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5867	dbpedia	3	0	https://en.wikipedia.org/wiki/Seabiscuit_(film)	en	Seabiscuit (film)	https://upload.wikimedia…biscuit_ver2.jpg	https://upload.wikimedia…biscuit_ver2.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/e/eb/Seabiscuit_ver2.jpg/220px-Seabiscuit_ver2.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/e/e7/Video-x-generic.svg/28px-Video-x-generic.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/32px-Flag_of_the_United_States.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2004-01-27T20:32:09+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Seabiscuit_(film)	2003 American film SeabiscuitDirected byGary RossScreenplay byGary RossBased onSeabiscuit: An American Legend by Laura HillenbrandProduced by Kathleen Kennedy Frank Marshall Gary Ross Jane Sindell StarringCinematographyJohn SchwartzmanEdited byWilliam GoldenbergMusic byRandy Newman Production companies Distributed byUniversal Pictures Release date Running time 141 minutesCountryUnited StatesLanguageEnglishBudget$87 million[1]Box office$148.3 million[1] Seabiscuit is a 2003 American sports film co-produced, written and directed by Gary Ross and based on the best-selling 1999 non-fiction book Seabiscuit: An American Legend by Laura Hillenbrand. The film is loosely based on the life and racing career of Seabiscuit, an undersized and overlooked Thoroughbred race horse, whose unexpected successes made him a hugely popular media sensation in the United States during the Great Depression. At the 76th Academy Awards, Seabiscuit received seven nominations, including Best Picture, but ultimately lost all seven, including six to The Lord of the Rings: The Return of the King. Plot [edit] In the early 20th century, as America enters the automobile age, Charles S. Howard opens a bicycle shop in San Francisco. He is soon selling automobiles, becoming the largest car dealer in California and one of the Bay Area's richest men. In the wake of the Great Depression, Canadian John "Red" Pollard's family is financially ruined, and he is sent to live with a horse trainer. Years pass and Pollard becomes a jockey, but amateur boxing leaves him blind in one eye. After their young son is killed in an automobile accident, Howard's wife leaves him. He obtains a divorce in Mexico, where Pollard is struggling to make his mark as a jockey. Howard meets and marries Marcela Zabala. When he acquires a stable of racehorses, he hires itinerant horseman Tom Smith as his trainer. Smith convinces him to buy a colt called Seabiscuit. Though a grandson of the great Man o' War and trained by the renowned James E. Fitzsimmons, Seabiscuit is viewed as small, lazy, and unmanageable. Smith witnesses Pollard's similarly temperamental spirit, and hires him as Seabiscuit's jockey. Under Smith's innovative training, Seabiscuit becomes the most successful racehorse on the West Coast and an underdog hero to the public. Howard issues a challenge to Samuel D. Riddle, owner of the East Coast champion and Triple Crown-winning racehorse War Admiral, but Riddle dismisses California racing as inferior. In the prestigious Santa Anita Handicap, Seabiscuit takes the lead, but Pollard's impaired vision prevents him from noticing another horse surging up on the outside. Losing by a nose, Pollard admits his partial blindness to Smith. Howard declares that Pollard will remain Seabiscuit's jockey, and rallies public support for a match race with War Admiral. Riddle agrees, on the condition that they race with a rope and bell instead of a starting gate. With Seabiscuit at a disadvantage, Smith trains the horse to break fast at the sound of the bell. As the race approaches, Pollard severely fractures his leg in a riding accident. Informed he may never walk again, let alone ride, he recommends that his friend and skilled jockey George Woolf ride Seabiscuit, advising him on the horse's handling and behavior from his hospital bed. The highly anticipated "race of the century" draws a sellout crowd, with 40 million more people listening on the radio. Seabiscuit takes an early lead until the far turn; following Pollard's advice, Woolf lets Seabiscuit look War Admiral in the eye before surging ahead, and Seabiscuit wins by four lengths, delighting the nation. A few months later, Seabiscuit injures his leg. Pollard, still recovering from his own injured leg, tends to the horse as they both heal. When Seabiscuit is fit enough to race again, Howard brings him back to the Santa Anita Handicap, but is reluctant to allow Pollard to ride and risk crippling himself for life. At the urging of Woolf and Marcela, Howard relents. Pollard, using a self-made leg brace, finds himself and Seabiscuit facing Woolf in the race. Seabiscuit drops far behind the field until Woolf pulls his horse alongside Pollard, allowing Seabiscuit a good look at his mount. With Woolf's encouragement, Seabiscuit surges ahead and passes the others. Heading for the finish line several lengths ahead, Pollard explains that the story of Seabiscuit is not merely of three men who fixed a broken-down horse, but that Seabiscuit fixed them and, in a way, they fixed one another. Cast [edit] Release [edit] The film was released on July 25, 2003, by Universal Pictures. Universal distributed the film in the United States and Canada, DreamWorks Pictures through United International Pictures handled distribution in Germany, Scandinavia, and Spain, while Spyglass Entertainment acted as pre-sales agent in all other territories. Japanese theatrical distribution was handled by UIP separately from the DreamWorks deal, while Pony Canyon handled home video rights,[3] with Buena Vista International purchasing distribution rights in all other territories.[4] Reception [edit] Critical response [edit] On Rotten Tomatoes, the film has an approval rating of 78% based on 208 reviews, with an average rating of 7.1/10. The website's critical consensus reads, "A life-affirming, if saccharine, epic treatment of a spirit-lifting figure in sports history".[5] On Metacritic, the film has a weighted average score of 72 out of 100, based on 43 critics, indicating "generally favorable reviews".[6] Audiences surveyed by CinemaScore gave the film an average grade of "A" on a scale of A to F.[7] Roger Ebert of the Chicago Sun-Times gave the film 3.5 stars out of 4, and wrote: "The movie's races are thrilling because they must be thrilling; there's no way for the movie to miss on those, but writer-director Gary Ross and his cinematographer, John Schwartzman, get amazingly close to the action."[8] Accolades [edit] Group Category Recipient Result ASCAP Film and Television Music Awards Top Box Office Films Randy Newman Won 76th Academy Awards[9] Best Picture Kathleen Kennedy, Frank Marshall and Gary Ross Nominated Best Writing (Adapted Screenplay) Gary Ross Nominated Best Art Direction Art Direction: Jeannine Oppewall; Set Decoration: Leslie Pope Nominated Best Cinematography John Schwartzman Nominated Best Costume Design Judianna Makovsky Nominated Best Film Editing William Goldenberg Nominated Best Sound Mixing Andy Nelson, Anna Behlmer and Tod A. Maitland Nominated 54th ACE Eddie Awards Best Edited Feature Film – Dramatic William Goldenberg Nominated 2003 American Society of Cinematographers Awards Outstanding Achievement in Cinematography in Theatrical Releases John Schwartzman Won Broadcast Film Critics Association Awards 2003 Best Film Nominated Best Screenplay Gary Ross Nominated Directors Guild of America Awards 2003 Outstanding Directing – Feature Film Gary Ross Nominated 61st Golden Globe Awards Golden Globe Award for Best Motion Picture – Drama Nominated Golden Globe Award for Best Supporting Actor – Motion Picture William H. Macy Nominated Satellite Awards 2003 Best Supporting Actor – Motion Picture Jeff Bridges Nominated Best Art Direction and Production Design Nominated Best Cinematography John Schwartzman Nominated Best Costume Design Judianna Makovsky Nominated Best Editing William Goldenberg Nominated Best Original Score Randy Newman Nominated Best Adapted Screenplay Gary Ross Nominated Best Sound Nominated 10th Screen Actors Guild Awards Outstanding Performance by a Male Actor in a Supporting Role Chris Cooper Nominated Outstanding Performance by a Cast in a Motion Picture Elizabeth Banks, Jeff Bridges, Chris Cooper, William H. Macy, Tobey Maguire, and Gary Stevens Nominated Writers Guild of America Awards 2003 Best Adapted Screenplay Gary Ross Nominated The film is recognized by American Film Institute in these lists: 2006: AFI's 100 Years...100 Cheers – #50[10] See also [edit] List of films about horse racing Film portal United States portal References [edit]
5867	dbpedia	1	40	https://humanscience.fandom.com/wiki/Seabiscuit	en	Seabiscuit	https://static.wikia.nocookie.net/humanscience/images/3/39/Seabiscuit_movie_poster.jpg/revision/latest?cb=20070624202248	https://static.wikia.nocookie.net/humanscience/images/3/39/Seabiscuit_movie_poster.jpg/revision/latest?cb=20070624202248	[ "https://static.wikia.nocookie.net/humanscience/images/3/39/Seabiscuit_movie_poster.jpg/revision/latest/scale-to-width-down/200?cb=20070624202248", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Human Science" ]	2024-07-29T22:27:06+00:00	by Roy Posner Seabiscuit is an Academy Award-nominated 2003 American drama film based on the best-selling book Seabiscuit: An American Legend by Laura Hillenbrand. The story recounts the true-life racing career of Seabiscuit, an undersized and overlooked thoroughbred racehorse whose unexpected...	en	/skins-ucp/mw139/common/favicon.ico	Human Science	https://humanscience.fandom.com/wiki/Seabiscuit	by Roy Posner Introduction[] Seabiscuit is an Academy Award-nominated 2003 American drama film based on the best-selling book Seabiscuit: An American Legend by Laura Hillenbrand. The story recounts the true-life racing career of Seabiscuit, an undersized and overlooked thoroughbred racehorse whose unexpected successes made him a sensation in the United States during the latter years of the Great Depression. Seabiscuit is also the story of how three men -- Charles Howard, Tom Smith, and Red Pollard -- overcome personal limitations, demons, and tragedies, as well as economic hard times to bring about Seabiscuit's thrilling and inspiring victories. It is a tale of how individuals achieve stunning success through sheer will power, drive, and determination; and where high human values of tolerance, compassion, and forgiveness bring out the best in people, leading to overwhelming good fortune for the principals. In the end, Seabiscuit is a thrilling story for the ages that can inspire us to aim for the stars so we too can fulfill our deepest aspirations in life. -------- This essay examines - ·the major themes in the film that lead to its wonderful outcomes, including the infinite potential of the nation, the changes occurring in society at that time, and the ability of individuals and the collective to overcome adversity. ·the inner keys that generate the great accomplishment that occurs in the story -- including the power of psychological strength, positive attitude, high values, focused intention, heartfelt communication and cooperation, and catching the wave of society. ·The subtle principles in the tale revealing life’s character, including the phenomenon of “life response’ (i.e. sudden good fortune), and how difficulty and problems serves to move life forward. This is what I call the “character of life.” Main Characters[] Charles Howard[] Howard is a former bicycle builder, who becomes a wealthy businessperson selling and promoting automobiles. Because of his wealth, he lives in a grand estate that contains a stable of horses and racecars. After his young son dies in a car accident, Howard takes an interest in horseracing and purchases several horses, including Seabiscuit who becomes his ultimate prize. Howard is entrepreneurial and resourceful; a man with boundless optimism and zeal -- the very embodiment of the can-do American spirit. He is also an individual of integrity, who expresses high human values of tolerance, patience, compassion, and forgiveness. Howard has the rare capacity to overlook the defects in others and concentrate on their strong points. Such positive attitudes and values not only bring him personal success, but enable the people around him to succeed as well. He shows flexibility, willingness to change with times, has solid leadership skills, and has the shrewdness to develop right strategies as situations dictate. Tom Smith[] A former cowboy and horse herder, he is skilled in interacting with horses, perceiving their individual natures, and demonstrating an innate ability to work with and calm them when they are riled. He is a man left behind by changing times, as his old world is being made obsolete by new technology, even as new opportunities are presenting themselves in the horseracing field. He has an intuitive insight into Seabiscuit's true potential the first time he sees the horse, and develops skillful strategies that shape Seabiscuit into the greatest racehorse of his day. He has a simple, philosophical view of life, values individuals and things for what they are. Johnny "Red" Pollard[] The son of a schoolteacher, he exhibits great skill riding and racing horses, even though he is considered too tall and heavy to be a jockey. He overcomes the separation from his family, poverty on the road, and personal failure through sheer drive and determination. He is a fighter, literally and figuratively. He will do anything to survive, including taking up boxing, where he is continually plundered and beaten. He is hot tempered and reactive, which costs him; and yet is intelligent and well-read, and an admirer of the world's great literature. Seabiscuit[] A small, muscular horse, bred from a line of great racehorses, but dismissed as unsuited for racing. He has an indomitable will and spirit that enables him to exceed beyond all expectations. He has an intense competitive spirit, derived from earlier mistreatment, which reflects in a capacity for remarkable speed under pressure. George Woolf[] The skilled jockey compatriot of Red, who fulfills his and the group’s destiny by riding Seabiscuit to his greatest victory against the mighty eastern horse War Admiral. A modest and gracious individual who gives credit to others, even Red after Seabiscuit’s victory over War Admiral. Plot Details[] Early Days for Charles, Tom, and Red[] It was the time of the arrival of cars, the dawn of the automotive age, and the era of mass production. As a result, says the narrator, it was both the beginning and the end of imagination. Charles Howard is working at a bicycle factory. Eager to be more than a mere spoke in a wheel, he heads west to San Francisco and opens up his own bicycle shop. Unfortunately, demand for bicycles is already being supplanted by the spread of the automobile and his business is floundering. One day a Stanley Steamer car overheats in front of his store, and the owner asks Charles (who is sitting there waiting for customers) to fix it. Charles has never worked on the innards of a car before, but still, in entrepreneurial fashion, and in the can-do spirit of the times, he agrees to take on the project. After struggling with the complicated parts, he is amazed by the beauty of the design of the systems, and is able to fix it beyond the expectations of the customer. As a result of this experience, Charles goes into the business of selling cars. Charles prospers and becomes a leading promoter of the car industry in his region. He believes deeply in the future of the automobile. With his newfound wealth, he purchases a huge range in Northern California that includes stables. However, he replaces the horses in the stables with the racecars he has come to adore. The stock market suddenly crashes and the American financial system is shaken to its core, sending millions of people to the unemployment lines. It is the beginning of the Great Depression. Meanwhile, Tom Smith rides the range of the American West as a cowboy, whose responsibility it is to herd horses on the vast, beautiful landscape. However, he is also coming to grips with the fact the world is changing -- in particular the emergence of new technologies and forces, including the automobile that are making his current line of work obsolete. With the hard times of the Great Depression forcing him out of employment, Tom takes to riding the rails. And yet he does not abandon his skill completely, since he has a special gift with horses – in particular, an innate ability to relate to them and calm them down when they are distressed. Red Pollard and his family live in Alberta, Canada. Red at age 6 is riding horses, and shows a great penchant and skill in that area. Red’s father is a teacher, and raises his children with high morals, which they learn through the many works of literature he shares with them. It is a close-knit family. Similar to Charles, Red’s father often expresses a deep belief in the infinite possibilities in the country and in life in general, which he coveys to his children through the great works of literature. In an environment of increasing poverty, Red’s family is forced into a state of desperation. Like others, they take to the road in their cars to live in work camps. With a dire need for funds, they allow their son to work as a horseracing jockey -- something they would normally have been loathed to do. They are then forced to send him away so that he can go on the road and participate in more lucrative racing events. The separation is emotionally wrenching for both Red and his parents. At first, the managers at the track he races at think that Red is too tall and weighs too much to be a successful jockey -- despite his exceptional skills. In the months that follow, Red rides in hard fought races, where the riders engage in whipping and other intimidating tactics to gain the upper hand. In fact, in his first major race, Red gets so embroiled in fighting with another jockey, that at the finish another horse pulls ahead at the last moment to win. This is followed by a dressing down of Red by his boss in the locker room. Clearly, Red’s hot temper has led to this racing failure, not to mention drawing the wrath of his superior. Hard Times and New Opportunities[] With the Great Depression spreading throughout society, and with people now far less able to afford cars, Charles business begins to deteriorate. The atmosphere in the entire country is now gloomy and depressing. It is an indicator of what happens next in the story. One day Charles goes off to San Francisco on business, leaving his son behind. The very young boy packs a lunch, and takes off in a pickup truck available on the estate grounds. On a high-mountain road, the boy crashes the vehicle. Charles is informed and rushes home; but it is of no avail, as the boy dies. Charles is utterly devastated. In response to these events, he locks the stable that held racecars – indicating he has had enough with the motorized vehicle. He goes through a period of deep depression and introspection. Soon thereafter, in the wake of the tragedy, Charles’ wife leaves him. Meanwhile, in a parallel situation, Tom, without work and impoverished, is forced to ride the rails as a hobo in order to survive. As for Red, he has now taken to the sport of boxing in order to make ends meet, and suffers several humiliating and violent defeats. Meanwhile, he continues to read the books his father has passed on to him, culling meaning and strength from them, as he continues his difficult existence. After his grieving subsides somewhat, Charles heads down to a racetrack in Mexico, along the border with the US, where various vices are more tolerated than in the States. He very slowly begins to come out of his shell. It turns out that Red also happens to be there working as a regular jockey at the track. Like Charles, he too is still haunted by the past -- in his case, his failures as a jockey and a boxer. One day at that track, a horse with a broken leg is about to be put down after a race. However, a man comes forward and asks that the animal be spared. As a result, the horse is not shot, and this individual goes over and calms the very agitated animal. The man is Tom, the former horse herder. Charles meets Marcela at the Mexican track. She persuades Charles to ride on a horse again, and they go off riding in the countryside. They continue to see one another and develop a romantic relationship. As a result of these events, Charles begins to open up and come out of his depression. In fact, soon thereafter, Marcela and Charles marry. Now feeling much better and far more energized, Charles looks into getting into the horse racing business, and begins to look into purchasing several mounts. One day, as he walks around the stables, he sees a man standing in the high grass tending a lame horse. It is Tom, who is stroking the horse that he earlier saved. This situation intrigues Charles, and that night he goes out into the woods, and finds Tom at his campfire. Charles asks Tom if the horse that he was tending to will ever race again. Tom says no, but he adds that “every horse is good for something: that you don’t throw away a whole life just because he’s banged up a little.” Considering what he has been through, this statement resonates with Charles. He is also taken in by Tom’s directness, honesty, and soft spirit. It is three months later, and the scene shifts to the famous racetrack in Saratoga, New York. Tom is commenting to Charles about the horse he is watching. He says that in racing “it is not just the speed, but the heart." He tells Charles that you want a horse that is not afraid to compete; who wants to fight and win. He knows this as a fact from years of experience working with and interacting with horses. Such words of wisdom again resonate strongly with Charles. It turns out that Red is working tending horses at the stables at the track, when Tom comes by and sees him for the first time. Seabiscuit[] Seabiscuit was a small horse, had a small limp in his gait, and tended to wheeze. When he was young, Seabiscuit was gentle, slept a lot, and ate even more. He was considered obstinate and incorrigible by his owners. As a result, they dismissed him as a serious racehorse, turning him instead into a training horse that other horses could run against in practice, where he was trained to lose in head-to-head scrimmages. The horse became recalcitrant and bitter. When they finally did put him into races, he did what they trained him to do: he lost. And yet he had spirit and intensity. One day Tom sees Seabiscuit, and immediately they make a deep connection. He sees beyond his limitations of size and gait. He senses something very special in the horse; something he can exploit and bring to success. Tom later tells Charles that Seabiscuit indeed has spirit, and could eventually be calmed down and trained to be a legitimate racehorse. Tom then walks off and comes upon a scene where one man is taking on a group of others in a fight. It is Red. Tom then looks back at the feisty, rebellious, uncontrollable Seabiscuit and senses a connection between the horse and Red. Red later meets up with Seabiscuit, and then after interacting with the horse says, "I know what you are all about" -- as they are kindred spirits, i.e. they are very much alike. They both have lived rough and tumbled lives. Thereafter, Red begins to work with Seabiscuit and tame him. At one point somewhat later, when Seabiscuit is saddled by Red and is about to race him, Tom introduces Red to Charles and his wife. Tom perceives the potential in Seabiscuit, if only the horse can learn to overcome what the previous owners had turned him into -- an obstinate, rebellious horse. Tom says that Seabiscuit would be fine "if only he could learn to become a horse again." Red then rides Seabiscuit, letting him run free on the track; and then in the countryside -- in essence, allowing Seabiscuit to become that horse again. Seabiscuit responds in full to Red’s attention as well as the opportunity to run outside the track with a great ride. Red then exclaims that Seabiscuit is an amazing horse. Tom and Red then go to visit Charles at his beautiful estate. At the dinner table, Charles notices that Red refuses to eat. He does so because he is self-conscious of being too heavy as a jockey. However, Charles in a moment of understanding and compassion says that he would rather have Red strong than thin. (Like the horse, Red is unconventional in built (for a jockey) -- yet Seabiscuit is accepted by Red for what he is.) This kindness, tolerance, and acceptance is a central theme in the story, serving as one of the major factors that contribute to the great accomplishment in the tale. Just as Charles cares for the well-being of Red, the society – mainly through emerging compassionate government policies of the New Deal -- cares for the people who were suffering during the Depression. (The parallel drawn between the predicament of the individuals in the story and that of the society as a whole is clearly seen.) Also, Charles gives Red the affection that he was unable to give his own son, who had died. As a result of this newfound fulfillment through Red as surrogate son, Charles opens up again as a person, and in fact opens the stables of cars that he had locked down after his son's death, now replacing the vehicles with horses. (The son had died after all in a car accident.) It is an indication that Charles is finally shedding his sorrows, and returning to life to full. Tom struggles to calm Seabiscuit down. He devises several clever approaches, and finally hits on the right one by bringing in a mare into Seabiscuit’s stable, which has just the right affect on the skittish racehorse. With a calmed Seabiscuit, Tom instructs Red how to run future races with the horse. He tells Red to hold back Seabiscuit for most of the contest, and then turn him lose at the end, where he can then burst to the front and win. Unfortunately, when Red practice-runs Seabiscuit, the horse at first does not respond -- running rather lethargically, disappointing Tom. However, when Seabiscuit sees another horse ahead of him, his competitive spirit kicks in and he suddenly sprints ahead. Now understanding Seabiscuit’s character, Tom and Red are able to get the best out of the horse to the point where soon after he breaks the Tanforan racetrack speed record in a practice run. Tom, Marcela, and Charles are stunned by this turn of events. Tom then chimes in that Seabiscuit just hankered for some competition! The day then arrives for Seabiscuit's first official race at Tanforan. Tom again gives Red instructions on how to run the race -- i.e. to stay with the pack until near the end, and then burst forward. Unfortunately, during the race, Red gets embroiled with another jockey who is using questionable physical tactics, causing Red to lose his temper. With Red distracted, he loses focus and forgets Tom's instructions. The result is an all too familiar one that has haunted Red in the past -- as other horses forge ahead in the end, causing Seabiscuit to lose a race he might have easily won. After the loss, there is a heated argument in the locker room where Red tries to defend himself to Tom – i.e., that he was physically abused by the other jockey and had to strike back. He is exceedingly angry. Tom responds that it caused him to lose focus and forget the strategy they established earlier for the race. Charles, overhearing the heated discussion pauses, contemplates the situation for a moment, and then calmly asks Red what he is so mad about (translation: mad about in life). Red is thunderstruck by Charles’ words. The next day Red -- now fully taken by the preceding day’s painful events -- comes into Charles’ office and asks him for some money so that he can tend to his dental needs and other mounting bills. Charles in a kind and generous gesture -- understanding Red’s financial plight and sympathetic to him now as a substitute son -- gives Red twice the money he asked for. Now feeling considerably better psychologically -- i.e. with money to take care of his bills and a sympathetic mentor -- Red runs another race with Seabiscuit, again using Tom's strategy. This time however the horse pulls away from the field at the end, and sprints to a glorious victory. The crowd and the owners are truly stunned by this turn of events. Charles then tells the gathered press that the key to this success is that Seabiscuit has heart: that a little horse like him can do great things. He tells the group that Seabiscuit is a little horse that does not know he is little! He then adds in a reference to the problems of society that this win isn’t the finish line; that the future is the finish line, and Seabiscuit is just the horse to get us there. “Though he be but little, he be fierce,” says Red about Seabiscuit to the admiring fans and press before the next race, paraphrasing the Shakespeare he is familiar with. Red then proceeds to win six consecutive races aboard Seabiscuit. As a result, the horse garners regional and then national attention. When asked at a press conference, Charles says that the secret to Seabiscuit’s success is being given a second chance; and that many people in America who have suffered during the Great Depression and are looking to improve their lot in life know exactly what he is talking about. The Great Race[] Though success has come their way, Tom is troubled by Seabiscuit’s notoriety, claiming he is not getting enough time training with him. (E.g., the horse is signing autographs for fans with his horseshoed hoof, amongst other things!) He also says that Seabiscuit is not yet a great horse like War Admiral. They then watch the extraordinary exploits of War Admiral on film, as the narrator mentions that he is a perfect horse. Charles, in response to this challenge, suggests that a race be arranged between the two horses. In response to Charles’ offer, Riddle, the eastern owner of War Admiral, says it is absurd to have the race because of his horse’s obvious superiority in terms of speed, size, breeding, and the fact that he has won every prestigious race in the country. Riddle then goes a step further and mocks the entire western US horseracing scene, suggesting that it is primitive compared to what exists in the east. To this rejection, Red reacts in anger, but Charles responds calmly and calculatingly, saying that they just have to flush out Riddle into accepting the race. He then comes up with the idea that the winner of the match should receive $100,000 dollars. Charles then arranges with the local track owner to put up the $100,000 purse for the winner of the potential head-to-match between the two famous horses. Privately, Charles says that people like Riddle are stuck in the past, but his group, including the people out West are with the future. The track owner agrees to the offer, indicating that Charles has a great power of persuasion, which he once used in becoming a very successful car salesman. When Riddle turns him down yet again, Seabiscuit resumes racing locally in California. (Rather than give up, they pursue their own agenda, and get additional victories under Seabiscuit’s belt.) In one particular important race, Tom once again provides Red with a strategy for victory. In the race, Seabiscuit comes far from behind to take the lead, but is then caught and passed at the last minute, unbeknownst to the jockey Red. After the race, there is an argument in the locker room where Red admits that he cannot see well on the side he was passed on. As a result, Tom goes into a rage that Red had never told him that before. However, Charles, in yet another calm and munificent gesture, lets Tom know that it is fine. He tells them that you don’t throw a life away because you are banged up a bit -- a point that resonates with all three of the men, considering the hardships they previously endured. After Seabiscuit loses this important race, Riddle says there is no longer a need for the confrontation between the two horses. Charles counters again with yet another strategy -- that he will register Seabiscuit in any race wherever War Admiral is on the card -- even if the latter scratches. Charles also notifies the people on a rail tour of the nation that he will keep on fighting until he gets the race against War Admiral. This again resonates with the people who are likewise inspired to keep fighting to get ahead in their lives despite the Great Depression. As a result, he stirs up the nation, who themselves begin to demand the race. It is a brilliant strategy that gets the attention of Riddle, who now agrees to meet with Charles. There Riddle accepts a head-to-head race, albeit with a number of conditions that are highly favorable to his side, including running the race at his home track and not using a starting gate. Charles does not barter on this, instead calmly agrees to all conditions. One day the group goes to spy on War Admirals at the luxurious private estate where his training grounds are located. They see that he is a formidable opponent. From what he sees, Tom comes up with a new, custom set of strategies for running against the great horse. One strategy involves how to get Seabiscuit off to a quick start without a starting gate -- one of Riddle’s conditions for the race. And so they purchase a bell so they can teach Seabiscuit how to quickly break without a gate. At night without a starting gate, they teach Seabiscuit how to break at the sound of the bell. They are now all gearing up emotionally and tactically for the great race. Out of nowhere, an old acquaintance of Red suddenly arrives on the scene and asks him to practice-run his horse so it can be observed and therefore sold. When Red does so, a tractor suddenly backfires startling the horse in mid-run, hurtling the animal and the jockey to the ground of the racetrack. The horse proceeds to drag Red through the stables, and he is seriously injured. He is rushed to the hospital where they discover that he has a dozen fractures in his leg, and that though he would walk again, he would never be able to race. Charles then says that they will now have to scratch the contest with War Admiral. However, Red responds that Woolf can run the race in his place. It is agreed. Then Red gives the substitute jockey instructions on how to run the race, telling Woolf how to hold back at the end, and let War Admiral catch him at the backstretch so Seabiscuit can look him in the eye, which will motivate him to surge ahead. The day of the contest between the two famous horses at the Pimlico track arrives. The bell rings to start the race, which has no starting gate. Seabiscuit at first takes the lead, but then backs off just as Red and Tom’s strategy dictated. As a result, War Admiral now catches up. They then race head-to-head for a long distance. Then at one point, Woolf turns to the other jockey and says “so long.” Seabiscuit then sprints ahead, and wins by a number of lengths in an overwhelming victory for the underdog little horse. Needless to say, the principals are overwhelmed by the result -- as is the crowd, the media, and the nation. The great underdog has emerged victoriously! In the winner’s circle, Woolf remarks, in a very gracious gesture over the public address system, that he only wished Red Pollard were standing there in the winner’s circle instead of him. Red watches a later celebration from a distance, somewhat wary of what has just transpired. Red then heads home to Charles’ ranch to heal his leg injuries, while Woolf continues to ride Seabiscuit to victory in other regular field races. Healing Together[] Sometime after his victory, Seabiscuit hurts his leg in a race. Interestingly, Red has an intuition of its occurrence. The doctor indicates that Seabiscuit has ruptured a ligament in his leg, and that he will never race again. (Recall that Red was told the same after he broke his leg in many pieces after a fall.) The doctor then offers to put Seabiscuit down if his crew agrees to it. This is obviously not acceptable, and instead the horse is shipped back to Charles’ estate to recuperate from his wounds. Now both Red and Seabiscuit are having to convalesce together. In the weeks and months that follow, Red works with Seabiscuit to improve the horse’s condition. Red also works to recover from his own serious leg wounds. In one scene, Red walks Seabiscuit through the countryside, as he limps along with a cane. Together they rest in the field in a touching scene, indicating their close bond. One day during his rehabilitation to walk again, Seabiscuit sprints a bit after being startled by a breaking branch in the wind. Perceiving his improved health, Red then puts a saddle on him. Red himself wears a specially made splint to hold his leg in place to protect himself as he slowly rides Seabiscuit. And so begins the next stage of his – or rather, their rehabilitation. Over time, Seabiscuit gets better, and at one point is able to run around the track at nearly full speed. His condition improves rapidly. Red is longer worried about his weight (now that he is no longer a professional racer), and eats heartily. Perceiving his recent history, Red sometime later exclaims -- once again paraphrasing the Bard -- “and in this, the most unkindest cut of all,” -- referring to the fact that wasn’t able to ride Seabiscuit to his greatest success against War Admiral, as well as several victories thereafter. Now however he wants to change things and run Seabiscuit in the upcoming Santa Ana event -- one that he lost earlier due to his careless mistake of losing focus when physically abused by another rider. With the doctor giving his permission, Charles considers whether to allow Red to run the race. There is the danger that his leg could be re-shattered, and that if he fell off the horse, he could literally lose his life. Thinking back to the memory of his son’s death, as well as the threat raised by Red’s current condition, Charles makes the wrenchingly difficult decision to go ahead and allow Red to participate in the race. The Comeback[] The day of the race at Santa Anita Tom gives Red instructions as usual, and Red affirms that he will not make the same mistake he made in the past when he lost focus and lost at Santa Anita. It is a difficult situation for Charles to watch because of the danger to Red. Charles has after all already lost his only son in an accident. At the gate, Woolf smilingly and ironically greets him on another horse – one that has little chance of winning. The race then begins. Red, however, is in excruciating pain. As a result, Seabiscuit slows down, and then falls far behind. From far, far back in the pack, Red has Seabiscuit look Woolf’s horse in the eye, which stimulates him to surge ahead. (It is interesting that this other jockey of good will, Woolf, serves a great purpose here.) Then urged on by Red, Seabiscuit from out of nowhere surges from behind, takes the lead, and sprints to the finish to win the race in a remarkable turnaround. At the end of the story, Red comments that they had fixed a once-broken horse. On further thought, he adds that the horse had actually fixed them. His finally concludes that they had fixed one another. Major Themes[] Like any important work of literature or film, a number of major underlying themes emerge from the story. Even the less obvious ones are equally compelling. Inner Power to Overcome Adversity that Brings Success[] The most compelling theme in the story is the ability of individuals to overcome great hardship and adversity, and turn it into great success and accomplishment. This resiliency of the human spirit expresses in a number of ways: Charles is able to overcome the death of a child, as well as a divorce from his wife. He regroups and moves his life forward (from car sales to horseracing), culminating in great victories for him and his prized horse Seabiscuit. Tom is able to overcome the hard times of The Great Depression, including the fading need for his horse-herding skills. He is able to move his life in a new direction, which brings great success through Seabiscuit. Red survives the separation of his family, poverty, hunger, and bitter defeat as a jockey and boxer, only to emerge victorious a number of times riding Seabiscuit. These circumstances indicate that anyone can overcome adversity -- no matter how difficult the conditions -- so long as one has grit, determination, strength, and positive attitude. In that sense, this true story of Seabiscuit and his mentors can serve as an inspiration for ages. Power of Tolerance, Acceptance, Forgiveness[] Another major theme of Seabiscuit is the power of tolerance, acceptance, and forgiveness. In particular, we see how Charles is able to accept the flawed behaviors of others. E.g., when Red foolishly gets entangled in a fight with a jockey, and thereby loses a critical race while riding Seabiscuit, Charles does not scold him or lay blame, but is understanding, accepting the situation for what it is, and then moves on. Charles’ calm, compassionate response enables Red to confront his own demons without being lectured. In another incident, Red loses another race because he cannot hear out of one ear, and yet once again Charles does not berate him, but accepts the situation as is. Yet, a third instance occurs when Tom and Red go to visit Charles at his beautiful estate. When Charles notices that Red refuses to eat because he is self-conscious of becoming too heavy as a jockey, Charles, in another moment of understanding and compassion, comforts him and encourages him to eat. He says that he would rather have Red strong than thin. Charles has that rare capacity to look beyond the short-term deficiency or problem and take the longer-term view, perceiving the greater potentials of the future. We also see similar characteristics demonstrated by Tom. Rather than look down on a wheezing horse with a strange gait, Tom accepts Seabiscuit for what he is. When he looks him in the eye, he knows that the horse is something special, despite his outer physical deficiencies as a racehorse and his belligerent behavior. Like Charles, who accepted a large, heavier than normal jockey in Red, Tom saw beyond the surface limitations in Seabiscuit, perceiving his great potential, which was in fact realized through Seabiscuit’s enormous successes. In the end, these instances of tolerance, acceptance, forgiveness, and patience establish the tone in the story; the distinct human qualities that enable the powerful positive outcomes that follow. Parallel of the Characters’ Struggle and Success, and that of Society[] The third theme in Seabiscuit is the parallel drawn between the obstacles and adversities of the characters in the story and that of the general population during the Great Depression. This expresses in several ways. Arising out of Difficulty -- Just as Tom and Red have been down and out on their luck, so too are the unemployed masses of society. Just as the principals in the story are able to rise out of their great difficulties and bring about great success, the society as a whole is able do the same -- for after all, the American public will soon overcome the Great Depression and become the most prosperous society in history. For the main characters of Seabiscuit, it is both physical and psychological struggle that they rise above -- just as it was for the American public, who overcame their own collective psychological malaise, created by the harsh economic conditions. Given a Second Chance -- Similarly, we also see the parallel drawn between the characters in the story and the public in showing how “damaged goods” can be given another chance and thereby rise out of their adversity. Rather than being perceived as failures, both the characters in the story and the society as a whole are given new opportunities to thrive in the face of past failure. E.g., rather than reject Seabiscuit as a too-small horse with a bad attitude, he is given a second chance, is nurtured back to his true state, setting the stage for his vast success. Likewise, rather than condemn Red’s physical size as a jockey, or his failures of the past, he is given another opportunity to prove his worth. Parallel to this, Americans are given a second chance to rise out of their misery, which they are able to do in the years that follow. The Heart and Will to Prevail -- Finally, we see a linkage in the story between the heart of the horse (and Red) to the heart and will of the people to rise out of their adversity and prevail. Like Seabiscuit, who had a great heart and spirit, and rose to the pinnacle of success, so too the people did not give up, did everything to survive, and began their steady climb out of poverty, culminating in unimagined prosperity. When we have the heart and will to move ahead, we can shed adverse conditions, and move mountains. All for One and One for All[] One of the more interesting themes of Seabiscuit is how individuals are able to work together to achieve their common goal, which is success for Seabiscuit, and, in particular, a win in the head-to-head competition with War Admiral. Though Charles, Tom, and Red each have different job roles -- as owner, coach/trainer, and jockey -- they are able to collaborate and work in harmony to achieve their common aim. For example, when Riddle requires that the race between Seabiscuit and War Admiral begin without a gate, the main characters collaborate to with a clever solution. They work out a practical strategy in which they purchase a bell, and then work with Seabiscuit and teach him how to react to it. In the situation, Charles has relayed the demands of Riddle to Tom, who secures a bell, and works with Red and Seabiscuit to implement the strategy. The entire chain of command is working in harmony to achieve the common goal, which they accomplish in spades in the end. They also help one another psychologically, helping fill the voids in one another’s lives, which also supports the great accomplishment that followed. Charles serves as a father figure to Red after he had been separated from his family. Likewise, Red fills a void for Charles who has lost a son in a tragic accident. Similarly, Tom and Charles help Seabiscuit overcome the poor training and abuse he suffered early on in his career. Ultimately, they are all working for Seabiscuit’s success, who achieve beyond their wildest expectations. Because they help one another materially and psychologically, they accomplish their common goal. They each work for one another, as well as for a collective purpose. It generates a vast power that enables the great results that follow in the story. Land of Infinite Possibilities[] There is one less obvious, though powerful theme that permeates the story: it is the atmosphere of “infinite possibilities” that prevails in the minds of the people of 20th century America. From the very beginning, the