Josh White had a long and varied career, beginning as a session guitarist in the 1920s, then had his own run of stellar blues 78s for Paramount and Columbia in the 1930s, becoming a cabaret bluesman in New York in the 1940s, only to be blacklisted as the McCarthy era dawned, which led to his association with Jac Holzman’s fledgling Elektra label in 1955. White recorded seven well-conceived LPs for Holzman between 1955 and 1962, and they restarted his career once again. The Elektra Years collects some of the highlights of that run in a two-disc set, including “You Don’t Know My Mind” (a remake of a Virginia Liston 78 from 1923), “Silicosis Blues” (which White first recorded back in 1936), “Jim Crow Train,” “Jelly Jelly” (complete with the sound of White gargling vodka at the onset), the jailhouse gospel of “Trouble,” and “Jesus Gonna Make Up My Dyin’ Bed,” which White first tracked in 1934 and was more or less his signature song. The collection ends with a striking 1933 version of “Lay Some Flowers On My Grave,” which White recorded in 1933 for ARC Records when he was only 19 years old. Many hardcore Delta blues aficionados found White’s version of the blues to be a little too refined to be authentic, and these days he is seldom placed in the company of his rediscovered contemporaries like Mississippi John Hurt, Son House, Bukka White, or Skip James, which is a shame. It’s true that White had much more of a political and cultural agenda than any of those players, and if he pandered at times to stereotypical notions, it was always in the interest of educating his audiences. In addition, White was an astounding acoustic guitarist, and his laser-guided guitar runs were always tonally perfect. As a guitarist alone, he is due for a reassessment, and these Elektra recordings from Rhino Handmade are the perfect place to start, since he was never recorded in a more favorable sonic setting.
Showing posts with label Josh White. Show all posts
Showing posts with label Josh White. Show all posts
Josh White - Backwater Blues (2020) [24-48]
Josh White had a long and varied career, beginning as a session guitarist in the 1920s, then had his own run of stellar blues 78s for Paramount and Columbia in the 1930s, becoming a cabaret bluesman in New York in the 1940s, only to be blacklisted as the McCarthy era dawned, which led to his association with Jac Holzman’s fledgling Elektra label in 1955. White recorded seven well-conceived LPs for Holzman between 1955 and 1962, and they restarted his career once again. The Elektra Years collects some of the highlights of that run in a two-disc set, including “You Don’t Know My Mind” (a remake of a Virginia Liston 78 from 1923), “Silicosis Blues” (which White first recorded back in 1936), “Jim Crow Train,” “Jelly Jelly” (complete with the sound of White gargling vodka at the onset), the jailhouse gospel of “Trouble,” and “Jesus Gonna Make Up My Dyin’ Bed,” which White first tracked in 1934 and was more or less his signature song. The collection ends with a striking 1933 version of “Lay Some Flowers On My Grave,” which White recorded in 1933 for ARC Records when he was only 19 years old. Many hardcore Delta blues aficionados found White’s version of the blues to be a little too refined to be authentic, and these days he is seldom placed in the company of his rediscovered contemporaries like Mississippi John Hurt, Son House, Bukka White, or Skip James, which is a shame. It’s true that White had much more of a political and cultural agenda than any of those players, and if he pandered at times to stereotypical notions, it was always in the interest of educating his audiences. In addition, White was an astounding acoustic guitarist, and his laser-guided guitar runs were always tonally perfect. As a guitarist alone, he is due for a reassessment, and these Elektra recordings from Rhino Handmade are the perfect place to start, since he was never recorded in a more favorable sonic setting.
Josh White - Complete Recorded Works Vol. 1-6 [1993-1998/FLAC]
To many blues enthusiasts, Josh White was a folk revival artist. It's true that the second half of his music career found him based in New York playing to the coffeehouse and cabaret set and hanging out with Burl Ives, Woody Guthrie, and fellow transplanted blues artists Sonny Terry & Brownie McGhee.
In Chicago during the 1960s, his shirt was unbuttoned to the waist à la Harry Belafonte and his repertoire consisted of folk revival standards such as "Scarlet Ribbons." He was a show business personality -- a star renowned for his sexual magnetism and his dramatic vocal presentations. Many listeners were unaware of White's status as a major figure in the Piedmont blues tradition. The first part of his career saw him as apprentice to some of the greatest blues and religious artists ever, including Willie Walker, Blind Blake, Blind Joe Taggart (with whom he recorded), and allegedly even Blind Lemon Jefferson. On his own, he recorded both blues and religious songs, including a classic version of "Blood Red River." A fine guitar technician with an appealing voice, he became progressively more sophisticated in his presentation. Like many other Carolinians and Virginians who moved north to urban areas, he took up city ways, remaining a fine musician if no longer a down-home artist. Like several other canny blues players, he used his roots music to broaden and enhance his life experience, and his talent was such that he could choose the musical idiom that was most lucrative at the time.
Vol. 1 - 6 September 1929 to 13 November 1933
Vol. 2 - 24 November 1933 to 18 March 1935
Vol. 3 - 18 March 1935 to 7 March 1940
Vol. 4 - 4 June 1940 to 1941
Vol. 5 - 1944
Vol. 6 - 1944-1945
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