen were Patton's abilities in █
█ setting mood and ambience, that he could bring a barrelhouse frolic to a █
█ complete stop by launching into an impromptu performance of nothing but █
█ religious-themed selections and still manage to hold his audience █
█ spellbound. Because he possessed the heart of a bluesman with the █
█ mindset of a vaudeville performer, hearing Patton for the first time can █
█ be a bit overwhelming; it's a lot to take in as the music, and █
█ performances can careen from emotionally intense to buffoonishly comic, █
█ sometimes within a single selection. It is all strongly rooted in '20s █
█ black dance music and even on the religious tunes in his repertoire, █
█ Patton fuels it all with a strong rhythmic pulse. █
█ █
█ He first recorded in 1929 for the Paramount label and, within a year's █
█ time, he was not only the largest-selling blues artist but -- in a █
█ whirlwind of recording activity -- also the music's most prolific. █
█ Patton was also responsible for hooking up fellow players Willie Brown █
█ and Son House with their first chances to record. It is probably best to █
█ issue a blanket audio disclaimer of some kind when listening to Patton's █
█ total recorded legacy, some 60-odd tracks total, his final session done █
█ only a couple of months before his death in 1934. No one will never know █
█ what Patton's Paramount masters really sounded like. When the company █
█ went out of business, the metal masters were sold off as scrap, some of █
█ it used to line chicken coops. All that's left are the original 78s -- █
█ rumored to have been made out of inferior pressing material commonly █
█ used to make bowling balls -- and all of them are scratched and heavily █
█ played, making all attempts at sound retrieval by current █
█ noise-reduction processing a tall order indeed. That said, it is still █
█ music well worth seeking out and not just for its place in history. █
█ Patton's music gives us the first flowering of the Delta blues form, █
█ before it became homogenized with turnarounds and 12-bar restrictions, █
█ and few humans went at it so aggressively. █
█╘∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙╛█
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█▀ Greets to our friends in FIH Recycled FRAY SNO & other groups that are ▀█
█▀ doing their best. Always looking for more affils/sites. Contact us if you▀█
█▀ have something. ▀█
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