(blues / pre-war gospel) Blind Joe Taggart - Complete Recorded Works, Vols. 1&2 (1926-1934) [Document Records] - 1992-1993, FLAC (tracks), lossless • Скачать бесплатно торентом музыку песни книги фильмы игры курс мобильное

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(blues / pre-war gospel) Blind Joe Taggart - Complete Recorded Works, Vols. 1&2 (1926-1934) [Document Records] - 1992-1993, FLAC (tracks), lossless

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Blind Joe Taggart - Complete Recorded Works, Vols. 1&2 (1926-1934)
Жанр: blues / pre-war gospel
Страна-производитель диска: Austria
Год издания диска: 1992-1993
Издатель (лейбл): Document Records
Номер по каталогу: DOCD-5153 - 5154
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 70:25 + 77:58
Источник (релизер): manhatan
Наличие сканов в содержимом раздачи: да
Треклист:

Код:

I Will Not Be Removed
Everybody's Got To Be Tried
I'll Be Satisfied (-48)
I'll Be Satisfied (-49)
Take Your Burden To The Lord (-50)
Take Your Burden To The Lord (-51)
I Wish My Mother Was On That Train (-52)
I Wish My Mother Was On That Train (-53)
Just Beyond Jordan
Keep On The Firing Line
The Half Ain't Never Been Told
C & O Blues
The Storm Is Passing Over
God's Gonna Separate The Wheat From The Tares
Coal River Blues
Fourteenth Street Blues
Been Listening All The Day
Goin' To Rest Where Jesus Is
There's A Hand Writing On The Wall
Scandalous And A Shame
I've Crossed The Separation Line
Lord Don't Drive Me Away
Religion Is Something Within You
Mother's Love

Код:

Oh Oh Lonesome Blues
Pennsylvania Woman Blues [Take 1 - Test.
Pennsylvania Woman Blues [Take 2.
Wonder Will My Trouble Then Be Over
Strange Things Happening in the Land
Waded in the Water Trying to Get Home
He Done What the World Couldn't Do [Take 2.
He Done What the World Couldn't Do [Take 3.
Satan, Your Kingdom Must Come Down
I Ain't No Sinner Now
Pressin' up That Sunny Way
In That Pearly White City Above
I Wonder Will My Mother Be on That Train?
God's Gonna Seperate the Wheat from the Tares
When I Stand Before the King
I Ain't No Sinner Now
Blind Gussie Nesbitt / Pure Religion
Blind Gussie Nesbitt / Canaan Land
Blind Gussie Nesbitt / Motherless Children
Blind Gussie Nesbitt / I'll Just Stand and Wring My Hands and Cry
Rev. Edward W. Clayborn /  Your True Friends
Rev. Edward W. Clayborn /  Come and Go With Me to My Father's House
Rev. Edward W. Clayborn /  When I Lay My Burden Down
Rev. Edward W. Clayborn /  Where Shall I Be (When the First Trumpet Sounds) [Alternate Take.
Rev. Edward W. Clayborn /  There'll Be Glory

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Код:

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PERFORMER: auCDtect Task Manager, ver. 1.5.1RC3 build 1.5.1.4
Copyright (c) 2008-2010 y-soft. All rights reserved
[url=http://y-soft.org]http://y-soft.org[/url]
ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
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by Eugene Chadbourne
If one ever ran into Blind Joe Taggart in a dark alley, the only possible protection would be to have Blind John Henry Arnold with you. According to the famous folk singer and blues artist Josh White, there was only one man on earth who was meaner than Taggart, and that was Arnold. White obviously knew what he was talking about, having been abused and kicked around by both men, as well as the even more famous Blind Lemon Jefferson. Back in the old days when blind blues virtuoso roamed the streets displaying their genius for coins, someone had to lead them around. White was perhaps the most famous of a class of ex-lead boys for blind blues singers, a form of apprenticeship that has disappeared from the modern blues scene along with performers of the class of Taggart and his ilk. Performers trying to survive in such a lifestyle can hardly be blamed for developing what can be best described as street-hardened personalities.
Taggart was a fairly typical itinerant performer of the '20s, and most of the available information on him was handed down in interviews from White, who first met him when he was known as Joel Taggart in Greenville, SC. White's description of the difference between the two tyrants has become famous. Arnold was "mean, honest mean." Taggart, on the other hand, was "tricky, nasty mean. " Furthermore, he was not really blind, something that puts him in a subclass of blind blues musicians who actually had some vision available to them. Taggart had cataracts and could "see a little," according to White.
Of more importance than what Taggart could or couldn't see was the fact he was noticed in 1926. The Brunswick-Balke-Collender company from Chicago, which was beginning a series of record releases under the Vocalion label, was keenly aware that similar series of so-called "race" records were selling like hotcakes. Many types of performers were recorded during the '20s, and among these stacks of historic sides were this label's first ventures into recording singing evangelists, basically the gospel equivalent of country blues players. Near the end of that year, Taggart became the first full-time guitar evangelist to cut a side. The material he recorded was a happy meeting between his obvious versatility as a performer and the label's desire to try as many approaches as possible to the hitmaking destination. Taggart recorded several vocal duets with Emma Taggart, who was most likely his wife. Alternative takes that were released much later from these sessions helped create a further revision in the opinion of this artist held by blues scholars.
Not discovered by the mass blues audience during the folk revival of the '60s as was fellow meanie Blind Lemon Jefferson, Taggart basically had to wait for the CD-driven thoroughness of the Document label to fully illustrate the amount of ingenuity and inventiveness he brought to each of his performances. He also recorded duets with James Taggart, assumed to be his son. Like many busy blues artists, Taggart cut corners around recording contracts by recording under other names, including the pseudonyms Blind Joe Amos, Blind Jeremiah Taylor, Blind Tim Russell, and Blind Joe Donnel. Some of this activity was an attempt not to fool record labels but the Lord above, who it was assumed might not approve of Taggart playing the "devil's music" and could be tricked by a pseudonym. Taggart's music is sometimes considered to feature some of the oldest roots of any country blues artist. This includes melodic and stylistic influences from the Civil War era, considered a time when black and white musicians were perhaps not as restricted in access to each other's musical traditions as they would become later.

