Source: LL (from CD)
Released: 1992
Styles: Blues
Time: 44:49
Size: 103,4 MB
Covers: Full
(2:33) 1. Kill It Kid
(2:54) 2. The Razor Ball
(3:02) 3. Little Delia
(2:46) 4. Broke Down Engine Blues
(3:06) 5. Dying Crapshooter's Blues
(2:49) 6. Pinetop's Boogie Woogie
(2:46) 7. Blues Around Midnight
(2:49) 8. Last Dime Blues
(3:08) 9. On the Cooling Board
(2:56) 10. Motherless Children Have a Hard Time
(4:00) 11. I Got to Cross the River Jordan
(3:12) 12. You Got to Die
(2:39) 13. Ain't It Grand to Live a Christian
(3:22) 14. Pearly Gates
(2:40) 15. Soon This Morning
In 1949, a brief flurry of interest in old-timey country blues resulted in this 15-song session by Blind Willie McTell for the newly formed Atlantic Records. Only two songs, "Kill It Kid" and "Broke Down Engine Blues," were ever issued on a failed single, and the session was forgotten until almost 20 years later. McTell is mostly solo here, vividly captured on acoustic 12-string (his sometime partner Curley Weaver may have been present on some tracks), and in excellent form. The playing and the repertory are representative of McTell as he was at this point in his career, a blues veteran rolling through his paces without skipping a beat and quietly electrifying the listener. Songs include "Dying Crapshooter's Blues," "The Razor Ball," and "Ain't I Grand to Live a Christian." -- Allmusic.
In 1948, the year the tracks included on "Atlanta Telve String" were recorded, lone wolf bluesmen weren't exactly the hippest thing in music. Most of the blues records being released and sold during that time featured blues shouters and crooners backed up by horn or piano driven proto R&B combos. It is a minor miracle that the fledgeling Atlantic label chose to cut a session's worth of material by Blind Willie McTell. Astute businessmen who surely must have realized the limited marketbility of these tracks, the brothers Ehrtegun were clearly either fans of McTell's clasic 20's & 30's sides or were blown away by his audition and just couldn't pass up the opportunity to record him. At any rate, the performances cut during McTell's Atlantic session constitute some of the finest solo blues ever laid to wax. These tracks reflect McTell's highly individualistic style, which was neither entirely urban nor country, nor a product of any particular geographical region. Revelations from this session include his peformances of "Motherless Children," "You Got To Die," and several other gospel blues that betray McTell's musical debt to the equally idiosyncratic (and equally visually impaired)Texan Blind Willie Johnson. More representative of McTell's earlier work are the boisterous ragtime numbers "Kill It Kid" and "Razor Ball"-the only two performances form the session released as singles. The two best performances form the session, however are "Little Delia" and "Dying Crapshooter's Blues. Every performance on this disc features powerful, yet nuanced, singing and virtuoso guitar work. -- Amazon.
In 1948, the year the tracks included on "Atlanta Telve String" were recorded, lone wolf bluesmen weren't exactly the hippest thing in music. Most of the blues records being released and sold during that time featured blues shouters and crooners backed up by horn or piano driven proto R&B combos. It is a minor miracle that the fledgeling Atlantic label chose to cut a session's worth of material by Blind Willie McTell. Astute businessmen who surely must have realized the limited marketbility of these tracks, the brothers Ehrtegun were clearly either fans of McTell's clasic 20's & 30's sides or were blown away by his audition and just couldn't pass up the opportunity to record him. At any rate, the performances cut during McTell's Atlantic session constitute some of the finest solo blues ever laid to wax. These tracks reflect McTell's highly individualistic style, which was neither entirely urban nor country, nor a product of any particular geographical region. Revelations from this session include his peformances of "Motherless Children," "You Got To Die," and several other gospel blues that betray McTell's musical debt to the equally idiosyncratic (and equally visually impaired)Texan Blind Willie Johnson. More representative of McTell's earlier work are the boisterous ragtime numbers "Kill It Kid" and "Razor Ball"-the only two performances form the session released as singles. The two best performances form the session, however are "Little Delia" and "Dying Crapshooter's Blues. Every performance on this disc features powerful, yet nuanced, singing and virtuoso guitar work. -- Amazon.
Atlanta Twelve String
11 comments:
More great blues! I specially like when the bluesman takes risks
such as this one, all alone. Cheers again!
There's a wonderful video biography of McTell on You-Tube in which Ahmet Ehrtegun tells how he & Herb Abrahamson went to Atlanta. Walking downtown, they heard a blind singer playing for change. After listening for a while, Ahmet asked him if he'd heard of Blind Willie McTell, one of his blues favourites. The singer drew himself up & replied "I AM Blind Willie McTell" so they got him booked into a small studio to record him. The documentary also featured Ed Rhodes telling how he came to record McTell's last session in 1956. Very poignant interviews.
thanks for the comments! if you like blues music, it must have been wonderful to go to Chicago, Memphis, Atlanta, New Orleans and other cities in the 40s & 50s. Those Atlantic guys must have been very, very happy !!
One of the true giants which nobody ever reached! His early sides and the ones with Curley Weaver are also great.
Ramirez, please repost this jewel!!!
new link!
Please, re-up? Grateful;.
McTell, Blind Willie - 1949 Atlanta Twelve String 1991-320.7z
https://www68.zippyshare.com/v/hyYNvG3j/file.html
From Here.
thank you, Daba
f...ck i've missed it!
New Link!
McTell, Willie 'Blind' - 1949 Atlanta Twelve String 1991-320.7z
https://www40.zippyshare.com/v/zchMGbSx/file.html
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