Roots of It All Acoustic Blues Vol. 1/ Various - Roots of It All Acoustic Blues Vol. 1
In addition to well-known names such as Blind Lemon Jefferson, Tommy Johnson, Charley Patton, Son House, Robert Johnson and Bukka White discover obscure bluesmen like Rube Lacy, Little Hat Jones uva August 10, 1920, a crucial for the future of the blues day. Back then took Mamie Smith, accompanied by romantic piano music and jazzy horns, their seminal Crazy Blues for Okeh Records on. Your glamorous dealing with the music based on the tradition of vaudeville. The next big trend in the Blues came a little later and turned to blues players, of which almost all came from the rural South and the tradition of the slave songs and work songs. Some truly virtuosic playing on their instruments. With each published shellac plate designed Lonnie Johnson, Blind Willie McTell, Blind Blake and Skip James dominated by guitars future of the genre. With the help of slides or bottleneck they doubled the volume of their guitars and procured so even in the evil-sounding noise of a rural pub ear. They produced a liquid, howling sound on their acoustic devices or pounded with all his chords in the strings. Better known musicians could afford with metal body, which sounded much louder than normal guitar the glittering 'National' guitars. After it's discovery in Texas in 1925 or 1926 had Blind Lemon Jefferson incredible success within the African-American population, thus emphasizing the commercial potential of the rural blues of the South. By crushing poverty of the Depression in the early thirties of the first boom of Blue recordings came to an unforeseen end. But the first two decades in the history of Blue recordings remain a gold mine with great examples of acoustic blues. This compilation provides a wonderful cross-section of the best shots.
In addition to well-known names such as Blind Lemon Jefferson, Tommy Johnson, Charley Patton, Son House, Robert Johnson and Bukka White discover obscure bluesmen like Rube Lacy, Little Hat Jones uva August 10, 1920, a crucial for the future of the blues day. Back then took Mamie Smith, accompanied by romantic piano music and jazzy horns, their seminal Crazy Blues for Okeh Records on. Your glamorous dealing with the music based on the tradition of vaudeville. The next big trend in the Blues came a little later and turned to blues players, of which almost all came from the rural South and the tradition of the slave songs and work songs. Some truly virtuosic playing on their instruments. With each published shellac plate designed Lonnie Johnson, Blind Willie McTell, Blind Blake and Skip James dominated by guitars future of the genre. With the help of slides or bottleneck they doubled the volume of their guitars and procured so even in the evil-sounding noise of a rural pub ear. They produced a liquid, howling sound on their acoustic devices or pounded with all his chords in the strings. Better known musicians could afford with metal body, which sounded much louder than normal guitar the glittering 'National' guitars. After it's discovery in Texas in 1925 or 1926 had Blind Lemon Jefferson incredible success within the African-American population, thus emphasizing the commercial potential of the rural blues of the South. By crushing poverty of the Depression in the early thirties of the first boom of Blue recordings came to an unforeseen end. But the first two decades in the history of Blue recordings remain a gold mine with great examples of acoustic blues. This compilation provides a wonderful cross-section of the best shots.
Original: $33.99
-65%$33.99
$11.90Description
In addition to well-known names such as Blind Lemon Jefferson, Tommy Johnson, Charley Patton, Son House, Robert Johnson and Bukka White discover obscure bluesmen like Rube Lacy, Little Hat Jones uva August 10, 1920, a crucial for the future of the blues day. Back then took Mamie Smith, accompanied by romantic piano music and jazzy horns, their seminal Crazy Blues for Okeh Records on. Your glamorous dealing with the music based on the tradition of vaudeville. The next big trend in the Blues came a little later and turned to blues players, of which almost all came from the rural South and the tradition of the slave songs and work songs. Some truly virtuosic playing on their instruments. With each published shellac plate designed Lonnie Johnson, Blind Willie McTell, Blind Blake and Skip James dominated by guitars future of the genre. With the help of slides or bottleneck they doubled the volume of their guitars and procured so even in the evil-sounding noise of a rural pub ear. They produced a liquid, howling sound on their acoustic devices or pounded with all his chords in the strings. Better known musicians could afford with metal body, which sounded much louder than normal guitar the glittering 'National' guitars. After it's discovery in Texas in 1925 or 1926 had Blind Lemon Jefferson incredible success within the African-American population, thus emphasizing the commercial potential of the rural blues of the South. By crushing poverty of the Depression in the early thirties of the first boom of Blue recordings came to an unforeseen end. But the first two decades in the history of Blue recordings remain a gold mine with great examples of acoustic blues. This compilation provides a wonderful cross-section of the best shots.