Volume One by arwulf arwulf
When divine inspiration was upon him, guitar-strumming evangelist Blind Joe Taggart was capable of sounding something like Blind Willie Johnson. The primary difference between the two was Taggart's occasional crossover into blues territory, a secular region carefully avoided by the devoutly religious Blind Willie. Volume one in Document's complete Taggart edition opens with his first 11 recordings, which were cut for Vocalion in New York City during November and December of 1926. Some of these are duets with either a woman identified as Emma Talbert or with his son, James Taggart. Three alternate takes enable those who are so inclined to engage in contemplative, comparative listening. Tracks 12-16 were all waxed in Chicago on Thursday, June 30, 1927 but were released on three different labels under three different names. Columbia's "C & O Blues" is credited to Blind Joe Amos in an apparent move to differentiate Taggart from his evangelical self as heard on Vocalion's "The Storm Is Passing Over," and "God's Gonna Separate the Wheat from the Tares."
For Taggart to have also recorded that day for Paramount with a friend or two as Blind Percy & His Blind Band would not have been all that unusual, and the primary performer does sound like Taggart with a kazoo wedged between his teeth. The other instrument that crops up on this session for the first time in this artist's discography (if indeed Percy was Taggart) is a violin, played by an unidentified fiddler who may be the same individual as is heard on "Been Listening All the Day" and "Goin' to Rest Where Jesus Is," which were recorded for Paramount in January 1928. Tracks 19-24 were cut in October and December 1928 with young Josh White playing guitar and providing backup vocals. Again Taggart's identity changed depending upon which label was presenting his music, for even though these were primarily Paramount releases, this protean character was billed on Broadway records as Blind Joe Dunnell and on Herwin as either Blind Tim Russell or Blind Jeremiah Taylor. His remaining works (and a couple of titles perhaps apocryphally attributed to him) are combined with performances by two other guitar evangelists on Complete Recorded Works, Vol. 2, Document's sequel to this fine collection of historic rarities.
Volume Two by arwulf arwulf
Because guitar evangelist and periodic bluesman Blind Joe Taggart cut a few sides for Paramount with Josh White up in Grafton, WI during December 1929, some folks think that he may have also recorded for that label there and then as Six Cylinder Smith. Volume two of Document's complete Blind Joe Taggart chronology opens with a pair of titles issued under the Six Cylinder billing, along with a test pressing of "Pennsylvania Woman Blues," in case anyone really wants to zero in on the forensic evidence to make an informed guess as to the identity of the performer by comparing the blues vocals with those of Taggart's "Wonder Will My Trouble Then Be Over," "Strange Things Happening in the Land," and "Waded in the Water Trying to Get Home."
Waxed in Grafton in January 1931, tracks 7-12 would be Taggart's final Paramount sides, and represent his largest batch of solo performances on record. Curiously, he is billed on these Paramounts as Blind Joel Taggart, the name he would use on his final recording date which took place back in Chicago on Thursday, September 20, 1934. On these Decca records, Taggart chose to sing duets with a woman identified as Bertha Taggart. Whether this is the same woman as Emma Taggart who sang with Joe at his first session back in November 1926 is open to conjecture.
Having run out of Taggart material, the producers at Document Records filled out this album with choice cuts from 1930 by Christian singer and guitarist Blind Gussie Nesbitt and five inspired offerings recorded in 1927 and 1929 by Reverend Edward W. Clayborn, a fairly prolific Vocalion recording artist who was specifically billed as The Guitar Evangelist. As for Nesbitt, what are included here are four out of fourteen titles in her discography, not counting four duets she waxed for the Victor label with Jack Gowdlock in 1931. Taken in combination with the later works of Blind Joe Taggart, these spiritually inspired performances constitute a valuable addition to Document's extensive catalog of early and mid-20th century African-American music.

О технике: материал в m4a lossless, конвертировал во flac, проверил auCDtect (все треки - CDDA) и добавил playlist.
Очень забавная биография - прочтите Небезызвестный нам arwulf arwulf написал очень приличные ревю, дал обоим дискам по 4,5 звезды и первый том пикнул...
Merci beaucoup, manhatan!
Приятного прослушивания!
МОИ РАЗДАЧИ

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Каталог "Document Records" (ссылки на альбомы)

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