File: MP3 @ 320K/s
Source: LL (from CD)
Released: 2000
Styles: Blues
Time: 50:59
Size: 117,4 MB
Covers: Full
(4:30) 1. Poison Ivy
(6:04) 2. Since I Met You Baby
(6:08) 3. Arthur's Blues
(4:30) 4. Ain't Goin' Down
(2:37) 5. Slop the Hogs
(4:35) 6. See See Rider
(5:25) 7. Water in My Gas Tank
(5:18) 8. East St. Louis Blues
(3:49) 9. C'mon Baby
(3:03) 10. Mojo Ain't Working
(3:34) 11. Go on Little Girl
(1:23) 12. Arthur's Dozen
A great example of old-timey juke joint blues harp in the tradition of Little Walter and Sonny Boy Williamson (II) can be heard on this album by Mississippi native and current St. Louis resident Arthur Williams. A one-time member of The Jelly Roll Kings, Williams put in 40 years as a sideman before finally recording his first album as a leader, last year's Harpin' on It for Fedora. This worthy follow-up, which reunites him with Jelly Roll Kings drummer Sam Carr, is raw, undiluted and highly recommended for hardcore blues harp fans.
Ain't Goin' Down
File: MP3 @ 320K/s
Source: LL (from CD)
Released: 2001
Styles: Blues
Time: 49:41
Size: 114,5 MB
Covers: Full
(4:11) 1. You Got My Nose Open
(5:51) 2. Midnight Blue
(2:34) 3. Trobule No More
(0:17) 4. Don't Start Me to Talking
(1:49) 5. Don't Start Me to Talking
(4:17) 6. Big Fat Mama
(6:03) 7. Down in Virginia
(5:48) 8. Reconsider Baby
(0:28) 9. Keep It to Yourself
(3:24) 10. Keep It to Yourself
(4:00) 11. Key to the Highway
(3:43) 12. Clarksdale Train
(4:32) 13. Ride With Your Daddy
(2:38) 14. 67 Cadillac
Arthur Williams, a St. Louis resident today, has roots growing up down south and played with Frank Frost. Williams was the harmonica player on some of Frost’s recordings that Scotty Moore produced for Jewel in the sixties. On this album Williams is heard performing some well known blues numbers (some retitled like Clarksdale Train, a retitled rendition of Elmore James’ Sunnyland Train). His energetic, raspy vocals are quite at home on Muddy Waters’ Trouble No More, Jimmy Reed’s Down in Virginia and Sonny Boy Williamson’s Don’t Start Me To Talking. The title track is a nice slow instrumental to showcase his direct appealing harp playing which is prominently featured throughout. The band plays a bit raw. If the music lacks subtlety, it makes up for it in spirit. The last number, ‘67 Cadillac is an interesting experiment as producer Lohr has sampled a bit of the late Doc Terry talking, and provided some programmed drums for an interesting experiment which can be skipped since it is the last track. A nicely put together collection of performances that certainly will get any blues party popping.
Midnight Blue
Midnight Blue artwork