narrator tells us of the infinite potential of America, and in particular the open-ended possibilities that exist in the American West. Not only is there a sense of freedom to do as one chooses, but that environment encourages individuality, where people can think for themselves, unencumbered by the old ways. There is thus a canvas, a landscape of infinite possibility for attaining success and fulfillment. It is in this atmosphere that Seabiscuit’s rags to riches story takes place. Charles at the outset pursues his dream, not wanting to be a spoke in a wheel, or a cog in a machine. As a result, he starts his own business selling bicycles, and then sells cars. In an environment of infinite possibility, he makes his own way, makes his own choices, expresses his individuality to become what he wishes to become. He is unfettered by the views of society, but forges ahead on his own. In a backdrop of infinite potentials, he is able to find fulfillment in life. In fact, this is such an open-ended, inviting environment for accomplishment, that even when times are hard, when people are down and out on their luck due to the Great Depression; even when there are intense personal problems, the American dream remains alive in the heart of the people. I.e. a person can still find success and happiness in that infinite-like environment. All that is required is for a person to look around and see what is possible, and then choose in the direction that expresses his or her individuality. For Charles, Tom, Red, and Seabiscuit that is precisely what takes place -- despite the national hardship and their own personal problems in this land of infinite possibilities. Humanity vs. Technology[] At the outset, the narrator indicates that mass production, including the car, is the start and end of imagination. I.e. we can imagine and invent these wonderful new technologies, yet we become cogs in the brutal machinery of mass production. This serves as a background for Charles’ realization that he doesn’t have to be a spoke in a wheel and work for someone where his ideas are ignored, but can venture out on his own and express his individuality and humanity. There is thus this tension in the story between our humanity and the brutal quality of technology. In fact, the horse itself becomes the symbol of that humanity through the compassion and concern of others, whereas the automobile is seen at once as both a wonder and the scourge of technology. Though Charles prospers selling cars, his son is killed while driving one of these vehicles. Though an injured horse can be viewed as something broken down and useless, through his humanity Tom is able to perceive Seabiscuit's utility and purpose. This parallels what is occurring in society, where technology has failed them during the Great Depression, but where human values of concern and compassion are demonstrated and aid to lifting the people out of their misery. The Leading vs. the Trailing Edge[] There is one theme, though subtle, that expresses in the story. It is how the fresh, innovative, and dynamic forces of the leading edge are able to prevail over the resistant, anachronistic forces of the trailing edge. Though Charles seizes the opportunity to take Seabiscuit to the next level of success, Riddle attempts to thwart him at every step. Charles represents the fresh, positive energies emerging in society, whereas Riddle represents the old, worn, entrenched interests -- the haughty, narrow-minded power that is reluctant to give up the reigns. And yet, due to the main characters’ great determination and effort, their clever strategies, and, later on, a supportive nation, they are able to overcome Riddle’s trailing edge mentality, and bring about great success. With Seabiscuit’s victory over War Admiral, Riddle is shown for what he is: a backwards thinking, narrow-minded, entrenched individual, who is out of step with the forces of progress. In fact, his attempts to foil and resist Charles’ proposals prove futile in the end, as a tidal wave of positive energy and circumstance work against him. Human Accomplishment[] We admire people who have had great success, though we are usually less aware of what it was that enabled it to happen – i.e. the process they followed that propelled them to the heights. And yet the film Seabiscuit reveals many of these keys. Analysis over the years has shown that the keys to success in any endeavor include the level of one’s intention, will, energy, strength, organization, and effort. In Seabiscuit, all of these are prominent. In addition, there are other important factors at work like the power of positive attitudes, the effect of a supportive atmosphere, and the expression of personal values of tolerance, compassion, and forgiveness. Together these factors create a powerful environment that contributed not only to the success of a once-demeaned horse Seabiscuit , but great accomplishment for the three individuals who fostered it. Envisioning the Future [] Life is an open field. There are a myriad of choices before us. Those who are most successful in life are those who perceive and then seize the opportunities that are there before them. In Seabiscuit, the characters, particularly Charles, recognizes opportunities, seizes them, and accomplishes them in full. For example, in the beginning of the story Charles realizes that he does not have to be “a spoke in a wheel” while working at the bicycle shop. He perceives that there can be a different way, in which he has control over his own destiny. He heads out west and sets up a shop of his own. That in turn brings an overheated car in front of his shop, which enables him to recognize and prosper in yet another opportunity, the newly emerging automobile industry. Catching the Wave -- It should be pointed out that Charles did not just perceive any opportunity, but one that reflected an important emerging wave in society. With the discovery of the combustible engine, the paving of roads throughout the country, and the desire amongst the public to move around quickly, easily and conveniently, the automobile was the emerging technology of the time. Charles perceived that emerging wave of opportunity, seized on it, and was taken to the top of his field. Charles perceived opportunities related to his career in horseracing as well. First, he saw the potential for success in the horseracing field, and entered it. Then he saw the potential in Tom because of the values of honesty and sincerity he expressed; in Seabiscuit, despite his outer limitations; and in Red, despite his many failures to that point. Charles was able to look beyond the present limitations and envision future success in each instance. He proved to be correct on all counts. Charles not only had the ability to perceive possibilities in ordinary, i.e. relatively positive circumstances, but also in negative ones as well. When he hears from Tom that Seabiscuit is not a great horse yet like War Admiral, rather than be discouraged by the fact, he turns it positive by envisioning a race between the two horses. In fact, later on when Riddle tries to thwart him from achieving that goal, Charles comes up with a series of innovative and successful strategies to lure him out. Power of Intention[] Perceiving an opportunity and then envisioning its accomplishment is one thing, but to insure that it actually comes about, something more is needed: we must garner the sanction of our emotions and will. Without an intense desire for our vision to become real, the goal imagined will tend to remain just that – a thought. Desiring and wanting a thing releases the necessary energy that will that compels us to see it through to completion. The envisioning of a goal to be achieved and the drive to accomplish it is captured by the term “intention.” Those with it succeed; those without it remain as they are or fall back. In Seabiscuit, the power of intention is present throughout the story, as great accomplishments issue in its wake. First, there was the heart and passion of the Seabiscuit himself, who has a driving urge to beat the competition. He seems to move to the next gear when he is faced with a competitor. When he was younger, he was trained to lose against other horses. Now, released of those bonds, he is determined to beat them. Seabiscuit thus has a powerful drive and intention to win when he races. This comes out in full in his head-to-head race with War Admiral, resulting in a smashing victory. There is also the indomitable will of each of the human characters in the story. In particular, each person had his own reason for improving his lot in life. Charles wanted to succeed in the wake of the tragedy of his son’s death, and the ensuing divorce from his wife. Tom had the drive and will to improve his condition since he had been driven out of work by the Great Depression and the obsolescence of his old job as horse herder. Likewise, Red has an indomitable will to rise in his profession as a jockey after years of failure, anguish, and poverty. Each had their unique need to move ahead, creating the drive and will for success, which they achieved in the course of the story. Later on, their need for success in order to overcome past difficulties evolved into something more positive and present: the deep aspiration for Seabiscuit’s success. This was not merely a goal they perceived in their minds, but something they desperately wanted to achieve. I.e. it was a deep-seated urge that was there ever-present in their emotions. Later on, that passion is directed towards something even more specific: winning the great race against War Admiral. In both cases, they accomplished what they intended through driving will, deep commitment, and right strategies; and in the end succeeded beyond their wildest dreams. Right Strategies[] Even the best of intentions will not bring success unless we devise specific ways for it to come about. A person may envision and really want to produce a bestselling book, but he needs to come up with the right approach for it to happen. For example, he needs to identify who his target audience is; write in a way that is appealing to his readers; engage an agent who will find him a publisher, and so forth. In essence, he has to organize his intention into a plan through practical strategies. In Seabiscuit, the three principal characters are able to devise the right strategies at the right time to bring about their extraordinary successes. During the race with War Admiral, Charles comes up with a series of strategies to flush out Riddle. First, Charles suggest a head-to-head race between the two horses; which he then follows up with the strategy of a $100,000 purse to the winner, followed by putting Seabiscuit on the card wherever War Admiral is going to race. This culminates in rallying the country to his side through a train tour. Finally, Riddle relents and agrees to the match. Without specific strategies, a race against War Admiral would have remained a mere idea in Charles’ mind. By implementing a series of clever strategies, it became a living reality. In a similar vein, Tom developed strategies for how Red should run races with Seabiscuit – whether involving tactics to win individual field races, or to win the single, head-to-head race with War Admiral. In the latter case, Tom tells Red to surge ahead at the outset of the race, ease off, have Seabiscuit look at War Admiral in the eye, and then burst ahead. This is a perfectly crafted strategy that leads to Seabiscuit’s victory, and their own personal success. One can even devise strategies to meet the smallest and most detailed aspects of a work. This occurs when the principals devise a method for Seabiscuit to get off to a quick start against War Admiral, since Riddle has ruled out the use of a starting gate. They come up with the idea of using a bell to teach the horse how to get off to a fast start -- a strategy that will prove enormously effective. Similarly, we see the small strategy devised by Tom to calm down Seabiscuit by bringing a mare into his stable. The companion horse has the effect of relaxing Seabiscuit and changing his demeanor from that point forward, a strategy that will proves to be critical for the horse’s success thereafter. When intentions are formulated into specific, targeted strategies, and are then implemented in full, it is bound to attract considerable success. It is a lesson that we can all learn from and apply in our daily lives to achieve our fondest goals and dreams. Adjust to the Realities[] While right strategies are critical to success in any endeavor, life’s circumstances constantly change. Those who are flexible and resourceful will be able to adjust their strategies to meet life’s conditions. (It will surely be a test of whether our intentions are true and long lasting.) In several instances, the characters were able to shift gears when conditions changed. Charles demonstrated a masterful ability to adjust strategies when he does not achieve the intended goal. E.g., when he first makes the offer to Riddle for Seabiscuit to race War Admiral, he is turned down. As a result, he comes up with the idea of sweetening the pot by having a $100,000 winner’s purse. Unfortunately, Riddle is still unconvinced, which compels Charles to change tactic again, forcing him to try and race Seabiscuit wherever War Admiral is on the card. Again, Riddle is unmoved by this somewhat intimidating approach. Finally, after a string of successes that bring notoriety to Seabiscuit, Charles decides to rally the public to his side by going on a rail tour of the country. This brilliant strategy finally forces Riddle’s hand, and he agrees to the race. At each point, Charles was able to shift his tact to meet the current conditions of life, and eventually achieve his goal. The ability to not back down, and change strategies on the fly as conditions change is one of the great secrets of accomplishment in life. Determination and Focus[] To accomplish a goal, one must remain focused on our objective. It is easy be excited by something at first, only to lose that interest and intensity as time passes, or situations unfold, or we get caught up in other matters. In Seabiscuit, the three principals stay very focused throughout on achieving their goal of Seabiscuit’s success. When there is difficulty or failure, they are able to absorb the shock, make the necessary inner adjustment, and move on. It is because they are so dedicated to their goal; because they are so determined to see it come about, that they are unfazed by momentary difficulties. Their subconscious need to overcome their past, and their conscious aspiration to see Seabiscuit succeed, drive them forward despite all obstacles. It is that sort of determination and focus that is necessary to bring any aspiration or goal to fruition. Positive Attitude[] To execute a plan such as winning a major race, or even the Race of the Century requires not only driving determination and will, but the right personal attitudes along the way. Executing a plan with optimism, openness, patience, and regard for others, creates the best psychological atmosphere for achievement. Negative attitudes on the other hand, -- such as skepticism, mistrust, dishonesty, hostility, impatience, and greed will tend to do the opposite -- drive off accomplishment, leading to the disappointment and failure. The main characters of Seabiscuit demonstrate a consistent positive attitude throughout which helps them achieve their goals in the end. Positive attitude expresses in the story through the belief that anything is possible. That can-do attitude is particularly present in Charles, who expresses it from the very beginning. He has the positive conviction that he can set up a bicycle shop of his own, and is quickly able to do so. Likewise, when he perceives that he can be a salesperson and champion of the automobile industry, he quickly accomplishes that as well. In fact, he often expresses that infectious can-do attitude to others, inspiring them to see the power of the emerging automobile, not to mention purchase one of their own. Charles demonstrates positive attitudes in other ways as well. In particular, when hardships or problems come his way, he is able to accept them as truths of life, and then move on. When Red makes a mistake, Charles does not scold or abuse him, but remains calm and understanding. This is a most noble attitude that borders on the spiritual. This powerful positive attitude of “equality of being” in the face of life circumstance tends to strengthens bonds between people, engender trust, which in turn enables greater accomplishments in life. When at first Red sees that Seabiscuit is ornery and difficult to handle, he does not abuse him, but is calm and understanding of the horse’s state. The empathy he feels for the horse’s condition, helps bring him around, leading to all the success that follows. It should also be pointed out that there is also a general can-do attitude that permeates the country, despite the recent difficulties of the Great Depression. There is that undercurrent belief in the nation that anything is possible, which provides the supporting atmosphere for accomplishment. In addition, there is also the positive attitude of the US government, which at the time was led by Franklin Roosevelt. His compassion for the people, his policies to try to uplift them, his positive attitude about the future of the country serve to energize the downtrodden population, lifting their spirits when they were in their darkest hour. Strength; Overcoming Obstacles/Adversity[] One may have the right plan, intense desire, and all the skills in the world, but still fail to achieve one’s goal because if one does not have the psychological strength to stand up to life’s circumstances. Perhaps we lack the nerve to deal with a situation, or the ability to stand up to a tough adversary, or the fortitude and will to come forward and do what is right. Whatever the case, when we are weak, life will tend to crush us or otherwise prevent us from achieving our life’s goals. However, when we are psychologically strong -- demonstrating toughness and grit-- we overcome all obstacles and attract success. In Seabiscuit, we see instances where individuals were able to exercise psychological strength in the face of great adversity, enabling them to prevail in the end. We see this in a most pronounced way when Charles shakes off the devastation of the loss of his son and the divorce from his wife. Rather than ruin his life, he gathers strength, pulls himself together and move forward by going to Mexico. As a result, in short order he meets his future wife, and encounters Tom, Red, and Seabiscuit for the first time, who become the instruments for his greatest accomplishment in his life. By turning away from weakness to strength, he began the process that enabled him to turn his life around. In yet another instance, we see that when Red is defeated in a race aboard Seabiscuit because he lost focus, Charles is not discouraged, but has the strength of nerves to move forward, which contributes mightily to his and Red’s future success. Likewise, it is in his dealings with Riddle, rather than back down if the face of his rejection and taunts, Charles shows backbone by relentlessly pursuing other strategies that will prove to be successful in the end. Red also exhibits his own forms of psychological strength along the way. First, he shows an inner toughness by forging ahead on his own after being separated from the family he was so close to. Then later on, despite humiliation and defeat as a jockey and a boxer, he shows the courage and strength to push on. For that persistence, he will meet up with Seabiscuit and have his greatest successes in life. We also see how after shattering his leg in a riding accident and being told that he will never ride again, he summons up the courage and strength to heal himself. He not only rides again after he was told that would never happen, but rides a race at Santa Anita where he drives Seabiscuit from behind to a stunning victory, bringing a sense of redemption to his life. In each of these cases, we see how summoning up courage, fortitude, and strength when times were tough or challenging allowed that individual to move forward and bring about abundant success thereafter. Intuitive Capacity[] Normally when we perceive an opportunity in life, it happens because we exercise our minds and come to a decision based on the possibilities that are before us. It is a relatively rational and logical process involving our mental powers of perception. And yet we also have the power to perceive opportunities, through an inner, intuitive sense, that is less rational and more direct. That intuitive perception of an opportunity can be acted on, bringing us success in life. In Seabiscuit, we see at least two powerful instances where intuition brings about great accomplishment in the story, both involving Tom. When he sees Seabiscuit for the first time, he senses something powerful in his look; and as a result, a deep bond is established between them; even a sense that somehow they would work together and bring one another benefit. That intuitive experience is the one great moment that links the destiny of the horse to Tom, and then Red and Charles, and to the success that follows. In a second instance, Tom sees Red fighting with several other men. He then looks back at the feisty Seabiscuit who he is attending to, and senses a link between them. He intuitively senses that they are destined to be involved and work together. Once again, Tom’s intuition will serve to change the course of events in the story, and be an instrument for the vast accomplishment that occurs later on. Inquisitiveness[] Seeing opportunities can come through the normal, rational thought processes and perceptions of mind, or through an intuitive-like capacity. Opportunities also tend to come to those who are inquisitive -- i.e. to those who have a natural tendency to seek out and explore life’s possibilities. Those who do, tend to come upon fresh, new opportunities that when acted upon can lead to great accomplishment. Recall how while at the track in Mexico, Charles sought get back into the horse racing business. While walking around the stables there one day, he sees Tom in the high grass stroking the horse that he had earlier saved. This situation intrigues Charles, which causes him that night to go out and meet Tom at his campfire. They strike up a conversation that establishes their relationship. Charles’ inquisitiveness enables him to establish a connection with Tom, who himself will connect with Seabiscuit, who will be the instrument of their great success. We also see that inquisitiveness early on when Charles is asked to fix the Stanley Steamer car, when he never worked on a car before. His interest in discovering what makes it work – he says that it is in essence a miniature locomotive – causes him to really appreciate its functionality, which later inspires him to get into the car selling business. It is that curiosity that leads Charles to a new career, success, and vast wealth. [ep] A Supporting Atmosphere[] One important influence on our ability to accomplish is the role played by the environment – i.e. the atmosphere and conditions around us. When the conditions of life around us are positive, it supports our ability to achieve. When they are negative, it retards it, or even cancels our efforts. In Seabiscuit, we see these external influences in the story at several levels. At the level of the nation, we witness a country, the United States that is dynamic -- encouraging individuality and initiative. There is an atmosphere of freedom that allows one to choose as he pleases. This is particularly true in the American west, which is less fettered by class structure and certain moral and ethical strictures of the eastern part of the country. All of these factors together support accomplishment for the individual. E.g., we see how Charles takes advantage of this environment when he starts his own bicycle shop, and later on when he sees the opportunity with the automobile that he seizes. He feels free to move around as he pleases, to become anyone he chooses, to be entrepreneurial and his own man. He senses at every point that he is free to create his own reality, to become anything he chooses in this land of infinite possibility. And yet it can be argued that Seabiscuit takes place at the time of the Great Depression -- a period of great poverty and unemployment, which would seem to make accomplishment difficult, if not impossible. It is a counter force of limitation, of fear and anxiety that would seem to limit one’s ability to achieve. It did have the effect of putting Tom out of work, and forced Red into desperate measures (i.e. boxing) in order to survive. It even slowed down Charles’ very successful auto business. And yet always lurking in the background is this sense of the possible; that if we make a sincere effort, things will eventually come around, which is in fact what eventually happens for the individuals of this vast nation. In fact, Seabiscuit himself, a small horse, reminds them that anyone can come back in this society of infinite possibilities. That is why the population reacts so positively to his ascent. It is because they know in their bones that rejuvenation and prosperity is just around the corner. Power of Values[] Though direction, will, organization, strength and other factors are key to accomplishment in life, there is one power that can have the greatest of all impacts. It is the personal values we subscribe to. A value is a belief or an ideal that energizes us into action, or uplifts any goal we aim to achieve. E.g. if I believe in the value of honesty, it will have a positive effect on how the way I relate to people, thereby increasing my threshold for success. Likewise, if I believe deeply in the value of teamwork and cooperation, then when I attempt to achieve a goal in a social organization like a business, I will create more powerful relationships between people that will dramatically improve my chances for success. Personal values thus energize anything it comes in contact with -- whether our relationships with others, the goals we aim to achieve, or any other aspect of life. In the film Seabiscuit, we see a number of values expressed that not only indicate the personal values of the principals, but we see how those beliefs bring about positive outcomes in the story. Among the values demonstrated are: Teamwork – Throughout Seabiscuit’s rise to the top we see values of teamwork, cooperation, and harmony of purpose on display. Not only do the principals have a common purpose – victory for Seabiscuit – but display a willingness and desire to cooperate to make it happen. That value of teamwork energizes their efforts, leading to the great accomplishment that follows. Individuality – Not only did the society support freedom and individuality, but the characters themselves internalized and therefore deeply cherished these beliefs. Individuality means thinking for one’s self, unfettered by the social imperative; the beliefs of the herd. We see how Charles decides to break away and head west on his own, and thereafter start his own bicycle shop, and thereafter start his automobile sales business. Respect for the Individual – Expressing one’s own individuality is one thing; respecting others for what they are and believe in is another. We see expression of Tom’s powerful belief that everything and everyone serves a purpose no matter what its status -- which is the value that enables him to accept Seabiscuit despite his limitations. As a result, he is able to nurse him back physically and psychologically, which opens the door to Seabiscuit’s later successes. Likewise, we see how Charles accepts Red for what he is, despite the fact that he is too tall and heavy by jockey standards. When we respect and value others, including their unique qualities, we not only help them blossom, but it tend to breed success all around. Content over Form – Another way of looking at Tom’s respect for others (including animals) is that he values the content and essence of a thing rather than its mere outer form. Though Seabiscuit has an awkward gait and is small by racing standards, it does not deter Tom from seeing the horse’s potential. He sees and senses a spirit, will, and heart in the animal that one may not readily perceive just by his physical appearance, or even his particular skills. Similarly, though Tom is down and out and lives/camps in a field, it does not deter Charles from seeing him from what he really is and what he really believes in. Likewise, though Red is too big and tall by jockey standards, Charles sees beyond the surface of things to the essence, valuing the drive, will, and grit of Red. This valuing of content and essence of the individual or object over mere outer form and surface is an important value that contributes to success in life. Tolerance, Acceptance, Forgiveness – Perhaps the most striking and exceptional values expressed in the story is Charles’ acceptance, tolerance, and forgiveness of the defects in others. Rather than scold or complain, he sees through the difficulties other’s encounter, and instead instinctively accepts situations as is. He is at once compassionate and understanding of the flaws and failures of others, while seeing little purpose on harping on the limitations of the present, when there are much greater opportunities in the future. Charles’ munificent and generous nature is what revives and inspires Red, giving him the opportunity to overcome his faults, which will support his future success with Seabiscuit. Charles’ compassion and understanding are expressions of selflessness and self-givingness, two values that can be said to border on the spiritual. These are deep-seated values that inspire, energize, and attract success. Leadership Skills[] One of the keys to the outcome in the story is the extraordinary leadership skills demonstrated by Charles. Not only is he able to perceive opportunities, devise right strategies, show compassion and tolerance, but he has the innate ability to stir others into action. We see how early on he becomes an advocate and persuasive leader in the automobile field. Later on, we see how he convinces the track owner to include the $100K purse in the prospective battle. Most of all we see how is able to galvanize the nation behind him in his attempt to convince Riddle of the worthiness of the race with War Admiral. In these instances, he shows a level of persuasiveness, a vital energy and authority that stirs others to move to action. It, along with the other aforementioned qualities are indicators of an exceptional leader. Negative Behaviors that Block Accomplishment[] While there are a number of factors that insure high accomplishment in life, there are just as many that can deter and block it. Some are obvious, such as lack of direction, lack of drive and energy, poor organization, missing skills, and flawed execution; while others are not so, such as poor attitudes, lack of psychological strength, and missing or weak personal values. In Seabiscuit, we see several factors that deter accomplishment at points along the way, despite the fact that they succeed in the end. Anger, Temper -- The most obvious are the negative behaviors expressed. For example, though he has plenty of skill and drive, it is Red’s hot temper gets him into lots of trouble. When he tussled with the jockey and thereby lost focus causing him to lose the first race at Santa Anita, his success was obviously thwarted. This was not a onetime matter however, as he demonstrated these tendencies earlier on as both a jockey and a boxer. We also see how he gets embroiled in fights on the job. One obviously needs to develop a level of self-control to succeed in life; otherwise, we will attract the most negative of circumstance. Foolish, Impractical Action – It was perhaps the greatest tragedy of the story that Red was unable to run the race against War Admiral. His foolish involvement in running the horse of an old acquaintance just before the duel with War Admiral, led to the serious leg injury that kept him out of the race. His hasty acceding to the demands of another just before the race was an unwise, impractical decision that ruined the chance to participate in the greatest opportunity of his life. Being diverted from the task at hand, and taking foolish, impractical actions will surely not help as one tries to reach the next level of accomplishment in life. The Character of Life[] Like the individual, life too can be said to have a character of its own. Life’s character can be described by the way events unfold, as well as by the factors that determine such outcomes. The character is governed by subtle laws and principles, which we can observe if we closely examine the unfoldings of life. In Seabiscuit, we can see a number of these laws in action, which can give us the most profound of insights into the nature of life. Inner-Outer Correspondence and Life Response[] One such principle of life is the law of “inner-outer correspondence.” It indicates that the separation we normally perceive between the world outside us and our inner condition is an illusion of our limited consciousness. That, in fact, the inner and the outer are part and parcel of the same contiguous reality. Therefore, if I change the inner me – such as reversing a negative attitude to the positive – the outer world instantly responds in kind with good fortune. This miraculous like phenomenon is known as a “life response,” a term coined by a spiritual teacher in India in the 1970s. It is the instantaneous response of the outer life to changing our consciousness within. Any work of literature or film will reveal at least a dozen such incidents, and Seabiscuit is no exception. Let us then explore several of these, and see how they were instrumental in the outcome of the story. Examples of Positive Life Response[] Overcoming Negative Attitudes and Feelings Attract Life responds with sudden good fortune to any decided change in consciousness on our part. E.g., Life will readily respond to our shifts in attitudes. When we overcome a negative or limited attitude, emotion, or feeling, life tends to quickly work in our favor. Recall the state that Charles was in after his son died in the auto accident and his wife left him. For a long time, he was morose and sad. As a result, life around him essentially remained static and unchanged. Then however, something special occurred. When he made the effort to get out of his psychological malaise by going to Mexico, he met with a string of positive circumstance -- including his first encounters with his wife to be, as well as Tom, Red, and Seabiscuit. In other words, when he overcame his limited attitude and emotion by venturing to Mexico, life cooperated from all quarters. That is the power of shifting our inner condition to the positive. Accepting the Givens of Life Attracts Life not only responds to higher attitudes, but when we embrace life and accept the givens that before us. When we shun what life has put before us, we remain as we are, or even fall backwards. However, when we take up the current needs, or work – whether to our liking or not -- good fortune tends to quickly follow. In Seabiscuit, we see early on how Red has failed to live up to his own expectations -- both as jockey and as boxer. However, rather than give up, he shows a willingness to do whatever he has to do to survive. At one point, we see how Red was willing to take on the lowest of jobs – i.e. tending to the needs of a washed up racehorse. As a result, Tom, who was looking for a racehorse for Charles, suddenly appears out of nowhere, and meets with Red. This changes Red’s life forever. In essence, Red’s willingness to accept the current conditions of life by performing the lowest of jobs in order to move out of his current limited condition attracts a powerful positive response in the form of Tom’s appearance, who will become the conduit for his great success aboard Seabiscuit. Acceptance of Others, Self-Givingness Attracts It is not only the accepting of the givens of life that attract good fortune, but also embracing the needs and wants of others. In particular, we see that when we accept others for what they are and are selfless and self-giving in that regard, it will not only bring us inner happiness and contentment, but luck will also follow. E.g. if rather than criticize another’s action, I am accepting and understanding of their plight in full, or rather than be taking from others, I become self-giving toward them, life will quickly respond in our favor thereafter. Recall the incident where Tom gives Red instructions on how to ride Seabiscuit before the race, only to see him get embroiled with another rider, which causes him to lose focus, and be defeated in the match. However, rather than scold Red in the aftermath, Charles remains calm and is accepting of the situation. In fact, he tries to understand the source of Red’s problem, which compels him to ask Red why he is so angry. This in turn causes Red to consider his own inner condition in life. The next day he asks Charles for a loan to pay his bills, which Charles is more than happy to oblige. As a result of now feeling better emotionally and psychologically, Red suddenly guides Seabiscuit to his first victory, a runaway that stuns the crowd. This has the effect of finally establishing the horse and the jockey as a winner. Because Charles accepted Red rather than criticize him, because he was generous, life cooperated with him by bringing his horse its first major victory. It also established Red as a solid rider, who would bring Seabiscuit even more victories, which also naturally benefited Charles as well. These gestures of acceptance and generosity are indicators of the power that self-giving behavior brings us in life. When we give to others rather than take, when we are accept them rather than scold, when we act out of our high regard rather than through the foggy lens of our own s ego, not only will the other person be uplifted and be energized, but powerful positive conditions are likely to come our way. Attention Attracts Everything in life responds positively to personal attention – whether people, objects, stocks of inventory, or money. When we increase the attention we give, that person or thing will not only be energized, but life tends to quickly bring us luck. E.g., out of the blue, machines will start working better, orders will suddenly pour, and unexpected sums of money will move in our direction. Normally, there does not seem to be any obvious correlation between such things, but that is in fact the way life works. In the film, we see early on how Red relates to Seabiscuit -- perceiving how he has been abused in the past, and how he “needs to become a horse again,” as Tom suggests. The attention heaped on Seabiscuit by Red attracts a wonderful result, when the horse suddenly and most unexpectedly sheds his lethargy, and bolts through the countryside in a dramatic ride, something he has never demonstrated before. This turns the tide for the horse, as it is now not only cooperative, but shows the great speed that will be the basis of his great victories in the future. Verbal Silence Attracts One of the more interesting moments in Seabiscuit occurs when Tom first confronts the horse. Rather than try to force him into submission, he uses whet we might call an “inner” approach. Tom remains silent, which compels the horse to calm down on its own. This is similar to the technique used in the film ‘The Horse Whisperers.’ By not speaking, a calming vibration issues forth, which had the effect of soothing the horse. When we reduce the amount of speaking we do our own lives, especially when in the presence of others, life tends to bring us positive results thereafter. Speech expresses our life energy. When we conserve it, it tends to build up and attract corresponding positive circumstance from the field of life. Intention Attracts Earlier we saw how our intention is one of, if not the most important key to success in life. One truth about intention is that when we take to it to a higher degree or with greater intensity, life tends to quickly cooperate with us, directly fulfilling the very thing we intended to happen. For example, early on after Tom meets Seabiscuit, he says that the horse has spirit, and if it could be calmed down and trained, it could become a legitimate racehorse. Thus, he has an aspiration and intention for it to come about. Right after that, Tom comes upon Red, where he sees how he and the horse share something in common -- an intensity of spirit, which would enable them to work together. This serendipitous event is an immediate response to Tom’s earlier desire and intention to turn Seabiscuit him into a legitimate racehorse. Because he wanted it to happen, life presented him with the opportunity for its realization. When we want something bad enough, life tends to take over and creates conditions for its occurrence. It is one of the great secrets and expressions of the character of life. There is another instance of this phenomenon involving Red. As we just saw, at one point, he is desperate for work -- willing to do anything to keep going. Though his boss does not put him in a race, he asks Red to hot walk one of the older, slower horses. A few moments after Red begins that chore, Tom walks up to him and sees him for the first time, and their destinies are altered forever. It is through Tom that Red will meet up with Seabiscuit. In sum, because Red so intensely wanted to succeed, he quickly attracted the very vehicle – Tom (and therefore Seabiscuit) -- that would fulfill his aspiration and intention. We see this same law at work in the same episode from Tom’s point of view. Just before that same event, Tom is commenting to Charles about a horse they are watching. He says that in racing “it is not just the speed, but the heart." He tells Charles that you want a horse that is not afraid to compete; who wants to fight to win. Immediately after that, Tom sees Red for the first time, working tending that older, slower horse. It is a response from life to Tom’s focused remarks, interest, and aspiration for the type of horse he wants. Red will be the jockey who rides the very type of horse Tom had in mind. Thus, Red’s appearance is the response from life to Tom’s deep-seated aspiration and intention. (In fact, we could say that this is a double life response; or better yet that their individual intentions were clearly in alignment with one another, bringing a life response for both sides.) Finally, in an earlier episode still, we see how Charles after arriving at the Mexican track shows a deep interest in getting into the horse racing business. Soon after he sets out to purchase several horses, he meets with Tom who is stroking a horse he had earlier saved. Tom tells him that everything has a purpose and is worth saving, which moves Charles, and thereafter they strike up a friendship. That relationship will bring great success for Charles through Seabiscuit. In essence, because Charles had a deep interest and intention getting into horseracing and purchase horses for that purpose, he quickly attracted the man, Tom, who would enable it to happen. Full, Exhaustive Effort Attracts One of the more interesting principles of life is that when you make the full effort to accomplish a work, life takes up where you left off and complete it on its own. For example, if you make a full, exhaustive effort to organize dense training materials, at the point you exhaust your effort, life tends to take over on its own and complete the work. E.g., you suddenly realize that three chapters you had to go through were already done before; or you receive a call that you don’t have to cover the remainder of the course, etc. We see this phenomenon at work in the film where Red says to Seabiscuit, "I know what you are all about," and then makes the full, concerted effort to tame the horse. Just after that grueling work is completed, Tom suddenly comes forward and introduces Red to Charles and his wife. The result is that his life is changed forever. Because Red made the full, exhaustive psychological and physical effort to tame the horse, life took over, and brought forth Charles, who would purchase the horse and lead the group, including Red, to Seabiscuit’s overwhelming successes. That is the power of making the full, exhaustive effort in any endeavor. Energies of Society Attract Before leaving the subject of how life respond to adjustments in consciousness, there is one other factor that affects our ability to attract these miraculous-like results. It is the effect of the outer atmosphere surrounding a work or endeavor. When it is positive, life tends to open up and cooperate with our efforts. If it is negative, it tends to block or delay results. In Seabiscuit, we see how in Charles’ dealings with Riddle, he is able to rally a good proportion of the nation to his side, which creates a positive, supportive atmosphere. That will in fact secretly boost Seabiscuit’s chances for success in the race with War Admiral. Not only will the fans inspire the jockey and other principals, thereby energizing them, but a vibration of energy is set loose that supports their actions in life. In a positive atmosphere, actions taken tend to gain the cooperation of life. Negative Life Response[] Just as life responds positively to movements of higher consciousness, so too life responds negatively to wanting behaviors and actions, such as a poor attitude, or a premature celebration, or a movement of ego, or something that is out of step with the prevailing external environment. Let’s explore some of these. To a Poor Attitude One way life responds negatively is when we express a wanting attitude – whether about others, ourselves, or about life itself. For example, if at a corporate Christmas part I am upset when another person wins the big prize because I have a long-term grudge against that individual, I am likely to encounter something negative soon thereafter, such as word coming of the misfortune of a friend or relative. Negative attitudes tend to project negative energies that are likely to quickly return to us as ill fortune. In one scene in Seabiscuit, we see that Red is mad and bitter because his parents have not contacted him over the years, and because of his continual failure as a jockey and boxer. Right after that, we see how wrong things immediately go for him at a race at Tanforan. There is also a similar incident where he gets embroiled in a whipping content with another jockey during a race, which causes him to lose focus, leading to the victory of another horse. Once again, his negative attitudes and feelings -- in this case his anger and hostility toward his fellow jockey -- attract a