01. Ark of the Covenant
02. No Peace for the Wicked
03. Heathen Rage
04. Sweatshop
05. In the Morning
06. Fire Go Come
07. Walter Rodney Intro
08. Walter Rodney
09. Afrique (Chez Moi)
10. Cleanliness
11. Plantation Town
12. You Never Know
13. Keep Your Culture

Corey Harris - Composer, Guitar, Guitar (Acoustic), Vocals, Vocals (Background)
Victor Axelrod - Shaker, Tambourine
Cheick Hamala Diabate - Vocals
Michael Goldwasser - Arranger, Cabasa, Guitar, Guitars, Melodica, Shaker, Wood Block
Kenny Kosek - Fiddle
Victor Rice - Bass, Organ
Jeff Romano - Harmonica
Houston Ross - Bass
Stephen Samuels - Bass

Corey Harris has spent his career digging for roots, looking for the links that bind his beloved blues with African music and other tributaries of black music, including old-time jazz and R&B. On the brilliant 2003 Mississippi to Mali, Harris took his recording equipment to the field in those two seemingly far-apart locales, and discovered they were closer than you might think. Before that, on 1999's Greens from the Garden, he found common threads between the blues of the Delta and the many variations of Americana that Louisiana has to offer. For Zion Crossroads, Harris turns his attention to reggae -- real roots reggae, not the often unrecognizable spinoffs that pass for it today. At times, Zion Crossroads is virtually indistinguishable from the righteous, spiritually motivated, Rasta-centered reggae that first emerged from Jamaica in the early '70s. Harris' songs here deal with the issues that concerned the pioneers like Bob Marley, Burning Spear, and Black Uhuru, when reggae was vital to the Rastafarian existence, not just another exotic rhythm on the dancefloor. In "Sweatshop," Harris laments the deplorable conditions under which so many still labor today: "All day on your feet just to make ends meet/So hot it burn your skin, tell you it's a grievous sin." "No Peace for the Wicked," which features Ranking Joe guesting on DJ vocals, is a song of encouragement in light of oppression, and the uptempo "Keep Your Culture" is self-explanatory, asking blacks, simply, "If not you, then who?" Harris uses standard roots reggae instrumentation for most of the album -- guitars, keyboards, horns, drums -- but one of the more interesting diversions takes place on the two-part "Walter Rodney." A tribute to the Guyanese political activist killed by a bomb while running for office in 1980, the song adds the African ngoni, played by Cheick Hamala Diabaté, tying it to Harris' African-themed recordings. And "Plantation Town" has nothing at all to do with reggae -- it's a nearly traditional country tune, complete with fiddle. It may not sound like anything else on the record, but its condemnation of slavery is very much in keeping with Harris' wakeup call for unity and harmony in a world that needs it more than ever. --- Jeff Tamarkin, AllMusic Review

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01 – Crying Blues [00:03:04]
02 – Underground [00:02:33]
03 – J. Gilly Blues [00:02:17]
04 – Black Woman Gates [00:02:39]
05 – Tallahatchie [00:03:52]
06 – Fulton Blues [00:02:45]
07 – Devil Got My Woman [00:04:00]
08 – House Negro Blues [00:04:32]
09 – Black Rag [00:01:59]
10 – Catfish Blues [00:03:57]
11 – That Will Never Happen No More [00:02:51]
12 – Lynch Blues [00:03:26]
13 – Maggie Walker Blues [00:03:10]
14 – Fat Duck’s Groove [00:03:40]

A new album by bluesman Corey Harris pays tribute to one Southern neighborhood with a particularly haunted past.

Fulton Blues is named for a district in Richmond, Va., that was once home to a large number of the city's middle class African-American families. But by the 1960s, Fulton had fallen on hard times. Its scenic views of the James River and easy access to downtown made it a target for "urban renewal," as it was euphemistically called in the Virginia Statehouse. The residents of Fulton were evicted and the neighborhood was razed. When Harris moved to Richmond a few years ago, he began to learn about its history and set to work on writing his latest collection.

