Trouble In Mind (CD) ~ Big Bill Broonzy (Artist) Cover Art

Trouble in Mind

By: Big Bill Broonzy

Provider: Amazon US
Availability: Download available
Also Available in: [CD]

Track Listing

MP3 Downloads Album                 
DISC 1 for Trouble in Mind Album By Big Bill Broonzy iTunes
1   Hey, Hey Baby Buy Buy
2   Frankie and Johnny Buy Buy
3   Trouble in Mind Buy Buy
4   Joe Turner, No. 2 (Blues of 1890) Buy Buy
5   Mule-Ridin' Blues Buy Buy
6   When Will I Get to Be Called a Man? Buy Buy
7   Poor Bill Blues Buy Buy
8   Key to the Highway Buy Buy
9   Plough-Hand Blues Buy Buy
10   Digging My Potatoes Buy Buy
11   When Things Go Wrong (It Hurts Me Too) Buy Buy
12   C.C. Rider Buy Buy
13   Saturday Evening Blues Buy Buy
14   Shuffle Rag Buy Buy
15   Southbound Train Buy Buy
16   Hush, Somebody's Calling Me Buy Buy
17   Louise Buy Buy
18   Black, Brown and White (intro) Buy Buy
19   Black, Brown and White Buy Buy
20   Willie Mae Blues Buy Buy
21   This Train (intro) Buy Buy
22   This Train (Bound for Glory) Buy Buy
23   In the Evening When the Sun Goes Down (intro) Buy Buy
24   In the Evening When the Sun Goes Down Buy Buy

Product Description

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Album Description

Acoustic blues guitarist Big Bill Broonzy late in his long career -- troubled in mind and outspoken in song. With controversial topical songs, rural blues and spirituals, this CD showcases brilliant vocals and intricate solo guitar work. Includes live radio and concert recordings plus the best of Broonzy's 1950s Folkways recordings -- including his classic "Key to the Highway." 36 page booklet, extensive notes, photos, and lyrics. 73 minutes. Reissue compiled and annotated by Jeff Place and Anthony Seeger

Product Notes

Mississippi-born blues singer and guitarist William Lee Conley Broonzy had two fairly distinct careers, each of them triumphant and influential. In the 1930s, he brought the rural blues of his Delta homeland to Chicago and added elements of jazz and hokum to create a more sophisticated, urbane, exciting style, essentially helping to pave the way for the Chicago blues sound. By the 1950s, when the electric Chicago sound he helped foster began to blossom, Broonzy had all but left that style behind. Instead, he began to perform traditional folk songs (and the occasional topical original) with only his voice and acoustic guitar and he became a key figure in the burgeoning folk boom. This highly appealing set comes from the latter period and finds him to be a scintillating and smooth vocalist, one capable of generating great emotion without losing his polish. His guitar work is subtly brilliant as well, a silky blend of single-note runs, forceful bends, tricky double stops, and articulate chords. It all comes together in effortless, unassuming fashion. --Marc Greilsamer

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