1 	Highway 49 	3:47
2 	Overhaul Your Machine 	2:15
3 	Blues Left Texas 	3:19
4 	No. 13 Highway 	2:27
5 	Down In The Bottoms 	2:30
6 	Poor Beggar 	3:20
7 	That Thing's In Town 	3:45
8 	Walk On, Little Girl 	2:54
9 	Tiajuana Blues 	3:15
10 	45 Blues 	3:08
11 	Arkansas Woman 	3:09
12 	Four Corners Of The World 	4:10

Bass – Ransom Knowling 
Vocals, Guitar [9-string] – Big Joe Williams 

One of Big Joe Williams's better releases, Blues on Highway 49 is a tense, gritty set of roadhouse blues. Williams's stinging playing and singing brings out the best in such songs as "Tiajuna Blues" and "45 Blues" -- he shows exactly how Delta blues could be updated. ---Thom Owens, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back

A1 	Baby, Please Don't Go 	
A2 	Drop Down Mama 	
A3 	Mellow Peaches 	
A4 	No More Whiskey 	
A5 	Tailor Made Babe 	
A6 	Big Joe Talking 	
B1 	Some Day Baby 	
B2 	Good Morning Little Schoolgirl 	
B3 	Peach Orchard Mama 	
B4 	Juanita 	
B5 	Shetland Pony Blues 	
B6 	Omaha Blues

Guitar [Nine-string], Vocals – Big Joe Williams
Harmonica, Guitar – J. D. Short 

Between the boards of this album will be found the music and the personality of Joe Lee Williams, traveler, musician, vocalist, composer, lover of life, teller of tales and dealer in mysteries. When this album was first released in 1960 his exact whereabouts were unknown. On this album, his first as a leader, Joe played a battered six-string guitar with one of the tuning pegs damaged beyond repair.

He added a flange with four additional pegs to make his unique 9-stringed instrument. The important thing is that Joe knows where to find the notes he wants - and that he always seems to want the right one for the emotional content of the lyrics he happens to be singing. ---bear-family.com

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back

1 	–Big Joe Williams & His 9-String Guitar 	Delta Blues 	2:37
2 	–Big Joe Williams & His 9-String Guitar 	Mama Don't Allow Me 	2:37
3 	–Big Joe Williams & His 9-String Guitar 	She Left Me A Mule 	2:25
4 	–Big Joe Williams & His 9-String Guitar 	Bad Heart Blues 	2:39
5 	–Big Joe Williams & His 9-String Guitar 	Juanita 	2:30
6 	–Big Joe Williams & His 9-String Guitar 	Friends & Pals 	2:29
7 	–Big Joe Williams & His 9-String Guitar 	Over Hauling Blues 	2:40
8 	–Big Joe Williams & His 9-String Guitar 	Whistling Pines 	2:26
9 	–Luther Huff 	1951 Blues 	2:34
10 	–Luther Huff 	Dirty Disposition 	2:37
11 	–Luther Huff 	Bull Dog Blues 	2:43
12 	–Luther Huff 	Rosalee 	2:25
13 	–Willie Love & His Three Aces 	Everybody's Fishing 	2:14
14 	–Willie Love & His Three Aces 	My Own Boogie 	2:55
15 	–Willie Love & His Three Aces 	74 Blues 	2:54
16 	–Willie Love & His Three Aces 	Shady Lane Blues 	2:44
17 	–Willie Love & His Three Aces 	21 Minutes To Nine 	2:27
18 	–Willie Love & His Three Aces 	Vanity Dresser Boogie 	2:22

Bass – T.J. Green (3-8, 15-18)
Drums – Alex Wallace (13,14), 
Guitar - Elmore James (13,14), Joe Willie Wilkins (13,14), Little Milton Campbell (5-18), Luther Huff (9,10), Percy Huff (9-12)
Mandolin – Luther Huff (11,12)
Tenor Saxophone – Otis Green (13,14)
Vocals – Luther Huff (9-12)
Vocals, Guitar – Joe Lee William (1-8)
Vocals, Piano – Willie Love (13-18)
Backing Vocals – Elmore James (13), Joe Willie Wilkins (13)

