The Sonet Blues Story: Robert Pete Williams
Robert Pete Williams
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||Woman You Ain't No Good||Robert Pete Williams||4:07||$0.99||Ver en iTunes|
||Come Here, Sit Down On My Knee||Robert Pete Williams||4:12||$0.99||Ver en iTunes|
||Angola Penitentiary Blues||Robert Pete Williams||7:07||$0.99||Ver en iTunes|
||Late Night Boogie||Robert Pete Williams||3:17||$0.99||Ver en iTunes|
||Goin' Out Have Myself A Ball||Robert Pete Williams||3:30||$0.99||Ver en iTunes|
||Poor Girl Out On The Mountain||Robert Pete Williams||5:03||$0.99||Ver en iTunes|
||Graveyard Blues||Robert Pete Williams||2:46||$0.99||Ver en iTunes|
||You're My All Day Steady And My Midnight Dream||Robert Pete Williams||4:23||$0.99||Ver en iTunes|
||Keep Your Bad Dog Off Me||Robert Pete Williams||4:50||$0.99||Ver en iTunes|
Reseña de álbum
Among the last of the great old country blues players discovered in the '60s, Robert Pete Williams was easily the most unique. His ragged griot approach to the blues paid little attention to standard rhymes or blues forms, allowing him to spin personalized stories of tremendous emotional power, even when he was working off of traditional pieces, and his songs take on the feel of a nakedly open journal. The recordings collected here were originally released as part of Samuel Charters' Legacy of the Blues series in 1973, and they carry an incredible intimacy, like all of Williams' work. They also feature some beautiful and ghostly acoustic slide guitar playing, a skill Williams picked up from his friend and fellow blues festival performer Mississippi Fred McDowell. Two songs in particular from this set encapsulate Williams' unique approach to country blues, the riveting and autobiographical "Angola Penitentiary Blues" and the beautifully poetic "You're My All Day Steady and My Midnight Dream," which, even though it makes use of stock blues lines, manages to be a deeply personal song that is every bit as haunting as it is lovely. Williams' songs are so eccentrically his that it is difficult to imagine anyone else doing them, and there is no more singular performer in the history of the country blues. Harry Oster's 1961 field recordings of Williams, Angola Prisoner's Blues, if you can find it, would be a logical place to start exploring Williams' body of work, but everything he recorded has the same insular intimacy, and this set is as good as any other in demonstrating this one of a kind bluesman's fascinating appeal.
Nacido(a): 14 de marzo de 1914 en Zachary, LA
Años de actividad: '50s, '60s, '70s