Avalon Blues: The Complete 1928 OKeh Recordings (CD) ~ Mississip... Cover Art

Avalon Blues: The Complete 1928 OKeh Recordings (CD)

By: Mississippi John Hurt (Artist)

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Mississippi John Hurt Artist Snapshot:

The warm, amiable sound of Mississippi John Hurt is one of the earliest and most powerful influences in country blues. The organic ease of his singing belied an innovative level of craft along with an astounding fingerpicking guitar technique. Born in 1893, Hurt began performing in the early 1900s, and made some seminal recordings for Okeh in 1928. Subsequently, he traded in the musician's life for farm work until his rediscovery in the early '60s, whereupon he made a series of excellent new recordings and achieved great renown for his rural folk/country style.

Product Description

Track Listing

DISC 1 for Avalon Blues: The Complete 1928 OKeh Recordings (CD) Album By Mississippi John Hurt (Artist)
1   Frankie  
2   Nobody's Dirty Business  
3   Ain't No Tellin'  
4   Louis Collins  
5   Avalon Blues  
6   Big Leg Blues  
7   Stack O' Lee Blues  
8   Candy Man Blues  
9   Got the Blues Can't Be Satisfied  
10   Blessed Be the Name  
11   Praying on the Old Camp Ground  
12   Blue Harvest Blues  
13   Spike Driver Blues  
 

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Review

Musician (2/97, p.127) - "...stunningly beautiful recordings, at once rooted in the blues of the Mississippi delta where Hurt lived and completely apart from it due to Hurt's syncopated guitar style and favoring of minstrel melodies..."

Title Note

All tracks have been digitally remastered.

Although Mississippi John Hurt made his best-known recordings in the 1960s after being rediscovered during the collegiate folk and blues revival, his original 1928 recordings remain his finest work. In contrast to Robert Johnson's hellhound mythology or Bo Carter's salacious hokum, Mississippi John Hurt's original output, as collected on AVALON BLUES: THE COMPLETE 1928 OKEH RECORDINGS, is the gentle day to the perpetual night that over-romanticizing blues historians tend to emphasize.

Hurt wasn't much of a singer even by the non-technical standards of blues, tending to sing in the quiet, thin voice of a man who doesn't know or care if others can hear him or not. It's an endearingly genial voice almost entirely lacking in the familiar swagger most people tend to associate with blues singers. Of course, it was as a guitarist that Hurt truly shone, though--largely self-taught and not part of a specific local style, Hurt developed an idiosyncratic but relaxed method that influenced generations of guitarists, most obviously John Fahey and Leo Kottke.

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