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1. Roots Woman - 2:50
2. Pony Blues - 2:42
3. Keep Your Lamp Trimmed And Burning - 2:54
4. Early In The Morning - 2:13
5. Feel Like Going Home - 4:32
6. I'm A Rattlesnakin' Daddy - 2:20
7. Between Midnight And Day - 3:34
8. Bukka's Jitterbug Swing - 2:01
9. Going To Brownsville - 5:01
10. Write Me A Few Lines - 2:08
11. She Moves Me - 2:10
12. Bound To Miss Me - 3:38
13. 61 Highway - 4:48
14. Catfish Blues - 2:40
15. I Ain't Gonna Be Worried No More - 2:52
16. It Hurts Me Too - 3:20

Personnel:
Corey Harris - Guitar, Vocal

An astonishingly good record, covering a multitude of Delta-based styles and songs from Charley Patton to Muddy Waters, as well as a few originals. It's just Harris and his acoustic guitar, some dazzling finger work and a voice that's about as good as you're going to hear from anyone doing blues and still walking around at the end of the 20th century. The material alternately surges and broods, and once in a while does both at the same time, and it's all worth hearing. ---Bruce Eder, Rovi

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1. High Fever Blues - 3:11
2. Frankie and Johnnie - 2:55
3. Berry Owens Blues - 2:49
4. Take Be Back - 2:19
5. Fish Ain't Bitin' - 3:28
6. Preaching Blues - 4:57
7. Bumble Bee Blues - 4:03
8. God Don't Ever Change - 2:07
9. 5-O Blues - 4:52
10. Mama Got Worried - 2:59
11. Worried Life Blues - 2:59
12. High Fever Blues - 4:06
13. Jack O'Diamonds - 2:38
14. If You Leave Me - 2:18
15. Moosemilk Blues - 3:17
16. You Got to Move - 3:48
17. Clean Rag - 2:21

Personnel:
Corey Harris - Guitar, Vocals
Keith 'Wolf' Anderson - Trombone
Charles Johnson - Trombone
Anthony ' Tuba Fats' Lacen - Tuba
Chris Severin - Bass
Harry 'Point Man' M. Dennis, Jr. – Percussion

Corey Harris' second outing for Alligator shows that he's no one-album flash in the pan, with this sophomore effort moving his modern-day acoustic Delta blues vision into even broader territory with delightful results. While his debut effort illustrated Harris' absolute mastery of older Delta styles, both instrumentally and vocally, Fish Ain't Bitin' charts new terrain using that first album as a stylistic building block. The big news here is that over half of the 17 songs are from Corey's own pen and compositions like "High Fever Blues" (heard here in two versions), "5-0 Blues," "Berry Owen Blues," and "If You Leave Me" show that he's more than adept in wedding contemporary influences to his down-home country sound. Adding to that are his takes on Son House's "Preaching Blues," Memphis Minnie's "Bumble Bee Blues," Big Maceo's "Worried Life Blues" and Blind Lemon Jefferson's "Jack O'Diamonds," all of them rendered in the proper spirit and context and all of them sounding nothing like the originals -- a tough feat to pull off, but one that Harris does with consummate ease, imbuing these warhorses with the stamp of his personality. Several tracks also feature a trombone and tuba or string bass working in tandem with Corey's National steel-bodied guitar, making a Mississippi-New Orleans musical connection that sounds perfectly natural. No sophomore jinx here, as Corey Harris has turned in one great little album that examines the music's past while looking forward to the future for more input. ---Cub Koda, Rovi

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01. Coahoma 
02. Big Road Blues 
03. Special Rider Blues
04. Tamalah 
05. Back Atcha 
06. Rokie
07. La Chanson Des Bozos 
08. Mr. Turner 
09. Cypress Grove 
10. Station Blues	 
11. 44 Blues
12. Njarka	 
13. Charlene 
14. Catfish Blues
15. Dark Was The Night, Cold Was The Ground

Personnel: 
Corey Harris (vocals, guitar); 
Ali Farka Toure (vocals, guitar, njarka); 
Ali Magassa (guitar, background vocals); 
Sharde Thomas (fife, background vocals); 
Bobby Rush (harmonica); 
Sam Carr (drums); 
Darrell Rose (djembe, sabar lam, bougrabou); 
Souleyman Kane (percussion, background vocals); 
Rising Star Fife & Drum Band.

Corey Harris is adept at combining contemporary sensibilities with traditional country blues forms in a manner so natural that the cracks and fissures between now and then never seem to show, an accomplishment he expands on Mississippi to Mali to include two continents. Again, the music flows so naturally that the bridges and welds that join the African and African-American traditions on this record are never obvious, creating a seamless, wonderful album. The tracks were recorded live in the field, an approach that strengthens the intimate feel here, and there are numerous high points, including Africanized versions of Skip James' "Cypress Grove Blues" and Robert Petway's "Catfish Blues" that open new dimensions in each song without altering its original intent and tone. A version of "Sitting on Top of the World" (called "Station Blues" here) with the Rising Star Fife and Drum Band, and featuring Shardé Thomas, the 12-year-old granddaughter of Othar Turner, is a particular delight in its ramshackle exuberance. Mississippi to Mali closes with a credible and moving take on Blind Willie Johnson's "Dark Was the Night, Cold Was the Ground" that spotlights Harris' considerable acoustic slide skills. This is another fine album from a player whose reverence for the blues doesn't keep him from instilling the form with both joy and innovation. ---Steve Leggett, allmusic.com

