Various Artists - Bawdy Blues

File: MP3 @ 320K/s
Source: LL (from CD)
Released: 1977
Styles: Blues
Time: 43:08
Size: 99,4 MB
Covers: Full

(3:47) 1. Memphis Slim - Sweet Root Man
(2:57) 2. Tampa Red - Let Me Play with Your Poodle
(3:32) 3. Victoria Spivey - I'm a Red Hot Mama
(2:49) 4. Lonnie Johnson - Jelly Roll Baker
(5:55) 5. Memphis Slim - Churning Man Blues
(2:36) 6. Pink Anderson - Try Some of That
(4:34) 7. Memphis Slim - Steady Rollin' Blues
(3:50) 8. Tampa Red - Jelly Whipping Blues
(2:55) 9. Victoria Spivey - That Man
(3:21) 10. Memphis Willie B - Car Machine Blues
(4:24) 11. Memphis Slim - If You See Kay
(2:23) 12. Blind Willie McTell - Beedle Um Bum

Erotic, humorous, and loaded with double entendres, these dozen tunes were recorded between 1956-1961 by Memphis Slim, Tampa Red, Victoria Spivey, Lonnie Johnson, Pink Anderson, Memphis Willie B, and Blind Willie McTell.

Bawdy Blues

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Rev. Gary Davis & Pink Anderson - Gospel, Blues and Street Songs

File: MP3 @ 320K/s
Source: from LL
Released: 1961
Styles: Blues, Gospel
Time: 49:58
Size: 115,4 MB
Covers: Full

(5:28) 1. Pink Anderson - John Henry
(3:34) 2. Pink Anderson - Every Day in the Week
(3:18) 3. Pink Anderson - The Ship Titanic
(3:01) 4. Pink Anderson - Greasy Greens
(3:30) 5. Pink Anderson - Wreck of the Old '97
(3:09) 6. Pink Anderson - I've Got Mine
(3:46) 7. Pink Anderson - He's in the Jailhouse Now
(2:20) 8. Rev. Gary Davis - Blow, Gabriel
(3:28) 9. Rev. Gary Davis - Twelve Gates to the City
(3:57) 10. Rev. Gary Davis - Samson and Delilah
(3:08) 11. Rev. Gary Davis - Oh Lord, Search My Heart
(3:09) 12. Rev. Gary Davis - Get Right Church
(2:45) 13. Rev. Gary Davis - You Got to Go Down
(2:41) 14. Rev. Gary Davis - Keep Your Lamp Trimmed and Burning
(2:37) 15. Rev. Gary Davis - There Was a Time That I Was Blind

Prior to the advent of the long-playing medium, the two collections presented here were available in separate packages. Stylistically, the works of both artists remain compelling evidence of the once fertile regional Piedmont Blues scene. In its late 19th and early 20th century heyday, the distinct folk-based music was a common presence throughout the Carolinas, stretching into Virginia, Georgia and Tennessee. Tracks one through seven feature Pink Anderson (guitar/vocals) accompanying himself on vocals and guitar. Not only are his most notable songs given striking renderings, but also Anderson's utterly unique instrumentation is captured to great effect. What stands as most exemplary is the delivery, executed in a half-picking/half-sliding style, rumoured to have been accomplished by using a jack knife blade to bend and manipulate the strings. The derivation of the traditional "John Henry" examines this technique in perhaps the greatest detail. However, the robust tone -- from his trademark and inimitable well-worn Martin guitar -- is likewise capable of a more piercing precision as heard on "Every Day in the Week" and "Wreck of the Old 97." There are some prime examples of Anderson plying his sly wit and goodtime humor during "He's in the Jailhouse Now" and "I Got Mine." They also display otherwise lighthearted observations of the strictly enforced segregated communities in lyrics such as "I remember last election/The white folks was (sic) in action/Trying to get themselves a President...." Perhaps this was an attempt to redirect any anti-Caucasian sentiment, as Anderson's tale recounts a black man who is "in the jailhouse now" for attempting to vote "not once, but twice." Keen-eared listeners may even pick up on brief verbal inflections and asides thrown in between the lines, further adding to any surreptitiously racial implications.

Gospel, Blues and Street Songs

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Pink Anderson 3 albums: Carolina Blues Man Vol 1 / Medicine Show Man Vol 2 / Ballad & Folksinger Vol 3

Pinkney Anderson (February 1900 - October 1974) was born in South Carolina and as a youngster he joined the travelling Indian Remedy Company Medicine Show of Dr. William Kerr, to entertain the crowds while Kerr sold all kinds of "medical" brews. He also joined the road with Chief Thundercloud's Medicine Show, together with harmonica player Arthur 'Peg Leg Sam' Jackson. In May 1950 folksinger Paul Clayton recorded Pink Anderson at the Virginia State Fair. Also blues historian Sam Charters started a search to find Pink and document his song repertoire. He recorded some sessions and Pink Anderson was also featured in Charter's documentary The Blues. Anderson reduced his activities in the late 1960s after a stroke. Folklorist Peter B. Lowry tried in 1970 to get Anderson on tape but he was not successful. A final tour took place in the early 1970s with the aid of Roy Book Binder, one of his students, taking him to Boston and New York.