decidedly negative outcome. To Premature Celebration Another behavior that blocks accomplishment is celebrating success before it has actually come to fruition. When you rejoice too soon, you squander your energies, and life thereafter tends to cancel all future success related to that endeavor. For example, two baseball players who have hit home runs in the game act cocky and speak ceaselessly about the flights of their own balls, only to see their team lose the game in extra innings in a bitter defeat. Or a basketball team is overly excited in the middle of the game as a result of a comeback and rally, only to see it squandered away later on. Their energies are allowed full play before the execution of the work, which attracts the opposite of their intention. Something similar happens to Red when he loses a race to a competitor when he hastily starts celebrating before the race is over. When our ego takes hold before the outcome is assured, we squander energy and attract ill fortune. When we remain calm and silent in such situations, we build on those energies, and therefore life works in our favor. To Anachronistic, Trailing Edge Acts In life, there are often leading edge characters participating in circumstance -- i.e. forces of progress -- as well as trailing edge, regressive individuals. One interesting point is that life often responds negatively to individuals who assert their anachronistic tendencies when the current of life in that situation is moving in another direction. For example, in Jane Austin’s ‘Pride and Prejudice’ we see how when the aristocratic, haughty, old guard Lady Catherine tries to interfere in a potential marriage between her nephew Mr. Darcy and Elizabeth Bennett, it backfires on her. In fact, that attempt at interference becomes the very instrument through which they realize that the two love one another, leading to their engagement and marriage soon thereafter! We see something similar in Seabiscuit. At one point in the story, we see the effects of the actions of the trailing edge figure of the eastern owner War Admiral. In response to the request from Charles for a race between the two horses, Riddle responds that it is absurd to have the race because of his horse’s obvious superiority in terms of speed, breeding, et al. He then goes a step further and mocks the entire western horseracing scene. The end result of his reactionary taunts that he will be humiliated when his horse loses to Seabiscuit before a national audience. When trailing edge figures act in conditions where the positive, progressive, emerging forces are moving to the fore, their actions tend to work against them. Predecessor Events[] As mentioned earlier, just like an individual, life itself also has a character. It expresses in principles like inner-outer correspondence, i.e. that how the inner me determines the outer reality, which is the basis of the outcome of the phenomenon of life response, i.e. sudden good fortune. Another principle of life is that every event is indicated by a previous one. For example, when I go for a boat ride on a river and there is a near accident caused by a wonton vehicle that is speeding, I hearken back and recall that just before I embarked on the trip, there was a lot of difficulty getting to the dock on time. This earlier problem was in essence the predecessor and indicator of a future difficulty that would crop up. Every event in life has such a predecessor. We see this rule in operation in Seabiscuit as well. Recall that just before the race with War Admiral, Red is asked to practice-ride an old associate's horse, which ends in a very serious accident, barring Red from riding in the big race. The predecessor of this was Red’s association with this individual years earlier when that person expressed a decided skepticism of Red’s abilities. This prior negative association was the predecessor of the accident that ruined Red’s chance of riding Seabiscuit to victory against War Admiral. There are other examples of predecessor events in the story. For example, long before Charles watches George Woolf guide Seabiscuit over War Admiral in the great race, Charles sees Woolf win a race at the Mexican track. This victory was a predecessor of the great victory against War Admiral that Charles attends. In both cases, Charles watches Woolf in action; not recognizing that the first event involving Woolf would be a predecessor of a great victory by the same rider at a later date. Counter Forces that Rise When One Tries to Achieve[] An important principle of life is that when we aspire to move ourselves forward to the next level in life –- such as an attempt to steer our career in a new direction, or an offer approaches with the promise of tripling our income -- an opposite force is set loose that has a tendency to destroy it. If we are conscious of that fact, we can avoid it, avoiding being thwarted in our upward ascent. If we do not perceive it, we can easily be deflected from achieving a cherished goal. It can even turn our life in the opposite direction. For example, when Red was presented with the opportunity to run in the most important race of his life, he was sidetracked by the sudden appearance of an old, problematic acquaintance. When that individual asked Red to practice ride a horse he was trying to sell, it led to the accident that prevented Red from riding Seabiscuit against War Admiral in perhaps the greatest race of all time. Thus, a counter force rising when one tries to move to the next level can have that effect if one is not vigilant. If however one is mindful when such great opportunities arise, then one can take the necessary precaution to avoid catastrophe. Life Progresses through Negative as Well[] Another principle of life -- one that is also philosophical in nature -- is that life not only progresses through positive means, but through negative ones as well. In fact, we often move forward the quickest through the negative circumstances that befall us. For example, if a young Indian boy who is the victim of poverty and hardship is forced to flee his life with his family for the city, and then as a result is driven to become a multi-millionaire, then we can muse that his earlier difficulty was an instrument of his great accomplishment. I.e. the negative served a great purpose in his success. Though it might sound harsh, we can say that Charles might never have raised and brought Seabiscuit to success if his son had not died and his wife had not left him. It created an opening in his being, which he filled by getting into the horse racing business, and then finding Tom, Red, and Seabiscuit. That flow of life from the negative to the positive not only brought him his own greatest successes, not only helped the other principals in the story achieve their greatest mark in life, but inspired an entire nation at a time of great suffering and duress. From this vantage point, we can conclude that often the greatest successes in life come about as a result of the greatest negatives. We could thus say that a negative is a more intense version of the positive. Or, to put it another way, a negative can be thought of as a positive in disguise. Web Search Terms[] Seabiscuit Review, Seabiscuit Analysis, Seabiscuit Summary, Seabiscuit Character Study, Seabiscuit Film, Seabiscuit Meaning, Seabiscuit Plot Also see: Accomplishment in Pride & Prejudice Prosperity Portal Life in Movies Project[]
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"https://amblin.com/wp-content/uploads/2020/04/seabiscuit_2003_photo_39-284x160.jpg", "https://amblin.com/wp-content/uploads/2018/09/beautifulmind_2001_photo_1920x1080-1_hero-827x465.jpg", "https://amblin.com/wp-content/uploads/2019/07/roadtoperdition_2002_photo_hero-827x465.jpg", "https://amblin.com/wp-content/uploads/2019/02/warhorse_2011_photo_3-827x465.jpg", "https://amblin.com/wp-content/themes/amblin-theme/resources/assets/images/ig.svg", "https://amblin.com/wp-content/themes/amblin-theme/resources/assets/images/fb.svg", "https://amblin.com/wp-content/themes/amblin-theme/resources/assets/images/yt.svg" ]	[]	[]	[ "" ]	null	[]	2021-07-07T01:41:13+00:00	During the years of the Great Depression, three men who lost everything took a down-and-out racehorse and together, made a hero that gave a nation in need something to cheer for. This is the story of "Seabiscuit," written and directed by Gary Ross.	en	/apple-touch-icon.png	Amblin Official Site	https://amblin.com/movie/seabiscuit/	It is the story Johnny “Red” Pollard (Tobey Maguire), a young jockey whose spirit had been broken; Charles Howard (Jeff Bridges), a millionaire who had lost everything; Tom Smith (Chris Cooper), a cowboy whose world was vanishing; and the down-and-out racehorse that took them and the entire nation on the ride of a lifetime. During the years of the Great Depression, this was the horse that became a hero. The odds were incredible, the dream was impossible...and somehow, it actually happened. From Academy Award-nominated filmmaker Gary Ross comes the motion picture adaptation of the story that transfixed a nation from one of the most beloved and widely-read nonfiction hooks of the past decade: Seabiscuit. Screenwriter-director-producer Ross assembled an impressive list of seasoned and accomplished filmmaking talent, both in front of and behind the camera. Joining Maguire, Bridges and Cooper in the cast are Elizabeth Banks (Catch Me If You Can) as Marcela Howard, Charles Howard's wife; Hall of Fame Jockey Gary Stevens (in his motion picture debut) as George "The Iceman" Woolf, and William H. Macy (Jurassic Park III) as reporter "Tick-Tock" McGlaughlin. Producing, along with Gary Ross, are prolific and Oscar-nominated filmmakers Kathleen Kennedy (E.T. The Extra-Terrestrial, A.I. Artificial Intelligence) and Frank Marshall (Raiders of the Lost Ark, Hook), and Jane Sindell. The film is based on the best-selling book by Laura Hillenbrand, Gary Barber, Roger Birnbaum. Tobey Maguire, Allison Thomas and Robin Bissell serve as executive producers. A Beautiful Mind This winner of four Academy Awards including Best Picture, stars Russell Crowe as a brilliant mathematician on the brink of international acclaim who becomes entangled in a mysterious conspiracy. View Road to Perdition "Road to Perdition" is a portrayal of two families whose fates are determined by the complex and often combative relationships between fathers and their sons...and sons and their fathers. View War Horse From director Steven Spielberg comes "War Horse," an emotional epic on a classic scale. It is the story of a miraculous horse in wartime, a stirring journey that explores a bond of friendship, loyalty and courage. View
5867	dbpedia	3	18	https://jimmycthatsme.medium.com/shorttofeaturecurriculum-b645dbaeae25	en	The Short to Feature Lab Curriculum	https://miro.medium.com/…xl3HCDoAeMA.jpeg	https://miro.medium.com/…xl3HCDoAeMA.jpeg	[ "https://miro.medium.com/v2/resize:fill:64:64/1dmbNkD5D-u45r44go_cf0g.png", "https://miro.medium.com/v2/resize:fill:88:88/2vPHX4Beu7Tk0bhAkASQVkQ.jpeg", "https://miro.medium.com/v2/resize:fill:144:144/2*vPHX4Beu7Tk0bhAkASQVkQ.jpeg" ]	[]	[]	[ "" ]	null	[ "Jim Cummings", "jimmycthatsme.medium.com" ]	2018-11-11T21:54:44.996000+00:00	The industry of filmmaking is changing so quickly towards producing content that everyone, even brands are becoming media creators. All of them understand the power of owning content, the modern War…	en	https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19	Medium	https://jimmycthatsme.medium.com/shorttofeaturecurriculum-b645dbaeae25	1. Manifesto No one is going to help you. You will have to do it yourself. The industry of filmmaking is changing so quickly towards producing content that everyone, even brands are becoming media creators. All of them understand the power of owning content, the modern War for attention, and all of them are years behind you as an actual filmmaker. By gathering your friends, family, and talented, enthusiastic people you can shoot a feature film in 10–14 days, or a short film in 1. Technological advances have enabled consumers to perform the entirety of a studio’s production and post-production inexpensively. The Democratization of Feature film distribution has resulted in a vacuum of predatory buying practices which won’t keep filmmakers above the poverty line. Now, anyone can pay to get their film onto iTunes and pitched to Netflix through inexpensive aggregators like Quiver. Paired with a genuine and long-lasting care for the films, filmmakers like us can impersonate and outperform small to mid-range distribution companies. Facebook advertising has become so comprehensive that anyone with a little creative thinking and a Facebook page can find their film’s exact audience while maintaining all of their ownership and income in perpetuity. I will never understand why filmmakers give up every percent of their films’ rights, and all of their income, to people who don’t actually care about their movie. This is not the future, it’s the present. We are living in a moment where seizing the means of production can translate into a long and industrious career for yourself in film. People will attempt to convince you of otherwise, they will say you need to work inside of their company or their system to qualify as a real filmmaker or to be taken seriously. They do this because if you work inside of their system, you are their subordinate and they won’t have to worry about you as their competition. Let’s be perfectly clear: You are their competition. By pushing the boundaries in ways that they cannot as a company or studio, you will win their audiences every time. The current Hollywood systems, alongside a political-generational shift towards sanitized filmmaking and corporate virtue signaling, has created a chasm in the market for films that use the full breadth of the 1st Amendment showing realistic profanity, realistic violence, realistic sex, realistic characters, and therefor realistic humanity, which is all that audiences connect to. Companies like A24 and Neon have made millions and won Oscars scratching this itch amongst adults, and it is so crucial for us to join in. Only we, as independents, can hurdle these uncool people to become the direct competition to their craftless and forgettable films. We are the Backyard Pixar Revolution. We are coming for you. A 90-year-old man walks into confession. He says, “Forgive me Father, I’ve sinned. I slept with two 20-year-old women last night outside of wedlock.” The father says, “That’s terrible, my son. When was the last time you made confession?” He says, “I’ve never made confession before father, I’m Jewish.” The Father says, “You’re Jewish? Well what are you telling me for?” He says, “Well, Father, I’m tellin’ everybody…” There is little difference between oral storytelling and cinematic storytelling; both are equations of dramatic and comedic set-ups and payoffs. A film should be equally compelling when told aloud. I record all of my screenplays as podcasts and mix them to music and sound design; I feel that it is always a better display of what the film will be. Performing it out loud forces you to think hard about each moment; how can we make this stronger, what is the best version of this scene, how can we best use this moment to conduct our audience’s emotions at this point of the story? By focusing entirely on audience engagement, imagining that you are the conductor of the rollercoaster at each moment, you are already ahead of most. 2. Ideation The ideation period for a film is different for everyone: some have scripts delivered to them and they take their pick, Stephen King scours newspapers for interesting stories, Christopher Guest tries not to think of films for a full year and then an idea will hit him. Ideas come to me over a long time and then all at once. I never thought I was an artist, I looked at movies like a science: giant formulas of light and sound that are structured to get emotions out of audiences. I still think this way, but for years it discouraged me from having confidence in the arts. I think about what will move people. I usually think about the drama first because I always find it easier to make something funny, it’s harder to make something realistic, or life-affirming. I say “listen to your biology”. What actually makes you cry? You find yourself crying, alone in your car or at the cinema. Bing Bong’s big scene in Inside Out. The illiterate player from A League of Their Own. Jonah Takalua. Write these moments down. Ask yourself why you are moved by them. Analyze the craftsmanship of the writing and the editing and the set-up that brought you to this moment emotionally. It’s a magic trick. It’s sleight of hand, you were distracted with the left hand using comedy or action, while the right was setting up heartbreak. It’s a punchline. Find what moves you, find the humanity of the story, build your films from there, ask yourself: “how does this story work best over 90 minutes?” 3. Writing There is a well-subscribed community who propagate and idolize screenplay format, it’s a cargo cult that’s maintained by these daydreamers, which almost exclusively glorifies and benefits old men. The same goes for 35MM film. Screenwriting, as a professional fascination, is built on desires for personal approval that can be as fruitless and full of wish-thinking as gambling-addiction. Screenwriting is not filmmaking, it’s a part of filmmaking, it’s one of the blueprints, but it is not a good litmus test for the quality of a movie, clearly; Studios sign huge checks to great screenplays to then receive the worst Rotten Tomatoes scores in history. The Thunder Road Screenplay received multiple mediocre scores on The Blacklist. Yesterday, The Academy’s screenplay library reached out to have it added to their collection. The screenplay for Dunkirk is 70 pages. The only thing (Academy Award Winning Screenwriter) Diablo Cody knew about screenwriting when she wrote Juno was that “the dialogue is in the middle.” It’s ok to suck at writing screenplays if you know what will make a great movie and if you want to understand how people engage with movies in 2018, don’t study the script for Seabiscuit, get a Reddit Account like a normal person. A movie is meant to be performed, act every scene out and write down the best dialogue. When most screenwriters write, they sit at a computer and hear the characters speaking in their minds and they write that stuff down. But by actually performing each scene aloud, you find incredible improvised moments that may take the scenes in better directions, and the dialogue is authentic and not over-scripted because it is actually coming out of human vocal cords. Once the film is written (once you have a good draft), record it as a podcast. Record yourself reading it in a closet on the VoiceMemo App, bring it into an editing software, mix it, add music and sound design. It is easy to misinterpret an email, do not let someone misinterpret your script. Share it with trusted friends and fellow filmmakers. It is the best example of what your film will be, and most importantly, no one will ever read your script. That’s very important to remember: almost no one will read your script. When it comes to script notes, listen to the problem, not the diagnosis. If people are saying “It feels slow here, maybe have the character do XYZ.” All you have to hear is “It feels slow here-”, you’ll know how to fix the problem. Anyone can do this. 4. Pre-pre-Production Start an LLC specifically for your film, you’ll need it. Open a business checking account. Run a Kickstarter campaign. Shoot a video of you discussing the project. Mimic the Thunder Road Kickstarter page; create rewards that bring people on as Associate and Executive Producers, include an email address at the bottom for people who want to invest more in the film by purchasing 1% of your film’s LLC. Create a Facebook page and global ads for your campaign that are driven specifically to people who like similar content to your Film and then narrow that audience to people who also like Kickstarter. Sell percentages of the film to cool and interested people: they will become your Hollywood. Finding Producers Hire your friends. Do not wait for or approach producers who you don’t know, imagining that they’ll be fair to you in a contract. Recruit producers who you like, who have made cool stuff on small budgets, who can be scrappy. Empower the juggernauts around you, and if you don’t know any, ask people who do (ask me!). There is also an incredible Facebook group called “I Need a Producer” that is open to anyone, and by posting about your project you will get submissions and meetings with talented people in your area. My Producer’s name is Natalie Metzger, she’s wonderful and always here to help: Actual Pre-production PRODUCTION TEAM — Set meetings. You are welcome to have them at our offices anytime. Get close with your production team. Share the podcast with them. Discuss everything. Know exactly what needs to be in the frame at all times. Basically, produce it with them until a few days before production. LOCATIONS — Find your locations by asking on Facebook, Craigslist, AirBNB, or by dropping hand-written letters at good candidates. CAST — Never wait for celebrities, make celebrities. Find the people who get it. Who you could tell this story with, and who are up to the challenge of making their performance a showcase of their abilities, people who can give you options in rehearsal but who will spend their own time rehearsing it to make it perfect and form-fit to the story. CREW — Cast your crew with people your DP and Producers trust, who are also willing to be scrappy. Find people who are talented and enthusiastic. Hire people who you want to eat and drink with. 5. PRODUCTION No jerks on set. Work harder than anyone else. Hurry everywhere. Be incredibly kind and loud. You are a camp counselor. If people are noisy before a take, say “Quiet is nice. Quiet is nice.” Never be rude. Apologize. Always be lovely to everyone, your crew is carrying heavy equipment up flights of stairs for you. Be kind. That shouldn’t have to be said (our industry is insane). Make sure people are happy and every department is genuinely listened to. Schedule a meeting at the wrap of each week for each department to raise any issues to prevent problems in the coming days. Hire an on-set editor (if you can), have them set up at production headquarters. Invite everyone to watch dailies. Be as inclusive as you can, this is a learning experience for everyone and it can help the crew to better understand the language of film in general. It’s also fun. This is a family. SOUND Record “wild-lines” and wild-sounds in every location immediately after you camera-wrap a scene. This is crucial. You’ll need it in post. Great sound makes the movie. Hire an on-set sound mixer who is constantly conscious of the quality of the sound. Be considerate of how sound can help to tell your story via transitions and elementally in each scene. Buy or borrow a Zoom recorder and play with it. Lay sounds into a scene to make it feel fuller; it’s always a surprise to see how much it betters a scene. 6. POST-PRODUCTION THE EDIT Use Adobe Premiere. Don’t listen to anyone who tells you anything else. AVID spends a lot of money to convince people to join their cult of clunky, expensive, and complicated bullshit; Kodak 2.0. If you know how to edit, amazing, if not, hire someone who will spend the time that is needed to make your film a masterpiece. Stay up late. For weeks, stay up late. Finish the film. Tweet that you need commercial work throughout. Get a day job, come home and edit. (Also, learn how to edit on YouTube. Everybody’s doing it.) COLOR Hire a colorist who you like and trust (here’s ours: Bossi Baker). Never feel bad about pushing back. Bossi once said to me, ‘Dude, let’s make it perfect. I’m on for a week, you’re the one who has to be happy with it for the rest of your life.’ 7. DISTRIBUTION AND ADVERTISING Deliver the film. Export it. It’s done. Host screenings for friends, submit it to film festivals based on this FilmFreeway list, if you have the money, invest in an Indee.tv account because it’s fucking incredible and you can watermark your screeners and also see how much of the film people watch. Otherwise, upload it to Vimeo with a password protection and submit it to fests (it is ok to submit a screener without a final mix or color, just keep uploading new versions to the same link through Vimeo’s incredible “Replace Video” functionality). Cut a trailer. Make a poster. Make them cool; they have to be cool. Reach out to press through film festival’s Attending Press Lists and ask them kindly to write something about the short film or trailer which is being released next week. Use twitter to reach out to your heroes, ask for advice! Reach out to the Vimeo Staff on twitter! Ask them to consider your short film as a Vimeo Staff Pick! DISTRIBUTION: Classic Distribution You own the film. You now have the ability to impersonate the job of a distributor by selling your film to buyers in different territories around the world, entirely on your own. To find film buyers, most hire a sales agent, but you won’t need one, you can become one. Google the buyers and distributors of your favorite or similar films in each territory. Here is a list of Film Buyers on Wikipedia. Find them on LinkedIn or Twitter. DM, Email, or call them: “Hi, I’m representing the film ________ and I’m wondering if I can send a screener for consideration in your territory.” Send the Indee.tv link, you’ll be notified when they watch it, and how much of it they watched. Reach out to the filmmakers who have worked with them in the past. Ask about their deal, most are very cool and transparent about it. Ask the buyer to make an offer. You are now a distributor. We met a wonderful team of French distributors called Paname and they distributed Thunder Road across France this September. Altogether, so far, the film has made more than $500,000 USD through French ticket sales alone. We’re currently making deals for French TV and Blu-Ray sales as well. Aren’t they lovely? Self-distribution: Start a Quiver account, create a project for your film to be released on iTunes and any other platform that you can afford. It takes 60 days for iTunes to release the title after everything is delivered, set the pre-sale window to 30 days before the release. Tastefully post about it everywhere. Release the trailer on Facebook, YouTube, and Vimeo only when the iTunes pre-order link goes live. Make square videos for Instagram (under 15 seconds). Post the trailer to Reddit. Create Facebook Ads for people who like movies that are similar to yours. Narrow this audience to people who also like the iTunes store and trailers. Include the pre-order link as a button under the trailer: this allows audiences to be two thumb clicks away from buying your movie. 8. Hollywood Only 18% of the music industry’s income last year went to musicians. This is not the future of the film industry, because all of our underlying grandeur and infrastructure is becoming democratized. A lot of the industry was created as a Social Network to separate the stars and creators from the public. These organizations started as glorified mailing addresses and call centers created to prevent fans from finding the homes of the famous, but with the advent of Social media, and even electronic mail, these older gates have less and less utility. By building Facebook ads that hit your exact audience, you are doing the work of 25 people in any distribution company or studio, for free, and you are doing it cheaply and better and you still own the film. 9. Work/Life Balance This one is hard. I’m not going to pretend to be good at it. It’s not easy. Be nice to your partner, if you have one. It’s ok to relax. It’s ok to take a break. Making movies with your best friends can be an endorphin rush, your brain is surged with excitement and oxytocin and the aftermath of that experience can feel like a vacuum. You may feel lonely while spending your nights struggling to make this dream come true for your team in the editing room. Change before you have to, and if you are down and out, I am always just a Facebook call away. Overall, you are the person who does the thing. You make movies, everybody else just talks about it. People will bring you in for meetings just to talk, it’s a compliment! They’re looking for an in-office field trip to meet the factory workers. If you’re lucky you’ll get a ton of those. Hollywood often idolizes nice clothes and business talk, it emulates the Winklevoss Twins, but never forget that along this new landscape, you are inventing Facebook on a laptop in your dorm room (in pajamas) and that’s ok. Your ability to “seize the means of production”, your potential to grow an audience for yourself, and your wherewithal to self-distribute will often remove these people from their professional necessity and eventually their relevance. You know what you want to be. Work in a way that maximizes that future.
5867	dbpedia	1	2	https://posteritati.com/poster/41877/seabiscuit-original-2003-us-one-sheet-movie-poster	en	Seabiscuit Original 2003 U.S. One Sheet Movie Poster	https://cdn.posteritati.…scuit-md-web.jpg	https://cdn.posteritati.…scuit-md-web.jpg	[ "https://cdn.posteritati.com/images/logos/logo-white.png, https://cdn.posteritati.com/images/logos/logo-white-2x.png 2x", "https://cdn.posteritati.com/posters/000/000/020/425/seabiscuit-md-web.jpg" ]	[]	[]	[ "" ]	null	[]	null	Original 2003 U.S. one sheet poster for the film Seabiscuit directed by Gary Ross with David McCullough / Jeff Bridges / Paul Vincent O'Connor / Chris Cooper.	en	/icons/favicon-32.png	Posteritati	https://posteritati.com/poster/41877/seabiscuit-original-2003-us-one-sheet-movie-poster	This poster has sold. if this poster comes back in stock or if you'd like us to try to source this poster for you. If you'd prefer to hide sold items while you browse, switch the In Stock Only toggle on the search results page to the off position.
5867	dbpedia	2	9	https://www.alamy.com/stock-photo/seabiscuit-poster.html	en	res stock photography and images	https://s.alamy.com/logo…avicon-16x16.png	https://s.alamy.com/logo…avicon-16x16.png	[ "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/logos/1.68.0/alamy-black.svg", "https://s.alamy.com/logos/1.68.0/alamy-black.svg", "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/assets/latest/footer/mastercard.svg", "https://s.alamy.com/assets/latest/footer/visa.svg", "https://s.alamy.com/assets/latest/footer/amex.svg", "https://s.alamy.com/assets/latest/footer/paypal.svg", "https://s.alamy.com/assets/latest/footer/apple-pay.svg", "https://s.alamy.com/assets/latest/footer/google-pay.svg" ]	[]	[]	[ "" ]	null	[ "Alamy Limited" ]	null	Find the perfect seabiscuit poster stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.	en	https://s.alamy.com/logo…avicon-16x16.png	Alamy	https://www.alamy.com/stock-photo/seabiscuit-poster.html	Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 16/08/2024 Alamy Ltd. All rights reserved.
5867	dbpedia	1	56	https://postermuseum.com/products/seabiscuit	en	Seabiscuit	http://postermuseum.com/cdn/shop/products/DSC00128_grande.jpg?v=1463681801	http://postermuseum.com/cdn/shop/products/DSC00128_grande.jpg?v=1463681801	[ "https://postermuseum.com/cdn/shop/t/25/assets/pomu_logo_full.png?v=136071352391749851281683555839", "https://postermuseum.com/cdn/shop/products/DSC00128.jpg?v=1463681801", "https://postermuseum.com/cdn/shop/files/hYktAyx_large.jpg?v=1722544166", "https://postermuseum.com/cdn/shop/files/hFtfUG3_large.jpg?v=1722544162", "https://postermuseum.com/cdn/shop/files/zpFFhzK_large.jpg?v=1722544145", "https://postermuseum.com/cdn/shop/files/gxGYITq_large.jpg?v=1722544140", "https://postermuseum.com/cdn/shop/files/vPOng7x_large.jpg?v=1722544111", "https://postermuseum.com/cdn/shop/files/2aMyeks_large.jpg?v=1722543977", "https://postermuseum.com/cdn/shop/t/25/assets/facebook_Social-Media-Icons-Buttons-Modern_black_Ctrl-Alt-Design_001.png?v=129321393122074368931683555839", "https://postermuseum.com/cdn/shop/t/25/assets/twitter_Social-Media-Icons-Buttons-Modern_black_Ctrl-Alt-Design_001.png?v=49027726016783909271683555839", "https://postermuseum.com/cdn/shop/t/25/assets/tumblr_Social-Media-Icons-Buttons-Modern_black_Ctrl-Alt-Design_001.png?v=16826630253261359361683555839", "https://postermuseum.com/cdn/shop/t/25/assets/Pinterest_Social-Media-Icons-Buttons-Modern_black_Ctrl-Alt-Design_001.png?v=56594683055199332491683555839", "https://postermuseum.com/cdn/shop/t/25/assets/instagram.png?v=16220510165780191651683555839", "https://postermuseum.com/cdn/shop/t/25/assets/pm_home_feature_img.jpg?v=160271749889383247671697751208" ]	[]	[]	[ "" ]	null	[]	null	Directed by Gary Ross Condition: Excellent USF-MIXPCKT3	en	//postermuseum.com/cdn/shop/t/25/assets/pomu_favicon.png?v=55168593976242064261683555839	Poster Museum	https://postermuseum.com/products/seabiscuit
5867	dbpedia	2	8	http://www.impawards.com/2003/seabiscuit_ver4.html	en	Seabiscuit Movie Poster (#4 of 5)	http://www.impawards.com/2003/thumbs/imp_seabiscuit_ver4.jpg	http://www.impawards.com/2003/thumbs/imp_seabiscuit_ver4.jpg	[ "http://www.impawards.com/bootstrap/img/logo.png", "http://www.impawards.com/bootstrap/img/logo_xs.png", "http://www.impawards.com/2003/posters/seabiscuit_ver4.jpg", "http://www.impawards.com/2003/thumbs/imp_seabiscuit.jpg", "http://www.impawards.com/2003/thumbs/imp_seabiscuit_ver2.jpg", "http://www.impawards.com/2003/thumbs/imp_seabiscuit_ver3.jpg", "http://www.impawards.com/2003/thumbs/imp_seabiscuit_ver4.jpg", "http://www.impawards.com/2003/thumbs/imp_seabiscuit_ver5.jpg", "http://www.impawards.com/common/JW_logo_color_10px.svg", "http://www.impawards.com/common/ebay_mini2.jpg", "http://www.impawards.com/common/mpw_mini.jpg", "http://www.impawards.com/common/amazon_mini.jpg" ]	[]	[]	[ "Seabiscuit Poster", "movie poster", "movie posters", "poster", "posters", "one sheet", "quad" ]	null	[]	null	Official theatrical movie poster (#4 of 5) for Seabiscuit (2003). Directed by Gary Ross. Starring Jeff Bridges, David McCullough, Chris Cooper, Tobey Maguire	en			null	Want to buy the poster? Try these links:
5867	dbpedia	1	57	https://screenwritingfromiowa.wordpress.com/2008/11/24/seabiscuit-revisited-in-2008/	en	Seabiscuit Revisited in 2008	https://screenwritingfro…cuitdsc_3768.jpg	https://screenwritingfro…cuitdsc_3768.jpg	[ "https://screenwritingfromiowa.wordpress.com/wp-content/uploads/2008/11/seabiscuitdsc_3768.jpg?w=500", "https://i0.wp.com/static.technorati.com/pix/fave/tech-fav-1.png", "https://i0.wp.com/digg.com/img/badges/100x20-digg-button.gif", "https://s-ssl.wordpress.com/wp-includes/images/rss.png?m=1354137473i", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2008-11-24T00:00:00	“You don’t just throw a whole life away just because it’s banged up a little.” Tom Smith (played by Chris Cooper) …	en	https://s1.wp.com/i/favicon.ico	Screenwriting from Iowa	https://screenwritingfromiowa.wordpress.com/2008/11/24/seabiscuit-revisited-in-2008/	“You don’t just throw a whole life away just because it’s banged up a little.” Tom Smith (played by Chris Cooper) Seabiscuit’s trainer “This is not a movie about victory, but about struggle.” Gary Ross, Screenwriter/Director Seabiscuit Seabiscuit turned five this year — not the horse, of course, but the movie. And I wish Universal would re-release the film in theaters this holiday season. (In the digital projection future those decisions will be easier to make.) The film originally came out in the summer of 2003. The economy was still in a slump from the terrorist events surrounding 911. Unemployment was high. The Laura Hillenbrand book, Seabiscuit: An American Legend, about a race horse set in the Great Depression was already a #1 New York Times bestseller. The movie had a solid box-office run and was nominated for 7 Academy Awards. It was not only my favorite film of that year, but I’d put it in the top ten of my all time favorites. In my book it is across the board solid filmmaking on par with Rain Man and On the Waterfront. As time goes by that film will continue to find favor because it is a film with many layers. (Seabiscuit is also the only movie poster I own. And as seen in the above photo, I keep it close by where I edit for inspiration. It just so happened that I moved to Iowa in the Summer of ’03 and for various reasons it was a hard enough transition that I saw Seabiscuit three times just in movie theaters.) And the reason I’d love to see a re-release of the film is because the theme resonates even more today than it did even in 2003. Unemployment is higher today than it’s been in the past 15 years. While the stock market hasn’t crashed it has recently seen some of its greatest declines since the Great Depression. And then there is the auto industry. Seabiscuit is set in a time of transition in the United States. A transition from the natural to the mechanical on one level and an examination of the American Dream on another level. And all wrapped together around three broken people and one broken horse. It’s a movie that could have turned into a bad After School Special in the wrong hands, but in careful hands is a classic movie. Of course, one thing that is happening now that wasn’t the case in 2003 is the auto industry is in a slump. What has been called the back bone of industry in our country is in trouble. Reports of sales being a third lower than normal are causing a ripple effect throughout the country. By some accounts the auto industry represents 10% of all US jobs when you begin to connect the related industries. Maybe we could have a double feature with Seabiscuit. Remember the Ron Howard film Gung Ho? It starred Michael Keaton as a worker who has to justify his automotive job with the Japanese company that has taken over. By all accounts some US automotive companies need some major restructuring to survive. In the movie Seabiscuit automobiles represent the future and bring wealth to Howard (played by Jeff Bridges), but it comes at a price. His son is killed in an automobile accident. And it is Howard who must find a way to put the pieces back together again. And along the way there is the forgotten horse trainer (Chris Cooper) and the angry jockey Red (Tobey Maguire) who are all brought together because of an underrated race horse. It’s a story of brokenness and restoration. On the DVD commentary Gary Ross comments, “Howard is a guy who lost his son, and Red is a guy who lost his father. That’s just kind of the basic facts of it both in almost a cataclysmic way. And that original wound can never be righted but you can make peace with the pain in your life and somehow kind of continue. It can’t replaced, but it can be understood.” And what’s special about Seabiscuit is it’s a film that connects with most of our lives. In fact, the closing shot is not one of victory, but one of a point of view of the audience on the horse as if to imply this is race we are all in. There will be battles and scars. But get back on the horse. As one friend tells his little boys when they get scrapes–“cuts and scars are proof of living.” And Ross is careful to convey that these characters are far from perfect. “We labor under the tyranny of perfect heroes. Especially with movies that cost any money and everything gets homogenized down to things that are not objectionable or that are only heroic. The things that are ultimately most heroic are people struggling against their own obstacles or struggling to become something or struggling against their flaws and that’s what’s really heroic right there. I was lucky, I had three flawed heroes.” And of course, this all started with the words written by Laura Hillenbrand as she researched and wrote the book over a course of years. Struggle is not foreign to Hillenbrand who has suffered from chronic fatigue syndrome since she was a college student in Ohio. At 19 she had to abandon her dreams of some day getting a Ph.D. and in an interview with Anne A. Simpkinson said, “I spent the first year of my illness pretty much bed-bound and when I began to improve a little bit in 1988, I needed some way to justify my life.” She turned to writing. In an article she wrote for The New Yorker, A Sudden Illness — How My Life Changed, Hillenbrand recounts the long process of adapting to her new life and how hard it was to write, “Because looking at the page made the room shimmy crazily around me, I could write only a paragraph or two a day… It took me six weeks to write 1,500 words.” Knowing that adds weight to her writing (not that it needs it). “Man is preoccupied with freedom yet laden with handicaps.” Laura Hillenbrand Seabiscuit, An American Legend If you’re a writer, Hillenbrand recounting the difficulties she endured while researching and writing Seabiscuit will probably give you little room to complain about the difficulties surround your situation. She wrote the first article on Seabiscuit from a tiny apartment in Washington, D.C. And whatever grace Hillenbrand tapped into to write that book was passed on to screenwriter Gary Ross as he translated the 400 page book into a two hour and 21 minute movie. And in one of the rare cases in movie history the author was pleased with the movie script; “I found myself struck by how deftly Gary had managed to weave so much of the story into so short a time without it feeling compressed or rushed. Gary’s screenplay is simply brilliant, and I am so deeply grateful to him for his immense effort, his creativity, and his inspiration.” On a closing note, if I recall correctly there were some interesting choices Ross made while adapting the script. I don’t expect to see every character in the book but from memory here are a handful of changes you may find interesting from a writer’s perspective and why I think they were made: 1) Howard’s son who was killed in real life was a teenager and not his only son. By making him younger and the only son creates more empathy for Howard. 2) Howard’s second wife Marcela (Elizabeth Banks) was actually the sister of his son’s wife. But why complicate the story? Plus in the movie there is only one son and he’s killed in his youth. 3) Tick-Tock McGlaughlin the colorful character played by William Macy is a fictitious character. And by Ross’ admission he’s there to compress the needed exposition to keep the story moving forward. 4) Ross also chose to end the movie when a sense of order had been restored in each of the lives. It’s a great jumping off point. But the epilogue in the book is a little different. 5) Hillenbrand writes that while Red lived close to the pulse of Tijuana that, “he appears to have passed up offers from Tijuana prostitutes.” Ross chose to use Red in the brothel as key scene where he learns of his vision problems. This is in the movie because I think there is a quota in Hollywood where x-amount of movies must have a prostitute or a pole dancer in it. If you have never seen Seabiscuit do yourself a favor and see it before the end of the year, and if you just lost your job watch it tonight. And for the writers out there here’s Hillenbrand quoted in the Ballinetine Books, Seabiscuit, The Screenplay reminding us of the power of storytelling: “I was thinking ‘if I can sell five thousand copies (of Seabiscuit) out of the truck of my car, I’ll be happy.’ I just wanted to tell the story.” Update November 27: Happy Thanksgiving. A day after I wrote this post I saw an ad for a new film called The Tale of Despereaux with the tagline about a “Small Hero. Big Heart.” Sounded kinda like Seabiscuit. I looked who to see who the screenwriter was and it’s Gary Ross. I look forward to that Christmas release. If you’re looking for a Thanksgiving movie to watch today check out Pieces of April on DVD which is a wonderful film I’ve written a little bit about. It stars Katie Holmes and was written and directed by Des Moines, Iowa native Peter Hedges (What’s Eating Gilbert Grape?). And for you indy filmmakers that film was made just a few years ago using a Sony PD 150 DV camera that you can find on ebay these days for under $1,500.
5867	dbpedia	3	19	https://www.commonsensemedia.org/movie-reviews/challengers	en	Challengers Movie Review	https://www.commonsensem…lengers-ss2.jpeg	https://www.commonsensem…lengers-ss2.jpeg	[ "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_1_1_small.png", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 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228w,/components/src/commonkit_components/ck_image/images/ratio_2_3_medium.png 170w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_2_3_large.png 228w,/components/src/commonkit_components/ck_image/images/ratio_2_3_medium.png 170w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_2_3_large.png 228w,/components/src/commonkit_components/ck_image/images/ratio_2_3_medium.png 170w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_2_3_large.png 228w,/components/src/commonkit_components/ck_image/images/ratio_2_3_medium.png 170w" ]	[]	[]	[ "" ]	null	[ "Sandie Angulo Chen" ]	2024-04-26T00:00:00	Smart, sexy tennis drama revels in desire and competition. Read Common Sense Media's Challengers review, age rating, and parents guide.	en	/themes/custom/common_sense/images/favicons/favicon-16x16.png	Common Sense Media	https://www.commonsensemedia.org/movie-reviews/challengers	Director Luca Guadagnino coaxes excellent performances from Zendaya, Faist, and O'Connor in this genre-bending story about tennis and desire. Although it's the two young men's relationship that rings truest in the screenplay—and is also the most moving—there's no denying that Art and Patrick's role in Challengers is largely to stare at, long for, and try to claim Tashi. Zendaya takes the role seriously, moving and looking like a real tennis pro who says things like "tennis is a relationship" and the Han Solo-esque "I know" in response to her vulnerable husband's adoring "I love you." In one of the most universal truths ever spoken in a movie, Art, when asked whether Tashi is his type, replies: "Aren't you everybody's type?" That sums up the theme of obsessive desire right there: It's all too easy to fall in love (or lust) with Tashi. All three main characters are underdeveloped in the screenplay, even though the actors do a wonderful job with what they're given. Faist sweetly leans into being the loyal Art, and O'Connor is surprisingly effective as the overconfident, reckless Patrick. Zendaya, meanwhile, is mesmerizing as the terrifyingly intense (and morally gray) Tashi. The techno score by Trent Reznor and Atticus Ross is propulsive and ratchets up the tension of the movie's various tennis matches. But there are also moments of levity and humor to offset the darker ones of loss and betrayal. The characters' motivations are so obvious that they lack nuanced layers, but it's ultimately entertaining to see these three remarkable athletes compete, pine, and hope.