Big Joe Williams and His 9-String Guitar
Tracks 1-2, Scott’s Radio Service, Jackson, Mississippi, 1951
Tracks 3-8, Cedars Of Lebanon Club, Jackson, Mississippi, 1951

Luther Huff
Tracks 9-12, Scott’s Radio Service, Jackson, Mississippi, 1951

Willie Love and His Three Aces
Tracks 13-14, Scott’s Radio Service, Jackson, Mississippi, 1951
Tracks 15-18, Musician’s Union Hall, Jackson, Mississippi, 1951

Great compilation from Jackson, Mississippi's Trumpet Records. Features early 50s sides by Big Joe Williams, wonderful acoustic duets by The Huff Brothers and the last recordings of original King Biscuit Boy Willie Love. A wonderful document. --- allmusic.com

This album features material by three very different performers: Big Joe Williams, Luther Huff, and Willie Love.

The Big Joe Williams tracks are solid Delta blues -- Joe is playing his amplified 9-string guitar, tuned to "Spanish" tuning, and for most of the tracks is unaccompanied (a few have him with a bassist). They are fine examples of Big Joe Williams' repetoire and style -- howling slide, booming bass polyrhythms, etc. These are the best pieces on here, the songs that make me rate this five stars.

Luther Huff was obscure amateur musician who played parties with his brother. The Huff brothers played in a style associated less with the Delta sound and more with the Jackson-area blues exemplified by Tommy Johnson. Their recordings are masterpieces of interplay between mandolin, guitar, and vocals.

Willie Love was a wonderful barrelhouse pianist and singer, whose best recordings are (in my opinion) found on the album "Clownin' With the Blues" which also features Sonnyboy Williamson (Alec Miller). But that doesn't mean the recordings on this album are bad. Noone could stomp out a boogie and shout slurred lyrics like Willie Love. He is backed up by a stellar electric band (Little Milton and Elmore James are in there). ---Ian Herrick, amazon.com

download (mp3 @192 kbs):

yandex 4shared mega mediafire uloz.to cloudmailru

back

1 Worried Man Blues 	2:38 	
2 Stepfather Blues 	3:05 	
3 Wild Cow Blues 	3:14 	
4 Somebody's Been Borrowing That Stuff 	3:03 	
5 Stack 'Dollars 		3:09 	
6 Providence Help The Poor People 	3:04 	
7 Brother James 	2:51 	
8 I Know You Gonna Miss Me 	2:59 	
9 Rootin' Ground Hog 	2:55 	
10 Baby Please Don't Go 	2:46 		play	
11 Highway 49 		3:11 	
12 Meet Me Around The Corner 	2:52 	
13 Peach Orchard Mama 	2:40 	
14 Crawlin' King Snake 	2:48 	
15 North Wind Blues 	2:53 	
16 Throw A Boogie Woogie 	2:41		play 	

Musicians:
Big Joe Williams – vocals, guitar
Henry Towsend – guitar
Robert Lee McCoy – guitar
Chasey Collins – fiddle
Alfred Elkins – bass
William Mitchell – bass
Sonny Boy Williamson – harmonica
Kokomo - Washboard

Recorded 1935-41

Big Joe Williams may have been the most cantankerous human being who ever walked the earth with guitar in hand. At the same time, he was an incredible blues musician: a gifted songwriter, a powerhouse vocalist, and an exceptionally idiosyncratic guitarist. Despite his deserved reputation as a fighter (documented in Michael Bloomfield's bizarre booklet Me and Big Joe), artists who knew him well treated him as a respected elder statesman. Even so, they may not have chosen to play with him, because -- as with other older Delta artists -- if you played with him you played by his rules.