Album; Carolina Blues Man Volume 1
File: MP3 @ 320K/s
Source: from LL
Released: 1961
Styles: Blues
Time: 39:49
Size: 92,1 MB
Covers: Full

(3:42) 1. My Baby Left Me This Morning
(2:49) 2. Baby, Please Don't Go
(3:50) 3. Mama Where Did You Stay Last Night
(4:05) 4. Big House Blues
(3:31) 5. Meet Me in the Bottom
(3:56) 6. Weeping Willow Blues
(3:00) 7. Baby I'm Going Away
(3:49) 8. Thousand Woman Blues
(4:39) 9. I Had My Fun
(3:49) 10. Every Day in the Week Blues
(2:33) 11. Try Some of That

A vast majority of the known professional recordings of Piedmont blues legend Pink Anderson were documented during 1961, the notable exception being the platter he split with Rev. Gary Davis (Gospel, Blues and Street Songs) which was documented in the spring of 1950. This is the first of three volumes that were cut for the Prestige Records subsidiary Bluesville. Carolina Blues Man finds Anderson performing solo, with his own acoustic guitar accompaniment, during a session cut on his home turf of Spartanburg, SC. Much of the material Anderson plays has been filtered through and tempered by the unspoken blues edict of taking a traditional standard and individualizing it enough to make it uniquely one's own creation. Anderson's approach is wholly inventive, as is the attention to detail in his vocal inflections, lyrical alterations, and, perhaps more importantly, Anderson's highly sophisticated implementation of tricky fretwork. His trademark style incorporates a combination of picking and strumming chords interchangeably. This nets Anderson an advanced, seemingly electronically enhanced sound. "Baby I'm Going Away", with its walkin' blues rhythms, contains several notable examples of this technique, as does the introduction to "Every Day of the Week." The track also includes some of the most novel chord changes and progressions to be incorporated into the generally simple style of the street singer/minstrel tradition from which Pink Anderson participated in during the first half of the 20th Century. Listeners can practically hear Anderson crack a smile as he weaves an arid humor with overtly sexual connotations into his storytelling -- especially evident on "Try Some of That" and "Mama Where Did You Stay Last Night." Aficionados and most all students of the blues will inevitably consider this release an invaluable primer into the oft-overlooked southern East Coast Piedmont blues. -- Allmusic.

Carolina Blues Man Volume 1

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Album: Medicine Show Man Volume 2
File: MP3 @ 320K/s
Source: from LL
Released: 1962
Styles: Blues
Time: 39:34
Size: 91,3 MB
Covers: Full

(4:05) 1. I Got Mine
(4:43) 2. Greasy Greens
(3:06) 3. I Got a Woman 'Way Cross Town
(4:40) 4. Travelin' Man
(4:19) 5. Ain't Nobody Home But Me
(2:36) 6. That's No Way to Do
(4:41) 7. In the Jailhouse Now
(4:04) 8. South Forest Boogie
(4:18) 9. Chicken
(2:58) 10. I'm Going to Walk Through the Streets of the City

Like volume one and three of the series of LPs Anderson did for Bluesville, this was recorded in 1961 (though it was recorded in New York City whereas the others were recorded in Spartanburg, SC). Volumes one and three were mostly traditional songs; these are all traditional songs in the public domain. It follows that if you liked volumes one and three, you'd probably like this too; if you want to choose just one, you're about as well off with any of the individual volumes. If you had to split hairs, it seems that Anderson sounds a bit more comfortable in the studio/recording setting on this one than on the others, and a tad less countrified and more urbane. The tone is cheerful and easygoing, like that of a well-loved man entertaining his neighbors. Which is not to say this is a throwaway; the phrasing and rhythms are crisp, and the ragtime-speckled folk/blues guitar accomplished. -- Allmusic

Medicine Show Man Volume 2

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Album: Ballad & Folksinger Volume 3
File: MP3 @ 320K/s
Source: from LL
Released: 1963
Styles: Blues
Time: 34:46
Size: 80,2 MB
Covers: Full

(4:09) 1. The Titanic
(4:03) 2. Boll Weevil
(5:03) 3. John Henry
(4:46) 4. Betty and Dupree
(2:46) 5. Sugar Babe
(4:42) 6. Wreck of the Old '97
(3:48) 7. I Will Fly Away
(2:07) 8. The Kaiser
(3:18) 9. In the Evening

