Pink Anderson: Carolina Blues Man Volume I-1984 OBC Reissue 33RPM 12" LP
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Description
Used 1984 Original Blues Classics Reissue of Classic 1961 Bluesville Release by Piedmont Blues Guitarist/Country & Folk Vocalist Pink Anderson Entitled Carolina Blues Man Volume I, Notes and Recording by Samuel B. Charters, Pink Anderson Plays the Guitar & Sings Interpreting Standards of the Day Written by Big Joe Willams, Leroy Carr and Brownie McGhee Mixed with Variations of Traditional Compositions! - "A good-natured finger-picking guitarist, Anderson played for about 30 years as part of a medicine show. He did make a couple of sides for Columbia in the late '20s with Simmie Dooley, but otherwise didn't record until a 1950 session, the results of which were issued on a Riverside LP that also included tracks by Gary Davis. Anderson went on to make some albums on his own after the blues revival commenced in the early '60s, establishing him as a minor but worthy exponent of the Piedmont school, versed in blues, ragtime, and folk songs. Anderson also became an unusual footnote in rock history when Syd Barrett, a young man in Cambridge, England, combined Pink's first name with the first name of another obscure bluesman (Floyd Council) to name his rock group, Pink Floyd, in the mid-'60s." - "A vast majority of the known professional recordings of Piedmont blues legend Pink Anderson were documented during 1961, the notable exception being the platter he split with Rev. Gary Davis — Gospel, Blues and Street Songs — which was documented in the spring of 1950. This record is the first of three volumes that were cut for the Prestige Records subsidiary Bluesville. Carolina Blues Man finds Anderson performing solo — with his own acoustic guitar accompaniment — during a session cut on his home turf of Spartanburg, SC. Much — if not all — of the material Anderson plays has been filtered through and tempered by the unspoken blues edict of taking a familiar (read: traditional) standard and individualizing it enough to make it uniquely one's own creation. Anderson's approach is wholly inventive, as is the attention to detail in his vocal inflections, lyrical alterations, and, perhaps more importantly, Anderson's highly sophisticated implementation of tricky fretwork. His trademark style incorporates a combination of picking and strumming chords interchangeably. This nets Anderson an advanced, seemingly electronically enhanced sound. "Baby I'm Going Away" — with its walkin' blues rhythms — contains several notable examples of this technique, as does the introduction to "Every Day of the Week." The track also includes some of the most novel chord changes and progressions to be incorporated into the generally simple style of the street singer/minstrel tradition from which Pink Anderson participated in during the first half of the 20th Century. Listeners can practically hear Anderson crack a smile as he weaves an arid humor with overtly sexual connotations into his storytelling — especially evident on "Mama Where Did You Stay Last Night." Aficionados and most all students of the blues will inevitably consider this release an invaluable primer into the oft-overlooked southern East Coast Piedmont blues." - Selections on Side A Are Traditional Composition My Baby Left Me This Morning, the Big Joe Williams Classic Baby Please Don't Go, the Traditional Mama Where Did You Stay Last Night, Leroy Carr's Big House Blues & Brownie McGhee's Meet Me at the Bottom - Tracks for Side B Are Paul Carter's Weeping Willow Blues and Traditional Compositions Baby I'm Going Away, Thousand Woman Blues, I Had My Fun, Everyday in the Week - Used Copy, Cover Near Mint, Record Very Good++, Product Code OBC-504 - California Residents Add 9.75% Sales Tax - International S & H Extra -
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