As protégé David "Honeyboy" Edwards described him, Williams in his early Delta days was a walking musician who played work camps, jukes, store porches, streets, and alleys from New Orleans to Chicago. He recorded through five decades for Vocalion, OKeh, Paramount, Bluebird, Prestige, Delmark, and many others. According to Charlie Musselwhite, he and Big Joe kicked off the blues revival in Chicago in the '60s.

When appearing at Mike Bloomfield's "blues night" at The Fickle Pickle, Williams played an electric nine-string guitar through a small ramshackle amp with a pie plate nailed to it and a beer can dangling against that. When he played, everything rattled but Big Joe himself. The total effect of this incredible apparatus produced the most buzzing, sizzling, African-sounding music one would likely ever hear.

Anyone who wants to learn Delta blues must one day come to grips with the idea that the guitar is a drum as well as a melody-producing instrument. A continuous, African-derived musical tradition emphasizing percussive techniques on stringed instruments from the banjo to the guitar can be heard in the music of Delta stalwarts Charley Patton, Fred McDowell, and Bukka White. Each employed decidedly percussive techniques, beating on his box, knocking on the neck, snapping the strings, or adding buzzing or sizzling effects to augment the instrument's percussive potential. However, Big Joe Williams, more than any other major recording artist, embodied the concept of guitar-as-drum, bashing out an incredible series of riffs on his G-tuned nine-string for over 60 years. ---Barry Lee Pearson, Rovi

download:  uploaded anonfiles mega 4shared mixturecloud yandex mediafire ziddu

back

1.- Pretty Willie Done Me Wrong
2.- I Want to Know What My Baby's Puttin Down
3.- Tell Me Who's Been Tellin' You
4.- A Change Gotta Be Made
5.- My Baby Left Town
6.- Miss Emma Lou Blues
7.- My Baby Won't Be Back No More
8.- Turnroad Blues
9.- Same Old Rainey Day
10.- Pearly Mae Blues
11.- Keep-A-Walkin Little Girl
12.- I Won't Do That No More
13.- Quit Draggin'Bringin' My Baby Back Home
14.- Crazin' The Blues

Big Joe Williams - vocals, guitar

Rec. in Copenhagen March 20, 1972

Big Joe Williams may have been the most cantankerous human being who ever walked the earth with guitar in hand. At the same time, he was an incredible blues musician: a gifted songwriter, a powerhouse vocalist, and an exceptionally idiosyncratic guitarist. Despite his deserved reputation as a fighter (documented in Michael Bloomfield's bizarre booklet Me and Big Joe), artists who knew him well treated him as a respected elder statesman. Even so, they may not have chosen to play with him, because -- as with other older Delta artists -- if you played with him you played by his rules.

As protégé David "Honeyboy" Edwards described him, Williams in his early Delta days was a walking musician who played work camps, jukes, store porches, streets, and alleys from New Orleans to Chicago. He recorded through five decades for Vocalion, OKeh, Paramount, Bluebird, Prestige, Delmark, and many others. According to Charlie Musselwhite, he and Big Joe kicked off the blues revival in Chicago in the '60s.

When appearing at Mike Bloomfield's "blues night" at The Fickle Pickle, Williams played an electric nine-string guitar through a small ramshackle amp with a pie plate nailed to it and a beer can dangling against that. When he played, everything rattled but Big Joe himself. The total effect of this incredible apparatus produced the most buzzing, sizzling, African-sounding music one would likely ever hear.