This release contains what is sadly the final volume in Bluesville's trilogy of long-players featuring the highly original Piedmont blues of Pink Anderson. As with the two previous discs, Ballad & Folk Singer was recorded in 1961. It is also notable that Anderson returns to his native South Carolina to document this set. The second installment -- Medicine Show Man -- had been compiled from a New York City session held earlier the same year. Astute listeners will note that three of the titles -- "The Titanic," "John Henry," and "The Wreck of the Old 97" -- were duplicated from Anderson's side-long contribution to Gospel, Blues & Street Songs. The other side featured another Piedmont native, Rev. Gary Davis. However Anderson's delivery is notably different when comparing the two performances. One of the primary discrepancies lies in the pacing. Here, the readings are more definite and seemingly less rushed. The same is true for the phrasing of Anderson's vocals, most notably on "John Henry." The intricate and somewhat advanced guitar-playing -- that became one of Anderson's trademarks -- is arguably more pronounced on these recordings as well. Again, "John Henry" displays the picking and strumming techniques that give his decidedly un-amplified vintage Martin acoustic guitar such a full resonance that it practically sounds electric. The instrumental introduction to "Betty and Dupree" exemplifies the walking blues or stride motif particularly evident and notable among Piedmont blues artists. Enthusiasts should also note that in addition to these latter recordings, Anderson also performed on four tracks with his mentor Simmie Dooley in the late '20s for Columbia Records. Those pieces can be found on the compilation Georgia String Bands (1928-1930). Anderson actively toured until a debilitating stroke forced him to retire in 1964. -- Allmusic.

Ballad & Folksinger Volume 3

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Various - The Blues: Music From The Documentary Film By Samuel Charters

Bitrate: 320K/s
Time: 35:25
Size: 81.1 MB
Styles: Acoustic blues
Year: 1967
Art: Front

[2:43] 1. Willie Borum - Alone In The Evening Hours
[4:55] 2. J.D. Short - Slidin' Delta
[2:29] 3. Pink Anderson - Old Cotton Fields Of Home
[3:29] 4. Furry Lewis - John Henry
[3:26] 5. Baby Tate - Bad Blues
[2:46] 6. Willie Borum - Sitting Here Thinking
[4:17] 7. Sleepy John Estes - Lonesome Ground
[3:04] 8. Baby Tate - If I Could Holler Like A Mountain Jack
[3:22] 9. Baby Tate - When I First Started Hoboing
[4:50] 10. Pink Anderson - Weeping Willow Blues

While recording in the South in the early 1960s, producer, writer, and music historian Samuel Charters was inspired not only by the sound of Furry Lewis’s guitar, but by the patterns of movement in his hands and fingers as he played. Thus Charters decided to make a film that would document aspects of the blues that couldn’t be put on a phonograph record. In the sweltering summer of 1962, Charters journeyed through St. Louis, Memphis, Louisiana, and South Carolina to shoot the film The Blues and record this soundtrack. Artists featured in addition to Lewis are J.D. Short, Baby Tate, and Sleepy John Estes. Liner notes include details of the making of the film and biographies of the artists.

The Blues: Music From The Documentary Film By Samuel Charters mc
The Blues: Music From The Documentary Film By Samuel Charters zippy

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Pink Anderson - Carolina Medicine Show Hokum And Blues

Bitrate: 320K/s
Time: 33:44
Size: 77.2 MB
Styles: Acoustic blues, Piedmont blues
Year: 1994
Art: Front

[2:38] 1. You Don't Know My Mind
[2:23] 2. That's No Way To Do
[3:50] 3. Weeping Willow Blues
[3:27] 4. Meet Me In The Bottom
[1:51] 5. I Got A Woman Cross Town
[2:28] 6. Greasy Greens
[3:05] 7. Bo Weevil
[1:58] 8. Chicken
[4:36] 9. He's In The Jailhouse Now
[2:48] 10. The Titanic
[2:03] 11. The Boys Of Your Uncle Sam
[2:31] 12. See What You Done Done

Pink Anderson (1900–1974) spent most of his life working as a roving entertainer in the small medicine shows that traveled throughout the South. His stage repertoire included blues, comedic songs, country ballads, and minstrel show tunes.

Pink’s songs were first recorded in 1950 by the folk singer Paul Clayton. Folklorist Kenneth S. Goldstein heard the material, and asked the music historian Samuel Charters to find Pink and document his song repertoire. Charters subsequently featured Pink in his documentary The Blues. After a film session at his home in Spartanburg, South Carolina, in the summer of 1962, Pink felt like singing, so Charters continued recording. Many of the songs on this album come from those tapes, which include Pink’s friend, blues guitarist Baby Tate.

Carolina Medicine Show Hokum And Blues mc
Carolina Medicine Show Hokum And Blues zippy

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