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(blues) Al Miller - Complete Recorded Works in Chronological Order (1927-1936) [Document Records] - 1994, FLAC (tracks) lossless

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Al Miller - Complete Recorded Works in Chronological Order (1927-1936) [Document Records]
Жанр: blues
Страна-производитель диска: Austria
Год издания диска: 1994
Издатель (лейбл): Document Records
Номер по каталогу: DOCD-5306
Аудио кодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 72:16
Источник (релизер): чуланчик, релизер - zhconst
Наличие сканов в содержимом раздачи: а как же?!
Треклист:

Код:

I Found A Four Leaf Clover
Someday Sweetheart
Saturday Night Hymn
I Would If I Could (21061)
Mister Mary Blues
Somebody's Been Using That Thing (14799)
On An Island All By Myself
No Fish For Me
Somebody's Been Using That Thing (C-3080)
I Would If I Could (C-3083)
It Ain't Killed Nobody Yet
Mabe You'd Feel That Way Too
Don't Be A Fool
I Found You'r Key-Hole
Thirty First And State
It Must Be Good
Let Me Put My Shoes Under Your Bed
That Stuff Ain't No Good
Gimme A Li'l Taste
Somebody's Been Using That Thing Part 2
That Stuff You Sell
Bone Blues
It's Got To Be Done
Juicy Mouth Shorty
Truckin' Old Fool
Ain't That A Mess

Код:

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EAC extraction logfile from 14. September 2011, 19:25
Al Miller / Complete Recorded Works In Chronological Order 1927-1936
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Mandolinist Al Miller played and sang in a style that combined elements of country, blues and jazz in a blend that was more common back in the day than many record collectors, critics and pigeon-holing historians seem ever to have found acceptable, although he certainly did his part to pave the way for a genre-blending development known as western swing. During the years 1927-1936 Miller cut more than two dozen titles under his own name, and sat in with pianist Cripple Clarence Lofton and singers Red Nelson Wilborn, Luella Miller and Mozelle Alderson. After cutting his first sides for Black Patti records, Miller was invited by producer J. Mayo Williams to cross over to Paramount and Brunswick. He also recorded for Gennett with King Mutt and his Tennessee Thumpers. Miller's most famous composition, "Somebody's Been Using That Thing," was popularized by Hudson Whittaker, known professionally as Tampa Red. Miller belonged to a special stratum of rural blues mandolinists that included R.W. Durden (a member of the Three Stripped Gears), Vol Stevens, Coley Jones, Lonnie Coleman, Will Weldon and Charles Johnson, who recorded with Furry Lewis in that late 1920s. There is a regional feel to Miller's music that places him in league with black string bands in Louisville, Memphis and Dallas. His overall sound invites comparison with Charlie McCoy, Yank Rachell, Charlie Burse and Peg Leg Howell. To some extent his earliest recordings have a country feel that would segue fairly seamlessly with white fiddle bands like Earl Johnson's Clodhoppers or Gid Tanner's Skillet Lickers. Beginning in 1929 Miller began crossing over to hokum, that bawdy, party-oriented genre so favored by musicians in south side Chicago during the late 1920s. Miller's main collaborators were a guitarist with the surname Rodgers and Kansas City pianist Frank Melrose. Four titles cut for Decca/Champion in 1936 involved pianist Cripple Clarence Lofton and back alley clarinetist Odell Rand, best remembered for his work with the Chicago-based Harlem Hamfats. Information regarding Miller's origins and eventual fate has yet to come to light; after the 1936 Decca recordings the trail abruptly grows cold. Fortunately for posterity, 26 Al Miller sides were reissued by Document in 1995 as his complete works in chronological order
by arwulf arwulf

Even though mandolinist Al Miller should really be counted among the pioneers of Western swing, his blend of country dance and hokum blues seems to have pushed him to the periphery of historic music appreciation circles. Indeed, were it not for Document's handsome complete edition of 1995, Miller's recorded legacy would have receded to a position even further off of most peoples' cultural radar. His earliest-known records were cut in Chicago on July 15, 1927 and issued on the now-legendary Black Patti label. "I Found a Four-Leaf Clover" sounds like a precedent for Emmett Miller & His Georgia Crackers, largely because Al's voice was similarly pitched. The main difference is that Emmett Miller liked to yodel -- his direct descendant appears to have been Hank Williams. The instrumental "Saturday Night Hymn" is a fine example of a whimsical blues played on mandolin, and was originally pressed with a title by Kid Brown & His Blue Band on the flip side. A little over 80 years after it was released, one of the few copies of this platter known to exist was being offered on the rare record circuit for more than $4,400.00. Although in many ways "Saturday Night Hymn" might be the very best recording this artist ever made, the CD is considerably more affordable and provides an additional 25 songs. One of the few individuals even tentatively identified in the discography is a guitarist with the surname Rodgers, and "I Would If I Could" was released on Paramount as by Miller and Rodgers. In February 1929 Miller began making records in a style that aimed to please the growing audience for Chicago's increasingly popular hokum blues. Miller's lasting achievement as a composer was a raunchy number with the attention-getting title "Somebody's Been Using That Thing." He recorded it five times, and the three issued takes are sprinkled throughout this album. In June 1934 Tampa Red cut a rowdy cover version for Bluebird that worked well for Tampa without, it seems, doing very much for Miller, who had frankly based much of his acquired hokum technique on records by Tampa Red, Georgia Tom, and a group specifically billed as the Hokum Boys.
The hokum formula demanded a full range of smutty lyrics laid over simple bluesy melodies that anybody could sing along with. One of hokum's major exponents was Tampa's cohort Lovin' Sam Theard. In March 1929 the second version of "Somebody's Been Using That Thing" was waxed by Al Miller & His Market Street Boys, which was nothing more than Miller and Rodgers with pianist Frank Melrose sitting in. There are 13 additional recordings from 1929 that use the same instrumentation with no one except Miller identified. Much of the material was directed at a Prohibition-era audience looking for naughty good-time music to listen to while partying with friends. Titles like "I Found Your Key-Hole," "It Ain't Killed Nobody Yet," "Gimme a Li'l Taste," and "That Stuff Ain't No Good" are typical of this mini-genre's hedonistic fixations. "Thirty First and State," with open references to prostitution, is one of several tunes inspired by the fast life on Chicago's South Side. "Let Me Put My Shoes Under Your Bed," on the other hand, is a nicely phrased love song, similar to what mild-mannered Ollie Shepard like to sing during the late '30s and early ‘40s. This collection and Al Miller's primary discography close with four sides cut for Decca in February 1936. Billed as Al Miller & His Swing Stompers, the group consisted of Miller, now apparently handling a guitar; an unidentified string bassist; pianist Cripple Clarence Lofton; and a frowsy clarinetist named Odell Rand, who did most of his recording with the Chicago-based Harlem Hamfats. Further instances of Al Miller's artistry may be found among the discographies of Lofton and vocalists Mozelle Alderson, Luella Miller, and Red Nelson Wilborn, as well as King Mutt & His Tennessee Thumpers.
by arwulf arwulf

Продолжаем работу над ошибками... Рип с собственного диска, коврики в png, 300 dpi.
Раньше я слышал этого очень необычного и интересного парня только на первом томе Cripple Clarence Lofton (смотрите мои раздачи)...
Итак - замечательный музыкант и вокалист Эл Миллер и двадцать шесть треков прекрасного блюза под мандолину (!!!)...
Allmusic дал альбому 4,5 звезды.

Торрент перезалит 14.09.2011 в 19:55 - это новый рип с родного диска!

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Каталог "Document Records" (ссылки на альбомы)

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