Anyone who wants to learn Delta blues must one day come to grips with the idea that the guitar is a drum as well as a melody-producing instrument. A continuous, African-derived musical tradition emphasizing percussive techniques on stringed instruments from the banjo to the guitar can be heard in the music of Delta stalwarts Charley Patton, Fred McDowell, and Bukka White. Each employed decidedly percussive techniques, beating on his box, knocking on the neck, snapping the strings, or adding buzzing or sizzling effects to augment the instrument's percussive potential. However, Big Joe Williams, more than any other major recording artist, embodied the concept of guitar-as-drum, bashing out an incredible series of riffs on his G-tuned nine-string for over 60 years. --- Barry Lee Pearson, allmusic.com

download:  uploaded anonfiles mega 4shared mixturecloud yandex mediafire ziddu

back

A1 	Stepfather Blues 		
A2 	Baby Please Don't Go 		
A3 	Wild Cow Blues 		
A4 	I Know You Gonna Miss Me 		
A5 	Rootin' Ground Hog 		
A6 	Brother James 		
A7 	I Won't Be In Hard Luck No More 		
B1 	Crawlin' King Snake 		
B2 	I'm Getting Wild About Her 		
B3 	Peach Orchard Mama 		
B4 	Meet Me Around The Corner 		
B5 	Please Don't Go 		
B6 	Highway 49 		
B7 	Someday Baby 		
B8 	Break 'Em On Down

Personnel: 
Big Joe Williams (vocals, guitar)
Chasey Collins (fiddle) 
Sonny Boy Williamson (harmonica)
Alfred Elkins (bass)
Williams Mitchell (bass, imitation string)
Henry Townsend, Robert Lee McCoy (guitar)
Kokomo (washboard)

Big Joe Williams may have been the most cantankerous human being who ever walked the earth with guitar in hand. At the same time, he was an incredible blues musician: a gifted songwriter, a powerhouse vocalist, and an exceptionally idiosyncratic guitarist. Despite his deserved reputation as a fighter (documented in Michael Bloomfield's bizarre booklet Me and Big Joe), artists who knew him well treated him as a respected elder statesman. Even so, they may not have chosen to play with him, because -- as with other older Delta artists -- if you played with him you played by his rules.

As protégé David "Honeyboy" Edwards described him, Williams in his early Delta days was a walking musician who played work camps, jukes, store porches, streets, and alleys from New Orleans to Chicago. He recorded through five decades for Vocalion, OKeh, Paramount, Bluebird, Prestige, Delmark, and many others. According to Charlie Musselwhite, he and Big Joe kicked off the blues revival in Chicago in the '60s.

When appearing at Mike Bloomfield's "blues night" at The Fickle Pickle, Williams played an electric nine-string guitar through a small ramshackle amp with a pie plate nailed to it and a beer can dangling against that. When he played, everything rattled but Big Joe himself. The total effect of this incredible apparatus produced the most buzzing, sizzling, African-sounding music one would likely ever hear.

Anyone who wants to learn Delta blues must one day come to grips with the idea that the guitar is a drum as well as a melody-producing instrument. A continuous, African-derived musical tradition emphasizing percussive techniques on stringed instruments from the banjo to the guitar can be heard in the music of Delta stalwarts Charley Patton, Fred McDowell, and Bukka White. Each employed decidedly percussive techniques, beating on his box, knocking on the neck, snapping the strings, or adding buzzing or sizzling effects to augment the instrument's percussive potential. However, Big Joe Williams, more than any other major recording artist, embodied the concept of guitar-as-drum, bashing out an incredible series of riffs on his G-tuned nine-string for over 60 years. --- Barry Lee Pearson, Rovi

download

back

01 - 49 Highway Blues
02 - Little Leg Woman
03 - Providence Help The Poor People
04 - Stepfather Blues
05 - Baby Please Don't Go
06 - Stack O' Dollars
07 - Wild Cow Blues
08 - I Know You Gonna Miss Me
09 - Brother James
10 - Rootin' Ground Hog
11 - I Won't Be In Hard Luck No More
12 - Meet Me Around The Corner
13 - Crawlin' King Snake		play
14 - I'm Getting Wild About Her
15 - Peach Orchard Mama
16 - Please Don't Go
17 - Break 'em On Down		play
18 - Someday Baby
19 - His Spirit Lives On
20 - Vitamin A
21 - Somebody's Been Worryin'