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"https://amblin.com/wp-content/uploads/2020/04/seabiscuit_2003_photo_39-284x160.jpg", "https://amblin.com/wp-content/uploads/2018/09/beautifulmind_2001_photo_1920x1080-1_hero-827x465.jpg", "https://amblin.com/wp-content/uploads/2019/07/roadtoperdition_2002_photo_hero-827x465.jpg", "https://amblin.com/wp-content/uploads/2019/02/warhorse_2011_photo_3-827x465.jpg", "https://amblin.com/wp-content/themes/amblin-theme/resources/assets/images/ig.svg", "https://amblin.com/wp-content/themes/amblin-theme/resources/assets/images/fb.svg", "https://amblin.com/wp-content/themes/amblin-theme/resources/assets/images/yt.svg" ]	[]	[]	[ "" ]	null	[]	2021-07-07T01:41:13+00:00	During the years of the Great Depression, three men who lost everything took a down-and-out racehorse and together, made a hero that gave a nation in need something to cheer for. This is the story of "Seabiscuit," written and directed by Gary Ross.	en	/apple-touch-icon.png	Amblin Official Site	https://amblin.com/movie/seabiscuit/	It is the story Johnny “Red” Pollard (Tobey Maguire), a young jockey whose spirit had been broken; Charles Howard (Jeff Bridges), a millionaire who had lost everything; Tom Smith (Chris Cooper), a cowboy whose world was vanishing; and the down-and-out racehorse that took them and the entire nation on the ride of a lifetime. During the years of the Great Depression, this was the horse that became a hero. The odds were incredible, the dream was impossible...and somehow, it actually happened. From Academy Award-nominated filmmaker Gary Ross comes the motion picture adaptation of the story that transfixed a nation from one of the most beloved and widely-read nonfiction hooks of the past decade: Seabiscuit. Screenwriter-director-producer Ross assembled an impressive list of seasoned and accomplished filmmaking talent, both in front of and behind the camera. Joining Maguire, Bridges and Cooper in the cast are Elizabeth Banks (Catch Me If You Can) as Marcela Howard, Charles Howard's wife; Hall of Fame Jockey Gary Stevens (in his motion picture debut) as George "The Iceman" Woolf, and William H. Macy (Jurassic Park III) as reporter "Tick-Tock" McGlaughlin. Producing, along with Gary Ross, are prolific and Oscar-nominated filmmakers Kathleen Kennedy (E.T. The Extra-Terrestrial, A.I. Artificial Intelligence) and Frank Marshall (Raiders of the Lost Ark, Hook), and Jane Sindell. The film is based on the best-selling book by Laura Hillenbrand, Gary Barber, Roger Birnbaum. Tobey Maguire, Allison Thomas and Robin Bissell serve as executive producers. A Beautiful Mind This winner of four Academy Awards including Best Picture, stars Russell Crowe as a brilliant mathematician on the brink of international acclaim who becomes entangled in a mysterious conspiracy. View Road to Perdition "Road to Perdition" is a portrayal of two families whose fates are determined by the complex and often combative relationships between fathers and their sons...and sons and their fathers. View War Horse From director Steven Spielberg comes "War Horse," an emotional epic on a classic scale. It is the story of a miraculous horse in wartime, a stirring journey that explores a bond of friendship, loyalty and courage. View
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directed Tobey Maguire in 'Seabiscuit' and 'Pleasantville', has come aboard to rewrite the script for Spider-Man 4, reports Variety.	en	/favicon.ico	ComicBookMovie.com	https://comicbookmovie.com/spider_man/the-amazing-spider_man/seabiscuit-director-gary-ross-has-been-hired-to-rewrite-spider-man-4-a8463
5867	dbpedia	2	80	https://humanscience.fandom.com/wiki/Seabiscuit	en	Seabiscuit	https://static.wikia.nocookie.net/humanscience/images/3/39/Seabiscuit_movie_poster.jpg/revision/latest?cb=20070624202248	https://static.wikia.nocookie.net/humanscience/images/3/39/Seabiscuit_movie_poster.jpg/revision/latest?cb=20070624202248	[ "https://static.wikia.nocookie.net/humanscience/images/3/39/Seabiscuit_movie_poster.jpg/revision/latest/scale-to-width-down/200?cb=20070624202248", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Human Science" ]	2024-07-29T22:27:06+00:00	by Roy Posner Seabiscuit is an Academy Award-nominated 2003 American drama film based on the best-selling book Seabiscuit: An American Legend by Laura Hillenbrand. The story recounts the true-life racing career of Seabiscuit, an undersized and overlooked thoroughbred racehorse whose unexpected...	en	/skins-ucp/mw139/common/favicon.ico	Human Science	https://humanscience.fandom.com/wiki/Seabiscuit	by Roy Posner Introduction[] Seabiscuit is an Academy Award-nominated 2003 American drama film based on the best-selling book Seabiscuit: An American Legend by Laura Hillenbrand. The story recounts the true-life racing career of Seabiscuit, an undersized and overlooked thoroughbred racehorse whose unexpected successes made him a sensation in the United States during the latter years of the Great Depression. Seabiscuit is also the story of how three men -- Charles Howard, Tom Smith, and Red Pollard -- overcome personal limitations, demons, and tragedies, as well as economic hard times to bring about Seabiscuit's thrilling and inspiring victories. It is a tale of how individuals achieve stunning success through sheer will power, drive, and determination; and where high human values of tolerance, compassion, and forgiveness bring out the best in people, leading to overwhelming good fortune for the principals. In the end, Seabiscuit is a thrilling story for the ages that can inspire us to aim for the stars so we too can fulfill our deepest aspirations in life. -------- This essay examines - ·the major themes in the film that lead to its wonderful outcomes, including the infinite potential of the nation, the changes occurring in society at that time, and the ability of individuals and the collective to overcome adversity. ·the inner keys that generate the great accomplishment that occurs in the story -- including the power of psychological strength, positive attitude, high values, focused intention, heartfelt communication and cooperation, and catching the wave of society. ·The subtle principles in the tale revealing life’s character, including the phenomenon of “life response’ (i.e. sudden good fortune), and how difficulty and problems serves to move life forward. This is what I call the “character of life.” Main Characters[] Charles Howard[] Howard is a former bicycle builder, who becomes a wealthy businessperson selling and promoting automobiles. Because of his wealth, he lives in a grand estate that contains a stable of horses and racecars. After his young son dies in a car accident, Howard takes an interest in horseracing and purchases several horses, including Seabiscuit who becomes his ultimate prize. Howard is entrepreneurial and resourceful; a man with boundless optimism and zeal -- the very embodiment of the can-do American spirit. He is also an individual of integrity, who expresses high human values of tolerance, patience, compassion, and forgiveness. Howard has the rare capacity to overlook the defects in others and concentrate on their strong points. Such positive attitudes and values not only bring him personal success, but enable the people around him to succeed as well. He shows flexibility, willingness to change with times, has solid leadership skills, and has the shrewdness to develop right strategies as situations dictate. Tom Smith[] A former cowboy and horse herder, he is skilled in interacting with horses, perceiving their individual natures, and demonstrating an innate ability to work with and calm them when they are riled. He is a man left behind by changing times, as his old world is being made obsolete by new technology, even as new opportunities are presenting themselves in the horseracing field. He has an intuitive insight into Seabiscuit's true potential the first time he sees the horse, and develops skillful strategies that shape Seabiscuit into the greatest racehorse of his day. He has a simple, philosophical view of life, values individuals and things for what they are. Johnny "Red" Pollard[] The son of a schoolteacher, he exhibits great skill riding and racing horses, even though he is considered too tall and heavy to be a jockey. He overcomes the separation from his family, poverty on the road, and personal failure through sheer drive and determination. He is a fighter, literally and figuratively. He will do anything to survive, including taking up boxing, where he is continually plundered and beaten. He is hot tempered and reactive, which costs him; and yet is intelligent and well-read, and an admirer of the world's great literature. Seabiscuit[] A small, muscular horse, bred from a line of great racehorses, but dismissed as unsuited for racing. He has an indomitable will and spirit that enables him to exceed beyond all expectations. He has an intense competitive spirit, derived from earlier mistreatment, which reflects in a capacity for remarkable speed under pressure. George Woolf[] The skilled jockey compatriot of Red, who fulfills his and the group’s destiny by riding Seabiscuit to his greatest victory against the mighty eastern horse War Admiral. A modest and gracious individual who gives credit to others, even Red after Seabiscuit’s victory over War Admiral. Plot Details[] Early Days for Charles, Tom, and Red[] It was the time of the arrival of cars, the dawn of the automotive age, and the era of mass production. As a result, says the narrator, it was both the beginning and the end of imagination. Charles Howard is working at a bicycle factory. Eager to be more than a mere spoke in a wheel, he heads west to San Francisco and opens up his own bicycle shop. Unfortunately, demand for bicycles is already being supplanted by the spread of the automobile and his business is floundering. One day a Stanley Steamer car overheats in front of his store, and the owner asks Charles (who is sitting there waiting for customers) to fix it. Charles has never worked on the innards of a car before, but still, in entrepreneurial fashion, and in the can-do spirit of the times, he agrees to take on the project. After struggling with the complicated parts, he is amazed by the beauty of the design of the systems, and is able to fix it beyond the expectations of the customer. As a result of this experience, Charles goes into the business of selling cars. Charles prospers and becomes a leading promoter of the car industry in his region. He believes deeply in the future of the automobile. With his newfound wealth, he purchases a huge range in Northern California that includes stables. However, he replaces the horses in the stables with the racecars he has come to adore. The stock market suddenly crashes and the American financial system is shaken to its core, sending millions of people to the unemployment lines. It is the beginning of the Great Depression. Meanwhile, Tom Smith rides the range of the American West as a cowboy, whose responsibility it is to herd horses on the vast, beautiful landscape. However, he is also coming to grips with the fact the world is changing -- in particular the emergence of new technologies and forces, including the automobile that are making his current line of work obsolete. With the hard times of the Great Depression forcing him out of employment, Tom takes to riding the rails. And yet he does not abandon his skill completely, since he has a special gift with horses – in particular, an innate ability to relate to them and calm them down when they are distressed. Red Pollard and his family live in Alberta, Canada. Red at age 6 is riding horses, and shows a great penchant and skill in that area. Red’s father is a teacher, and raises his children with high morals, which they learn through the many works of literature he shares with them. It is a close-knit family. Similar to Charles, Red’s father often expresses a deep belief in the infinite possibilities in the country and in life in general, which he coveys to his children through the great works of literature. In an environment of increasing poverty, Red’s family is forced into a state of desperation. Like others, they take to the road in their cars to live in work camps. With a dire need for funds, they allow their son to work as a horseracing jockey -- something they would normally have been loathed to do. They are then forced to send him away so that he can go on the road and participate in more lucrative racing events. The separation is emotionally wrenching for both Red and his parents. At first, the managers at the track he races at think that Red is too tall and weighs too much to be a successful jockey -- despite his exceptional skills. In the months that follow, Red rides in hard fought races, where the riders engage in whipping and other intimidating tactics to gain the upper hand. In fact, in his first major race, Red gets so embroiled in fighting with another jockey, that at the finish another horse pulls ahead at the last moment to win. This is followed by a dressing down of Red by his boss in the locker room. Clearly, Red’s hot temper has led to this racing failure, not to mention drawing the wrath of his superior. Hard Times and New Opportunities[] With the Great Depression spreading throughout society, and with people now far less able to afford cars, Charles business begins to deteriorate. The atmosphere in the entire country is now gloomy and depressing. It is an indicator of what happens next in the story. One day Charles goes off to San Francisco on business, leaving his son behind. The very young boy packs a lunch, and takes off in a pickup truck available on the estate grounds. On a high-mountain road, the boy crashes the vehicle. Charles is informed and rushes home; but it is of no avail, as the boy dies. Charles is utterly devastated. In response to these events, he locks the stable that held racecars – indicating he has had enough with the motorized vehicle. He goes through a period of deep depression and introspection. Soon thereafter, in the wake of the tragedy, Charles’ wife leaves him. Meanwhile, in a parallel situation, Tom, without work and impoverished, is forced to ride the rails as a hobo in order to survive. As for Red, he has now taken to the sport of boxing in order to make ends meet, and suffers several humiliating and violent defeats. Meanwhile, he continues to read the books his father has passed on to him, culling meaning and strength from them, as he continues his difficult existence. After his grieving subsides somewhat, Charles heads down to a racetrack in Mexico, along the border with the US, where various vices are more tolerated than in the States. He very slowly begins to come out of his shell. It turns out that Red also happens to be there working as a regular jockey at the track. Like Charles, he too is still haunted by the past -- in his case, his failures as a jockey and a boxer. One day at that track, a horse with a broken leg is about to be put down after a race. However, a man comes forward and asks that the animal be spared. As a result, the horse is not shot, and this individual goes over and calms the very agitated animal. The man is Tom, the former horse herder. Charles meets Marcela at the Mexican track. She persuades Charles to ride on a horse again, and they go off riding in the countryside. They continue to see one another and develop a romantic relationship. As a result of these events, Charles begins to open up and come out of his depression. In fact, soon thereafter, Marcela and Charles marry. Now feeling much better and far more energized, Charles looks into getting into the horse racing business, and begins to look into purchasing several mounts. One day, as he walks around the stables, he sees a man standing in the high grass tending a lame horse. It is Tom, who is stroking the horse that he earlier saved. This situation intrigues Charles, and that night he goes out into the woods, and finds Tom at his campfire. Charles asks Tom if the horse that he was tending to will ever race again. Tom says no, but he adds that “every horse is good for something: that you don’t throw away a whole life just because he’s banged up a little.” Considering what he has been through, this statement resonates with Charles. He is also taken in by Tom’s directness, honesty, and soft spirit. It is three months later, and the scene shifts to the famous racetrack in Saratoga, New York. Tom is commenting to Charles about the horse he is watching. He says that in racing “it is not just the speed, but the heart." He tells Charles that you want a horse that is not afraid to compete; who wants to fight and win. He knows this as a fact from years of experience working with and interacting with horses. Such words of wisdom again resonate strongly with Charles. It turns out that Red is working tending horses at the stables at the track, when Tom comes by and sees him for the first time. Seabiscuit[] Seabiscuit was a small horse, had a small limp in his gait, and tended to wheeze. When he was young, Seabiscuit was gentle, slept a lot, and ate even more. He was considered obstinate and incorrigible by his owners. As a result, they dismissed him as a serious racehorse, turning him instead into a training horse that other horses could run against in practice, where he was trained to lose in head-to-head scrimmages. The horse became recalcitrant and bitter. When they finally did put him into races, he did what they trained him to do: he lost. And yet he had spirit and intensity. One day Tom sees Seabiscuit, and immediately they make a deep connection. He sees beyond his limitations of size and gait. He senses something very special in the horse; something he can exploit and bring to success. Tom later tells Charles that Seabiscuit indeed has spirit, and could eventually be calmed down and trained to be a legitimate racehorse. Tom then walks off and comes upon a scene where one man is taking on a group of others in a fight. It is Red. Tom then looks back at the feisty, rebellious, uncontrollable Seabiscuit and senses a connection between the horse and Red. Red later meets up with Seabiscuit, and then after interacting with the horse says, "I know what you are all about" -- as they are kindred spirits, i.e. they are very much alike. They both have lived rough and tumbled lives. Thereafter, Red begins to work with Seabiscuit and tame him. At one point somewhat later, when Seabiscuit is saddled by Red and is about to race him, Tom introduces Red to Charles and his wife. Tom perceives the potential in Seabiscuit, if only the horse can learn to overcome what the previous owners had turned him into -- an obstinate, rebellious horse. Tom says that Seabiscuit would be fine "if only he could learn to become a horse again." Red then rides Seabiscuit, letting him run free on the track; and then in the countryside -- in essence, allowing Seabiscuit to become that horse again. Seabiscuit responds in full to Red’s attention as well as the opportunity to run outside the track with a great ride. Red then exclaims that Seabiscuit is an amazing horse. Tom and Red then go to visit Charles at his beautiful estate. At the dinner table, Charles notices that Red refuses to eat. He does so because he is self-conscious of being too heavy as a jockey. However, Charles in a moment of understanding and compassion says that he would rather have Red strong than thin. (Like the horse, Red is unconventional in built (for a jockey) -- yet Seabiscuit is accepted by Red for what he is.) This kindness, tolerance, and acceptance is a central theme in the story, serving as one of the major factors that contribute to the great accomplishment in the tale. Just as Charles cares for the well-being of Red, the society – mainly through emerging compassionate government policies of the New Deal -- cares for the people who were suffering during the Depression. (The parallel drawn between the predicament of the individuals in the story and that of the society as a whole is clearly seen.) Also, Charles gives Red the affection that he was unable to give his own son, who had died. As a result of this newfound fulfillment through Red as surrogate son, Charles opens up again as a person, and in fact opens the stables of cars that he had locked down after his son's death, now replacing the vehicles with horses. (The son had died after all in a car accident.) It is an indication that Charles is finally shedding his sorrows, and returning to life to full. Tom struggles to calm Seabiscuit down. He devises several clever approaches, and finally hits on the right one by bringing in a mare into Seabiscuit’s stable, which has just the right affect on the skittish racehorse. With a calmed Seabiscuit, Tom instructs Red how to run future races with the horse. He tells Red to hold back Seabiscuit for most of the contest, and then turn him lose at the end, where he can then burst to the front and win. Unfortunately, when Red practice-runs Seabiscuit, the horse at first does not respond -- running rather lethargically, disappointing Tom. However, when Seabiscuit sees another horse ahead of him, his competitive spirit kicks in and he suddenly sprints ahead. Now understanding Seabiscuit’s character, Tom and Red are able to get the best out of the horse to the point where soon after he breaks the Tanforan racetrack speed record in a practice run. Tom, Marcela, and Charles are stunned by this turn of events. Tom then chimes in that Seabiscuit just hankered for some competition! The day then arrives for Seabiscuit's first official race at Tanforan. Tom again gives Red instructions on how to run the race -- i.e. to stay with the pack until near the end, and then burst forward. Unfortunately, during the race, Red gets embroiled with another jockey who is using questionable physical tactics, causing Red to lose his temper. With Red distracted, he loses focus and forgets Tom's instructions. The result is an all too familiar one that has haunted Red in the past -- as other horses forge ahead in the end, causing Seabiscuit to lose a race he might have easily won. After the loss, there is a heated argument in the locker room where Red tries to defend himself to Tom – i.e., that he was physically abused by the other jockey and had to strike back. He is exceedingly angry. Tom responds that it caused him to lose focus and forget the strategy they established earlier for the race. Charles, overhearing the heated discussion pauses, contemplates the situation for a moment, and then calmly asks Red what he is so mad about (translation: mad about in life). Red is thunderstruck by Charles’ words. The next day Red -- now fully taken by the preceding day’s painful events -- comes into Charles’ office and asks him for some money so that he can tend to his dental needs and other mounting bills. Charles in a kind and generous gesture -- understanding Red’s financial plight and sympathetic to him now as a substitute son -- gives Red twice the money he asked for. Now feeling considerably better psychologically -- i.e. with money to take care of his bills and a sympathetic mentor -- Red runs another race with Seabiscuit, again using Tom's strategy. This time however the horse pulls away from the field at the end, and sprints to a glorious victory. The crowd and the owners are truly stunned by this turn of events. Charles then tells the gathered press that the key to this success is that Seabiscuit has heart: that a little horse like him can do great things. He tells the group that Seabiscuit is a little horse that does not know he is little! He then adds in a reference to the problems of society that this win isn’t the finish line; that the future is the finish line, and Seabiscuit is just the horse to get us there. “Though he be but little, he be fierce,” says Red about Seabiscuit to the admiring fans and press before the next race, paraphrasing the Shakespeare he is familiar with. Red then proceeds to win six consecutive races aboard Seabiscuit. As a result, the horse garners regional and then national attention. When asked at a press conference, Charles says that the secret to Seabiscuit’s success is being given a second chance; and that many people in America who have suffered during the Great Depression and are looking to improve their lot in life know exactly what he is talking about. The Great Race[] Though success has come their way, Tom is troubled by Seabiscuit’s notoriety, claiming he is not getting enough time training with him. (E.g., the horse is signing autographs for fans with his horseshoed hoof, amongst other things!) He also says that Seabiscuit is not yet a great horse like War Admiral. They then watch the extraordinary exploits of War Admiral on film, as the narrator mentions that he is a perfect horse. Charles, in response to this challenge, suggests that a race be arranged between the two horses. In response to Charles’ offer, Riddle, the eastern owner of War Admiral, says it is absurd to have the race because of his horse’s obvious superiority in terms of speed, size, breeding, and the fact that he has won every prestigious race in the country. Riddle then goes a step further and mocks the entire western US horseracing scene, suggesting that it is primitive compared to what exists in the east. To this rejection, Red reacts in anger, but Charles responds calmly and calculatingly, saying that they just have to flush out Riddle into accepting the race. He then comes up with the idea that the winner of the match should receive $100,000 dollars. Charles then arranges with the local track owner to put up the $100,000 purse for the winner of the potential head-to-match between the two famous horses. Privately, Charles says that people like Riddle are stuck in the past, but his group, including the people out West are with the future. The track owner agrees to the offer, indicating that Charles has a great power of persuasion, which he once used in becoming a very successful car salesman. When Riddle turns him down yet again, Seabiscuit resumes racing locally in California. (Rather than give up, they pursue their own agenda, and get additional victories under Seabiscuit’s belt.) In one particular important race, Tom once again provides Red with a strategy for victory. In the race, Seabiscuit comes far from behind to take the lead, but is then caught and passed at the last minute, unbeknownst to the jockey Red. After the race, there is an argument in the locker room where Red admits that he cannot see well on the side he was passed on. As a result, Tom goes into a rage that Red had never told him that before. However, Charles, in yet another calm and munificent gesture, lets Tom know that it is fine. He tells them that you don’t throw a life away because you are banged up a bit -- a point that resonates with all three of the men, considering the hardships they previously endured. After Seabiscuit loses this important race, Riddle says there is no longer a need for the confrontation between the two horses. Charles counters again with yet another strategy -- that he will register Seabiscuit in any race wherever War Admiral is on the card -- even if the latter scratches. Charles also notifies the people on a rail tour of the nation that he will keep on fighting until he gets the race against War Admiral. This again resonates with the people who are likewise inspired to keep fighting to get ahead in their lives despite the Great Depression. As a result, he stirs up the nation, who themselves begin to demand the race. It is a brilliant strategy that gets the attention of Riddle, who now agrees to meet with Charles. There Riddle accepts a head-to-head race, albeit with a number of conditions that are highly favorable to his side, including running the race at his home track and not using a starting gate. Charles does not barter on this, instead calmly agrees to all conditions. One day the group goes to spy on War Admirals at the luxurious private estate where his training grounds are located. They see that he is a formidable opponent. From what he sees, Tom comes up with a new, custom set of strategies for running against the great horse. One strategy involves how to get Seabiscuit off to a quick start without a starting gate -- one of Riddle’s conditions for the race. And so they purchase a bell so they can teach Seabiscuit how to quickly break without a gate. At night without a starting gate, they teach Seabiscuit how to break at the sound of the bell. They are now all gearing up emotionally and tactically for the great race. Out of nowhere, an old acquaintance of Red suddenly arrives on the scene and asks him to practice-run his horse so it can be observed and therefore sold. When Red does so, a tractor suddenly backfires startling the horse in mid-run, hurtling the animal and the jockey to the ground of the racetrack. The horse proceeds to drag Red through the stables, and he is seriously injured. He is rushed to the hospital where they discover that he has a dozen fractures in his leg, and that though he would walk again, he would never be able to race. Charles then says that they will now have to scratch the contest with War Admiral. However, Red responds that Woolf can run the race in his place. It is agreed. Then Red gives the substitute jockey instructions on how to run the race, telling Woolf how to hold back at the end, and let War Admiral catch him at the backstretch so Seabiscuit can look him in the eye, which will motivate him to surge ahead. The day of the contest between the two famous horses at the Pimlico track arrives. The bell rings to start the race, which has no starting gate. Seabiscuit at first takes the lead, but then backs off just as Red and Tom’s strategy dictated. As a result, War Admiral now catches up. They then race head-to-head for a long distance. Then at one point, Woolf turns to the other jockey and says “so long.” Seabiscuit then sprints ahead, and wins by a number of lengths in an overwhelming victory for the underdog little horse. Needless to say, the principals are overwhelmed by the result -- as is the crowd, the media, and the nation. The great underdog has emerged victoriously! In the winner’s circle, Woolf remarks, in a very gracious gesture over the public address system, that he only wished Red Pollard were standing there in the winner’s circle instead of him. Red watches a later celebration from a distance, somewhat wary of what has just transpired. Red then heads home to Charles’ ranch to heal his leg injuries, while Woolf continues to ride Seabiscuit to victory in other regular field races. Healing Together[] Sometime after his victory, Seabiscuit hurts his leg in a race. Interestingly, Red has an intuition of its occurrence. The doctor indicates that Seabiscuit has ruptured a ligament in his leg, and that he will never race again. (Recall that Red was told the same after he broke his leg in many pieces after a fall.) The doctor then offers to put Seabiscuit down if his crew agrees to it. This is obviously not acceptable, and instead the horse is shipped back to Charles’ estate to recuperate from his wounds. Now both Red and Seabiscuit are having to convalesce together. In the weeks and months that follow, Red works with Seabiscuit to improve the horse’s condition. Red also works to recover from his own serious leg wounds. In one scene, Red walks Seabiscuit through the countryside, as he limps along with a cane. Together they rest in the field in a touching scene, indicating their close bond. One day during his rehabilitation to walk again, Seabiscuit sprints a bit after being startled by a breaking branch in the wind. Perceiving his improved health, Red then puts a saddle on him. Red himself wears a specially made splint to hold his leg in place to protect himself as he slowly rides Seabiscuit. And so begins the next stage of his – or rather, their rehabilitation. Over time, Seabiscuit gets better, and at one point is able to run around the track at nearly full speed. His condition improves rapidly. Red is longer worried about his weight (now that he is no longer a professional racer), and eats heartily. Perceiving his recent history, Red sometime later exclaims -- once again paraphrasing the Bard -- “and in this, the most unkindest cut of all,” -- referring to the fact that wasn’t able to ride Seabiscuit to his greatest success against War Admiral, as well as several victories thereafter. Now however he wants to change things and run Seabiscuit in the upcoming Santa Ana event -- one that he lost earlier due to his careless mistake of losing focus when physically abused by another rider. With the doctor giving his permission, Charles considers whether to allow Red to run the race. There is the danger that his leg could be re-shattered, and that if he fell off the horse, he could literally lose his life. Thinking back to the memory of his son’s death, as well as the threat raised by Red’s current condition, Charles makes the wrenchingly difficult decision to go ahead and allow Red to participate in the race. The Comeback[] The day of the race at Santa Anita Tom gives Red instructions as usual, and Red affirms that he will not make the same mistake he made in the past when he lost focus and lost at Santa Anita. It is a difficult situation for Charles to watch because of the danger to Red. Charles has after all already lost his only son in an accident. At the gate, Woolf smilingly and ironically greets him on another horse – one that has little chance of winning. The race then begins. Red, however, is in excruciating pain. As a result, Seabiscuit slows down, and then falls far behind. From far, far back in the pack, Red has Seabiscuit look Woolf’s horse in the eye, which stimulates him to surge ahead. (It is interesting that this other jockey of good will, Woolf, serves a great purpose here.) Then urged on by Red, Seabiscuit from out of nowhere surges from behind, takes the lead, and sprints to the finish to win the race in a remarkable turnaround. At the end of the story, Red comments that they had fixed a once-broken horse. On further thought, he adds that the horse had actually fixed them. His finally concludes that they had fixed one another. Major Themes[] Like any important work of literature or film, a number of major underlying themes emerge from the story. Even the less obvious ones are equally compelling. Inner Power to Overcome Adversity that Brings Success[] The most compelling theme in the story is the ability of individuals to overcome great hardship and adversity, and turn it into great success and accomplishment. This resiliency of the human spirit expresses in a number of ways: Charles is able to overcome the death of a child, as well as a divorce from his wife. He regroups and moves his life forward (from car sales to horseracing), culminating in great victories for him and his prized horse Seabiscuit. Tom is able to overcome the hard times of The Great Depression, including the fading need for his horse-herding skills. He is able to move his life in a new direction, which brings great success through Seabiscuit. Red survives the separation of his family, poverty, hunger, and bitter defeat as a jockey and boxer, only to emerge victorious a number of times riding Seabiscuit. These circumstances indicate that anyone can overcome adversity -- no matter how difficult the conditions -- so long as one has grit, determination, strength, and positive attitude. In that sense, this true story of Seabiscuit and his mentors can serve as an inspiration for ages. Power of Tolerance, Acceptance, Forgiveness[] Another major theme of Seabiscuit is the power of tolerance, acceptance, and forgiveness. In particular, we see how Charles is able to accept the flawed behaviors of others. E.g., when Red foolishly gets entangled in a fight with a jockey, and thereby loses a critical race while riding Seabiscuit, Charles does not scold him or lay blame, but is understanding, accepting the situation for what it is, and then moves on. Charles’ calm, compassionate response enables Red to confront his own demons without being lectured. In another incident, Red loses another race because he cannot hear out of one ear, and yet once again Charles does not berate him, but accepts the situation as is. Yet, a third instance occurs when Tom and Red go to visit Charles at his beautiful estate. When Charles notices that Red refuses to eat because he is self-conscious of becoming too heavy as a jockey, Charles, in another moment of understanding and compassion, comforts him and encourages him to eat. He says that he would rather have Red strong than thin. Charles has that rare capacity to look beyond the short-term deficiency or problem and take the longer-term view, perceiving the greater potentials of the future. We also see similar characteristics demonstrated by Tom. Rather than look down on a wheezing horse with a strange gait, Tom accepts Seabiscuit for what he is. When he looks him in the eye, he knows that the horse is something special, despite his outer physical deficiencies as a racehorse and his belligerent behavior. Like Charles, who accepted a large, heavier than normal jockey in Red, Tom saw beyond the surface limitations in Seabiscuit, perceiving his great potential, which was in fact realized through Seabiscuit’s enormous successes. In the end, these instances of tolerance, acceptance, forgiveness, and patience establish the tone in the story; the distinct human qualities that enable the powerful positive outcomes that follow. Parallel of the Characters’ Struggle and Success, and that of Society[] The third theme in Seabiscuit is the parallel drawn between the obstacles and adversities of the characters in the story and that of the general population during the Great Depression. This expresses in several ways. Arising out of Difficulty -- Just as Tom and Red have been down and out on their luck, so too are the unemployed masses of society. Just as the principals in the story are able to rise out of their great difficulties and bring about great success, the society as a whole is able do the same -- for after all, the American public will soon overcome the Great Depression and become the most prosperous society in history. For the main characters of Seabiscuit, it is both physical and psychological struggle that they rise above -- just as it was for the American public, who overcame their own collective psychological malaise, created by the harsh economic conditions. Given a Second Chance -- Similarly, we also see the parallel drawn between the characters in the story and the public in showing how “damaged goods” can be given another chance and thereby rise out of their adversity. Rather than being perceived as failures, both the characters in the story and the society as a whole are given new opportunities to thrive in the face of past failure. E.g., rather than reject Seabiscuit as a too-small horse with a bad attitude, he is given a second chance, is nurtured back to his true state, setting the stage for his vast success. Likewise, rather than condemn Red’s physical size as a jockey, or his failures of the past, he is given another opportunity to prove his worth. Parallel to this, Americans are given a second chance to rise out of their misery, which they are able to do in the years that follow. The Heart and Will to Prevail -- Finally, we see a linkage in the story between the heart of the horse (and Red) to the heart and will of the people to rise out of their adversity and prevail. Like Seabiscuit, who had a great heart and spirit, and rose to the pinnacle of success, so too the people did not give up, did everything to survive, and began their steady climb out of poverty, culminating in unimagined prosperity. When we have the heart and will to move ahead, we can shed adverse conditions, and move mountains. All for One and One for All[] One of the more interesting themes of Seabiscuit is how individuals are able to work together to achieve their common goal, which is success for Seabiscuit, and, in particular, a win in the head-to-head competition with War Admiral. Though Charles, Tom, and Red each have different job roles -- as owner, coach/trainer, and jockey -- they are able to collaborate and work in harmony to achieve their common aim. For example, when Riddle requires that the race between Seabiscuit and War Admiral begin without a gate, the main characters collaborate to with a clever solution. They work out a practical strategy in which they purchase a bell, and then work with Seabiscuit and teach him how to react to it. In the situation, Charles has relayed the demands of Riddle to Tom, who secures a bell, and works with Red and Seabiscuit to implement the strategy. The entire chain of command is working in harmony to achieve the common goal, which they accomplish in spades in the end. They also help one another psychologically, helping fill the voids in one another’s lives, which also supports the great accomplishment that followed. Charles serves as a father figure to Red after he had been separated from his family. Likewise, Red fills a void for Charles who has lost a son in a tragic accident. Similarly, Tom and Charles help Seabiscuit overcome the poor training and abuse he suffered early on in his career. Ultimately, they are all working for Seabiscuit’s success, who achieve beyond their wildest expectations. Because they help one another materially and psychologically, they accomplish their common goal. They each work for one another, as well as for a collective purpose. It generates a vast power that enables the great results that follow in the story. Land of Infinite Possibilities[] There is one less obvious, though powerful theme that permeates the story: it is the atmosphere of “infinite possibilities” that prevails in the minds of the people of 20th century America. From the very beginning, the narrator tells us of the infinite potential of America, and in particular the open-ended possibilities that exist in the American West. Not only is there a sense of freedom to do as one chooses, but that environment encourages individuality, where people can think for themselves, unencumbered by the old ways. There is thus a canvas, a landscape of infinite possibility for attaining success and fulfillment. It is in this atmosphere that Seabiscuit’s rags to riches story takes place. Charles at the outset pursues his dream, not wanting to be a spoke in a wheel, or a cog in a machine. As a result, he starts his own business selling bicycles, and then sells cars. In an environment of infinite possibility, he makes his own way, makes his own choices, expresses his individuality to become what he wishes to become. He is unfettered by the views of society, but forges ahead on his own. In a backdrop of infinite potentials, he is able to find fulfillment in life. In fact, this is such an open-ended, inviting environment for accomplishment, that even when times are hard, when people are down and out on their luck due to the Great Depression; even when there are intense personal problems, the American dream remains alive in the heart of the people. I.e. a person can still find success and happiness in that infinite-like environment. All that is required is for a person to look around and see what is possible, and then choose in the direction that expresses his or her individuality. For Charles, Tom, Red, and Seabiscuit that is precisely what takes place -- despite the national hardship and their own personal problems in this land of infinite possibilities. Humanity vs. Technology[] At the outset, the narrator indicates that mass production, including the car, is the start and end of imagination. I.e. we can imagine and invent these wonderful new technologies, yet we become cogs in the brutal machinery of mass production. This serves as a background for Charles’ realization that he doesn’t have to be a spoke in a wheel and work for someone where his ideas are ignored, but can venture out on his own and express his individuality and humanity. There is thus this tension in the story between our humanity and the brutal quality of technology. In fact, the horse itself becomes the symbol of that humanity through the compassion and concern of others, whereas the automobile is seen at once as both a wonder and the scourge of technology. Though Charles prospers selling cars, his son is killed while driving one of these vehicles. Though an injured horse can be viewed as something broken down and useless, through his humanity Tom is able to perceive Seabiscuit's utility and purpose. This parallels what is occurring in society, where technology has failed them during the Great Depression, but where human values of concern and compassion are demonstrated and aid to lifting the people out of their misery. The Leading vs. the Trailing Edge[] There is one theme, though subtle, that expresses in the story. It is how the fresh, innovative, and dynamic forces of the leading edge are able to prevail over the resistant, anachronistic forces of the trailing edge. Though Charles seizes the opportunity to take Seabiscuit to the next level of success, Riddle attempts to thwart him at every step. Charles represents the fresh, positive energies emerging in society, whereas Riddle represents the old, worn, entrenched interests -- the haughty, narrow-minded power that is reluctant to give up the reigns. And yet, due to the main characters’ great determination and effort, their clever strategies, and, later on, a supportive nation, they are able to overcome Riddle’s trailing edge mentality, and bring about great success. With Seabiscuit’s victory over War Admiral, Riddle is shown for what he is: a backwards thinking, narrow-minded, entrenched individual, who is out of step with the forces of progress. In fact, his attempts to foil and resist Charles’ proposals prove futile in the end, as a tidal wave of positive energy and circumstance work against him. Human Accomplishment[] We admire people who have had great success, though we are usually less aware of what it was that enabled it to happen – i.e. the process they followed that propelled them to the heights. And yet the film Seabiscuit reveals many of these keys. Analysis over the years has shown that the keys to success in any endeavor include the level of one’s intention, will, energy, strength, organization, and effort. In Seabiscuit, all of these are prominent. In addition, there are other important factors at work like the power of positive attitudes, the effect of a supportive atmosphere, and the expression of personal values of tolerance, compassion, and forgiveness. Together these factors create a powerful environment that contributed not only to the success of a once-demeaned horse Seabiscuit , but great accomplishment for the three individuals who fostered it. Envisioning the Future [] Life is an open field. There are a myriad of choices before us. Those who are most successful in life are those who perceive and then seize the opportunities that are there before them. In Seabiscuit, the characters, particularly Charles, recognizes opportunities, seizes them, and accomplishes them in full. For example, in the beginning of the story Charles realizes that he does not have to be “a spoke in a wheel” while working at the bicycle shop. He perceives that there can be a different way, in which he has control over his own destiny. He heads out west and sets up a shop of his own. That in turn brings an overheated car in front of his shop, which enables him to recognize and prosper in yet another opportunity, the newly emerging automobile industry. Catching the Wave -- It should be pointed out that Charles did not just perceive any opportunity, but one that reflected an important emerging wave in society. With the discovery of the combustible engine, the paving of roads throughout the country, and the desire amongst the public to move around quickly, easily and conveniently, the automobile was the emerging technology of the time. Charles perceived that emerging wave of opportunity, seized on it, and was taken to the top of his field. Charles perceived opportunities related to his career in horseracing as well. First, he saw the potential for success in the horseracing field, and entered it. Then he saw the potential in Tom because of the values of honesty and sincerity he expressed; in Seabiscuit, despite his outer limitations; and in Red, despite his many failures to that point. Charles was able to look beyond the present limitations and envision future success in each instance. He proved to be correct on all counts. Charles not only had the ability to perceive possibilities in ordinary, i.e. relatively positive circumstances, but also in negative ones as well. When he hears from Tom that Seabiscuit is not a great horse yet like War Admiral, rather than be discouraged by the fact, he turns it positive by envisioning a race between the two horses. In fact, later on when Riddle tries to thwart him from achieving that goal, Charles comes up with a series of innovative and successful strategies to lure him out. Power of Intention[] Perceiving an opportunity and then envisioning its accomplishment is one thing, but to insure that it actually comes about, something more is needed: we must garner the sanction of our emotions and will. Without an intense desire for our vision to become real, the goal imagined will tend to remain just that – a thought. Desiring and wanting a thing releases the necessary energy that will that compels us to see it through to completion. The envisioning of a goal to be achieved and the drive to accomplish it is captured by the term “intention.” Those with it succeed; those without it remain as they are or fall back. In Seabiscuit, the power of intention is present throughout the story, as great accomplishments issue in its wake. First, there was the heart and passion of the Seabiscuit himself, who has a driving urge to beat the competition. He seems to move to the next gear when he is faced with a competitor. When he was younger, he was trained to lose against other horses. Now, released of those bonds, he is determined to beat them. Seabiscuit thus has a powerful drive and intention to win when he races. This comes out in full in his head-to-head race with War Admiral, resulting in a smashing victory. There is also the indomitable will of each of the human characters in the story. In particular, each person had his own reason for improving his lot in life. Charles wanted to succeed in the wake of the tragedy of his son’s death, and the ensuing divorce from his wife. Tom had the drive and will to improve his condition since he had been driven out of work by the Great Depression and the obsolescence of his old job as horse herder. Likewise, Red has an indomitable will to rise in his profession as a jockey after years of failure, anguish, and poverty. Each had their unique need to move ahead, creating the drive and will for success, which they achieved in the course of the story. Later on, their need for success in order to overcome past difficulties evolved into something more positive and present: the deep aspiration for Seabiscuit’s success. This was not merely a goal they perceived in their minds, but something they desperately wanted to achieve. I.e. it was a deep-seated urge that was there ever-present in their emotions. Later on, that passion is directed towards something even more specific: winning the great race against War Admiral. In both cases, they accomplished what they intended through driving will, deep commitment, and right strategies; and in the end succeeded beyond their wildest dreams. Right Strategies[] Even the best of intentions will not bring success unless we devise specific ways for it to come about. A person may envision and really want to produce a bestselling book, but he needs to come up with the right approach for it to happen. For example, he needs to identify who his target audience is; write in a way that is appealing to his readers; engage an agent who will find him a publisher, and so forth. In essence, he has to organize his intention into a plan through practical strategies. In Seabiscuit, the three principal characters are able to devise the right strategies at the right time to bring about their extraordinary successes. During the race with War Admiral, Charles comes up with a series of strategies to flush out Riddle. First, Charles suggest a head-to-head race between the two horses; which he then follows up with the strategy of a $100,000 purse to the winner, followed by putting Seabiscuit on the card wherever War Admiral is going to race. This culminates in rallying the country to his side through a train tour. Finally, Riddle relents and agrees to the match. Without specific strategies, a race against War Admiral would have remained a mere idea in Charles’ mind. By implementing a series of clever strategies, it became a living reality. In a similar vein, Tom developed strategies for how Red should run races with Seabiscuit – whether involving tactics to win individual field races, or to win the single, head-to-head race with War Admiral. In the latter case, Tom tells Red to surge ahead at the outset of the race, ease off, have Seabiscuit look at War Admiral in the eye, and then burst ahead. This is a perfectly crafted strategy that leads to Seabiscuit’s victory, and their own personal success. One can even devise strategies to meet the smallest and most detailed aspects of a work. This occurs when the principals devise a method for Seabiscuit to get off to a quick start against War Admiral, since Riddle has ruled out the use of a starting gate. They come up with the idea of using a bell to teach the horse how to get off to a fast start -- a strategy that will prove enormously effective. Similarly, we see the small strategy devised by Tom to calm down Seabiscuit by bringing a mare into his stable. The companion horse has the effect of relaxing Seabiscuit and changing his demeanor from that point forward, a strategy that will proves to be critical for the horse’s success thereafter. When intentions are formulated into specific, targeted strategies, and are then implemented in full, it is bound to attract considerable success. It is a lesson that we can all learn from and apply in our daily lives to achieve our fondest goals and dreams. Adjust to the Realities[] While right strategies are critical to success in any endeavor, life’s circumstances constantly change. Those who are flexible and resourceful will be able to adjust their strategies to meet life’s conditions. (It will surely be a test of whether our intentions are true and long lasting.) In several instances, the characters were able to shift gears when conditions changed. Charles demonstrated a masterful ability to adjust strategies when he does not achieve the intended goal. E.g., when he first makes the offer to Riddle for Seabiscuit to race War Admiral, he is turned down. As a result, he comes up with the idea of sweetening the pot by having a $100,000 winner’s purse. Unfortunately, Riddle is still unconvinced, which compels Charles to change tactic again, forcing him to try and race Seabiscuit wherever War Admiral is on the card. Again, Riddle is unmoved by this somewhat intimidating approach. Finally, after a string of successes that bring notoriety to Seabiscuit, Charles decides to rally the public to his side by going on a rail tour of the country. This brilliant strategy finally forces Riddle’s hand, and he agrees to the race. At each point, Charles was able to shift his tact to meet the current conditions of life, and eventually achieve his goal. The ability to not back down, and change strategies on the fly as conditions change is one of the great secrets of accomplishment in life. Determination and Focus[] To accomplish a goal, one must remain focused on our objective. It is easy be excited by something at first, only to lose that interest and intensity as time passes, or situations unfold, or we get caught up in other matters. In Seabiscuit, the three principals stay very focused throughout on achieving their goal of Seabiscuit’s success. When there is difficulty or failure, they are able to absorb the shock, make the necessary inner adjustment, and move on. It is because they are so dedicated to their goal; because they are so determined to see it come about, that they are unfazed by momentary difficulties. Their subconscious need to overcome their past, and their conscious aspiration to see Seabiscuit succeed, drive them forward despite all obstacles. It is that sort of determination and focus that is necessary to bring any aspiration or goal to fruition. Positive