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1.  Let 'Em Roll (4:17)
2.  If I Was Your Man (4:39)
3.  Sugar Daddy (2:39)
4.  There's No Substitute For Love(4:13)
5.  King Cotton (4:02)
6.  Mulberry Row (3:34)
7.  Down Home Livin' (3:45)
8.  Voodoo Man (3:56)
9.  Song Of The Pipelayer (3:32)
10.  If You Let A Man Kick You Once (4:13)
11.  L'esprit De James (3:13)
12.  Shake What Your Mama Gave You (3:23)
13.  Didn't My Lord Deliver Daniel? (2:31)
14.  What Man Have Done (4:01)
15.  Why Don't You Live So God Can Use Your? (2:11)

Henry Butler - Piano, Vocals
Corey Harris - Guitar, Vocals

This collaboration is the first full-length release from like-minded bluesmen guitarist Corey Harris and pianist Henry Butler. Although they had previously played together on live dates, the only other time they appear on CD is on Harris' Greens From the Garden. These 15 tracks cover more ground than the mere term "blues" implies. The duo recalls not only the best of traditional piano/guitar music of the '20s and '30s, but also New Orleans soul, barrelhouse, ragtime, and Delta blues. To their credit, Harris and Butler have the ability to bring these traditions into a modern context while retaining the soul that some modern blues recordings lack. Not only are duet settings heard but a few solo spots are featured. The playing is phenomenal, which shouldn't overshadow the emotional vocal performances, including the a cappella gospel on "Why Don't You Live So God Can Use You?" that closes out this highly recommended disc. ---Al Campbell, Rovi

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1 Introduction to the green 
2 Basehead 
3 Honeysuckle 
4 Tapado 
5 Eh la bas 
6 Interlude 
7 Wild west 
8 In the kitchen with Momma 
9 Sweet black angel 
10 Pas parlez 
11 Interlude 
12 Lynch blues 
13 Greens back in the day 
14 Congo square rag 
15 Diddy wah diddy 
16 Ites 
17 Just a closer walk with thee 
18 Nola rag 
19 Epilogue 
20 Bonus Track: Teabag blues

Corey Harris - Lap Steel Guitar, National Steel Guitar, Producer, Vocals
Billy Bragg - Vocals (Background)
Victor Brown - Bass
Henry Butler - Piano
John Gilmore - Drums
Tracy Griffin - 	Trumpet
Craig Klein - Tuba
Mr. Greenjeans - Vocals (Background)
Mark Mullins - Trombone
Herlin Riley - Washboard
Michael Ward - Violin

Greens from the Garden is nothing short of a tour de force for Corey Harris. Progressing from the solo acoustic blues of Between Midnight and Day and the stripped Dixie influence of Fish Ain't Bitin', Harris' third album is a mixture of 20th century Americana that hits home runs in every genre in which it comes to bat. The diversity of styles in Greens from the Garden is reminiscent of Ry Cooder's Paradise and Lunch, in which the musician's personality is the glue holding all the styles together. Harris commits himself to the spirit of the songs here; despite his versatility, he never comes off as a dilettante, but rather a devoted auteur. Harris' New Orleans roots are deepened and widened, with affecting forays into French-sung Cajun waltz, "Pas Parlez" and several funk excursions worthy of the Neville Brothers and the Meters (in "Wild West" and "Honeysuckle"). Most startling is how well Harris' modern lyrical outlook fuses with 20th century traditional styles; by trusting in the integrity of the music, he's able to steer the listener toward the spiritual sides of topical arguments in "Basehead" and "Lynch Blues" without once resorting to preaching or heavy-handedness. Greens from the Garden's covers are just as satisfying, with a Delta reworking of "Diddy Wah Diddy" (a song that's also on Cooder's Paradise and Lunch) and a reggae restructuring of "Just a Closer Walk with Thee." Billy Bragg guests on "Teabag Blues," a Woody Guthrie lyric for which Harris wrote the music -- a byproduct of Bragg's and Wilco's Mermaid Avenue sessions on which Harris guested. A tremendous journey that redefines the rules of revivalism. --- Paul Pearson, Rovi

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