Personnel:
Drums – Armand "Jump" Jackson 
Fiddle [One-string, Probably] – Old Tracy
Guitar – Robert Lee McCoy 
Guitar, Vocals – Joe Williams
Harmonica – John Lee "Sonny Boy" Williamson
Vocals [Bass Imitation] – Alfred Elkins, William Mitchell 
Washboard – Clifford Dinwiddie 
Washboard [Probably] – Chasey Collins 

Big Joe Williams (born Joseph Lee Williams, October 16, 1903 - December 17, 1982) was an American blues musician and songwriter, known for his characteristic style of guitar-playing, his nine-string guitar, and his bizarre, cantankerous personality. Born in Crawford, Mississippi, Williams performed frequently, wandering across the United States busking and playing stores, bars, alleys and work camps, as well as recording for Okeh, Bluebird Records, Delmark Records, Prestige Records and Vocalion. Big Joe’s guitar playing is decidedly in the Delta Blues style, and yet is unique. He played driving rhythm and virtuosic lead lines simultaneously, and sang over it all. He played with picks both on his thumb and index finger, plus his guitar was very heavily modified. Williams added a rudimentary electric pick-up, whose wires coiled all over the top of his guitar. He also added three extra strings, creating unison pairs for the first and second courses and an octave pair for the fourth course.

download:   4shared divshare

back

01 - Rollin' And Tumblin'		play
02 - Hellhound On My Trail
03 - Bird's Nest Bound
04 - Crossroads Blues
05 - Special Rider
06 - Pony Blues
07 - Pea Vine Special
08 - Walking Blues
09 - Dirt Road Blues
10 - Banty Rooster Blues
11 - Terraplane Blues			play
12 - Jinx Blues

Solo Performer: Big Joe Williams

Recorded in Chicago, July 29 and September 26, 1964.

Classic Delta Blues collects 12 cuts Big Joe Williams cut in 1964. For these recordings, he played a standard six-string guitars instead of hauling out his custom nine-string and the effects are pleasant, but not revelatory. ---Thom Owens

Like Robert Johnson, his Mississippi Delta contemporary, singer-guitarist Joseph Lee Williams was a fierce, wonderfully idiosyncratic country blues stylist. The composer of countless tunes, including the now-standard "Baby, Please Don't Go," Big Joe instead concentrated on personalized renditions of numbers associated with other Delta blues giants as Johnson, Charley Patton, and Skip James at this stunning 1964 session. What also makes it extraordinary is that he played a standard six-string guitar rather than the homemade nine-string model he favored during that period.

download:  uploaded anonfiles mega 4shared mixturecloud yandex mediafire ziddu

back

1. Tailor Made Baby - 1:49
2. Prison Bound Blues - 3:19
3. Dark Road Blues - 2:23
4. Delta Blues - 3:54
5. Lord Have Mercy - 1:47			play
6. Don't Your House Look Lonesome - 2:45
7. Deal'em On Down - 2:34		
8. Snitchin' Blues - 3:07
9. Lonesome Train Blues - 5:04
10. No More Whiskey - 2:19			play
11. Liza Jane Blues - 1:59
12. Somebody's Been Borrowin' That Heavy Stuffo' Mine - 2:53
13. Jesus Gonna Make Up My Dyin'Bed - 1:28
14. Texas Blues - 2:48
15. When I Lay My Burden Down - 1:30

Personnel:
Big Joe Williams - Guitars, Dobro, Vocals
Lydia Carter - Vocals tr.12,13,15
Cooper Terry - Harmonica tr.14