Attitude[] To execute a plan such as winning a major race, or even the Race of the Century requires not only driving determination and will, but the right personal attitudes along the way. Executing a plan with optimism, openness, patience, and regard for others, creates the best psychological atmosphere for achievement. Negative attitudes on the other hand, -- such as skepticism, mistrust, dishonesty, hostility, impatience, and greed will tend to do the opposite -- drive off accomplishment, leading to the disappointment and failure. The main characters of Seabiscuit demonstrate a consistent positive attitude throughout which helps them achieve their goals in the end. Positive attitude expresses in the story through the belief that anything is possible. That can-do attitude is particularly present in Charles, who expresses it from the very beginning. He has the positive conviction that he can set up a bicycle shop of his own, and is quickly able to do so. Likewise, when he perceives that he can be a salesperson and champion of the automobile industry, he quickly accomplishes that as well. In fact, he often expresses that infectious can-do attitude to others, inspiring them to see the power of the emerging automobile, not to mention purchase one of their own. Charles demonstrates positive attitudes in other ways as well. In particular, when hardships or problems come his way, he is able to accept them as truths of life, and then move on. When Red makes a mistake, Charles does not scold or abuse him, but remains calm and understanding. This is a most noble attitude that borders on the spiritual. This powerful positive attitude of “equality of being” in the face of life circumstance tends to strengthens bonds between people, engender trust, which in turn enables greater accomplishments in life. When at first Red sees that Seabiscuit is ornery and difficult to handle, he does not abuse him, but is calm and understanding of the horse’s state. The empathy he feels for the horse’s condition, helps bring him around, leading to all the success that follows. It should also be pointed out that there is also a general can-do attitude that permeates the country, despite the recent difficulties of the Great Depression. There is that undercurrent belief in the nation that anything is possible, which provides the supporting atmosphere for accomplishment. In addition, there is also the positive attitude of the US government, which at the time was led by Franklin Roosevelt. His compassion for the people, his policies to try to uplift them, his positive attitude about the future of the country serve to energize the downtrodden population, lifting their spirits when they were in their darkest hour. Strength; Overcoming Obstacles/Adversity[] One may have the right plan, intense desire, and all the skills in the world, but still fail to achieve one’s goal because if one does not have the psychological strength to stand up to life’s circumstances. Perhaps we lack the nerve to deal with a situation, or the ability to stand up to a tough adversary, or the fortitude and will to come forward and do what is right. Whatever the case, when we are weak, life will tend to crush us or otherwise prevent us from achieving our life’s goals. However, when we are psychologically strong -- demonstrating toughness and grit-- we overcome all obstacles and attract success. In Seabiscuit, we see instances where individuals were able to exercise psychological strength in the face of great adversity, enabling them to prevail in the end. We see this in a most pronounced way when Charles shakes off the devastation of the loss of his son and the divorce from his wife. Rather than ruin his life, he gathers strength, pulls himself together and move forward by going to Mexico. As a result, in short order he meets his future wife, and encounters Tom, Red, and Seabiscuit for the first time, who become the instruments for his greatest accomplishment in his life. By turning away from weakness to strength, he began the process that enabled him to turn his life around. In yet another instance, we see that when Red is defeated in a race aboard Seabiscuit because he lost focus, Charles is not discouraged, but has the strength of nerves to move forward, which contributes mightily to his and Red’s future success. Likewise, it is in his dealings with Riddle, rather than back down if the face of his rejection and taunts, Charles shows backbone by relentlessly pursuing other strategies that will prove to be successful in the end. Red also exhibits his own forms of psychological strength along the way. First, he shows an inner toughness by forging ahead on his own after being separated from the family he was so close to. Then later on, despite humiliation and defeat as a jockey and a boxer, he shows the courage and strength to push on. For that persistence, he will meet up with Seabiscuit and have his greatest successes in life. We also see how after shattering his leg in a riding accident and being told that he will never ride again, he summons up the courage and strength to heal himself. He not only rides again after he was told that would never happen, but rides a race at Santa Anita where he drives Seabiscuit from behind to a stunning victory, bringing a sense of redemption to his life. In each of these cases, we see how summoning up courage, fortitude, and strength when times were tough or challenging allowed that individual to move forward and bring about abundant success thereafter. Intuitive Capacity[] Normally when we perceive an opportunity in life, it happens because we exercise our minds and come to a decision based on the possibilities that are before us. It is a relatively rational and logical process involving our mental powers of perception. And yet we also have the power to perceive opportunities, through an inner, intuitive sense, that is less rational and more direct. That intuitive perception of an opportunity can be acted on, bringing us success in life. In Seabiscuit, we see at least two powerful instances where intuition brings about great accomplishment in the story, both involving Tom. When he sees Seabiscuit for the first time, he senses something powerful in his look; and as a result, a deep bond is established between them; even a sense that somehow they would work together and bring one another benefit. That intuitive experience is the one great moment that links the destiny of the horse to Tom, and then Red and Charles, and to the success that follows. In a second instance, Tom sees Red fighting with several other men. He then looks back at the feisty Seabiscuit who he is attending to, and senses a link between them. He intuitively senses that they are destined to be involved and work together. Once again, Tom’s intuition will serve to change the course of events in the story, and be an instrument for the vast accomplishment that occurs later on. Inquisitiveness[] Seeing opportunities can come through the normal, rational thought processes and perceptions of mind, or through an intuitive-like capacity. Opportunities also tend to come to those who are inquisitive -- i.e. to those who have a natural tendency to seek out and explore life’s possibilities. Those who do, tend to come upon fresh, new opportunities that when acted upon can lead to great accomplishment. Recall how while at the track in Mexico, Charles sought get back into the horse racing business. While walking around the stables there one day, he sees Tom in the high grass stroking the horse that he had earlier saved. This situation intrigues Charles, which causes him that night to go out and meet Tom at his campfire. They strike up a conversation that establishes their relationship. Charles’ inquisitiveness enables him to establish a connection with Tom, who himself will connect with Seabiscuit, who will be the instrument of their great success. We also see that inquisitiveness early on when Charles is asked to fix the Stanley Steamer car, when he never worked on a car before. His interest in discovering what makes it work – he says that it is in essence a miniature locomotive – causes him to really appreciate its functionality, which later inspires him to get into the car selling business. It is that curiosity that leads Charles to a new career, success, and vast wealth. [ep] A Supporting Atmosphere[] One important influence on our ability to accomplish is the role played by the environment – i.e. the atmosphere and conditions around us. When the conditions of life around us are positive, it supports our ability to achieve. When they are negative, it retards it, or even cancels our efforts. In Seabiscuit, we see these external influences in the story at several levels. At the level of the nation, we witness a country, the United States that is dynamic -- encouraging individuality and initiative. There is an atmosphere of freedom that allows one to choose as he pleases. This is particularly true in the American west, which is less fettered by class structure and certain moral and ethical strictures of the eastern part of the country. All of these factors together support accomplishment for the individual. E.g., we see how Charles takes advantage of this environment when he starts his own bicycle shop, and later on when he sees the opportunity with the automobile that he seizes. He feels free to move around as he pleases, to become anyone he chooses, to be entrepreneurial and his own man. He senses at every point that he is free to create his own reality, to become anything he chooses in this land of infinite possibility. And yet it can be argued that Seabiscuit takes place at the time of the Great Depression -- a period of great poverty and unemployment, which would seem to make accomplishment difficult, if not impossible. It is a counter force of limitation, of fear and anxiety that would seem to limit one’s ability to achieve. It did have the effect of putting Tom out of work, and forced Red into desperate measures (i.e. boxing) in order to survive. It even slowed down Charles’ very successful auto business. And yet always lurking in the background is this sense of the possible; that if we make a sincere effort, things will eventually come around, which is in fact what eventually happens for the individuals of this vast nation. In fact, Seabiscuit himself, a small horse, reminds them that anyone can come back in this society of infinite possibilities. That is why the population reacts so positively to his ascent. It is because they know in their bones that rejuvenation and prosperity is just around the corner. Power of Values[] Though direction, will, organization, strength and other factors are key to accomplishment in life, there is one power that can have the greatest of all impacts. It is the personal values we subscribe to. A value is a belief or an ideal that energizes us into action, or uplifts any goal we aim to achieve. E.g. if I believe in the value of honesty, it will have a positive effect on how the way I relate to people, thereby increasing my threshold for success. Likewise, if I believe deeply in the value of teamwork and cooperation, then when I attempt to achieve a goal in a social organization like a business, I will create more powerful relationships between people that will dramatically improve my chances for success. Personal values thus energize anything it comes in contact with -- whether our relationships with others, the goals we aim to achieve, or any other aspect of life. In the film Seabiscuit, we see a number of values expressed that not only indicate the personal values of the principals, but we see how those beliefs bring about positive outcomes in the story. Among the values demonstrated are: Teamwork – Throughout Seabiscuit’s rise to the top we see values of teamwork, cooperation, and harmony of purpose on display. Not only do the principals have a common purpose – victory for Seabiscuit – but display a willingness and desire to cooperate to make it happen. That value of teamwork energizes their efforts, leading to the great accomplishment that follows. Individuality – Not only did the society support freedom and individuality, but the characters themselves internalized and therefore deeply cherished these beliefs. Individuality means thinking for one’s self, unfettered by the social imperative; the beliefs of the herd. We see how Charles decides to break away and head west on his own, and thereafter start his own bicycle shop, and thereafter start his automobile sales business. Respect for the Individual – Expressing one’s own individuality is one thing; respecting others for what they are and believe in is another. We see expression of Tom’s powerful belief that everything and everyone serves a purpose no matter what its status -- which is the value that enables him to accept Seabiscuit despite his limitations. As a result, he is able to nurse him back physically and psychologically, which opens the door to Seabiscuit’s later successes. Likewise, we see how Charles accepts Red for what he is, despite the fact that he is too tall and heavy by jockey standards. When we respect and value others, including their unique qualities, we not only help them blossom, but it tend to breed success all around. Content over Form – Another way of looking at Tom’s respect for others (including animals) is that he values the content and essence of a thing rather than its mere outer form. Though Seabiscuit has an awkward gait and is small by racing standards, it does not deter Tom from seeing the horse’s potential. He sees and senses a spirit, will, and heart in the animal that one may not readily perceive just by his physical appearance, or even his particular skills. Similarly, though Tom is down and out and lives/camps in a field, it does not deter Charles from seeing him from what he really is and what he really believes in. Likewise, though Red is too big and tall by jockey standards, Charles sees beyond the surface of things to the essence, valuing the drive, will, and grit of Red. This valuing of content and essence of the individual or object over mere outer form and surface is an important value that contributes to success in life. Tolerance, Acceptance, Forgiveness – Perhaps the most striking and exceptional values expressed in the story is Charles’ acceptance, tolerance, and forgiveness of the defects in others. Rather than scold or complain, he sees through the difficulties other’s encounter, and instead instinctively accepts situations as is. He is at once compassionate and understanding of the flaws and failures of others, while seeing little purpose on harping on the limitations of the present, when there are much greater opportunities in the future. Charles’ munificent and generous nature is what revives and inspires Red, giving him the opportunity to overcome his faults, which will support his future success with Seabiscuit. Charles’ compassion and understanding are expressions of selflessness and self-givingness, two values that can be said to border on the spiritual. These are deep-seated values that inspire, energize, and attract success. Leadership Skills[] One of the keys to the outcome in the story is the extraordinary leadership skills demonstrated by Charles. Not only is he able to perceive opportunities, devise right strategies, show compassion and tolerance, but he has the innate ability to stir others into action. We see how early on he becomes an advocate and persuasive leader in the automobile field. Later on, we see how he convinces the track owner to include the $100K purse in the prospective battle. Most of all we see how is able to galvanize the nation behind him in his attempt to convince Riddle of the worthiness of the race with War Admiral. In these instances, he shows a level of persuasiveness, a vital energy and authority that stirs others to move to action. It, along with the other aforementioned qualities are indicators of an exceptional leader. Negative Behaviors that Block Accomplishment[] While there are a number of factors that insure high accomplishment in life, there are just as many that can deter and block it. Some are obvious, such as lack of direction, lack of drive and energy, poor organization, missing skills, and flawed execution; while others are not so, such as poor attitudes, lack of psychological strength, and missing or weak personal values. In Seabiscuit, we see several factors that deter accomplishment at points along the way, despite the fact that they succeed in the end. Anger, Temper -- The most obvious are the negative behaviors expressed. For example, though he has plenty of skill and drive, it is Red’s hot temper gets him into lots of trouble. When he tussled with the jockey and thereby lost focus causing him to lose the first race at Santa Anita, his success was obviously thwarted. This was not a onetime matter however, as he demonstrated these tendencies earlier on as both a jockey and a boxer. We also see how he gets embroiled in fights on the job. One obviously needs to develop a level of self-control to succeed in life; otherwise, we will attract the most negative of circumstance. Foolish, Impractical Action – It was perhaps the greatest tragedy of the story that Red was unable to run the race against War Admiral. His foolish involvement in running the horse of an old acquaintance just before the duel with War Admiral, led to the serious leg injury that kept him out of the race. His hasty acceding to the demands of another just before the race was an unwise, impractical decision that ruined the chance to participate in the greatest opportunity of his life. Being diverted from the task at hand, and taking foolish, impractical actions will surely not help as one tries to reach the next level of accomplishment in life. The Character of Life[] Like the individual, life too can be said to have a character of its own. Life’s character can be described by the way events unfold, as well as by the factors that determine such outcomes. The character is governed by subtle laws and principles, which we can observe if we closely examine the unfoldings of life. In Seabiscuit, we can see a number of these laws in action, which can give us the most profound of insights into the nature of life. Inner-Outer Correspondence and Life Response[] One such principle of life is the law of “inner-outer correspondence.” It indicates that the separation we normally perceive between the world outside us and our inner condition is an illusion of our limited consciousness. That, in fact, the inner and the outer are part and parcel of the same contiguous reality. Therefore, if I change the inner me – such as reversing a negative attitude to the positive – the outer world instantly responds in kind with good fortune. This miraculous like phenomenon is known as a “life response,” a term coined by a spiritual teacher in India in the 1970s. It is the instantaneous response of the outer life to changing our consciousness within. Any work of literature or film will reveal at least a dozen such incidents, and Seabiscuit is no exception. Let us then explore several of these, and see how they were instrumental in the outcome of the story. Examples of Positive Life Response[] Overcoming Negative Attitudes and Feelings Attract Life responds with sudden good fortune to any decided change in consciousness on our part. E.g., Life will readily respond to our shifts in attitudes. When we overcome a negative or limited attitude, emotion, or feeling, life tends to quickly work in our favor. Recall the state that Charles was in after his son died in the auto accident and his wife left him. For a long time, he was morose and sad. As a result, life around him essentially remained static and unchanged. Then however, something special occurred. When he made the effort to get out of his psychological malaise by going to Mexico, he met with a string of positive circumstance -- including his first encounters with his wife to be, as well as Tom, Red, and Seabiscuit. In other words, when he overcame his limited attitude and emotion by venturing to Mexico, life cooperated from all quarters. That is the power of shifting our inner condition to the positive. Accepting the Givens of Life Attracts Life not only responds to higher attitudes, but when we embrace life and accept the givens that before us. When we shun what life has put before us, we remain as we are, or even fall backwards. However, when we take up the current needs, or work – whether to our liking or not -- good fortune tends to quickly follow. In Seabiscuit, we see early on how Red has failed to live up to his own expectations -- both as jockey and as boxer. However, rather than give up, he shows a willingness to do whatever he has to do to survive. At one point, we see how Red was willing to take on the lowest of jobs – i.e. tending to the needs of a washed up racehorse. As a result, Tom, who was looking for a racehorse for Charles, suddenly appears out of nowhere, and meets with Red. This changes Red’s life forever. In essence, Red’s willingness to accept the current conditions of life by performing the lowest of jobs in order to move out of his current limited condition attracts a powerful positive response in the form of Tom’s appearance, who will become the conduit for his great success aboard Seabiscuit. Acceptance of Others, Self-Givingness Attracts It is not only the accepting of the givens of life that attract good fortune, but also embracing the needs and wants of others. In particular, we see that when we accept others for what they are and are selfless and self-giving in that regard, it will not only bring us inner happiness and contentment, but luck will also follow. E.g. if rather than criticize another’s action, I am accepting and understanding of their plight in full, or rather than be taking from others, I become self-giving toward them, life will quickly respond in our favor thereafter. Recall the incident where Tom gives Red instructions on how to ride Seabiscuit before the race, only to see him get embroiled with another rider, which causes him to lose focus, and be defeated in the match. However, rather than scold Red in the aftermath, Charles remains calm and is accepting of the situation. In fact, he tries to understand the source of Red’s problem, which compels him to ask Red why he is so angry. This in turn causes Red to consider his own inner condition in life. The next day he asks Charles for a loan to pay his bills, which Charles is more than happy to oblige. As a result of now feeling better emotionally and psychologically, Red suddenly guides Seabiscuit to his first victory, a runaway that stuns the crowd. This has the effect of finally establishing the horse and the jockey as a winner. Because Charles accepted Red rather than criticize him, because he was generous, life cooperated with him by bringing his horse its first major victory. It also established Red as a solid rider, who would bring Seabiscuit even more victories, which also naturally benefited Charles as well. These gestures of acceptance and generosity are indicators of the power that self-giving behavior brings us in life. When we give to others rather than take, when we are accept them rather than scold, when we act out of our high regard rather than through the foggy lens of our own s ego, not only will the other person be uplifted and be energized, but powerful positive conditions are likely to come our way. Attention Attracts Everything in life responds positively to personal attention – whether people, objects, stocks of inventory, or money. When we increase the attention we give, that person or thing will not only be energized, but life tends to quickly bring us luck. E.g., out of the blue, machines will start working better, orders will suddenly pour, and unexpected sums of money will move in our direction. Normally, there does not seem to be any obvious correlation between such things, but that is in fact the way life works. In the film, we see early on how Red relates to Seabiscuit -- perceiving how he has been abused in the past, and how he “needs to become a horse again,” as Tom suggests. The attention heaped on Seabiscuit by Red attracts a wonderful result, when the horse suddenly and most unexpectedly sheds his lethargy, and bolts through the countryside in a dramatic ride, something he has never demonstrated before. This turns the tide for the horse, as it is now not only cooperative, but shows the great speed that will be the basis of his great victories in the future. Verbal Silence Attracts One of the more interesting moments in Seabiscuit occurs when Tom first confronts the horse. Rather than try to force him into submission, he uses whet we might call an “inner” approach. Tom remains silent, which compels the horse to calm down on its own. This is similar to the technique used in the film ‘The Horse Whisperers.’ By not speaking, a calming vibration issues forth, which had the effect of soothing the horse. When we reduce the amount of speaking we do our own lives, especially when in the presence of others, life tends to bring us positive results thereafter. Speech expresses our life energy. When we conserve it, it tends to build up and attract corresponding positive circumstance from the field of life. Intention Attracts Earlier we saw how our intention is one of, if not the most important key to success in life. One truth about intention is that when we take to it to a higher degree or with greater intensity, life tends to quickly cooperate with us, directly fulfilling the very thing we intended to happen. For example, early on after Tom meets Seabiscuit, he says that the horse has spirit, and if it could be calmed down and trained, it could become a legitimate racehorse. Thus, he has an aspiration and intention for it to come about. Right after that, Tom comes upon Red, where he sees how he and the horse share something in common -- an intensity of spirit, which would enable them to work together. This serendipitous event is an immediate response to Tom’s earlier desire and intention to turn Seabiscuit him into a legitimate racehorse. Because he wanted it to happen, life presented him with the opportunity for its realization. When we want something bad enough, life tends to take over and creates conditions for its occurrence. It is one of the great secrets and expressions of the character of life. There is another instance of this phenomenon involving Red. As we just saw, at one point, he is desperate for work -- willing to do anything to keep going. Though his boss does not put him in a race, he asks Red to hot walk one of the older, slower horses. A few moments after Red begins that chore, Tom walks up to him and sees him for the first time, and their destinies are altered forever. It is through Tom that Red will meet up with Seabiscuit. In sum, because Red so intensely wanted to succeed, he quickly attracted the very vehicle – Tom (and therefore Seabiscuit) -- that would fulfill his aspiration and intention. We see this same law at work in the same episode from Tom’s point of view. Just before that same event, Tom is commenting to Charles about a horse they are watching. He says that in racing “it is not just the speed, but the heart." He tells Charles that you want a horse that is not afraid to compete; who wants to fight to win. Immediately after that, Tom sees Red for the first time, working tending that older, slower horse. It is a response from life to Tom’s focused remarks, interest, and aspiration for the type of horse he wants. Red will be the jockey who rides the very type of horse Tom had in mind. Thus, Red’s appearance is the response from life to Tom’s deep-seated aspiration and intention. (In fact, we could say that this is a double life response; or better yet that their individual intentions were clearly in alignment with one another, bringing a life response for both sides.) Finally, in an earlier episode still, we see how Charles after arriving at the Mexican track shows a deep interest in getting into the horse racing business. Soon after he sets out to purchase several horses, he meets with Tom who is stroking a horse he had earlier saved. Tom tells him that everything has a purpose and is worth saving, which moves Charles, and thereafter they strike up a friendship. That relationship will bring great success for Charles through Seabiscuit. In essence, because Charles had a deep interest and intention getting into horseracing and purchase horses for that purpose, he quickly attracted the man, Tom, who would enable it to happen. Full, Exhaustive Effort Attracts One of the more interesting principles of life is that when you make the full effort to accomplish a work, life takes up where you left off and complete it on its own. For example, if you make a full, exhaustive effort to organize dense training materials, at the point you exhaust your effort, life tends to take over on its own and complete the work. E.g., you suddenly realize that three chapters you had to go through were already done before; or you receive a call that you don’t have to cover the remainder of the course, etc. We see this phenomenon at work in the film where Red says to Seabiscuit, "I know what you are all about," and then makes the full, concerted effort to tame the horse. Just after that grueling work is completed, Tom suddenly comes forward and introduces Red to Charles and his wife. The result is that his life is changed forever. Because Red made the full, exhaustive psychological and physical effort to tame the horse, life took over, and brought forth Charles, who would purchase the horse and lead the group, including Red, to Seabiscuit’s overwhelming successes. That is the power of making the full, exhaustive effort in any endeavor. Energies of Society Attract Before leaving the subject of how life respond to adjustments in consciousness, there is one other factor that affects our ability to attract these miraculous-like results. It is the effect of the outer atmosphere surrounding a work or endeavor. When it is positive, life tends to open up and cooperate with our efforts. If it is negative, it tends to block or delay results. In Seabiscuit, we see how in Charles’ dealings with Riddle, he is able to rally a good proportion of the nation to his side, which creates a positive, supportive atmosphere. That will in fact secretly boost Seabiscuit’s chances for success in the race with War Admiral. Not only will the fans inspire the jockey and other principals, thereby energizing them, but a vibration of energy is set loose that supports their actions in life. In a positive atmosphere, actions taken tend to gain the cooperation of life. Negative Life Response[] Just as life responds positively to movements of higher consciousness, so too life responds negatively to wanting behaviors and actions, such as a poor attitude, or a premature celebration, or a movement of ego, or something that is out of step with the prevailing external environment. Let’s explore some of these. To a Poor Attitude One way life responds negatively is when we express a wanting attitude – whether about others, ourselves, or about life itself. For example, if at a corporate Christmas part I am upset when another person wins the big prize because I have a long-term grudge against that individual, I am likely to encounter something negative soon thereafter, such as word coming of the misfortune of a friend or relative. Negative attitudes tend to project negative energies that are likely to quickly return to us as ill fortune. In one scene in Seabiscuit, we see that Red is mad and bitter because his parents have not contacted him over the years, and because of his continual failure as a jockey and boxer. Right after that, we see how wrong things immediately go for him at a race at Tanforan. There is also a similar incident where he gets embroiled in a whipping content with another jockey during a race, which causes him to lose focus, leading to the victory of another horse. Once again, his negative attitudes and feelings -- in this case his anger and hostility toward his fellow jockey -- attract a decidedly negative outcome. To Premature Celebration Another behavior that blocks accomplishment is celebrating success before it has actually come to fruition. When you rejoice too soon, you squander your energies, and life thereafter tends to cancel all future success related to that endeavor. For example, two baseball players who have hit home runs in the game act cocky and speak ceaselessly about the flights of their own balls, only to see their team lose the game in extra innings in a bitter defeat. Or a basketball team is overly excited in the middle of the game as a result of a comeback and rally, only to see it squandered away later on. Their energies are allowed full play before the execution of the work, which attracts the opposite of their intention. Something similar happens to Red when he loses a race to a competitor when he hastily starts celebrating before the race is over. When our ego takes hold before the outcome is assured, we squander energy and attract ill fortune. When we remain calm and silent in such situations, we build on those energies, and therefore life works in our favor. To Anachronistic, Trailing Edge Acts In life, there are often leading edge characters participating in circumstance -- i.e. forces of progress -- as well as trailing edge, regressive individuals. One interesting point is that life often responds negatively to individuals who assert their anachronistic tendencies when the current of life in that situation is moving in another direction. For example, in Jane Austin’s ‘Pride and Prejudice’ we see how when the aristocratic, haughty, old guard Lady Catherine tries to interfere in a potential marriage between her nephew Mr. Darcy and Elizabeth Bennett, it backfires on her. In fact, that attempt at interference becomes the very instrument through which they realize that the two love one another, leading to their engagement and marriage soon thereafter! We see something similar in Seabiscuit. At one point in the story, we see the effects of the actions of the trailing edge figure of the eastern owner War Admiral. In response to the request from Charles for a race between the two horses, Riddle responds that it is absurd to have the race because of his horse’s obvious superiority in terms of speed, breeding, et al. He then goes a step further and mocks the entire western horseracing scene. The end result of his reactionary taunts that he will be humiliated when his horse loses to Seabiscuit before a national audience. When trailing edge figures act in conditions where the positive, progressive, emerging forces are moving to the fore, their actions tend to work against them. Predecessor Events[] As mentioned earlier, just like an individual, life itself also has a character. It expresses in principles like inner-outer correspondence, i.e. that how the inner me determines the outer reality, which is the basis of the outcome of the phenomenon of life response, i.e. sudden good fortune. Another principle of life is that every event is indicated by a previous one. For example, when I go for a boat ride on a river and there is a near accident caused by a wonton vehicle that is speeding, I hearken back and recall that just before I embarked on the trip, there was a lot of difficulty getting to the dock on time. This earlier problem was in essence the predecessor and indicator of a future difficulty that would crop up. Every event in life has such a predecessor. We see this rule in operation in Seabiscuit as well. Recall that just before the race with War Admiral, Red is asked to practice-ride an old associate's horse, which ends in a very serious accident, barring Red from riding in the big race. The predecessor of this was Red’s association with this individual years earlier when that person expressed a decided skepticism of Red’s abilities. This prior negative association was the predecessor of the accident that ruined Red’s chance of riding Seabiscuit to victory against War Admiral. There are other examples of predecessor events in the story. For example, long before Charles watches George Woolf guide Seabiscuit over War Admiral in the great race, Charles sees Woolf win a race at the Mexican track. This victory was a predecessor of the great victory against War Admiral that Charles attends. In both cases, Charles watches Woolf in action; not recognizing that the first event involving Woolf would be a predecessor of a great victory by the same rider at a later date. Counter Forces that Rise When One Tries to Achieve[] An important principle of life is that when we aspire to move ourselves forward to the next level in life –- such as an attempt to steer our career in a new direction, or an offer approaches with the promise of tripling our income -- an opposite force is set loose that has a tendency to destroy it. If we are conscious of that fact, we can avoid it, avoiding being thwarted in our upward ascent. If we do not perceive it, we can easily be deflected from achieving a cherished goal. It can even turn our life in the opposite direction. For example, when Red was presented with the opportunity to run in the most important race of his life, he was sidetracked by the sudden appearance of an old, problematic acquaintance. When that individual asked Red to practice ride a horse he was trying to sell, it led to the accident that prevented Red from riding Seabiscuit against War Admiral in perhaps the greatest race of all time. Thus, a counter force rising when one tries to move to the next level can have that effect if one is not vigilant. If however one is mindful when such great opportunities arise, then one can take the necessary precaution to avoid catastrophe. Life Progresses through Negative as Well[] Another principle of life -- one that is also philosophical in nature -- is that life not only progresses through positive means, but through negative ones as well. In fact, we often move forward the quickest through the negative circumstances that befall us. For example, if a young Indian boy who is the victim of poverty and hardship is forced to flee his life with his family for the city, and then as a result is driven to become a multi-millionaire, then we can muse that his earlier difficulty was an instrument of his great accomplishment. I.e. the negative served a great purpose in his success. Though it might sound harsh, we can say that Charles might never have raised and brought Seabiscuit to success if his son had not died and his wife had not left him. It created an opening in his being, which he filled by getting into the horse racing business, and then finding Tom, Red, and Seabiscuit. That flow of life from the negative to the positive not only brought him his own greatest successes, not only helped the other principals in the story achieve their greatest mark in life, but inspired an entire nation at a time of great suffering and duress. From this vantage point, we can conclude that often the greatest successes in life come about as a result of the greatest negatives. We could thus say that a negative is a more intense version of the positive. Or, to put it another way, a negative can be thought of as a positive in disguise. Web Search Terms[] Seabiscuit Review, Seabiscuit Analysis, Seabiscuit Summary, Seabiscuit Character Study, Seabiscuit Film, Seabiscuit Meaning, Seabiscuit Plot Also see: Accomplishment in Pride & Prejudice Prosperity Portal Life in Movies Project[]
5867	dbpedia	3	23	https://www.peninsuladailynews.com/news/spotlight-on-the-boys-in-the-boat/	en	Spotlight on ‘The Boys in the Boat’	https://www.peninsuladai…1-pdn-231211.jpg	https://www.peninsuladai…1-pdn-231211.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035032&cv=2.0&cj=1", "https://www.facebook.com/tr?id=1847949945485914&ev=PageView&noscript=1", "https://www.accuweather.com/images/weathericons/7.svg", "https://www.accuweather.com/images/weathericons/7.svg", "https://www.peninsuladailynews.com/wp-content/uploads/2023/12/34816994_web1_web-boys-in-the-boat-1-pdn-231211.jpg", "https://www.peninsuladailynews.com/wp-content/plugins/lazy-load/images/1x1.trans.gif", "https://www.peninsuladailynews.com/wp-content/uploads/2023/12/34816994_web1_web-boys-in-the-boat-2-pdn-231211.jpg", "https://www.peninsuladailynews.com/wp-content/plugins/lazy-load/images/1x1.trans.gif", "https://www.peninsuladailynews.com/wp-content/uploads/2023/12/34816994_web1_web-boys-in-the-boat-3-pdn-231211.jpg", "https://www.peninsuladailynews.com/wp-content/plugins/lazy-load/images/1x1.trans.gif", "https://www.peninsuladailynews.com/wp-content/uploads/2023/12/34816994_web1_web-boys-in-the-boat-4-pdn-231211.jpg", "https://www.peninsuladailynews.com/wp-content/plugins/lazy-load/images/1x1.trans.gif", "https://www.peninsuladailynews.com/wp-content/uploads/2023/12/34816994_web1_web-boys-in-the-boat-6-pdn-231211.jpg", "https://www.peninsuladailynews.com/wp-content/plugins/lazy-load/images/1x1.trans.gif", "https://www.peninsuladailynews.com/wp-content/uploads/2023/12/34816994_web1_web-boys-in-the-boat-7-pdn-231211.jpg", "https://www.peninsuladailynews.com/wp-content/plugins/lazy-load/images/1x1.trans.gif", "https://www.peninsuladailynews.com/wp-content/uploads/2024/08/37110282_web1_tsr-Hulett-Profile-pdn-240815.jpg", "https://www.peninsuladailynews.com/wp-content/plugins/lazy-load/images/1x1.trans.gif", "https://www.peninsuladailynews.com/wp-content/uploads/2024/08/37080363_web1_tsr-lake-crescent-pdn-240812.jpg", "https://pubads.g.doubleclick.net/activity;dc_iu=/22692889424/DFPAudiencePixel;ord=1;dc_seg=7142546279", "https://pubads.g.doubleclick.net/activity;dc_iu=/22692889424/DFPAudiencePixel;ord=1;dc_seg=7142329696" ]	[]	[]	[ "" ]	null	[ "Michael Dashiell" ]	2023-12-09T01:30:00-08:00	Story with Sequim tie has advance screening	en	https://www.peninsuladailynews.com/wp-content/themes/SoundPress/assets/images/icons/favicon.ico	Peninsula Daily News	null	The first time Judy Willman saw “The Boys in the Boat,” she couldn’t help but view it as a documentary. It was, after all, an epic tale of Olympic Games heroes centered in large part around her father, Joe Rantz. The second time she saw it, Willman said, she was able to watch it as a movie — laughing and crying and all the emotions in between. The third time, she and a theater full of Sequim youths and local dignitaries were able to celebrate the story at an advance screening of the soon-to-be-released film at Deer Park Cinemas in Port Angeles on Friday. That was followed by a tapas gala in a tent in the parking lot of the Sequim Museum & Arts as “A Tribute to Joe Rantz.” The tribute was a fundraiser for the Sequim Sunrise Rotary’s Joe Rantz Rotary Youth Fund centered on the George Clooney-directed film that’s based on Daniel James Brown’s book, “The Boats in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Olympics.” Amazon MGM Studios, which provided the rotary club with a courtesy screening of “The Boys in the Boat” in response to requests from Sequim High School students, will release the film to the public on Christmas Day. It specified that “neither MGM, its affiliates, nor anyone connected with the film is involved in any of the Joe Rantz Rotary Club’s fundraising efforts.” The Rotary club aims to raise $750,000 to build a home for homeless teens, so they can have stability in safe living quarters to finish high school (see joerantzrotaryyouthfund.org). Brown’s bestseller details the story of Rantz, a former Sequim resident, and fellow University of Washington Husky athletes emerging as the nation’s best eight-oar crew team that went on to take the Gold Medal at the 1936 Olympic Games in Germany. Dozens of Sequim High School students with the Rotary-sponsored Interact Club enjoyed an advance of the advance screening with a viewing in Seattle on Thursday, where they rubbed elbows and took photos with Clooney and Brown. “It was a once-in-a-lifetime experience for them,” Rotarian/student advisor Colleen Robinson said. The next day, Willman and her husband Ray joined the Interact Club members, dozens of other students from the Sequim Boys & Girls Club and event sponsors for a viewing, as well as the party in Sequim. Willman said seeing her family’s story on the big screen was a joy, in particular the love story between Rantz and his Sequim sweetheart, Joyce Simdars. “I love what they did with mom and dad; they brought out the romance,” she said. “Now that they’re gone, especially.” Though she said the majority of the film’s deviations from the book are enjoyable instances of artistic license, Willman said she was a little disappointed not seeing some of her father’s early life, a recounting of the rending of relationships that formed his stoicism and fortitude that shaped who he became and how it melded with other oarsmen on the gold medal-winning crew. “That’s part of what makes his story so compelling,” Willman said. Still, she said, the film adaptation of the film captured the spirit of her father’s story. Friday night’s events also saw a bit of local sports icon worlds colliding: Willman got to share some words with gala attendee Matthew Dryke, the Sequim skeet shooting legend who won Olympic Games gold in 1984. Rough beginnings Born March 31, 1914 in Spokane, Rantz lost his mother at the age of 3. He at times lived with his father Harry and his older brother Fred, as Harry sought work across Western states. Rantz recalled in a 2006 Sequim Gazette interview the struggles with his stepmother Thula that led to various difficult living situations. In 1925, the family moved to Sequim; Harry had purchased the Sequim Tire shop and Rantz was brought back to live with the family in the apartment above the shop. There was a sort of uneasy truce between him and Thula for several years, but his family eventually left Sequim, leaving Rantz — then a teen — to fend for himself. It wouldn’t have turned out so well, Rantz recalled in that 2006 interview, without the help of the McDonald family, who lived on adjacent land and took him in for meals and get-togethers. Rantz did what he could to make ends meet: cutting down cottonwoods along the Dungeness River to sell at the Port Angeles pulp mill, pulling salmon out of the same river to supplement what food he could get at friends’ houses, and playing various musical instruments to entertain and make a buck. By his senior year, Rantz was hoping to attend college. His brother Fred, a teacher at Seattle’s Roosevelt High School, said no university would look at Rantz if he had a diploma from Sequim — there was a question, Willman recalled years later, of whether Sequim High would be accredited the following year — so his big brother convinced Rantz to move in with him. A chance encounter with University of Washington crew coach Al Ulbrickson during Rantz’s senior year at Roosevelt High led to a chance at rowing crew at UW. In 1934, UW’s eight-man freshman crew — Rantz, fellow oarsmen Don Hume, George Hunt, Jim McMillan, Johnny White, Gordon Adam, Charles Day, Roger Morris and coxswain Bob Moch — was so good that Ulbrickson promoted the whole team to varsity in 1935. How good were they? In the collegiate four-mile races, they simply got stronger as the race wore on while others didn’t; Rantz and company never lost a collegiate race. At the U.S. Olympic trials, UW’s Huskies pulled away from runner-up University of Pennsylvania, earning the right to represent the United States at the 1936 Olympic Games in Berlin. The UW crew followed that up with an unexpected, come-from-behind victory at the Olympic Games, defeating the world’s best and giving hope to a nation struggling to emerge from the depths of the Great Depression. Rantz, who went on to a successful career as a chemical engineer at Boeing, died in September 2007 at the age of 93, but not before a serendipitous meeting with a neighbor that led to “The Boys in the Boat.” The book By fate or providence, the way the book came to be was quite remarkable, Ray Willman noted. Rantz rarely talked about his exploits and it wasn’t until the 1970s, decades after his collegiate and Olympic Games experiences, that he began to detail his stories and his painful upbringing, Judy Willman said. “I didn’t hear this from my dad; it was my mom who talked about it,” she said. Willman’s daughter one day found boxes and chests filled with memorabilia, sparking an interest in constructing Rantz’s story. By the late 1990s, Willman said she realized his story needed to be compiled before those stories were lost. “He and I started to document this journey, where he was at various points in time,” Willman recalled. In the mid-2000s, Willman recalled that Brown — who happened to be a neighbor — let folks in their homeowner’s association he had just released his first book, “Under a Flaming Sky: The Great Hinckley Firestorm of 1894.” Willman had compiled the lion’s share of her father’s story into a nine-page treatment, so she sent Brown an message along with the pages, asking if he thought Rantz’s journeys were worth being in print. “Maybe a half hour later I get this email,” Willman recalled. “He said, ‘This has got to be a book.’” She said Brown’s “Under a Flaming Sky” — the personal stories of a fire that burned an area of up to 250,000 acres, including the town of Hinckley, Minn., and killed hundreds, including Brown’s great-grandfather — seemed to fit the tone and style that Rantz’s story needed. “I thought, ‘This (kind of story) was a way to have dad’s story live,” Willman said. “All I knew about Joe,” Brown recalled at a book signing in Seattle in 2014, “was that he rowed in an Olympic race. Over the next hour Joe began to spin a tale … it mesmerized me.” Brown noted in a presentation in 2016 at Port Angeles High School that when he heard Rantz’s story of growing up alone in Sequim, “That really got to me. I was just transported as he told me this story.” Brown’s “The Boys in the Boat” was released in 2013, and the 404-page story has since received high praise and earned several awards, including the 2014 Washington State Book Award. A collaboration between the Sequim School District and Sequim Education Foundation has put the book into the hands of students with 500 copies of the publication; 250 copies of the Young Readers Adaptation went to Sequim Middle School, and 250 copies of the original edition to Sequim High School. The rights to “The Boys in the Boat” movie were purchased but a feature film was shelved for years. The Willmans said they saw some proposed drafts of the story, and they were far from what they’d hoped. Those scripts, Ray Willman said, tried too hard to make Rantz an out-sized hero rather than who he was. Instead, Judy Willman said, she hoped — and worked with Brown for months to get across — that her father’s story was much like Lauren Hillebrand’s seminal work “Seabiscuit”: a story of disparate people in desperate times coming together. The film develops In an interview with The Seattle Times art critic Moira Macdonald, Clooney — in Seattle for an advance screening of “The Boys in the Boat,” along with many of the family members of the 1936 team — said he read the book when it first came out. “He’s a beautiful writer, and he wrote a beautiful, emotional story,” Clooney said of Brown. Film rights to the story were initially purchased by The Weinstein Company in 2011 but the film’s future languished for years. In October 2018, Lantern Entertainment — successor of The Weinstein Company — contracted with Metro-Goldwyn-Mayer to distribute the film worldwide. “Our job as storytellers,” Clooney said, “was going to be, number one, to get the rowing right and make it interesting, and, number two, to care about and understand who these young men were. If we got those two things right, we would be representing the incredible work that Dan did.” Brown told The Times he was surprised at how emotional he was seeing his book on film. “It certainly touched me,” Brown said. “I didn’t really expect that, because obviously I know the story. But it’s a different thing, seeing it on the big screen.” Willman, for her part said the first time seeing the film “was not real emotional: I was looking at it from the point of a documentary.” Some scenes that were shot — including a few involving Rantz’s early life in Sequim, and his abandonment by his father at the age of 13 — were cut from the film to get the running time close to two hours, according to The Times. “If we were doing a six-hour television miniseries, all of those would be really powerful scenes,” Clooney told The Times. However, he said, they couldn’t be abbreviated enough to fit into feature-film length, and “we have to focus on the story.” What mattered most, he said, were the scenes of racing, and the “old-fashioned love story” between Rantz and his girlfriend Joyce — the Sequim High School sweetheart who became his wife. “They were married until they died, and they were in love with one another, and it’s important to see that and understand that, so we had to focus on that,” Clooney said. “You start to run out of space to cover everything.” Said Brown, “Obviously you make a movie from a 350-page book, there’s going to be story lines that don’t get in. I remember saying to my agent at the beginning, all I care is whether the spirit of the story gets across. For me it works, it get the spirit across. That’s a really happy thing.” Helping their peers Sequim High’s Interact Club got the attention of Clooney’s Smokehouse Pictures production partner Grant Heslov online with a 47-second TikTok video they made in early 2023, lobbying filmmakers to consider having a premier of “The Boys in the Boat” in Sequim. Taking the reins, the Sequim Sunrise Rotary Club members turned the screening into a fundraiser for the Joe Rantz Foundation Fund, with its goal to construct a home for homeless students. The Joe Rantz Rotary Youth Fund was conceived in 2018, several years after the release of “The Boys in the Boat.” Club members realized Sequim was not honoring Rantz in his hometown, Rotarians note on their website describing the fund’s inception. Around the same time, club members committed to the fund after hearing at their 2018 fundraising auction that two high school seniors had formed a pact to commit suicide the day after the graduation senior party because they didn’t see a future after high school. “Fortunately, the SHS counselor got wind of their plan and got the girl’s help,” the Rotary website noted. “However, their story was a huge red flag for our club.” Over the past three years, Sequim High School has had between 170 and 300 homeless students, McCauley said. The count is probably low, she added, since students have to register as homeless to be counted and many do not want to register out of fear of being bullied. Last year, the high school had 50 unaccompanied teens, McCauley said. “Our goal is to get them to graduate from high school” and get a good start in life, she said. “The biggest issue has been housing stability for them,” McCauley said. “If teens are bad, they go to juvenile detention or drug rehab. If they are just normal kids in bad circumstances, they have no options.” The Joe Rantz Rotary Youth House would house 12 teens with room for three emergency drop-ins. A social agency would manage it, according to the Rotary website, and teens would have counseling, mentoring and internships. About 10 months after their TikTok ask, Sequim’s Interact students got to take part in screenings in both Seattle and on the Olympic Peninsula. It’s a bit of payoff for a lot of hard work the youths do in the community, Robinson said, noting that when a call goes out for a community need, they come out in droves. “Whatever it is, they’re there and doing it,” she said. “Interact is all about leadership … we have all the grades represented. Upperclassmen, freshmen. They are really proud to be part of this club.” Seeing “The Boys in the Boat” will hopefully give local students some perspective on life, Sequim schools Superintendent Regan Nickels said at Friday’s screening. “The movie was beautiful and inspiring,” she said. “I appreciate the references to Sequim. It helps the students to connect (with the story). The messages resonate with them. That’s what’s next in their lives. “(And) the students got their day in the sun.” For more about the Joe Rantz fund, visit joerantzrotaryyouthfund.org. ________ Michael Dashiell is the editor of the Sequim Gazette of the Olympic Peninsula News Group, which also is composed of other Sound Publishing newspapers Peninsula Daily News and Forks Forum. Reach him at editor@sequimgazette.com. Peninsula Daily News contributed to this story.
