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Atlanta Blues Legend

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Recorded live on June 10, 1966 at a Washington, D.C. concert, this 11-song album (fleshed out to 18 numbers on CD with additional live tracks from elsewhere) was considered miraculous in its own time, and remains so. Moss' fingering was slowed only slightly from the ravages of time, and his voice had aged beautifully. He gets sympathetic harmonica accompaniment (some of it most impressive, especially on "Pushin' It") from Jeff Espina and occasional help (seemingly unneeded) from a second guitarist billed only as "J.J." Moss, who was then either 52 or 60 years old, rises to the occasion, turning in some dazzling acoustic guitar work (check out "Comin' Back"), very moving and expressive singing, and overall a performance that one can only guess is uncannily like the kind he would've done 30 years earlier. Included are fresh renditions of "Oh Lawdy Mama" and Moss' own, unique renditions of "I'm Sitting on Top of the World" and "Key to the Highway" (done as a guitar showcase that would put Eric Clapton and Duane Allman to shame, and referred to here as "I've Got to Keep to the Highway"). One of the most impressive, and maybe the best, of all '60s rediscovery records by any '30s blues star; 64 minutes of pure golden blues.


Nacido(a): 16 de enero de 1914 en Jewell, GA

Género: Blues

Años de actividad: '30s, '40s, '60s, '70s

Eugene "Buddy" Moss was, in the estimation of many blues scholars, the most influential East Coast blues guitarist to record in the period between Blind Blake's final sessions in 1932 and Blind Boy Fuller's debut in 1935. A younger contemporary of Blind Willie McTell and Curley Weaver, Moss was part of a near-legendary coterie of Atlanta bluesmen, and one of the few of his era lucky enough to work into the blues revival of the '60s and '70s. A guitarist of uncommon skill and dexterity, he was a musical...
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