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Charlie Patton Complete Recordings (5-CD Box)

Complete Recordings (5-CD Box)
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  • CDJSP7702
  • 0.5
(1929-34) (285:31/92) Fünf Einzel-CDs im Schuber. Die Tonqualität ist gut. mehr

Charlie Patton: Complete Recordings (5-CD Box)

(1929-34) (285:31/92) Fünf Einzel-CDs im Schuber. Die Tonqualität ist gut.

Artikeleigenschaften von Charlie Patton: Complete Recordings (5-CD Box)

  • Interpret: Charlie Patton

  • Albumtitel: Complete Recordings (5-CD Box)

  • Label JSP

  • Genre Blues

  • Artikelart CD

  • EAN: 0788065770228

  • Gewicht in Kg: 0.5
Patton, Charlie - Complete Recordings (5-CD Box) CD 1
01 Pony Blues
02 A Spoonful Blues
03 Down The Dirt Road Blues
04 Prayer Of Death (part 1)
05 Prayer Of Death (part 2)
06 Screamin' And Hollerin' The Blues
07 Banty Rooster Blues
08 Tom Rushen Blues
09 It Won't Be Long
10 Shake It And Break It (But Don't Let It Fall)
11 Pea Vine Blues
12 Mississippi Boll Weevil Blues
13 Lord, I'm Discouraged
14 I'm Goin' Home
15 Snatch It And Grab It
16 A Rag Blues
17 How Come Mama Blues
18 Voice Throwin' Blues
19 Hammer Blues (take 1)
20 I Shall Not Be Moved
21 High Water Everywhere (part 1)
22 High Water Everywhere (part 2)
23 I Shall Not Be Moved (alt.)
24 Rattlesnake Blues
25 Going To Move To Alabama
26 Hammer Blues (take 2)
27 Joe Kirby
28 Frankie And Albert
29 Magnolia Blues
30 Devil Sent The Rain
31 Runnin' Wild Blues
32 Some Happy Day
33 Mean Black Moan
34 Green River Blues
35 That's My Man
36 Honey Dripper Blues #2
37 Eight Hour Woman
38 Nickel's Worth Of Liver Blues #2
39 Some Of These Days I'll Be Gone
40 Elder Green Blues (take 1)
41 Jim Lee (part 1)
42 Jim Lee (part 2)
43 Mean Black Cat Blues
44 Jesus Is A-Dying (Bed Maker)
45 Elder Green Blues (take 2)
46 When Your Way Gets Dark
47 Some Of These Days I'll Be Gone (take 2)
48 Heart Like Railwood Steel
49 Circle Round The Moon
50 You're Gonna Need Somebody When You Die
51 Be True, Be True Blues
52 Farrell Blues
53 Tell Me Man Blues
54 Come Back Corrina
55 Some Summer Day
56 Bird Nest Bound
57 Future Blues
58 M & O Blues
59 Walkin' Blues
60 My Black Mama (part 1)
61 My Black Mama (part 2)
62 Preachin' The Blues (part 1)
63 Preachin' The Blues (part 2)
64 Dry Spell Blues (part 1)
65 Dry Spell Blues (part 2)
66 All Night Long Blues (take 1)
67 On The Wall
68 All Night Long Blues (take 2)
69 By The Moon And The Stars
70 Long Ways From Home
71 Dry Well Blues
72 Moon Going Down
73 We All Gonna Face The Rising Sun
74 Moaner, Let's Go Down In The Valley
75 Jesus Got His Arms Around Me
76 God Won't Forsake His Own
77 I'll Be Here
78 Where Was Eve Sleeping?
79 I Know My Time Ain't Long
80 Watch And Pray
81 High Sheriff Blues
82 Stone Pony Blues
83 Jersey Bull Blues
84 Hang It On The Wall
85 34 Blues
86 Love My Stuff
87 Poor Me
88 Revenue Man Blues
89 Troubled 'Bout My Mother
90 Oh Death
91 Yellow Bee
92 Mind Reader Blues
Charley Patton  A degree of mystery is always an attractive ingredient in the life of a... mehr
"Charlie Patton"

Charley Patton

 A degree of mystery is always an attractive ingredient in the life of a blues singer and sometimes lends credence to the often misapplied description "THE LEGENDARY".
Much has been written Ilabout Charley Patton. The memories of those who knew him have been dredged wholesale and dedicated researchers have ferreted out from official archives the few meagre records documenting his life. He has been the subject of innumerable interviews, magazine articles and sleeve notes and is one of the few blues singers of his generation to be memorialized in a full-scale biography. Yet despite all this attention, he remains an enigma.

There is not even certainly regarding his date of birth. May 1st 1891 is sometimes noted, but you can also get votes for April of that year or even 1887. Patton's biographers, Calt and Wardlow note that Patton's sister supplied the 1887 date while his parents supplied the 1891 date for a census in 1900. And how do you spell his name: Charley or Charley? In all probability Charley himself did not know his precise age, but Son House reported that he did know his name, which he would spell "C-H-A-R-L-E-Y", out loud - but that was all he could spell and he couldn't write even that. Other contentious facts regard his exact place of birth: Edwards or Bolton, Mississippi, (as the two towns are so close together they are virtually one, the question remains academic). And the identity of his father -was Charley, as has been claimed, a sibling of the Chatmon brothers of Mississippi Sheiks fame? What is fairly clear is that Charley's forebears included both whites and native Americans.


Undisputed is his pre-eminent status as one of the most influential of the first generation of rural black entertainers to commit their work to record. However, there is a variation of opinion regarding the depth of his involvement with the blues and the degree of their importance in his over all repertoire. There is a possibility that his recorded work contained more blues than his live performances.


Patton's recording sessions were controlled by profit conscious executives who saw blues being in vogue and more importantly, selling. Did Patton view himself as a chronicler and commentator on the world around him - or just as an entertainer who would do anything rather than work? In the view of the compilers of these notes these two roles were not mutually exclusive and Patton could satisfactorily fill both at one time. Despite his huge voice, all accounts agree that Charley was of slight stature, weighing in at around 135 pounds. He was light-skinned and had 'good' hair but could be cocky and aggressive. He liked to drink, snort coke and chase women, advertising himself as a Delta dandy by always dressing as well as he could afford to. The reactions of owners who found Charley on their plantations ranged from welcoming him as a contribution to the contentment of their workers to throwing him off the property as a shiftless, negative and disruptive influence.


He sang his fractures and usually fragmented verses in a heavily accented growl that has been the bane of those striving to transcribe his words ever since, and even defeated his contemporary audience from time to time. His act was so noisy, physical and visual, involving much clowning, as he threw his guitar around and played to his audience. In the over heated and alcohol fuelled atmosphere of the jukes, his combination of attractiveness and arrogance led to many encounters with enamoured women - and not a few assaults from outraged men. One of these, in 1933, left Charley with a slit throat and damaged vocal chords which identify the results of his last appearance in a recording studio.


Patton's recording sessions were controlled by profit conscious executives who saw blues being in vogue and more importantly, selling.
By his own (second hand) telling Patton did not take up the guitar until comparatively late, around the age of nineteen. Yet he was already well known and liked as an entertainer in his own area in the early years of the twentieth century. A list of his rivals and playing partners as he travelled around the Delta would include Dick Bankston, Willie Brown, Son House and Tommy Johnson. Charley does not seem to have been meek, he knew he was good and he was aware of the huge success being enjoyed on record by such artists as Blind, Lemon Jefferson and Blind Blake. ...

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