This is fields recordings taped by German blues researcher - Axel Kustner. The unique percussive Delta blues of Big Joe Williams is captured from sessions recorded in 1973, 1977, 1978, and 1980. The 15 tracks feature Williams on dobro, six-string guitar, and his patented nine-string guitar. While the majority of the disc is mainly Big Joe Williams solos, it also includes Lydia Carter contributing vocals on 'Somebody's Been Borrowin' That Heavy Stuff o' Mine,' 'Jesus Gonna Make up My Dyin' Bed,' and 'When I Lay My Burden Down,' and Cooper Terry's harmonica on 'Texas Blues. All tracks were recorded in Crawford, MS, except 'Don't Your House Look Lonesome' and 'Texas Blues,' which were recorded in Berlin.~~ by Al Campbell. ---Al Campbell

Big Joe Williams may have been the most cantankerous human being who ever walked the earth with guitar in hand. At the same time, he was an incredible blues musician: a gifted songwriter, a powerhouse vocalist, and an exceptional idiosyncratic guitarist. Despite his deserved reputation as a fighter (documented in Michael Bloomfield's bizarre booklet Me and Big Joe), artists who knew him well treated him as a respected elder statesman. Even so, they may not have chosen to play with him, because -- as with other older Delta artists -- if you played with him you played by his rules.

As protégé David "Honeyboy" Edwards described him, Williams in his early Delta days was a walking musician who played work camps, jukes, store porches, streets, and alleys from New Orleans to Chicago. He recorded through five decades for Vocalion, Okeh, Paramount, Bluebird, Prestige, Delmark, and many others. As a youngster, I met him in Delmark owner Bob Koester's store, the Jazz Record Mart. At the time, Big Joe was living there when not on his constant travels. According to Charlie Musselwhite, he and Big Joe kicked off the blues revival in Chicago in the '60s.

When I saw him playing at Mike Bloomfield's "blues night" at the Fickle Pickle, Williams was playing an electric nine-string guitar through a small ramshackle amp with a pie plate nailed to it and a beer can dangling against that. When he played, everything rattled but Big Joe himself. The total effect of this incredible apparatus produced the most buzzing, sizzling, African-sounding music I have ever heard.

Anyone who wants to learn Delta blues must one day come to grips with the idea that the guitar is a drum as well as a melody-producing instrument. A continuous, African-derived musical tradition emphasizing percussive techniques on stringed instruments from the banjo to the guitar can be heard in the music of Delta stalwarts Charley Patton, Fred McDowell, and Bukka White. Each employed decidedly percussive techniques, beating on his box, knocking on the neck, snapping the strings, or adding buzzing or sizzling effects to augment the instrument's percussive potential. However, Big Joe Williams, more than any other major recording artist, embodied the concept of guitar-as-drum, bashing out an incredible series of riffs on his G-tuned nine-string for over 60 years. --- Barry Lee Pearson

download:  uploaded anonfiles mega 4shared mixturecloud yandex mediafire ziddu

back

1.	Stavin' Chain Blues	
2.	Roll and Tumble - (previously unreleased)	
3.	Mean Stepfather	
4.	You Got to Help Me Some	
5.	You're Gonna Need King Jesus - (previously unreleased, alternate take)
6.	Jumpin' in the Moonlight - (TRUE instrumental)	
7.	Rocks and Gravel - (previously unreleased)	
8.	Sweet Old Kokomo	       play
9.	Nobody Knows Chicago          play	
10.	Gonna Check Up on My Baby	
11.	You're Gonna Need King Jesus	
12.	Rambled and Wandered	
13.	Going Back to Crawford, Miss.	
14.	Stavin' Chain Blues - (previously unreleased, alternate take, alternate)	
15.	J.D. Talks

Personnel: 
Big Joe Williams (vocals, guitar); 
J.D. Short (vocals, guitar, harmonica).

A CD reissue of 1958 recordings, it includes four previously unreleased tracks. This is raw but beautiful country-blues, featuring the otherworldly sound of Big Joe's nine-string guitar. --- Niles J. Frantz, All Music Guide

download:  uploaded anonfiles mega 4shared mixturecloud yandex mediafire ziddu

back