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"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:132-6881273-0440938:M35MPB8XY271JKRR44VE$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DM35MPB8XY271JKRR44VE:0" ]	[]	[]	[ "Reviews", "Showtimes", "DVDs", "Photos", "User Ratings", "Synopsis", "Trailers", "Credits" ]	null	[]	2003-09-25T00:00:00	Seabiscuit - Mit dem Willen zum Erfolg: Directed by Gary Ross. With David McCullough, Jeff Bridges, Paul Vincent O'Connor, Chris Cooper. True story of the undersized Depression-era racehorse whose victories lifted not only the spirits of the team behind it but also those of their nation.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0329575/	"Sea Biscuit" is a story about a long shot horse and a man who discover each other on the road to equestrian glory. An extremely rewarding journey though the lives of man and beast. Every aspect of human emotion, bonding and courage is explored with an "equine" tinge. Set in a time when horse racing is more passion than business, Seabiscuit glorifies the positive appeal of horse racing. Every derby event is an emotional doorway which lifts your spirits. Be it the Santa Anita or the Pimilco, you are just just hanging on the edge of your seat praying, vying and hoping for a Seabiscuit win. Such is the emotional grasp and visual brilliance of Gary Ross's direction and Scwartzman's cinematography. Being a thoroughbred race horse by birth, Seabiscuit treads the race track under the watchful eyes of trainer Tom Smith (played by Chris Cooper) and jockey Red Poddard (played by Tobey Mcguire). What follows is a sequence of predictable vicissitudes. Why! This movie wasn't advertised in the mystery genre either! A frail looking (really) Tobey manages to deeply bond with the horse at least on screen, kudos indeed. Nobody else could have possibly fit into his role as well as he did, physically too. Chris Cooper is the silent marvel. There is a completely subtle tinge to his acting which lays low, yet beautifully exuberates class. Seabiscuit is simply one of those "silent' movies which just hurtles you beyond imaginable frontiers. Sit back and relax and let the long shot consume you.
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"https://img.game8.co/3759887/2f19bc32e7ba1d84c6cdd0e739f1dbf0.png/thumb", "https://img.game8.co/3466544/66ab61fedfa8b812bc58ad260a79b325.png/thumb", "https://img.game8.co/3336479/010b5d73e64a1e199d7d68f39c1f818c.png/thumb", "https://img.game8.co/3298417/fb6bfb92126fd6089e58f10d59f4af2e.jpeg/original" ]	[]	[]	[ "" ]	null	[ "Honkai: Star Rail Walkthrough Team", "Honkai: Star RailWalkthrough Team" ]	2024-02-06T07:17:28-05:00	Here are 160 Origami Bird locations in Honkai: Star Rail's Penacony. Find out how to find all Origami Birds, how to get the profile picture, and all the rewards you can get from the Great Tree in this guide!	en	https://assets.game8.jp/favicon/favicon.ico	Game8｜The Top Gaming and App Walkthroughs Straight from Japan!	https://game8.co/games/Honkai-Star-Rail/archives/443774	Here are 160 Origami Bird locations in Honkai: Star Rail's Penacony. Find out how to find all Origami Birds, how to get the profile picture, and all the rewards you can get from the Great Tree in this guide! All Origami Bird Locations in Penacony All Penacony Areas All Areas in Penacony The Radiant Feldspar Dreamflux Reef SoulGlad Scorchsand Audition Venue Penacony Grand Theater Dewlight Pavilion Clock Studios Theme Park Golden Hour Dream's Edge A Child's Dream The Reverie (Dreamscape) There are 160 Origami Birds so far in Penacony. Use the table above to jump to an area in Penacony and find out the locations of each Origami Bird! Penacony Map Guide Radiant Feldspar Pink Yellow Origami Birds All Floors in The Radiant Feldspar F1 F2 B1 Radiant Feldspar F1 Origami Bird Locations The Radiant Feldspar The Radiant Feldspar F1 See Full Image No. Image How to Find 1 Big-Head Bird Teleport to the Space Anchor called Aft Pool and then go to the top right corner of the pool. Then, locate the lounge chair with a feather and yank the Origami Bird. 2 Fitness Enthusiast Bird After finding the Big-Head Bird, go down the stairs that lead to B1 of the Radiant Feldspar. Then, yank the feather on top. 3 Merchant Bird After yanking the Fitness Enthusiast Bird, go to the nearest stall in the area. Then, yank another Origami Bird from it. 4 Overseer Bird Teleport to the Space Anchor called Main Banquet Hall and then proceed to the right side of the ship. Finally, pop the red balloon using a ranged character that shoots projectiles, like Pela, for the Origami Bird to appear. 5 Dining Table Bird After you locate the Overseer Bird, go inside the dining area nearby. Finally, yank an Origami Bird from one of the dining tables inside. ▲ Back to All Floors ▲ Radiant Feldspar F2 Origami Bird Locations The Radiant Feldspar The Radiant Feldspar F2 See Full Image No. Image How to Find 6 Surprise Bird Teleport first to the Space Anchor called Main Banquet Hall and then proceed to F2 by going up the stairs in the dining area nearby. Finally, yank the Origami Bird from a suitcase filled with cash. 7 Gossipy Bird After locating the Surprise Bird, go to the ship's balcony and then find the table where the NPCs called Claudia and Louis are located. Finally, yank the Origami Bird from the lampshade. 8 Introverted Bird Near the table where the Gossipy Bird can be found, interact with a telescope to locate another Origami Bird. When using the telescope, look to the right to actually see the Origami Bird hiding on a red balloon. Finally, choose to whistle coolly for the bird to appear. 9 Captain Bird Teleport first to the Space Anchor called the Cockpit and then proceed to F2 by going up the helm. Finally, yank the Origami Bird from the wheel. ▲ Back to All Floors ▲ Radiant Feldspar B1 Origami Bird Locations The Radiant Feldspar The Radiant Feldspar B1 See Full Image No. Image How to Find 10 Kind-Hearted Bird Teleport to the Space Anchor called Aft Pool and then go down the stairs that lead to B1 of the Radiant Feldspar. Finally, yank the Origami Bird at the stern of the ship. ▲ Back to All Areas ▲ Dreamflux Reef Blue Origami Birds All Floors in Dreamflux Reef F1 F2 Dreamflux Reef F1 Origami Bird Locations Dreamflux Reef Dreamflux Reef F1 See Full Image No. Image How to Find 1 Snotty Bird Teleport to the Space Anchor called Narrow Alley and then go to the bottom right corner of the area. Then, locate the poster with a feather and yank the Origami Bird. 2 Depressed Bird Use to the Space Anchor called Narrow Alley and then go to the alley nearby. Next, yank the Origami Bird on the trashbag. 3 Light Bird After using the Space Anchor called Narrow Alley and then go north until you spot the Origami Bird on a light bulb. Then, yank the Origami Bird for it to appear. 4 Sage Bird Teleport to the Space Anchor called Narrow Alley and then proceed north. Go to the marked location shown in the image. Then, yank the Origami Bird on the map. 5 Sinister Bird Use the Space Anchor called Timesplit Square in F2 and then use the elevator nearby to go down to F1. Finally, yank the Origami Bird on the blue balloon. ▲ Back to All Floors ▲ Dreamflux Reef F2 Origami Bird Locations Dreamflux Reef Dreamflux Reef F2 See Full Image No. Image How to Find 6 Rockhopper Bird Use the Space Anchor called Timesplit Square and then go down the stairs nearby. Yank the Origami Bird on the blue balloon for it to appear. 7 Curious Bird After locating the Rockhopper Bird, go up the stairs and then locate the bench in the marked location shown in the image. Yank the Origami Bird for it to show up. 8 Unlucky Bird Use the Space Anchor called Slumbertown and then go to the signboard near the NPC named Vader. Yank the Origami Bird on the signboard for it to appear. 9 Startled Bird After interacting with the Unlucky Bird, go to the marked location shown in the image. The Origami Bird will be attached to a window. Pull the feather thoroughly for the Origami Bird to appear. 10 Sightseeing Bird Use the Space Anchor called Timesplit Square and then run south. Investigate the lamppost with an Origami Bird's feather attached to it. Continuously yank the Origami Bird until it appears. 11 Pirate Bird After interacting with the Sightseeing Bird, go to the marked location shown in the image. The Origami Bird will be attached to a barrel. Pull the feather for the Origami Bird to appear. 12 Disguised Bird Teleport to the Space Anchor called Bygoneville and then run to the left part of the map until you see the NPC named Mellon and a food truck. Go behind the food truck to see a blue balloon with an Origami Bird attached to it. 13 Painting Bird After interacting with the Disguised Bird, go to the top left corner of the map. Yank the Origami Bird on the metal fence for it to show up. 14 Sauna Bird After interacting with the Painting Bird, run towards the Bygoneville Space Anchor until you see a vent with an Origami Bird's feather sticking out. Yank the Origami Bird for it to appear. 15 Shopping Bird When you have yanked the Sauna Bird already, go to the bottom left corner of the map. The Origami Bird is located near the NPC named Kirk. 15 Shopping Bird When you have yanked the Sauna Bird already, go to bottom left corner of the map. The Origami Bird is located near the NPC named Kirk. 16 Ticket Vendor Bird Teleport back to the Space Anchor called Timesplit Square and then locate a signpost near Dr. Blues. Yank the Origami Bird attached to the signpost for it to appear. 17 Beat Bird Interact with the signpost to which the Ticket Vendor Bird is attached. Use one Aideen Token to gain access to the Secret Rooftop area. To go to the Secret Rooftop, interact with the blue entry point nearby. Go to the marked location in the image and then yank all the Origami Bird feathers for it to appear. 18 Heartbroken Bird Teleport to the Space Anchor called Timesplit Square and then run to the bottom part of the map until you see the NPC named Percy. Yank the Origami bird and the food truck nearby. 19 Audience Bird Go to Dr. Blues' location and then yank the Origami Bird from one of the chairs nearby. 20 Pioneering Bird Teleport to the Space Anchor called A Child's Moonlight and then go to the topmost part of the map. Yank the Origami Bird on the metal rails. ▲ Back to All Areas ▲ SoulGlad Scorchsand Audition Venue Red Yellow Origami Birds All Sub Areas in Scorchsand Audition Venue Main Area Stage 1 Stage 2 Stage 3 After completing The Trailblaze Mission series called In Our Time, do the Adventure Mission called Scorchsand Vacation to unlock the other areas in SoulGlad Scorchsand Audition Venue. SoulGlad Scorchsand Audition Venue Main Area Origami Bird Locations SoulGlad Scorchsand Audition Venue Main Area See Full Image No. Image How to Find 1 Groupie Bird Teleport to the Space Anchor called Audition Plaza and then go to the yellow TV screen nearby. Yank the Origami Bird for it to appear. 2 Shy Bird After yanking the Groupie Bird, go to the right part of the area and then spot the speaker with a lot of Origami Bird feathers. Yank all of the feathers for the Origami Bird to appear. 3 Greeting Bird After yanking the Shy Bird, walk up north until you see the hallway filled with red balloons. Yank the Origami Bird from the balloon near the hallway's entrance. 4 Imploding Bird Teleport to the Crimson Calyx called Bud of The Hunt and then yank the Origami Bird hiding in the Red Soda nearby. 5 Congratulatory Bird Teleport to the Space Anchor called Path of the Superstar and then yank the Origami Bird hiding under the Return Shuttle. ▲ Back to All Sub Areas ▲ SoulGlad Scorchsand Audition Venue Stage 1 Origami Bird Locations SoulGlad Scorchsand Audition Venue Stage 1 (Main Area View) Stage 1: Acting Challenge See Full Image Stage 1: Action Challenge See Full Image No. Image How to Find 6 Meteor Bird Teleport to the Space Anchor called Dreamplay Fantasia: Acting Challenge and then go to one of the star-shaped decor nearby. Yank the Origami Bird for it to appear. 7 Hardworking Bird After finding the Meteor Bird, go to the left part of the Acting Challenge area and then yank the Origami Bird under a speaker. 8 Actor Bird After locating the Hardworking Bird, yank another Origami Bird that is attached to a TV near the Scorchsand Treasure Keeper. 9 Director Bird Teleport to the Space Anchor called Dreamplay Fantasia: Action Challenge and then go to one of the camera nearby. Yank the Origami Bird for it to appear. 10 Reclusive Bird After locating the Director Bird, go up the stairs to yank another Origami Bird from a red balloon. 11 Spectator Bird After yanking the Reclusive Bird walk up north until you spot a bench with an Origami Bird's feather attached to it. Yank it for another Origami Bird to appear. ▲ Back to All Sub Areas ▲ SoulGlad Scorchsand Audition Venue Stage 2 Origami Bird Locations SoulGlad Scorchsand Audition Venue Stage 2 (Main Area View) Stage 2: Gunfire Trial (F1) See Full Image Stage 2: Gunfire Trial (F2) See Full Image Stage 2: Time Trial See Full Image No. Image How to Find 12 Upside Down Bird Teleport to the Space Anchor called Gunfire Time: Gunfire Trial and then yank the Origami Bird from one of the statues nearby. 13 Protection Bird Go to Hanu's Adventure in F1 and then use it to transform to Hanu. After that, use the Rocket Teleporter nearby to go on top of a bookshelf. Walk straight until you spot a feather sticking out of a suitcase. 14 Calm Bird Walk up the stairs near Hanu's Adventure in F1. Inside the office in F2, yank the Origami Bird from a chair. 15 Waiting Bird After yanking the Calm Bird, walk down to F1 again and then walk straight until you spot the buttons to an elevator. Select Head to F2 of the mansion and then run back to F2. Use the Hanu's Adventure interactable in the office. As Hanu, walk out of the office and then go through the crates. Walk to the doorway to the left and then morph back to your normal form. Next, interact with the Arcane Artwork that leads to the Dreamscape. Finally, yank the Origami Bird attached to a clock. 16 Height-Averse Bird Teleport to the Space Anchor called Gunfire Time: Time Trial and then yank the Origami Bird from the Giant Clock Statue. The Origami Bird will not appear immediately. Solve the Dream Jigsaw Puzzle nearby for it to show up. 17 Origami Bird During Seabiscuit or Scorchsand Vacation, you will be fighting a Beyond Overcooked in the Time Trial area. After defeating it, yank the Origami Bird from its tail. ▲ Back to All Sub Areas ▲ SoulGlad Scorchsand Audition Venue Stage 3 Origami Bird Locations SoulGlad Scorchsand Audition Venue Stage 3 (Main Area View) Stage 3: Arena I See Full Image Stage 3: Arena II See Full Image No. Image How to Find 18 Knight Bird Teleport to the Space Anchor called Superstar Showdown: Arena I and then continuously yank the Origami Birds from the plants nearby until it appears. 19 Advertisement Bird After locating the Knight Bird run towards the Return Shuttle until you spot a billboard with Clockie on it. Investigate it for the Origami Bird to show up. 20 Stunned Bird Teleport to the Space Anchor called Superstar Showdown: Arena II and then run towards the Return Shuttle until you spot an Origami Bird feather on the floor. When yanking it, It will move to two other circular mechanisms until the Origami Bird finally appears. ▲ Back to All Areas ▲ Penacony Grand Theater Pink Red Origami Birds Penacony Grand Theater Penacony Grand Theater See Full Image No. Image How to Find 1 Confused Bird Teleport to the Space Anchor called Ascension Hallway and then approach a billboard of Robin nearby. Investigate it for the Origami Bird to appear. 2 Seed-Sowing Bird After locating the Confused Bird, go to the room to the left of the Ascension Hallway Space Anchor and then yank the Origami Bird attached to one of the pipes. 3 Inspector Bird Walk towards the Hall of Chords Space Anchor until you reach the middle of the hallway. Then, yank the Origami Bird from one of the metallic mannequins in that part of the map. 4 Vibe Bird Teleport to the Space Anchor called Hall of Chords and then walk towards the Arcane Artwork to the right. In that area, you will be able to see a bunch of Origami Bird feathers. Yank all of them for the Origami Bird to show up. 5 Enjoyment Bird Use the Communing Hall Space Anchor and then enter the room with an Arcane Artwork nearby. Yank the Origami Bird from the pillow for it to show up. 6 Bearded Bird Teleport to the Space Anchor called Communing Hall and then walk forward until you spot a billboard of a man with a top hat. Yank the Origami Bird from the billboard for it to appear. 7 Time-Telling Bird Walk towards the area behind the Communing Hall Space Anchor and then look for an Origami Bird feather attached to the wall. You will have to fight the Formidable Foe Challenge in that area for you to properly yank the Origami Bird. 8 Supporting Actor Bird Teleport to the Space Anchor called Hall of Chords and then locate signage with an Origami Bird feather in the area near the Echoes of War boss. Yank the Origami Bird for it to appear. 9 Door Guard Bird Use the Hall of Chords Space Anchor and then walk towards the left until you spot an Origami Bird feather at the corner. Yank it for the Origami Bird to appear. 10 Dancing Bird Use the Saloon of Gospels Space Anchor and then go down the stairs near the Great Tree. Yank the Origami Bird from the metallic humanoid statue. 11 Drink Lounge Bird Use the Saloon of Gospels Space Anchor and then approach the bar with balloons staring at it. Go near the vase with purple flowers and you will see some feathers sticking out of the menu. Yank on them to make the Origami Bird appear. 12 Bel Canto Bird Use the Saloon of Gospels Space Anchor and head up the stairs on the left. At the top of the stairs, go to the right then go down another set of stairs. Keep moving until you see a giant red curtain with feathers sticking out of it. Yank on them to make the Origami Bird appear. 13 Dizzy Bird Use the Communing Hall Space Anchor and head west into the room past the curtain. The Dreamscape in this room cannot be accessed if you already finished the Trailblaze Mission. To access it again, you must start the Loothunt in Mazeville Adventure Mission. After entering the Dreamscape, make it to the end and go up the stairs. You will see a red balloon beside the railing with feathers. Yank on them to make the Origami Bird appear. 14 Perfect Bird Use the Hall of Chords Space Anchor and head east until you can see an entrance to a Dreamscape. Enter the Dreamscape and you will see an orange balloon facing a piano. Attack it with a character that has a ranged attack and the Origami Bird will appear. 15 Studious Bird Use the Saloon of Gospels Space Anchor and head east into the room past the curtain. Enter the Dreamscape and you will see an yellow frame near a mannequin with feathers sticking out of it. Yank on them and the Origami Bird will appear. 16 Vain Bird Use the Saloon of Gospels Space Anchor and head east into the room past the curtain. Enter the Dreamscape and head down the stairs. Take a left and down more stairs until you see a small area with mirrors. Approach the mirror with an orange balloon facing it. Yank on it and the Origami Bird will appear. 17 Riddle Bird Use the Saloon of Gospels Space Anchor and head east into the room past the curtain. Enter the Dreamscape and make your way to the end. Behind the exit of the Dreamscape is an orange balloon staring at another one through a frame. Investigate it and the Origami Bird will appear. 18 Adventure Bird Use the Hall of Chords Space Anchor and head west until you can see an entrance to a Dreamscape. Enter the Dreamscape and go down the stairs. Go up the stairs on the left and make your way down the path. You will see an orange balloon with feathers sticking out of it. Yank on it and the Origami Bird will appear. 19 Mediator Bird From Origami Bird 18, go down the stairs. Keep going until you see a red picture frame with feathers that depicts a man punching someone. Yank on the frame and the Origami Bird will appear. 20 Dragon Tamer Bird Use the Communing Hall Space Anchor and approach the Hanu's Adventure TV near the bar. You will see some feathers sticking out of it. If you try to yank on them, nothing will happen. Finish all of Hanu's Adventure to use the TV and get the bird from inside. ▲ Back to All Areas ▲ Dewlight Pavilion Yellow Green Origami Birds All Floors in Dewlight Pavilion F1 F2 Sandpit Dewlight Pavilion F1 Origami Bird Locations Dewlight Pavilion Dewlight Pavilion F1 See Full Image No. Image How to Find 1 Helpful Bird Teleport to the Space Anchor called Dreammaster Hall in F1 and head to the right hallway. Follow the hall along and go down the stairs where you will see a single room. Approach the statue with feathers sticking out and interact with it so the Origami Bird shows up. 2 Glorious Bird Teleport to the Space Anchor called Dreammaster Hall in F1 and just behind it, you will see the Nightingale Family Crest on the wall. Approach it and you will see a feather sticking out of it. Yank the feather and the Origami Bird will show up. 3 Hidden Bird Teleport to the Space Anchor called Dreammaster Hall in F1 and head to the staircase on the left. Under the staircase, you will see a red balloon near a small lamp with feathers sticking out of it. Yank the feather and the Origami Bird will pop up. ▲ Back to All Floors ▲ Dewlight Pavilion F2 Origami Bird Locations Dewlight Pavilion Dewlight Pavilion F2 See Full Image No. Image How to Find 4 Leisurely Bird Teleport to the Space Anchor called Reception Counter in F2 and head to the right side of the room. Approach the blue balloon near the record player and you will see some feathers sticking out of the player. Yank on them and the Origami Bird will show up. 5 Scared Bird Teleport to the Space Anchor called Reception Counter in F2 and head forward to the next room. From there, head through the door on the right and go down the stairs. Enter the room and go towards the Bubble Tower. Go up the first wall then head to the left and go up the second wall. Finally, go to the right where the third wall is and you will see a single path on the left with a red balloon just floating with feathers on it. Yank on it and the Origami Bird will show up. 6 Domineering Bird Teleport to the Space Anchor called Dreammaster Hall in F1 and go up the left side stairs. On the balcony, head forward and go through the door on the right. Move through the hallway and enter the next room. Cross the bridge on the right and you will see some objects on display. The middle object will have feathers sticking out of it, so yank on them and the Origami Bird will show up. 7 Perfect Bird You must have started or finished the Adventure Mission Outsourcer to access this Origami Bird. Teleport to the Space Anchor called Dreammaster Hall in F1 and go up the right-side stairs. On the balcony, head forward and go through the door on the left. Move through the hallway and enter the next room. Navigate the room until you see a bookshelf with a picture of a butterfly. Yank on its feathers and the Origami Bird will show up. ▲ Back to All Floors ▲ Dewlight Pavilion Sandpit Origami Bird Locations Dewlight Pavilion Dewlight Pavilion Sandpit See Full Image No. Image How to Find 8 Prosperity Bird Teleport to the Space Anchor called City Sandpit in the sandpit then look to your left. You will see a dispenser with feathers sticking out of it. Operate the machine and the Origami Bird will pop out. 9 Surprise Bird Teleport to the Stagnant Shadow called Shape of Ire in the sandbox and look at the left corner. There are a bunch of blue gifts and one of the boxes has feathers sticking out of it. Yank on them and the Origami Bird will show up. 10 Truth Bird To get to this area, use the Bubble Pinball Machine in the middle of the area. After hopping off the pinball machine, move forward and take a left then continue walking. You will see a lamppost at the end with feathers sticking out of it. Yank on them and the Origami Bird will show up. ▲ Back to All Areas ▲ Clock Studios Theme Park Yellow Origami Birds All Floors in Clock Studios Theme Park F1 F2 Clock Studios Theme Park F1 Origami Bird Locations Clock Studios Theme Park Map Clock Studios Theme Park F1 See Full Image No. Image How to Find 1 Lucky Bird Teleport to the Space Anchor called Theme Park Entrance in F1 then head to the left side of the area. There will be a slot machine with some feathers sticking out of it. Yank on them to make the Origami Bird appear. 2 Film Bird Teleport to the Space Anchor called Theme Park Entrance in F1 and you will see the Amusement Park Guide Map with feathers sticking out of its left side. Yank on them and you will see the Origami Bird. 3 Painter Bird Teleport to the Space Anchor called Theme Park Entrance in F1 and move forward until you see Clockie's statue. Enter the left hallway and you will see a purple movie poster with feathers sticking out of it on the left side of the hallway. Yank them out and the Origami Bird will show up. 4 Thief Bird Teleport to the Space Anchor called Theme Park Entrance in F1 and move forward until you see Clockie's statue. Go to the rightmost path and keep moving until you see the entrance of the maze. From there, go forward then to the right. Once you see a lamp post, go left. Keep moving until you see a big pillar to the left, which is the center of the maze. You will then see some feathers on top of the fence. Approach them and yank them out so the Origami Bird shows up. 5 Chivalrous Bird Teleport to the Space Anchor called Hamster Ball Park in F2 and move forward until you see a staircase on the right. Go down and enter Hanu's Adventure. From here, use the TV to destroy the red balloon blocking the way to the right first. Go through there and pass through the tables and chairs. You will see a blue rocket after crossing the thin path, so use that. You'll be transported below where there is another blue rocket which brings you to the top of a shelf. You will see the red balloon with feathers on it where the Origami Bird is. ▲ Back to All Floors ▲ Clock Studios Theme Park F2 Origami Bird Locations Clock Studios Theme Park Map Clock Studios Theme Park F2 See Full Image No. Image How to Find 6 Silent Bird Teleport to the Space Anchor called Hamster Ball Park in F2 then head to the right side of the area. There, you will see an alley where there is a Formidable Foe. Behind it is a big billboard, so go behind it and you will see a wooden box with feathers sticking out of it. Yank on them to make the Origami Bird appear. 7 Commander Bird Teleport to the Space Anchor called Hamster Ball Park in F2 then head to the right side of the area. You will see a bench with musical notes and feathers on it. Yank on them and you will see the Origami Bird. 8 Villain Bird Teleport to the Space Anchor called Hamster Ball Park in F2 and just in front, you will see a set with a cutout of cartoon characters. Approach it and you will see a hole with feathers on it. Yank on them and the Origami Bird will appear. 9 Lookout Bird Teleport to the Space Anchor called Hamster Ball Park in F2 and move forward until you see a staircase on the right. Go down and you will see a red balloon with feathers on it near the grate. Yank on them to see the Origami Bird. 10 Lighting Bird Teleport to the Space Anchor called Hamster Ball Park in F2 then head south of it. You will see two spotlights, with the shorter one having feathers on it. Yank on them to make the Origami Bird appear. 11 Celebration Bird Teleport to the Space Anchor called Screening Area Entrance in F2 then head north of it. There, you will see the Dreamville Themed Restaurant and a signage of cola when you look up. The cola on the signage has feathers, so yank on them to make the Origami Bird appear. 12 Timid Bird Teleport to the Space Anchor called Screening Area Entrance in F2 then head west of it. You will see a bunch of people and a stage they are trying to repair. In the corner, you will see some wooden boxes, and beside them, a bleacher with feathers on it. Yank on them and you will see the Origami Bird. 13 Generous Bird Teleport to the Space Anchor called Screening Area Entrance in F2 then head south of it. You will see a bar and a chair with feathers on it. Approach it then interact with it to make the Origami Bird appear. 14 Greeting Bird Teleport to the Space Anchor called Screening Area Entrance in F2 then head east of it. At the area, approach Elvira and you will see some feathers on the golden letters. Continue yanking on them to see the Origami Bird. 15 Guiding Bird Teleport to the Crimson Calyx called Bud of Preservation then use the Bubble Pinball Machine in front of it to get to the area northeast of it. On the other side, there will be metal bars with feathers near a cloud and a star backdrop. Yank on it to make the Origami Bird pop up. 16 Director Bird Teleport to the Crimson Calyx called Bud of Preservation then head south. You will see a film set, with the camera's lens having feathers popping out of it. Approach it and yank on it to make the Origami Bird appear. 17 Juggling Bird Teleport to the Space Anchor called Hanu Gang Base in F2 then head east. You should see a Dream Jigsaw puzzle and just next to the wall, there are crates with books on top. One of the crates has feathers coming out of it. Yank on it to make the Origami Bird pop up. 18 Confused Bird Teleport to the Space Anchor called Hanu Gang Base in F2 then head south. You will see some stage cutouts. Move further into the area and on the right you will see a stage cutout with feathers on top of its right side. Yank on it to make the Origami Bird show up. 19 Covetous Bird Teleport to the Space Anchor called Hanu Gang Base in F2 then head up the small stairs. Go to the left and you will see a filming set with a cartoon cutout. At the very end, there is a suitcase of cash with feathers coming out of the bottom. Interact with it to make the Origami Bird show up. 20 Hanu Bird Teleport to the Space Anchor called Hanu Gang Base in F2 then head up the small stairs and go to the left side area. You will see a Radiant Speedster car being stared at by monsters, as well as a crate near it that has feathers. Beat the monsters up and yank on the crate multiple times to make the Origami Bird show up. ▲ Back to All Areas ▲ Golden Hour Yellow Origami Birds All Floors in Golden Hour F1 F2 F3 Golden Hour F1 Origami Bird Locations Golden Hour Golden Hour F1 See Full Image No. Image How to Find 1 Young Master Gold During the Trailblaze Mission called Tales from the Golden Age, investigate the strange eyelashes on Clockie's statue in F1 after Firefly brings you to it. 2 Resilient Bird After transforming as Hanu for the first time in the Trailblaze Mission called Good Omen, My Friend, pop the Blue Balloon blocking your path by returning to Normal Form and then yank the Origami Bird inside the shelf in front of you. 3 Soaring Bird You will see a Red Balloon to the far right of the Space Anchor called Dreammerse Shopping Street in F1. After locating the Red Balloon, yank the Origami Bird inside it. 4 Cold-Fearing Bird Another Origami Bird can be found south of the Dreammerse Shopping Street in F1. Yank the Origami Bird from the headlight of a Spheroid. 5 Fast Bird Teleport to the Space Anchor called Clockie Plaza in F1 and then go south. Locate the Stairs with a feather on its handrail and then yank the Origami Bird. 6 Groupie Bird Teleport to the Space Anchor called Dreammerse Shopping Street in F1 and then go west. Locate the Clockie Pizza Poster with a feather on Clockie's nose. Finally, yank the Origami Bird from it. ▲ Back to All Floors ▲ Golden Hour F2 Origami Bird Locations Golden Hour Golden Hour F2 See Full Image No. Image How to Find 7 Naughty Bird A Fire Hydrant that contains an Origami Bird can be found north of the Space Anchor called The Reverie Hotel Entrance in F2. Continuously yank the Origami Bird inside it until it shows up. 8 Fan-Spoiling Bird Teleport to the Space Anchor called Oti Mall in F2 and then locate the Ice Cream Trolley. Finally, Yank the Origami Bird hiding in the trolley. 9 Cowardly Bird A Tree that contains an Origami Bird can be found north of the Space Anchor called Oti Mall in F2. Yank the Origami Bird hiding on top of it. 10 Treasure Bird Teleport to the Space Anchor called The Reverie Hotel Entrance in F2 and then proceed north. Locate the Trashcan with a feather peeking out. Finally, yank the Origami Bird inside it. 11 Classy Bird You will find an Unnamed Hotel north of the Space Anchor called The Reverie Hotel Entrance in F2. Then, continuously yank the Origami Bird stuck in the hotel's door. 12 Prudent Bird Teleport to the Space Anchor called Sweet Corner in F2 and then go south. Locate the Bench with a feather peeking out. Finally, yank the Origami Bird from it. 13 Mischievous Bird Teleport to the Space Anchor called Sweet Corner in F2 and then go west. Locate the Table with several seats shaped like a Mug. Yank the Origami Bird from the seats until it shows up. 14 Foodie Bird Go to Darcy, the vomiting NPC, who can be found near the Space Anchor called Aideen Park in F2. Then, yank the Origami Bird on the floor. 15 Unlucky Bird Go to the Hanu's Adventure minigame at the bottom of F2. Morph as Hanu in order to go into the entrance near the TV. After that, pop the Red Balloon inside the room by returning to Normal Form. Next, teleport using the rocket to yank the Origami Bird under a plank. 16 Fish-Loving Bird Teleport to the Space Anchor called Oti Mall in F2 and then locate the Poster with a fish that has a top hat. Next, yank the Origami Bird from it. 17 Curious Bird Teleport to the Space Anchor called The Reverie Hotel Entrance in F2 and then go west. Locate the SoulGlad machine beside two NPCs. After that, open its valve for the Origami Bird to appear. 18 Cool Bird Use the Space Anchor called Oti Mall in F2 and then go west. Locate the fountain with a feather sticking out. Then, yank the Origami Bird from it. 19 Careless Bird Use the Space Anchor called Aideen Park in F2 and then go east. Locate the Telephone Booth with a feather sticking out. After that, yank the Origami Bird from it. ▲ Back to All Floors ▲ Golden Hour F3 Origami Bird Locations Golden Hour Golden Hour F3 See Full Image No. Image How to Find 20 Artistic Bird Go to F3 of Golden Hour using the Bubble Pinball Machine north of The Reverie Hotel Entrance in F2. Then, interact with a Telescope that has a feather. Finally, yank the Origami Bird from it ▲ Back to All Areas ▲ Dream's Edge Green Origami Birds Dream's Edge Map Dream's Edge See Full Image No. Image How to Find 1 Smart Bird Teleport to the Space Anchor called The Family's Construction Authority and then go to its left. Locate the Window with a feather. Finally, investigate the window for the Origami Bird to appear. 2 Curious Bird Again, use the Space Anchor called The Family's Construction Authority and then go south. Locate the Telescope with three set of feathers. Finally, yank the feathers until the Origami Bird shows up. 3 Sarcastic Bird Teleport to the Space Anchor called Dreamweaver Plaza and then go west. Locate the Ladder with a feather. Then, investigate it for the Origami Bird to appear. 4 Car-Loving Bird Teleport to the Space Anchor called Rooftop Garden. Then, proceed to the marked location by activating the Dream's Eye nearby. Finally, find the Car with a feather on its hood and then yank it for the Origami Bird to appear. 5 Kind Bird Again, use the Space Anchor called Rooftop Garden and then go west. Locate the Red Balloon with a feather. Finally, yank the feather for the Origami Bird to appear. 6 Cunning Bird Teleport to the Calyx (Golden): Bud of Memories. Then, go downstairs to locate a Sign Board with a feather stuck to it. Yank it for the Origami Bird to show up. 7 Superstitious Bird Teleport to the Space Anchor called Front Observation Deck or the Calyx (Golden): Bud of Memories. Then, locate the White Billboard with a feather near a Dream Ticker puzzle. Investigate it for the Origam Bird to appear. 8 Gossipy Bird Teleport to the Stagnant Shadow: Shape of Roast and then go north. Locate the Plants with a feather blending in. Then, yank it for the Origami Bird to appear. 9 Bold Bird Use the Space Anchor called Dreamweaver Plaza and then go south. Use the Dream Module nearby if needed. Finally, move forward until you spot a Red Billboard to the right with a feather sticking out. Yank it for the Origami Bird to appear. 10 Slacking Bird Use the Space Anchor called The Family's Construction Authority and then go south to reach the Water Tank with a feather sticking out. Investigate it for the Origami Bird to appear. ▲ Back to All Areas ▲ A Child's Dream Red Origami Birds A Child's Dream Map A Child's Dream See Full Image No. Image How to Find 1 Waiting Bird You are guaranteed to get the first Origami Bird in A Child's Dream since you need to interact with it during the Trailblaze Mission called Through A Glass Darkly. After investigating the Jigsaw Puzzle during the mission, enter the marked room with a bunch of toys. Then, stroke the bird with a red feather on its head for the Origami Bird to appear. 2 Vigilant Bird Teleport to the Calyx (Golden): Bud of Aether and then go south. Locate the Door with a feather stuck underneath. Then, yank it for the Origami Bird to appear. 3 Slick Bird Teleport to the Space Anchor called Eddying Dreamscape and then go forward until you reach the entrance to the large room marked in yellow on your map. To the right of its entrance, locate a Plant Pot with a feather sticking out. Yank it for the Origami Bird to appear. 4 Hooky Bird Teleport to the Space Anchor called Eddying Dreamscape and then go forward until you reach the Entrance to the large room marked in yellow on your map. After entering the room, head to the left then approach the Bubble Tower and interact with it to obtain Bubble Charges. Use a charge to walk around the Wall near the Bubble Tower. Finally, continue running until you see a Red Balloon with a feather to the left, yank the Origami Bird from it. 5 Swift Bird Starting from the location where you encountered the Hooky Bird, go forward and then walk around the 1st Wall in front of you. After that, go forward until you reach the end of the platform, then turn right to go down the 2nd Wall. Next, continue walking until you see a Bubble Tower. Interact with it and then go down the 3rd Wall to the left. Finally, locate a Pipe and then yank the Origami Bird. 6 Stubborn Bird Teleport to the Space Anchor called Corridor of Memories and then go south until you reach the Entrance to the room marked in yellow on your map. After entering the room, head down the stairs to the right and then do a U-turn. Next, walk forward until you see a Lampshade with a feather sticking out. Investigate it for the Origami Bird to appear. 7 Challenger Bird Teleport to the Space Anchor called Corridor of Memories and then go east. Locate the Fireplace with a feather stuck on it and then interact with it for the Origami Bird to show up. 8 Obsessed Bird Teleport to the Calyx (Golden): Bud of Aether and then go west until you reach the Entrance to the small room marked in yellow. Next, go forward until you see a Bubble Tower and interact with it to get Bubble Charges. After that, walk around the Wall and then interact with the Eagle Statue to the right for the Origami Bird to appear. 9 Punctual Bird Teleport to the Space Anchor called Clock Factory and then interact with the Clock that has a feather nearby, the Origami Bird will appear. 10 Diligent Bird Go to the marked location shown in the image, which is a room that has a Dream Ticker puzzle. Inside the room, yank any of the Drawers with a feather sticking out until the Origami Bird appears. ▲ Back to All Areas ▲ The Reverie (Dreamscape) Pink Origami Birds All Floors in The Reverie (Dreamscape) F1 F2 F3 The Reverie (Dreamscape) F1 Origami Bird Locations The Reverie (Dreamscape) The Reverie (Dreamscape) F1 See Full Image No. Image How to Find 1 Amiable Bird Teleport to the Space Anchor called Dreamscape Lobby in F1 and then go to the area where the Great Tree is located. Beside Lady Vermilion is a couch that has a feather sticking out of it. Yank the feather for the Origami Bird to appear. 2 Lazy Bird In F1, teleport to the Space Anchor called Dreamscape Lobby and then go west. Locate the Dream Bubble with a feather. Next, yank it for the Origami Bird to show up. 3 Passionate Bird After encountering the Lazy Bird, turn around and then walk to the Bar. You will then see a Telephone with a feather. Yank it for the Origami Bird to appear. 