Source: LL (from CD)
Released: 1990
Styles: Blues
Time: 57:17
Size: 132,1 MB
Covers: Full
(2:47) 1. I Can't Be Satisfied
(2:49) 2. Long Tall Mama
(3:06) 3. Worrying You Off My Mind, Pt. 1
(2:53) 4. Too Too Train Blues
(3:01) 5. Come Home Early
(2:45) 6. Hattie Blues
(2:55) 7. I Want My Hands on It
(3:00) 8. Made A Date With An Angel
(3:12) 9. Horny Frog
(2:28) 10. I Believe I'll Go Back Home
(2:32) 11. Good Time Tonight
(2:59) 12. Flat Foot Susie with Her Flat Yes Yes
(2:50) 13. W.P.A. Rag
(2:52) 14. Going Back to Arkansas
(2:56) 15. It's a Low Down Dirty Shame
(2:37) 16. Too Many Drivers
(2:57) 17. Woodie Woodie
(2:54) 18. Whiskey and Good Time Blues
(2:43) 19. Merry-Go-Round Blues
(2:50) 20. You've Got to Hit the Right Lick
If you're following the 30-plus year career of Bill Broonzy and already have the two early compilations available on Yazoo, here's where you go next. These are basically ensemble works covering the time frame between 1930 to 1940 and Broonzy sounds very comfortable in the company of Blind John Davis and Joshua Altheimer. The 20 tracks compiled here (culled from various Vocalion, ARC and Columbia sessions) sound pretty great, benefitting mightily from modern sound restoration devices. -- Allmusic.
The recordings in this collection present a picture of Big Bill Broonzy during the 1930s and 1940s. Three selections are solo performances, much more rural in approach and flavor than the small group recordings that follow. The latter is musical typical of Southside Chicago during this time. Although not always blessed with great trumpet or clarinet players, the songs are nevertheless always of interest because of Bill's poetry and though in many instances it is a struggle, his talent generally triumphs over the aforementioned considerably-less-than-great instrumentalists. At any rate, it is all Big Bill Broonzy and to this little else need be added.
The recordings in this collection present a picture of Big Bill Broonzy during the 1930s and 1940s. Three selections are solo performances, much more rural in approach and flavor than the small group recordings that follow. The latter is musical typical of Southside Chicago during this time. Although not always blessed with great trumpet or clarinet players, the songs are nevertheless always of interest because of Bill's poetry and though in many instances it is a struggle, his talent generally triumphs over the aforementioned considerably-less-than-great instrumentalists. At any rate, it is all Big Bill Broonzy and to this little else need be added.
Good Time Tonight
Good Time Tonight artwork
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