4 Serious Bird Teleport to the Space Anchor called Monitoring Room in F1 and then walk up to the top right corner of the room. Yank the feather from the Monitor for an Origami Bird to appear. 5 Pondering Bird Use the Space Anchor called Monitoring Room in F1 and then go south. After reaching the marked location shown in the image, interact with the Table Lamps with feathers until the Origami Bird appears. 6 Scared Bird First, go to F3 and then interact with the Arcane Artwork to teleport to a Dreamscape in F1. Once inside the Dreamscape, go down the stairs and then yank the feather from a Poster for the Origami Bird to show up. 7 Fan Bird In the same Dreamscape Room where you encountered the Scared Bird, trigger the marked Hanu's Adventure minigame shown in the image. As Hanu, locate the 1st Rocket at the bottom right corner of the room and use it to teleport. After being teleported to another room, use the 2nd Rocket to teleport again. Next, pop the Red Balloon in human form. After morphing back as Hanu, use the 3rd Rocket at the top left corner of the room. Finally, yank the Origami Bird behind the Precious Chest. 8 Guide Bird To find this Origami Bird, trigger the same Hanu's Adventure minigame needed to encounter the Fan Bird. As Hanu, go straight forward and then use the Rocket to teleport above. Finally, interact with a Gift that has a feather for the Origami Bird to appear. ▲ Back to All Floors ▲ The Reverie (Dreamscape) F2 Origami Bird Locations The Reverie (Dreamscape) The Reverie (Dreamscape) F2 See Full Image No. Image How to Find 9 Gluttonous Bird Teleport using the Space Anchor called VIP Lounge Corridor in F3 and then go north until you reach the Entrance to the large room marked in yellow. After entering the room, head to the Exit to the left. When you are in the room with a Formidable Foe Challenge, look for a Dream Bubble with a feather and then yank it for the Origami Bird to appear. Do note that this room is in F2. 10 Brave Bird First, teleport using the VIP Lounge Corridor in F3 and then trigger the Hanu's Adventure minigame shown in the image. As Hanu, go to the bottom left corner of the room and then yank the feather stuck inside a Book. The Origami Bird will then appear after yanking it. Do note that this room is in F2. ▲ Back to All Floors ▲ The Reverie (Dreamscape) F3 Origami Bird Locations The Reverie (Dreamscape) The Reverie (Dreamscape) F3 See Full Image No. Image How to Find 11 Worried Bird Teleport to the Space Anchor called Platinum Guest Room in F3 and then yank the feather from a Fireplace nearby. The Origami Bird will then appear after that. 12 Tea-Tasting Bird Teleport to the Space Anchor called Platinum Guest Room in F3 and then go south. After that, go to the Dream Bubble Fountain and then investigate it. The Origami Bird will then show up after the interaction. 13 Trendy Bird In the same room where you encountered the Tea-Tasting Bird, locate the Table with a feather on top of it. Yank the feather for the Origami Bird to appear. 14 Playful Bird Teleport to the Calyx (Golden): Bud of Treasures in F3 and then go to the top left corner room. Locate the Pool Table with a feather stuck onto it. Then, yank it for the Origami Bird to appear. 15 Drunkard Bird Teleport to the Space Anchor called Dreamjolt Hostelry in F3 and then go south. Approach the bar that has Cocktail Shaker with a feather. Finally, yank it for the Origami Bird to appear. 16 Egotistical Bird Teleport to the Space Anchor called VIP Lounge Corridor in F3 and then go north until you reach the Entrance to the large room marked in yellow on your map. After entering the room, head to the left then investigate the Eagle Statue with a feather. The Origami Bird will then appear. 17 Tough Bird Teleport to the Space Anchor called VIP Lounge Corridor in F3 and then go south until you reach the Entrance to the small room marked in yellow on your map. Once inside, go east and then yank the feather stuck inside one of the Luggage. The Origami Bird will then show up. 18 Elusive Bird Teleport to the Space Anchor called VIP Lounge Corridor in F3 and then go south until you reach the Entrance to the small room marked in yellow on your map. Once inside, interact with the Bubble Tower in front of you and then go down the Wall to the right. After that, locate the Red Balloon with a feather on the top left corner of the platform. Finally, yank the Origami Bird from it. 19 Lost Bird Teleport to the Calyx (Golden): Bud of Treasures and then go north until you reach the Entrance to a room marked in yellow on your map. Once inside, go to the Bubble Tower marked in the image. Then, retrace your steps to go around the 1st Wall. After that, walk straight to the 2nd Wall and use another Bubble Charge. Finally, locate the Signboard with a feather and investigate it for the Origami Bird to appear. 20 Time-Telling Bird Teleport to the Space Anchor called Dreamscape Lobby in F1 and then use the Elevator in front of it. After reaching the VIP floor, which is in F3, go north until you spot the Guardrail with a feather sticking out. Yank the feather for the Origami Bird to show up. ▲ Back to All Areas ▲ How to Get the Origami Bird Profile Picture Locate 60 Origami Birds You can get the Origami Bird profile picture only after locating at least sixty Origami Birds in Penacony. Once you have found at least sixty Origami Birds, you will receive a message from Dr. Blues. They will ask you to claim your reward by locating them. All Profile Pictures Dr. Blues Location To find Dr. Blues, teleport to The Reverie (Reality) using the Space Anchor called VIP Lounge. Then, turn around to enter the Hotel Lobby. Move forward and then talk to Dr. Blues. You will receive the Origami Bird profile picture after your interaction with them! The Reverie (Reality) Map Guide Origami Bird Rewards Origami Bird and Great Tree Rewards Objective Rewards Find a total of 10 birds in Golden Hour. Stellar Jade x30 Clock Credits x180 Find a total of 20 birds in Golden Hour. Find a total of 10 birds in Dream's Edge. Stellar Jade x30 Clock Credits x180 Find a total of 10 birds in A Child's Dream. Stellar Jade x30 Clock Credits x180 Find a total of 10 birds in The Reverie (Dreamscape). Stellar Jade x30 Clock Credits x180 Find a total of 20 birds in The Reverie (Dreamscape). Final Victor x1 Find a total of 10 birds in Dewlight Pavilion. Stellar Jade x30 Clock Credits x180 Find a total of 10 birds in SoulGlad Scorchsand Audition Venue. Stellar Jade x30 Clock Credits x180 Find a total of 20 birds in SoulGlad Scorchsand Audition Venue. Dreamville Adventure x1 Find a total of 10 birds in Penacony Grand Theater. Stellar Jade x30 Clock Credits x180 Find a total of 20 birds in Penacony Grand Theater. Find a total of 10 birds in the Radiant Feldspar. Stellar Jade x30 Clock Credits x180 These are the rewards you can get from finding Origami Birds in Penacony and helping them return to their respective trees. All Dreamchaser Bulletin Rewards Objective Rewards Discover 1 Origami Bird in the Dreamscape. Stellar Jade x30 Credit x40,000 Discover 5 Origami Birds in the Dreamscape. Stellar Jade x30 Traveler's Guide x4 Discover 10 Origami Birds in the Dreamscape. Stellar Jade x30 Starfire Essence x3 Listed above are the rewards that you can get from Dreamchaser Bulletin, a combat and exploration event. Do note that this event already ended last March 25, 2024. Dreamchaser Bulletin Event Guide Unlock the Chirp! Chirp! Achievement Helping 60 Origami Birds return to their Great Tree will unlock the Chirp! Chirp! achievement. Also, helping 1 Origami Bird return to its Great Tree will give you the Chirp? achievement! Do note that unlocking both achievements will reward you with 10 Stellar Jades. List of All Achievements Origami Bird Information Special Birds Hidden Across Penacony Origami Birds are mischievous creatures that have hidden themselves across Penacony's Dreamscape. Luckily, it's quite easy to spot their feathers sticking out from their hiding spots. Find as many Origami Birds as you can to get various rewards! Get Help from Great Tree Birds If you are having difficulty locating some birds, you also have the option to ask the head birds of the Great Trees in each area of Penacony. Submit one Aideen Token to a head bird to get a hint on the whereabouts of remaining Origami Birds! How to Find the Great Tree For each area of Penacony such as the Golden Hour, you can easily find the Great Tree by opening your map and then locating the icon shown above. Honkai: Star Rail Related Guides All Tips & Tricks All Tips and Tricks Guides
5867	dbpedia	2	59	https://www.posterazzi.com/the-story-of-seabiscuit-shirley-temple-barry-fitzgerald-1949-movie-poster-masterprint-item-varevcmcdstofec055h/	en	The Story Of Seabiscuit Shirley Temple Barry Fitzgerald 1949 Movie Poster Masterprint - Item # VAREVCMCDSTOFEC055H	https://cdn11.bigcommerc….500.659.jpg?c=2	https://cdn11.bigcommerc….500.659.jpg?c=2	[ "https://ct.pinterest.com/v3/?tid=2616519282814&noscript=1", "https://www.facebook.com/tr?id=130582017303267&ev=PageView&noscript=1", "https://cdn11.bigcommerce.com/s-yzgoj/images/stencil/250x67/posterazzi_shadow_1429637841__66487.original.png", "https://cdn11.bigcommerce.com/s-yzgoj/lib/flags/us.gif", "https://cdn11.bigcommerce.com/s-yzgoj/lib/flags/au.gif", "https://cdn11.bigcommerce.com/s-yzgoj/lib/flags/gb.gif", "https://cdn11.bigcommerce.com/s-yzgoj/lib/flags/regions/eu.gif", "https://cdn11.bigcommerce.com/s-yzgoj/lib/flags/ca.gif", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/broadway-posters.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/comic-book-posters.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/movie-posters.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/music-posters-and-prints.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/television-posters.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/video-game-posters.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/football-posters-and-photos.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/baseball-posters-and-photos.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/wrestling-posters-and-photos.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/basketball-posters-and-photos.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/hockey-posters-and-photos.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/soccer-posters-and-photos.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/animal-posters-and-prints.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/children-s-posters.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/college-dorm-posters.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/posters-of-people.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/posters-of-places.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/vintage-posters-and-prints.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/abstract-art-prints.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/art-deco-posters.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/contemporary-art-prints.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/modern-art-prints.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/photography-posters-and-prints.jpg", "https://cdn6.bigcommerce.com/s-yzgoj/product_images/uploaded_images/pop-art-prints.jpg", "https://cdn11.bigcommerce.com/s-yzgoj/images/stencil/500x659/products/998635/3714523/apiauneke__20088.1626681377.jpg?c=2", "https://cdn11.bigcommerce.com/s-yzgoj/images/stencil/100x100/products/998635/3714523/apiauneke__20088.1626681377.jpg?c=2", "https://cdn11.bigcommerce.com/s-yzgoj/images/stencil/100x100/products/998635/4808971/apitiuiwe__27179.1626681377.jpg?c=2", "https://cdn11.bigcommerce.com/s-yzgoj/stencil/0ca27c20-8d6a-013c-df3d-464f4ff8a0b4/e/b103c090-9225-013c-a247-72fb2f677d56/img/loading.svg", "https://cdn11.bigcommerce.com/s-yzgoj/stencil/0ca27c20-8d6a-013c-df3d-464f4ff8a0b4/e/b103c090-9225-013c-a247-72fb2f677d56/img/loading.svg", "https://cdn11.bigcommerce.com/s-yzgoj/stencil/0ca27c20-8d6a-013c-df3d-464f4ff8a0b4/e/b103c090-9225-013c-a247-72fb2f677d56/img/loading.svg" ]	[]	[]	[ "" ]	null	[]	null	Get More! Flat Rate Shipping! The Coolest Posters at Awesome Prices! Call 888-519-7195	en	https://cdn11.bigcommerc…ocial%20Icon.jpg	Posterazzi	https://www.posterazzi.com/the-story-of-seabiscuit-shirley-temple-barry-fitzgerald-1949-movie-poster-masterprint-item-varevcmcdstofec055h/	Shipping & Returns Returns Policy You may return any items within 30 days of delivery for an exchange or a full refund. We offer a 30 Day Money Back Guarantee so that you can always buy with confidence. You should expect to receive your refund within 2 weeks of giving your package to the return shipper, however, in many cases you will receive a refund more quickly. This time period includes the transit time for us to receive your return from the shipper (5 to 10 business days), the time it takes us to process your return once we receive it (3 to 5 business days), and the time it takes your bank to process our refund request (5 to 10 business days). 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5867	dbpedia	1	61	https://sidelinesmagazine.com/general/seabiscuit-a-four-legged-california-movie-star.html	en	Legged California Movie Star	https://sidelinesmagazin…copy-800x532.jpg	https://sidelinesmagazin…copy-800x532.jpg	[ "https://sidelinesmagazine.com/wp-content/uploads/2021/03/Sidelines-Logo-2-left-600x180-1.png", "https://sidelinesmagazine.com/wp-content/uploads/2021/03/Sidelines-CoverScroll_300x180.gif", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2016/03/california1-copy.jpg?resize=800%2C532&ssl=1", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2016/03/california2-copy.jpg?resize=434%2C656&ssl=1", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2016/03/california3-copy.jpg?resize=734%2C547&ssl=1", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2016/03/california4-copy.jpg?resize=605%2C800&ssl=1", "https://sidelinesmagazine.com/wp-content/uploads/2023/05/Emily1-scaled-370x240_c.jpg", 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"https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2023/12/Redfield_Ocala-Z_FIN.jpg?ssl=1", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2023/10/Old-Oakes-Shine_FIN.jpg?ssl=1", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2023/10/Colt-Hills-Masquerade_FIN.jpg?ssl=1", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2023/10/Redfield_Carrico_FIN.jpg?ssl=1", "https://sidelinesmagazine.com/wp-content/uploads/2023/10/Stillwell_QUARTER.jpg", "https://sidelinesmagazine.com/wp-includes/images/rss.png", "https://sidelinesmagazine.com/wp-includes/images/rss.png", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2022/01/Menlo-logo-2-500x500-1.jpg?ssl=1", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2024/03/HITS_logo_lockup_0-101-128-500x598-transp.png?ssl=1", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2021/01/SouthBoundShowManagement-logo-BLUE_120x95.jpg?ssl=1", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2019/05/essex-mars-horse-trials-120x100.jpg?ssl=1", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2021/01/2020-Saratoga-Horse-Shows-Logo_120x90.jpg?ssl=1", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2021/01/SouthBoundSaratogaManagement-logo-GREEN_120x95.jpg?ssl=1", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2020/12/NewPSJLogoCircular_205x205_2020_DEC.png?ssl=1", "https://i0.wp.com/sidelinesmagazine.com/wp-content/uploads/2017/05/2906-Upperville-120x90WebBanner02.jpg?ssl=1" ]	[]	[]	[ "" ]	null	[ "Editor" ]	2016-03-08T23:34:12+00:00	By Susan Friedland-Smith Scrolling through Facebook, it’s not unusual for me to see pictures of friends posting horse show images, but a timeline photo I saw recently of my friend Natalie jumping a cute bay stopped me in my tracks. “I had so much fun on the movie star Seabiscuit, aka Fred, at the Thoroughbred	en	https://i0.wp.com/sideli…it=32%2C32&ssl=1	Sidelines Magazine	https://sidelinesmagazine.com/general/seabiscuit-a-four-legged-california-movie-star.html	By Susan Friedland-Smith Scrolling through Facebook, it’s not unusual for me to see pictures of friends posting horse show images, but a timeline photo I saw recently of my friend Natalie jumping a cute bay stopped me in my tracks. “I had so much fun on the movie star Seabiscuit, aka Fred, at the Thoroughbred Classic Horse Show.” Another post said, “First place on the movie star Seabiscuit,” with my friend posing in front of the familiar horse, proudly displaying her ribbons. I commented, “No way! I want your autograph and his hoofprint. I adore the story of Seabiscuit! I read the best-selling book by Laura Hillenbrand, then fell in love with the movie and bought the DVD, and later was thrilled to discover a girlfriend was an extra in the crowd for one of the Santa Anita race scenes! I’m predisposed to love any tale that has an underdog horse as the hero, but the beauty in this horse story is the people story. Seabiscuit brought together a jockey, owner and trainer who had endured personal losses, and each became a little lighter through their newfound community. Simultaneously the unlikely horse, a plain bay Thoroughbred gelding, brought joy to a beleaguered country during the Depression. I’m a super fan. So when Natalie suggested, “You should go meet Fred!” I jumped at the chance, setting up an appointment to interview him, which technically occurred via his longtime handler, Candace (Candie) Chew. Currently Fred lives in the foothills of the San Gabriel Mountains, a few towns over from Santa Anita Racetrack where he still makes occasional appearances. “Interviewing” the Star Candie warned me via text the star might be dirty since we’d just experienced a round of El Niño showers. I responded I was glad he wasn’t a prima donna and got to live life like a real horse. She texted back that he definitely was a prima donna. As I walked over to his corral to greet him, the 17-year-old gelding, wearing a red halter and lead, pawed the ground in impatience. Prima donna. During the course of our interview, which took place in Fred’s spacious pipe corral, the equine star — sporting a fuzzy winter coat in deep mahogany — demonstrated his range of emotions: inquisitive (he sniffed me for treats), friendly (he stood for pats and conversation), wary (when I began taking selfies with him), and aloof (when he left the conversation and turned his hindquarters toward us). Unlike the real Seabiscuit, Fighting Furrari’s race career was lackluster with 16 starts resulting in only one win; his earnings totaled a mere $4,935. Yet the slow racer was destined for something special beyond racetrack success. Fred’s big break occurred when he was discovered at Turfway Park in Kentucky and cast for the role of Seabiscuit. Fred headed west to California to begin his new life as an actor. The film Seabiscuit, released in 2003, featured five Thoroughbreds who played Seabiscuit; Fred (Fighting Furrari) was one of them. Candie said, “He wasn’t used for the race scenes as he couldn’t outrun me.” However, Fred was used for most of the close-up shots because his stature and coloring so closely resemble the real Seabiscuit. Tobey Maguire (aka Peter Parker/Spiderman), who played the jockey Red Pollard, actually rode him in some scenes. Following the filming of Seabiscuit, the producers, Kathleen Kennedy and Frank Marshall, adopted Fred and he moved to a dude ranch in Telluride, Colorado. About a year later, the ranch was set to close and Chris McCarron, then General Manager of Santa Anita was contacted. Chris, a former jockey and Seabiscuit co-star, arranged to have Fred return to the track where he’d ride the gelding and Candie would oversee his care. A story was told that one rainy morning during one of Chris and Fred’s rides around the grounds, the still somewhat green horse deposited the Hall of Fame jockey into a puddle and took off running. Chris shot off after him but the mischievous gelding got away. He was later discovered on a grass patch behind one of the barns. From Big Screen to Show Ring Fred’s horse show career began a few years after his return to California when a 14-year-old hunter/jumper rider, Randi Pomrehn, lost her trainer suddenly to a heart attack and her horse to colic. A friend of Candie’s, who became the new trainer for the junior rider, asked if the teen could try Fred. The 15.1-hand gelding took to jumping as readily as he took to performing for film. Randi and Fred, shown under the name Seabiscuit, produced reserve or champion ribbons in almost every show they attended during the next four years. When Randi left for college, Marina Vallejos picked up the reins and showed Fred with similar successes. At different times, both girls had weekend jobs at the track as a Seabiscuit handler. Fred continues to show in the Thoroughbred Classic Horse Show series put on by CARMA (California Retirement Management Account), a non-profit that raises money for retired racehorses. He’s a good sport in the Trainer and Jockey Calcutta, a hilarious jumping class spotlighting jockeys and race trainers who get on and jump a course, some of them without much experience. Just like at the track, horse show fans can place bids on which team they think will win: proceeds then go to the winner/s and charity. Since filming Seabiscuit, Fred has continued to act. He appeared in the 2009 mob drama Public Enemies starring Johnny Depp and Christian Bale (lucky horse!). Fred expanded his repertoire to comedy in 2011, appearing in And They’re Off, a film about a failed horse trainer seeking a trip to the winner’s circle. In addition, Fred has starred in several commercials and television shows. Happy Trails and Happy Fans These days during a typical week, Fred is a trail horse weaving around the paths near his equestrian center home with Terry Stute in the saddle. Their view at the base of the mountains is reminiscent of a set from a Hollywood western — dusty and golden. And some weekends during the race season, Fred can be found dazzling fans on the Santa Anita infield wearing his tack from the Seabiscuit movie. He’s available for photos and petting, preferring the company of children to adults. Fred not only loves children, but possesses an affinity for special children. Candie told a story about an annual field trip from a Southern California disability services organization that works with children who have autism and Down syndrome. “The first year we did this, my husband Matthew [a race trainer] and I held him from both sides while the kids surrounded him with petting and feeding carrots. Matt handed his lead to a young autistic boy and let him lead Fred around the walking ring, with me on the right side. The boy happily chatted with Fred while marching around the ring. At the end of the walk, his father and teachers were visibly shocked. I began apologizing for not asking them if we could let the boy lead the horse. Their shock was due to the boy’s talking. He didn’t really talk up to this point … It was amazing, and one of the best things that could have happened.” Although their race careers couldn’t have been more different, the two Seabiscuits share a commonality beyond size, shape, and color: They both have brought people together, spreading joy along the way.
5867	dbpedia	1	77	https://www.commonsensemedia.org/movie-reviews/seabiscuit/user-reviews/child	en	Kid reviews for Seabiscuit	https://www.commonsensem…user-reviews.jpg	https://www.commonsensem…user-reviews.jpg	[ "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_1_1_small.png", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_2_3_xlarge.png 338w,/components/src/commonkit_components/ck_image/images/ratio_2_3_large.png 228w,/components/src/commonkit_components/ck_image/images/ratio_2_3_small.png 100w" ]	[]	[]	[ "" ]	null	[]	null	Read Seabiscuit reviews from kids and teens on Common Sense Media. Become a member to write your own review.	en	/themes/custom/common_sense/images/favicons/favicon-16x16.png	Common Sense Media	https://www.commonsensemedia.org/movie-reviews/seabiscuit/user-reviews/child
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5867	dbpedia	2	22	https://www.rogerebert.com/reviews/seabiscuit-2003	en	Seabiscuit movie review & film summary (2003)	https://www.rogerebert.c…ccc74f1-jpg.webp	https://www.rogerebert.c…ccc74f1-jpg.webp	[ "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/roger-ebert-logo.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/search-thin.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/06/Roger-Ebert-1.jpg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/03/Seabiscuit.jpg", "https://www.rogerebert.com/wp-content/uploads/2024/08/jk40FijwEEqqCk7nK0WROKeObHo-3-256x379.jpg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/The-Becomers-256x378.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Decoded-256x358.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/The-Supremes-at-Earls-All-You-Can-Eat-jpg.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Hell-Hole-256x320.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Between-the-Temples-256x380.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Blink-Twice-256x384.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/The-Killer-1-256x379.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Strange-Darling-256x384.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Incoming-2-256x379.avif", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/large_crow-256x379.avif", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Close-Your-Eyes-256x366.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/LOTR_S2_UT_230210_00070_R1_3000-480x320.jpg", "https://www.rogerebert.com/wp-content/uploads/2024/08/CFB25_Campus_IQ_16x9_Watermark-568x320.png", "https://www.rogerebert.com/wp-content/uploads/2024/08/Venice-2024-568x291.webp", "https://www.rogerebert.com/wp-content/uploads/2024/08/locarno-568x265.avif", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/thumb-up-subscribe.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/facebook.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/youtube.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/x-icon.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/roger-pic.png" ]	[]	[]	[ "" ]	null	[]	null	Seabiscuit was a small horse with a lazy side. Sleeping and eating were his favorite occupations early in life, and he wasn't particularly well-behaved. That	en	https://www.rogerebert.c…x196-1-32x32.png	Roger Ebert	https://www.rogerebert.com/reviews/seabiscuit-2003	Seabiscuit was a small horse with a lazy side. Sleeping and eating were his favorite occupations early in life, and he wasn’t particularly well-behaved. That was before he met three men who would shape him into the best-loved sports legend of the 1930s: the owner Charles Howard, who had a knack for spotting potential in outcasts, the trainer Tom Smith, who was called a screwball for thinking he could heal horses other trainers would have shot, and the jockey Red Pollard, who started out as an exercise boy and stable cleaner because in the Depression he would settle for anything. “Seabiscuit,” based on the best-seller by Laura Hillenbrand, tells the stories of these three men and the horse against the backdrop of the times. The Depression had brought America to its knees. The nation needed something to believe in. And in the somewhat simplified calculus of the movie, both Seabiscuit and Roosevelt’s New Deal, more or less in that order, were a shot in the American arm. If an underdog like Seabiscuit could win against larger and more famous horses with distinguished pedigrees, then maybe there was a chance for anyone. The story has the classic structure of a sports movie, with a setback right before the big race at the end, but, like Seabiscuit, it’s a slow starter. There is a leisurely introduction to the times and the three men before the horse makes its appearance; we see once again the classic battle between the automobile and the horse; Charles Howard (Jeff Bridges) begins as a bicycle salesman, is asked to repair a Stanley Steamer, takes it apart and makes some improvements, and before long is a millionaire who buys a farm and turns the stables into a garage. After a family tragedy, however, he changes directions and becomes a horse owner and breeder. And there are sequences showing how he encounters Pollard (Tobey Maguire) and Smith (Chris Cooper). Soon he has everything in place except a horse, and Smith has unaccountable faith in Seabiscuit. It has to do with the horse’s heart. The movie doesn’t make the mistake of treating the horse like a human. It is a horse all the time, a horse with the ability to run very fast and an inability to lose, when guided by Smith’s strategy and Pollard’s firm love. The movie’s races are thrilling because they must be thrilling; there’s no way for the movie to miss on those, but writer-director Gary Ross and his cinematographer, John Schwartzman, get amazingly close to the action; it’s hard for us to figure out where the camera is, since we seem to be suspended at times between two desperately striving horses and their jockeys. The movie gives me a much better sense of how difficult and dangerous it is to ride one of those grand animals in a race. The jockeys are sometimes friends, sometimes mortal enemies, and they often shout at one another during races. Sometimes this works, sometimes it is a little improbable, as when Red says “goodbye” to a friend as Seabiscuit shifts into winning gear. As horses compete, so do owners. After Seabiscuit has conquered all of the champion horses of the West, Charles Howard begins a strategy to force a match race between his horse and War Admiral, the Eastern champion and Triple Crown winner, owned by Samuel Riddle (Eddie Jones). He goes on a whistle-stop campaign across the country (this seems to anticipate Truman’s 1948 campaign) and builds up such an overwhelming groundswell of public sentiment that Riddle caves in and agrees–in his terms, of course, which makes the race all the more dramatic. The radio broadcast of that historic race was heard, we are told, by the largest audience in history. Businesses closed for the afternoon so their employees could tune in. If “Seabiscuit” has a weakness, it’s the movie’s curious indifference to betting. Horses race and bettors bet, and the relationship between the two is as old as time, except in this movie, where the Seabiscuit team seems involved in pure sport and might even be shocked! shocked! to learn that there is gambling at the track. Since a subplot about betting would no doubt be a complicated distraction, perhaps this is not such a loss. I liked the movie a whole lot without quite loving it, maybe because although I can easily feel love for dogs I have never bonded much with horses. I was happy for Seabiscuit without being right there with him every step of the way. The character I liked the best was Tom Smith, and once again Chris Cooper shows himself as one of the most uncannily effective actors in the movies. Here he seems old, pale and a little worn out. In “Adaptation,” only a year ago, he was a sunburned swamp rat. In John Sayles’ “Lone Star” he was a ruggedly handsome Texas sheriff. How does he make these transformations? Here, with a few sure movements and a couple of quiet words, he convinces us that what he doesn’t know about horses isn’t worth knowing. Tobey Maguire and Jeff Bridges are wonderful, too, in the way they evoke their characters; Maguire as a jockey who commits his whole heart and soul, Bridges as a man who grows wiser and better as he ages. And then there is William H. Macy as Tick Tock McGlaughlin, a manic radio announcer who throws in corny sound effects and tortured alliterations as he issues breathless bulletins from the track. If Tick Tock McGlaughlin did not exist in real life, I don’t want to know it. “Seabiscuit” will satisfy those who have read the book, and I imagine it will satisfy those like myself, who have not. I have recently edged into the genre of racing journalism, via My Turf , by William A. Nack, the great writer for Sports Illustrated. I was at a reading where he made audience members cry with his description of the death of Secretariat, and I saw people crying after “Seabiscuit,” too. It’s yet more evidence for my theory that people more readily cry at movies not because of sadness, but because of goodness and courage.
5867	dbpedia	1	20	https://www.rogerebert.com/reviews/seabiscuit-2003	en	Seabiscuit movie review & film summary (2003)	https://www.rogerebert.c…ccc74f1-jpg.webp	https://www.rogerebert.c…ccc74f1-jpg.webp	[ "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/roger-ebert-logo.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/search-thin.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/06/Roger-Ebert-1.jpg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/03/Seabiscuit.jpg", "https://www.rogerebert.com/wp-content/uploads/2024/08/jk40FijwEEqqCk7nK0WROKeObHo-3-256x379.jpg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/The-Becomers-256x378.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Decoded-256x358.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/The-Supremes-at-Earls-All-You-Can-Eat-jpg.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Hell-Hole-256x320.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Between-the-Temples-256x380.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Blink-Twice-256x384.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/The-Killer-1-256x379.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Strange-Darling-256x384.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Incoming-2-256x379.avif", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/large_crow-256x379.avif", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Close-Your-Eyes-256x366.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/LOTR_S2_UT_230210_00070_R1_3000-480x320.jpg", "https://www.rogerebert.com/wp-content/uploads/2024/08/CFB25_Campus_IQ_16x9_Watermark-568x320.png", "https://www.rogerebert.com/wp-content/uploads/2024/08/Venice-2024-568x291.webp", "https://www.rogerebert.com/wp-content/uploads/2024/08/locarno-568x265.avif", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/thumb-up-subscribe.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/facebook.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/youtube.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/x-icon.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/roger-pic.png" ]	[]	[]	[ "" ]	null	[]	null	Seabiscuit was a small horse with a lazy side. Sleeping and eating were his favorite occupations early in life, and he wasn't particularly well-behaved. That	en	https://www.rogerebert.c…x196-1-32x32.png	Roger Ebert	https://www.rogerebert.com/reviews/seabiscuit-2003	Seabiscuit was a small horse with a lazy side. Sleeping and eating were his favorite occupations early in life, and he wasn’t particularly well-behaved. That was before he met three men who would shape him into the best-loved sports legend of the 1930s: the owner Charles Howard, who had a knack for spotting potential in outcasts, the trainer Tom Smith, who was called a screwball for thinking he could heal horses other trainers would have shot, and the jockey Red Pollard, who started out as an exercise boy and stable cleaner because in the Depression he would settle for anything. “Seabiscuit,” based on the best-seller by Laura Hillenbrand, tells the stories of these three men and the horse against the backdrop of the times. The Depression had brought America to its knees. The nation needed something to believe in. And in the somewhat simplified calculus of the movie, both Seabiscuit and Roosevelt’s New Deal, more or less in that order, were a shot in the American arm. If an underdog like Seabiscuit could win against larger and more famous horses with distinguished pedigrees, then maybe there was a chance for anyone. The story has the classic structure of a sports movie, with a setback right before the big race at the end, but, like Seabiscuit, it’s a slow starter. There is a leisurely introduction to the times and the three men before the horse makes its appearance; we see once again the classic battle between the automobile and the horse; Charles Howard (Jeff Bridges) begins as a bicycle salesman, is asked to repair a Stanley Steamer, takes it apart and makes some improvements, and before long is a millionaire who buys a farm and turns the stables into a garage. After a family tragedy, however, he changes directions and becomes a horse owner and breeder. And there are sequences showing how he encounters Pollard (Tobey Maguire) and Smith (Chris Cooper). Soon he has everything in place except a horse, and Smith has unaccountable faith in Seabiscuit. It has to do with the horse’s heart. The movie doesn’t make the mistake of treating the horse like a human. It is a horse all the time, a horse with the ability to run very fast and an inability to lose, when guided by Smith’s strategy and Pollard’s firm love. The movie’s races are thrilling because they must be thrilling; there’s no way for the movie to miss on those, but writer-director Gary Ross and his cinematographer, John Schwartzman, get amazingly close to the action; it’s hard for us to figure out where the camera is, since we seem to be suspended at times between two desperately striving horses and their jockeys. The movie gives me a much better sense of how difficult and dangerous it is to ride one of those grand animals in a race. The jockeys are sometimes friends, sometimes mortal enemies, and they often shout at one another during races. Sometimes this works, sometimes it is a little improbable, as when Red says “goodbye” to a friend as Seabiscuit shifts into winning gear. As horses compete, so do owners. After Seabiscuit has conquered all of the champion horses of the West, Charles Howard begins a strategy to force a match race between his horse and War Admiral, the Eastern champion and Triple Crown winner, owned by Samuel Riddle (Eddie Jones). He goes on a whistle-stop campaign across the country (this seems to anticipate Truman’s 1948 campaign) and builds up such an overwhelming groundswell of public sentiment that Riddle caves in and agrees–in his terms, of course, which makes the race all the more dramatic. The radio broadcast of that historic race was heard, we are told, by the largest audience in history. Businesses closed for the afternoon so their employees could tune in. If “Seabiscuit” has a weakness, it’s the movie’s curious indifference to betting. Horses race and bettors bet, and the relationship between the two is as old as time, except in this movie, where the Seabiscuit team seems involved in pure sport and might even be shocked! shocked! to learn that there is gambling at the track. Since a subplot about betting would no doubt be a complicated distraction, perhaps this is not such a loss. I liked the movie a whole lot without quite loving it, maybe because although I can easily feel love for dogs I have never bonded much with horses. I was happy for Seabiscuit without being right there with him every step of the way. The character I liked the best was Tom Smith, and once again Chris Cooper shows himself as one of the most uncannily effective actors in the movies. Here he seems old, pale and a little worn out. In “Adaptation,” only a year ago, he was a sunburned swamp rat. In John Sayles’ “Lone Star” he was a ruggedly handsome Texas sheriff. How does he make these transformations? Here, with a few sure movements and a couple of quiet words, he convinces us that what he doesn’t know about horses isn’t worth knowing. Tobey Maguire and Jeff Bridges are wonderful, too, in the way they evoke their characters; Maguire as a jockey who commits his whole heart and soul, Bridges as a man who grows wiser and better as he ages. And then there is William H. Macy as Tick Tock McGlaughlin, a manic radio announcer who throws in corny sound effects and tortured alliterations as he issues breathless bulletins from the track. If Tick Tock McGlaughlin did not exist in real life, I don’t want to know it. “Seabiscuit” will satisfy those who have read the book, and I imagine it will satisfy those like myself, who have not. I have recently edged into the genre of racing journalism, via My Turf , by William A. Nack, the great writer for Sports Illustrated. I was at a reading where he made audience members cry with his description of the death of Secretariat, and I saw people crying after “Seabiscuit,” too. It’s yet more evidence for my theory that people more readily cry at movies not because of sadness, but because of goodness and courage.
5867	dbpedia	2	75	https://www.universalpictures.com/	en	New Movies In Theaters & Future Releases	https://www.universalpic…versal-share.jpg	https://www.universalpic…versal-share.jpg	[ "https://www.universalpictures.com/assets/img/menu-icons/icon-movies.png", "https://movies.universalpictures.com/media/02-tws-dm-thumbnail-803x519-km-f01-020924-65c966aa91be8-1.jpg", "https://movies.universalpictures.com/media/04-dm4-dm-thumbnail-803x519-rr-f01-042624-663a431438230-1.jpg", "https://movies.universalpictures.com/media/03-sne-dm-thumbnail-803x519-ew-f01-070924-668edbbe87fae-1.jpg", "https://movies.universalpictures.com/media/02-wrb-dm-thumbnail-803x519-sl-f01-030124-65e7408d48592-1.jpg", "https://movies.universalpictures.com/media/02-wkd-dm-thumbnail-803x519-sl-f01-050324-66438f87f2ff8-1.jpg", "https://www.universalpictures.com/assets/img/menu-icons/icon-news-press.png", "https://www.universalpictures.com/assets/img/menu-icons/icon-more.png", 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4189	dbpedia	2	7	https://en.wikipedia.org/wiki/Mississippi_John_Hurt	en	Mississippi John Hurt	https://upload.wikimedia…/M_John_Hurt.jpg	https://upload.wikimedia…/M_John_Hurt.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/2e/M_John_Hurt.jpg/220px-M_John_Hurt.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/14/Mississippi_John_Hurt_-_grave_%28cropped%29.jpg/220px-Mississippi_John_Hurt_-_grave_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4e/50_Mississippi_John_Hurt_Museum%2C_Avalon%2C_MS.jpg/220px-50_Mississippi_John_Hurt_Museum%2C_Avalon%2C_MS.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2001-10-09T20:13:55+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Mississippi_John_Hurt	American country blues singer and guitarist Musical artist John Smith Hurt (March 8, 1893[1][nb 1] – November 2, 1966), known as Mississippi John Hurt, was an American country blues singer, songwriter, and guitarist.[3] Hurt was raised in Avalon, Mississippi and taught himself to play the guitar around the age of nine. He worked as a sharecropper and began playing at dances and parties, singing to a melodious fingerpicked accompaniment.[4] His first recordings, made for Okeh Records in 1928, were commercial failures, and he continued to work as a farmer. Dick Spottswood and Tom Hoskins, a blues enthusiast, located Hurt in 1963 and persuaded him to move to Washington, D.C.[5] He was recorded by the Library of Congress in 1964. This helped further the American folk music revival, which led to the rediscovery of many other bluesmen of Hurt's era. Hurt performed on the university and coffeehouse concert circuit with other Delta blues musicians who were brought out of retirement. He also recorded several albums for Vanguard Records. Hurt returned to Grenada, Mississippi, in 1966, where he died at the age of 73. Material recorded by Hurt has been re-released by several record labels. His songs have been recorded by Bob Dylan, Dave Van Ronk, Jerry Garcia, Beck, Doc Watson, John McCutcheon, Taj Mahal, Bruce Cockburn, David Johansen, Bill Morrissey, Gillian Welch, The Be Good Tanyas, Josh Ritter, Chris Smither, Guthrie Thomas, Parsonsfield, and Rory Block.[6] Biography [edit] Early years [edit] Hurt was born in Teoc,[7] Carroll County, Mississippi, and raised in Avalon, Mississippi. He taught himself to play guitar at the age of nine, stealthily playing the guitar of William Henry Carson, a friend of his mother, Mary Jane, who often stayed at the Hurt home while courting a woman who lived nearby.[8] As a youth, he played old-time music for friends and at dances. He worked as a farmhand and sharecropper into the 1920s.[9] Hurt's fast, highly syncopated style of playing was meant for dancing. On occasion, a medicine show came through the area. Hurt recalled that one wanted to hire him: "One of them wanted me, but I said no because I just never wanted to get away from home."[7] In 1923, he played with the fiddle player Willie Narmour as a substitute for Narmour's regular partner, Shell Smith.[9] First recordings [edit] When Narmour got a chance to record for Okeh Records as a prize for winning first place in a 1928 fiddle contest, he recommended Hurt to Okeh producer Tommy Rockwell.[10] After auditioning "Monday Morning Blues" at his home, Hurt took part in two recording sessions, in Memphis and New York City.[9] While in Memphis, he recalled seeing "many, many blues singers ... Lonnie Johnson, Blind Lemon Jefferson, Bessie Smith, and lots, lots more."[7] Hurt described his first recording session: ... a great big hall with only the three of us in it: me, the man [Rockwell], and the engineer. It was really something. I sat on a chair, and they pushed the microphone right up to my mouth and told me that I couldn't move after they had found the right position. I had to keep my head absolutely still. Oh, I was nervous, and my neck was sore for days after.[7] Hurt attempted further negotiations with Okeh to record again, but his records were commercial failures. Okeh went out of business during the Great Depression, and Hurt returned to Avalon and obscurity, working as a sharecropper and playing at local parties and dances.[4] Rediscovery and death [edit] Hurt's renditions of "Frankie" and "Spike Driver Blues" were included in The Anthology of American Folk Music in 1952 which generated considerable interest in locating him.[11] When a copy of "Avalon Blues" was discovered in 1963, it led musicologist Dick Spottswood to locate Avalon, Mississippi, in an atlas, and ask Tom Hoskins, who was traveling that way, to enquire after Hurt.[5][12] Avalon, my home town, always on my mind / Avalon, my home town. — Mississippi John Hurt, "Avalon Blues" Upon locating Hurt, Hoskins persuaded him to perform several songs, to ensure that he was genuine.[11] Hoskins was convinced and, seeing that Hurt's guitar playing skills were still intact, encouraged him to move to Washington, D.C., and perform for a broader audience. Early in 1963 Hurt recorded an album, Folk Songs And Blues, that was released in August 1963 through Piedmont Records.[13] His performance at the 1963 Newport Folk Festival caused his star to rise in the folk revival occurring at that time.[4] Soon after, in 1964, he recorded live for radio in Massachusetts with Skip James.[14][15] For a few short years, Hurt performed extensively at colleges, concert halls, and coffeehouses and appeared on The Tonight Show Starring Johnny Carson. He also recorded three albums for Vanguard Records.[4] Much of his repertoire was also recorded for the Library of Congress. His fans particularly liked the ragtime songs "Salty Dog" and "Candy Man" and the blues ballads "Spike Driver Blues" (a variant of "John Henry") and "Frankie".[4] Hurt's influence spanned several music genres, including blues, spirituals, country, bluegrass, folk, and contemporary rock and roll. A soft-spoken man, his nature was reflected in the work, which consisted of a mellow mix of country, blues, and old-time music.[9] Hurt died of a heart attack on November 2, 1966, at a hospital in Grenada, Mississippi.[1] His last recordings had been done at a hotel in New York City in February and July of that year but were not released until 1972 on the Vanguard LP Last Sessions.[16] Style [edit] Hurt used a fast, syncopated fingerpicking style of guitar playing that he taught himself. He was influenced by few other musicians, among whom was Rufus Hanks, an elderly, unrecorded blues singer from the area where he lived, who played twelve-string guitar and harmonica.[7] According to the music critic Robert Christgau, "the school of John Fahey proceeded from his finger-picking, and while he's not the only quietly conversational singer in the modern folk tradition, no one else has talked the blues with such delicacy or restraint."[17] Tributes [edit] There was a memorial and museum dedicated to Hurt in Avalon, Mississippi, parallel to RR2, the rural road on which he grew up. On February 20, 2024, it was destroyed in a fire the day after being made a National Landmark. Arson is not suspected. [18] The singer-songwriter Tom Paxton, who met Hurt and played on the same bill with him at the Gaslight in Greenwich Village around 1963, wrote and recorded a song about him in 1977, "Did You Hear John Hurt?".[19] The first track of John Fahey's 1968 solo acoustic guitar album Requia is "Requiem for John Hurt". Fahey's posthumous live album, The Great Santa Barbara Oil Slick, also features a version of the piece, entitled "Requiem for Mississippi John Hurt". Norman Greenbaum's eclectic minor hit, "Gondoliers, Shakespeares, Overseers, Playboys And Bums" refers to Mississippi John Hurt singing the blues.[20] The British folk and blues artist Wizz Jones recorded a tribute song, "Mississippi John", for his 1977 album Magical Flight. The Delta blues artist Rory Block recorded the album Avalon: A Tribute to Mississippi John Hurt, released in 2013 as part of her "Mentor Series".[6] The New England singer-songwriter Bill Morrissey released the Grammy-nominated album Songs of Mississippi John Hurt in 1999. In 2017, Hurt's life story was told in the documentary series American Epic.[21] The film featured footage of Hurt performing and being interviewed,[22][23] and improved restorations of his 1920s recordings.[24][25] Director Bernard MacMahon stated that Hurt "was the inspiration for American Epic".[23] Hurt's life was profiled in the accompanying book, American Epic: The First Time America Heard Itself.[26] In 2023, Rolling Stone ranked Hurt at number 159 on its list of the 200 Greatest Singers of All Time.[27] Discography [edit] This section was compiled from three sources.[28][29][30] 78-rpm releases [edit] "Frankie" / "Nobody's Dirty Business" (Okeh Records, Okeh 8560), 1928 "Stack O' Lee" / "Candy Man Blues" (Okeh Records, OKeh 8654), 1928 "Blessed Be the Name" / "Praying on the Old Camp Ground" (Okeh Records, OKeh 8666), 1928 "Blue Harvest Blues" / "Spike Driver Blues" (Okeh Records, OKeh 8692), 1928 "Louis Collins" / "Got the Blues (Can't Be Satisfied)" (Okeh Records, OKeh 8724), 1928 "Ain't No Tellin'" / "Avalon Blues" (Okeh Records, OKeh 8759), 1928 Albums [edit] Folk Songs and Blues (Piedmont Records, PLP 13157), 1963 Worried Blues, live recordings (Piedmont Records, PLP 13161), 1964 Today! (Vanguard Records, VSD-79220), 1966 The Immortal Mississippi John Hurt (Vanguard Records, VSD-79248), 1967 The Best of Mississippi John Hurt, live recording from Oberlin College, April 15, 1965 (Vanguard Records, VSD-19/20), 1970 Last Sessions (Vanguard Records, VSD-79327), 1972 Volume One of a Legacy, live recordings (Piedmont Records, CLPS 1068), 1975 Monday Morning Blues: The Library of Congress Recordings, vol. 1 (Flyright Records, FLYLP 553), 1980 Avalon Blues: The Library of Congress Recordings, vol. 2 (Heritage Records, HT-301), 1982 Satisfied, live recordings (Quicksilver Intermedia, QS 5007), 1982 The Candy Man, live recordings (Quicksilver Intermedia, QS 5042), 1982 Sacred and Secular: The Library of Congress Recordings, vol. 3 (Heritage Records, HT-320), 1988 Avalon Blues (Flyright Records, FLYCD 06), 1989 Memorial Anthology, live recordings (Genes Records, GCD 9906/7), 1993 Selected compilation albums [edit] The Original 1928 Recordings (Spokane Records, SPL 1001), 1971 1928: Stack O' Lee Blues – His First Recordings (Biograph Records, BLP C4), 1972 1928 Sessions (Yazoo Records, L 1065), 1979 Satisfying Blues (Collectables Records, VCL 5529), 1995 Avalon Blues: The Complete 1928 Okeh Recordings (Columbia Records, CK64986), 1996 Rediscovered (Vanguard Records, CD 79519), 1998 The Complete Recordings (Vanguard Records, CD 70181–2), 1998 Candy Man Blues: The Complete 1928 Sessions (Snapper Music, SBLUECD 010), 2004 American Epic: The Best of Mississippi John Hurt (Lo-Max / Sony Legacy / Third Man, TMR-459), 2017 Notes [edit] Further reading [edit] Ratcliffe, Philip R. (2011). Mississippi John Hurt: His Life, His Times, His Blues. Jackson: University Press of Mississippi. James, Steve (July 2018). "Gaslight Memories: Mississippi John Hurt's Influence on the 1960s Folk Scene and Beyond". Acoustic Guitar . References [edit]
4189	dbpedia	0	96	https://www.popsike.com/MISSISSIPPI-JOHN-HURT-Today-LP-MONO-NMEX-w-DH/400942422236.html	en	MISSISSIPPI JOHN HURT "Today" LP MONO NM/EX w DH	https://www.popsike.ch/p…400942422236.jpg	https://www.popsike.ch/p…400942422236.jpg	[ "https://www.popsike.ch/pix/20150621/400942422236.jpg", "https://www.popsike.com/images/site/app_store_badge.svg", "https://www.popsike.com/images/site/google-play-badge.svg", "https://www.popsike.com/images/anniversary_popsikecom.webp" ]	[]	[]	[ "vinyl", "records", "results", "auction", "ebay", "price", "value" ]	null	[]	null	check the value of your vinyl records by searching our archive	en	../assets/ico/apple-touch-icon-144-precomposed.png		null	Condition: To my NON US customers, do NOT ask me to alter / change the declared value of your purchase for purposes of avoiding taxes in your country. I will NOT do so. All Music Review by David Freedlander [-] Today is Mississippi John Hurt's first and finest studio release since his "rediscovery" on his Avalon farm by folklorist Tom Hoskins in 1963. Eclipsed possibly only by his earlier 1928 Sessions, this album shows a more mature Hurt picking his way through standards and originals after the Depression years and Hurt's fall into obscurity before the folk revival of the 1960s. It shows, however, that all that the great bluesman has lost is years; his voice retains its characteristic Buddha-esque warmth and it is still difficult to believe that there is just one man playing on the seemingly effortless guitar work. The music on the album comes from a variety of different influences, from the fun and poppy "Hot Time in Old Town Tonight" and "Coffee Blues," to the bluesy standards "Candy Man" (Hurt's most famous song) and "Spike Driver's Blues" to the soulful spirituals "Louis Collins" and "Beulah Land." Hurt's tranquil guitar work -- mixing country, Scottish folk, and Delta blues -- strings all of the songs along the same simple and elegant thread. Hurt himself never could explain his guitar playing, as he used to say, "I just make it sound like I think it ought to." Regardless, that sound, along with a mellow and heartfelt voice, wizened here by decades, combine to make Today an unforgettable whole. A truly essential album of the folk revival, unrivaled in its beauty and warmth. Mississippi John Hurt ?– Today! Label:Vanguard ?– VRS 9220Format:Vinyl, LP, Album, Mono Country:USReleased:1966Genre:Blues, Folk, World, & CountryStyle:Country Blues, Folk Tracklist A1Pay Day4:18A2I'm Satisfied2:50A3Candy Man2:53A4Make Me A Pallet On The Floor4:29A5Talking Casey5:04A6Corinna, Corinna1:51B1Coffee Blues3:43B2Louis Collins4:04B3Hot Time In The Old Town Tonight3:03B4If You Don't Want Me , Baby3:18B5Spike Driver's Blues3:24B6Beulah Land3:43 Credits Liner Notes – Nat Hentoff Producer – Patrick Sky Notes This is the original release 1st pressing on Vanguard Records in MONO. See our other EBAY auctions by using search by seller and using “record collector michigan” Ferndale, Michigan 48220 Phone: 248-548-9888 Hours: Monday thru Saturday NOON to 6:00 PM (Eastern) GOLDMINE GRADING MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect. NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly. VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors. VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc. GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork. POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.
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"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vf510uQk0cY9IZHPrmFbvaMpe4XKEtNuY8JOATGBJjKQTz80j2if4E8HttmFUWR8Yr1JaKo82tUyOuwXiwx26De1MEEYIPvV4ZHIYX0y8KgXA=s16-w16-h16", "https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uQzgUt5M9dxriC8AO8OE0oKHDzG5Tjc7wxmPKBOiJEcHle4hU-SuVJG4bdOtTammA1i5u7NFwhDf63ElwPP4m0Lx0SDJVStLZipg=s16-w16-h16" ]	[]	[]	[ "" ]	null	[ "View my complete profile" ]	null	For the past six or eight months, I have been listening to a lot of country blues, pre-war and post-war. I always come and go with it, pick...	en	http://fridaybluesfix.blogspot.com/favicon.ico		http://fridaybluesfix.blogspot.com/2021/02/avalon-blues.html	Read This!! Unless stated otherwise, when FBF reviews a CD or DVD, please be advised that I received a free copy of that CD or DVD via mail or free download to facilitate the review. All opinions stated are my own. Translate
4189	dbpedia	1	74	https://www.npr.org/2001/06/06/1124048/mississippi-john-hurt	en	Mississippi John Hurt	https://media.npr.org/in…e-s1400-c100.jpg	https://media.npr.org/in…e-s1400-c100.jpg	[ "https://media.npr.org/chrome_svg/npr-logo.svg", "https://media.npr.org/chrome/programs/logos/morning-edition.jpg", "https://media.npr.org/assets/img/2019/02/26/we_otherentitiestemplatesat_sq-cbde87a2fa31b01047441e6f34d2769b0287bcd4-s100-c85.png", "https://media.npr.org/assets/img/2019/02/26/we_otherentitiestemplatesun_sq-4a03b35e7e5adfa446aec374523a578d54dc9bf5-s100-c85.png", "https://media.npr.org/chrome/programs/logos/all-things-considered.png", "https://media.npr.org/chrome/programs/logos/fresh-air.png", "https://media.npr.org/chrome/programs/logos/up-first.jpg?version=2", "https://media.npr.org/assets/img/2024/01/11/podcast-politics_2023_update1_sq-be7ef464dd058fe663d9e4cfe836fb9309ad0a4d-s100-c100.jpg", "https://media.npr.org/assets/img/2024/05/15/throughline_tile-art_sq-b72bcfb6d8705d7761d4f421f0be3047631b709c-s100-c100.jpg", "https://media.npr.org/assets/img/2023/11/10/trumps-trial_tile-art_small_sq-71cfb7f3a96f3029db4ca7230c5704c61a351b81-s100-c100.jpg", "https://media.npr.org/assets/img/2024/04/19/tile-wild-card-with-rachel-martin_sq-c9e842a167bab21c50f45fbde9d7d33776e87eda-s100-c100.jpg", "https://media.npr.org/chrome_svg/music-logo-dark.svg", "https://media.npr.org/chrome_svg/music-logo-light.svg" ]	[]	[]	[ "" ]	null	[ "NPR" ]	2001-06-06T00:00:00	Noah Adams talks with Peter Case, musician and producer of the new CD Avalon Blues: A Tribute to the music of Mississippi John Hurt. Case has assembled an impressive group of musicians who each play a Hurt song. They include Chris Smither, Lucinda Williams, Beck, Ben Harper, Bill Morrissey, and Gillian Welch. Case explains how he first heard the music of Mississippi John Hurt as a kid in Buffalo, and that his blues playing was powerful and opened doors for him into understanding American music. Some of the songs on this CD have a very modern feel; others harken back to the classic blues sound of Hurt, in terms of vocals and guitar playing. The CD is on Vanguard Records.	en	https://media.npr.org/ch…icon-180x180.png	NPR	https://www.npr.org/2001/06/06/1124048/mississippi-john-hurt	Noah Adams talks with Peter Case, musician and producer of the new CD Avalon Blues: A Tribute to the music of Mississippi John Hurt. Case has assembled an impressive group of musicians who each play a Hurt song. They include Chris Smither, Lucinda Williams, Beck, Ben Harper, Bill Morrissey, and Gillian Welch. Case explains how he first heard the music of Mississippi John Hurt as a kid in Buffalo, and that his blues playing was powerful and opened doors for him into understanding American music. Some of the songs on this CD have a very modern feel; others harken back to the classic blues sound of Hurt, in terms of vocals and guitar playing. The CD is on Vanguard Records.
4189	dbpedia	0	80	http://www.soundstagenetwork.com/vinyl/vinyl200406.htm	en	Found on Vinyl: Maria Muldaur, John Hammond and Eric Clapton (6/2004)			[ "http://www.soundstagenetwork.com/sslogo3.gif", "http://www.soundstagenetwork.com/vinyl/pics/200406_muldaur_richland.jpg", "http://www.soundstagenetwork.com/vinyl/pics/200406_hammond_roads.jpg", "http://www.soundstagenetwork.com/vinyl/pics/200406_clapton_johnson.jpg", "http://www.soundstagenetwork.com/sslogo3.gif" ]	[]	[]	[ "" ]	null	[]	null					null	June 2004 Found on Vinyl: Maria Muldaur, John Hammond and Eric Clapton Surprise, surprise. Here are three new blues LPs, and not one of them is from that bastion of modern blues recordings, Analogue Productions. Amazing, isnt it? Instead, these albums come from different sources: Grooveland, Cisco and Reprise Records. And for another shocker, each of these is, in its own way, a must-own record for anyone with even the slightest taste for the blues. I reviewed Maria Muldaurs Richland Woman Blues [Grooveland GLS 108] in its initial Stony Plains CD release. I can well remember how taken I was with the basic blues concept of that CD, along with the superb sonics. But as good as that CD sounded -- and it sounded very, very good -- it doesnt hold a candle to the sound of this Grooveland 180-gram double LP. Yep, its a two-fer -- one LP is the straight 33 1/3-rpm reissue of the CD, and the other is a 12" 45 rpm with four cuts from the album. And, as one would (and should) expect from todays modern reissue houses, the LPs are dead flat, silent as the grave, and almost eerily real-sounding. For those of you who are not familiar with my review of the musical content of Richland Woman Blues, allow me to reiterate. This recording showcases Maria Muldaurs wonderful voice along with her way with a blues song in about as basic a setting as is possible. Most cuts feature just Muldaur and one companion (occasionally bassist Roly Salley is added to make it a trio). Joining Muldaur are, in no particular order, musicians such as John Sebastian, Bonnie Raitt, Dave Mathews, Roy Rogers, Alvin Youngblood Hart and Taj Mahal. The settings are almost stark in their simplicity. And the songs Muldaur chooses to interpret come from the blues women and men who have inspired her over the years, such as Memphis Minnie (to whom this album is dedicated), Bessie Smith, Rev. Gary Davis, Mississippi John Hurt and Blind Willie Johnson, among others. My two favorite moments are Muldaur's duet with Sebastian on the title track, and "Me and My Chauffeur Blues" with Roy Rogers, a tune that is also on the bonus 45. All songs are acoustic in nature, which lends itself very nicely to the added resolution of this LP. I was impressed with the sonics of the CD, but that left me totally unprepared for the improvement that the vinyl demonstrated. No digital, not even SACD or DVD-A, can match the quality of a well-recorded and -mastered LP. And no 33 1/3-rpm LP can touch a good 45 for sonic realism, as demonstrated by the tracks on the one included here. The 45's presence allows for easy side-by-side comparisons between the two playback speeds. Despite the shorter playing times -- and thats a 45s greatest drawback -- nothing gets you closer to the sound of live music than a good 45. Second up is Ciscos reissue of one of John Hammonds best Vanguard records, the 1965 classic So Many Roads [Cisco VSD79173]. This album is notable for two very different but very special reasons. First, it showcases Hammond singing the songs of some of his greatest blues heroes -- Muddy Waters, Willie Dixon, Robert Johnson, and others -- recorded in very good sound. Second, his support group is made up of -- get this -- Robbie Robertson, Levon Helm, Garth Hudson (before they joined together in some fly-by-night group called The Band), Charlie Musselwhite, and Mike Bloomfield. It wouldnt be too many more years before each of these musicians was a star unto himself. Hammonds love for, and desire to keep alive, the classic blues of Dixon, Howlin Wolf, Waters, Johnson, and others has been well documented. As proof, today, almost 40 years after this album was recorded, Hammond is still out on the road or in the studio performing the blues. In 1965 Hammond was a mere 23 when he laid down these tracks. Yet, even now, this album still sounds as fresh as it did the day it rolled off the presses. Theres an honesty to the musicianship on So Many Roads that can only be explained by the love and knowledge these musicians, and especially Hammond, have for the blues. And it wont matter which side of the album you decide to start with, as both begin in rousing fashion. Side one kicks off with the Willie Dixon tune "Down in the Bottom," featuring a wondrous guitar break with Hammond and Robertson. Side two starts with Hammonds cover of Robert Johnsons "Rambling Blues." As a matter of fact, theres not a clunker in the bunch. Its fun to listen to each of the back-up musicians -- Musselwhites harmonica and Helms drums, for instance, on the song "Who Do You Love." And Garth Hudsons organ and Michael Bloomfields piano (yep, Bloomfield, who would make his name as a blues guitarist, is playing piano here) are always in the background, filling out each and every song. As for the record itself, Cisco has pulled out all the stops in reissuing this LP. From the down-to-the-last-detail cover art to the facsimile of the original Vanguard center label, this record oozes class. But the platitudes dont stop there. Cisco also did one hellacious mastering and pressing job. This LP reproduces the sound of the master tapes with stunning fidelity. Hammonds rough'n'ready, world-weary voice (all the more impressive given his age at the time) is very well rendered, and listening to the backing group play is almost as much fun as listening to Hammond sing. You can pick a line and follow it until either your patience ends (doubtful) or the song runs out (probable). Should this album be your initial introduction to Ciscos vinyl portfolio (as it was mine), be prepared to have your bank account severely depleted. If Cisco's other LPs are anything close to as good as So Many Roads, theres a whole lot of superb music out there awaiting us. (And let me just add that Ciscos releases of albums by both Joan Baez and Doc Watson look to be on par with the Hammond.) Few musicians are as well known in both the blues and rock universes as Eric Clapton. As is the case with Muldaur and Hammond, Claptons fondness for the blues is equally well known. His desire to play the blues was (and still is) so strong that at certain points in his career he was willing to forgo rock stardom to play the music he loves (though it never quite came down to that in the end). And few of his albums have been anticipated with quite the fervor that his latest, Me And Mr. Johnson [Reprise LP 484234], has been. Its CD release was cause for much joy among his legion of fans. But what about those Clapton fans who embrace vinyl? Well, theyve not been forgotten, as both Reprise and Classic Records have released pressings. Reprises -- the subject here -- is on 140-gram vinyl, and Classics is on a new 200-gram formula. An interesting side note to these dual issues: The standard-issue Reprise version comes complete with an oval sticker that says "Classic Records - Regular Weight - 140 gram" attached to the shrink wrap and Classics "Win A Free Test Pressing" postcard inside. Classic Records has verified that they really did press both versions at RTI; so the fact that the standard-issue vinyl is flat and fairly quiet (though nowhere near as quiet as any of Classics 200-gram LPs Ive heard) comes as no surprise. Its also about half the price of the 200-gram version, so itll be up to you whether or not to pony up for the thicker vinyl. Me And Mr. Johnson is Claptons homage to the music of the man considered by many to define the entire blues genre, Robert Johnson. But one thing this album is not is an acoustic blues album. Clapton takes Johnson uptown, to, let's say, Chicago. While this album can in no way be considered an accurate reproduction of Johnsons music, it is highly involving and entertaining. And there is quite a group of backing musicians aiding Clapton here: Billy Preston on keyboards, Steve Gadd on drums, Nathan East on bass, Andy Fairweather Low and Doyle Bramhall II on guitars, and Jerry Portnoy on harmonica. Together, they reinterpret 14 of Johnsons songs. But thats part of the problem with this disc. Theres a bit too much music crammed onto each side -- about 25 minutes worth, at least two and a half too many for comfort. Still, the sound is enjoyable and fairly clear, if a bit lightweight bass-wise. Another discomforting thing is a slight distortion in Claptons vocals at the beginning of some verses. This may be a problem with my pressing only, or it may be endemic of all the 140-gram pressings. I cant say. It does speak for the 200-gram Classic LP as the issue of choice. Also, if youre hyper allergic to surface noise, then the 140-gram pressing isnt for you. Its not that the noise will disturb the music -- it doesnt -- but it is there and can be heard between cuts. Enough of the nits -- its the music thats really important, and Me And Mr. Johnson contains some absolutely superb blues. I really connected with Claptons versions of "Me and the Devil Blues" and "Come on in My Kitchen." That Clapton loves the blues is evident, but also front and center is how well, even after all these years, he can play guitar. No longer feeling the need to play every note possible, Clapton now understands that less is sometimes more. Richland Woman Blues, So Many Roads and Me And Mr. Johnson are all excellent examples of modern blues. And each is a record that blues lovers will want to add to their collections. But, if you even have only a slight interest in the genre, youll still find much to like on these records, especially because the blues is the foundation of much of the music we listen to today, from rock to jazz. The 21st-century blues revival is not only underway, but running on all cylinders. Jump on and enjoy the ride.
4189	dbpedia	1	0	https://acerecords.co.uk/last-sessions-1	en	Mississippi John Hurt	https://www.acerecords.c…ur_1200_1200.jpg	https://www.acerecords.c…ur_1200_1200.jpg	[ "https://acerecords.co.uk/cache/images/mississippi-john-hur_500_500.jpg", "https://acerecords.co.uk/cache/images/mississippi-john-hur_154_154.jpg", "https://acerecords.co.uk/layout/img-new/fb-share@2x.png", "https://acerecords.co.uk/layout/img-new/twitter-share@2x.png", "https://acerecords.co.uk/layout/img-new/pinterest-share@2x.png", "https://acerecords.co.uk/cache/images/VCD-79702_205_205.jpg", "https://acerecords.co.uk/cache/images/3VCD-181_205_205.jpg", "https://acerecords.co.uk/cache/images/VMD-79327_205_205.jpg", "https://acerecords.co.uk/cache/images/VMD-79248_205_205.jpg", "https://acerecords.co.uk/cache/images/VMD-79220_205_205.jpg", "https://acerecords.co.uk/cache/images/KMCD-3905_205_205.jpg", "https://acerecords.co.uk/cache/images/CDTAK-7059_205_205.jpg", "https://acerecords.co.uk/cache/images/CDCHD-632_205_205.jpg", "https://acerecords.co.uk/cache/images/CDCHM-986_1_205_205.jpg", "https://acerecords.co.uk/cache/images/CDCHD-982_205_205.jpg", "https://acerecords.co.uk/cache/images/CDCHD-869_205_205.jpg", "https://acerecords.co.uk/cache/images/CDCHD-993_205_205.jpg", "https://acerecords.co.uk/cache/images/CDCHD-976_205_205.jpg", "https://acerecords.co.uk/cache/images/CDCHM-881_1_205_205.jpg", "https://acerecords.co.uk/cache/images/CDCHM-1084_1_205_205.jpg", "https://acerecords.co.uk/layout/img/template/payment-types.gif", "https://acerecords.co.uk/layout/img-new/worldpay.png" ]	[]	[]	[ "Mississippi John Hurt", "Blues", "Vanguard" ]	null	[ "Ace Records" ]	null	Last Sessions by Mississippi John Hurt on Vanguard			Ace Records	null	These seventeen recordings originate from the summer of 1966, a few scant months before Mississippi John Hurt's death in November of that year, although they were not released by Vanguard Records until 1972. The likely cause was that the company already had his “Today!” album released, and what was to become “The Immortal Mississippi John Hurt” album ready to go. Both of these two fine albums are available on this website. The material chosen for John's final sessions was even more varied than previously, though all were delivered in his distinctive, attractive and instantly recognisable style with his finger-picking guitar playing and warm friendly singing drawing listeners in. He opens with Bukka White's ‘Poor Boy, Long Ways From Home’, a notion that John would have responded to as he travelled the country in his final years far from his family and home in Avalon, Mississippi. The second track, ‘Boys You're Welcome’, lives up to its title, and could have made an obvious opener. Next come the story songs of ‘Joe Turner Blues’ and ‘First Shot Missed Him’, the attractive ‘Farther Along’, and ‘Funky Butt’ and ‘Spider, Spider’ which have more of the feel of snippets. Patrick Sky, the album's producer, joins on second guitar for ‘Waiting For You’ and ‘Good Morning, Carrie’, reprising a role he had for two tracks on “The Immortal Mississippi John Hurt” and helping to enrich the guitar sounds behind the vocal. ‘Trouble, I've Had It All My Days’ and ‘Let The Mermaids Flirt With Me’ are both fully-formed gentle Hurt songs that add substantially to his rich catalogue. Whilst there are many tracks here that would have fitted well on either of the two preceding Vanguard albums, there are also some that have a less polished feel to them. The small print tells us that while some of the songs were recorded at Vanguard's 23rd St studio in New York, some were recorded at the Manhattan Towers Hotel. We can only speculate why this might have been, but it does indicate a probable cause for a slightly different feel on some of the inclusions. To the hardcore fan such inclusions only make the package more attractive as they fall within the realms of outtakes and demos in more modern parlance. The track details do not differentiate, leaving it to the listener to either make their own mind up or perhaps to not worry either way and let John's relaxed and easy delivery wash over them. For most this will be the correct approach. The ordering of the tracks is significant, as the final two are ‘You've Got To Die’ and Leadbelly's ‘Goodnight Irene’. John was well known to be a god-fearing man who apparently always said his prayers in extended detail, and his general advice to those around him was to be prepared to face a final reckoning. He took his own advice, and lived his life accordingly. Placing someone else's song at the end reminds us that he was a musician of his time, always with an ear to the work of others, and in the case of the famous Leadbelly song he introduces it as a wonderful song that he learnt from the record. As with all his own material, he makes a fine fist of it.
4189	dbpedia	0	59	https://www.facebook.com/WhyILoveNationalGuitars/posts/mississippi-john-hurt-1892-1966-at-newport-folk-festival-in-1965-his-rolling-swe/868734084926584/	en	Facebook			[]	[]	[]	[ "" ]	null	[]	null		de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		null
4189	dbpedia	1	15	https://www.encyclopedia.com/education/news-wires-white-papers-and-books/hurt-mississippi-john	en	Hurt, Mississippi John			[ "https://www.encyclopedia.com/themes/custom/trustme/images/header-logo.jpg" ]	[]	[]	[ "Mississippi John Hurt\nGuitar\nDiscovered by Okeh\nBad Sales", "Hard Times\nRediscovered at Avalon Home\nSelected discography\nSources" ]	null	[]	null	Mississippi John Hurt Guitar Discovered by Okeh Bad Sales, Hard Times Rediscovered at Avalon Home Selected discography Sources Source for information on Hurt, Mississippi John: Contemporary Musicians dictionary.	en	/sites/default/files/favicon.ico		https://www.encyclopedia.com/education/news-wires-white-papers-and-books/hurt-mississippi-john	Mississippi John Hurt Guitar Discovered by Okeh Bad Sales, Hard Times Rediscovered at Avalon Home Selected discography Sources John Hurt was born and lived most of his life in remote corner of Mississippi Delta country. By th time he passed away, he had touched a generation C folk music fans and influenced countless guitar player interested in fingerpicking styles. He had two separate careers as a professional musician, separated by 35 years, and both must have seemed a little like a dream to him. When he was in his middle thirties, a recording contract fell in his lap out of nowhere, taking him to Memphis and New York. Within a year, the Great Depression hit and he slipped back into obscurity. But blues aficionados rediscovered Hurt in the early 1960s and he toured the country to great popular acclaim until his death in 1966. Hurt was born in Teoc in Carroll County, Mississippi sometime between early 1892 and 1894, though March 8, 1892 is usually given as his date of birth. As a child he moved to Avalon, Mississippi where he was raised with seven brothers and two sisters. Hurt attended school until the fourth grade, long enough to learn to read and write. He grew up in a family of music lovers, and around the time he was nine his mother gave him a guitar which he taught himself to play using an intricate fingerpicking style in which the thumb played rhythm on the bass strings and three fingers played melody or chords. Around 1910, Hurt played his first public performances. These were most likely parties or informal get-togethers of friends and neighbors who gathered to listen to music and relax. Blues historian Stephen Calt points out that Hurt probably did not play at dances like most other Mississippi bluesmen often did. His guitar style was too intricate to provide the insistent rhythm needed for dancing, and his singing was too restrained to cut through the noise of a Saturday night juke joint on the Delta. Discovered by Okeh During his early adult life, Hurt worked first as a sharecropper, then as a day laborer, which included five months laying train track. There, it is believed, he learned railroad songs like “Spike Driver Blues.” Around 1923 Willie Narmour, a white farmer in Avalon who played fiddle at local square dances, asked Hurt to play with him when his regular guitarist could not. This was a remarkable tribute to Hurt’s musical ability, considering the degree of racial segregation that existed in Mississippi at the time. A few years later, Narmour won a fiddling contest in Carroll County and attracted the attention of a scout for the Okeh record company, Tommy Rockwell. For the Record… Mississippi John Hurt, born March 2, 1892 (?), Teoc, MS; guitar, vocals; married, Jessie Lee; died November 2, 1966, Grenada, MS. Recorded twice for Okeh Records, first in Memphis, Tennessee in February 1928, later in New York City in December 1928; rediscovered in 1963; toured and made albums until 1966; recordings include, 1928 Sessions, Yazoo, 1965; Mississippi John Hurt Today!, Vanguard, 1966; The Immortal Mississippi John Hurt, Vanguard, 1967 ’The Best of Mississippi John Hurt, Vanguard, 1970;. Mississippi John Hurt Rediscovered, Vanguard, 1998; Last Sessions, Vanguard. Companies were combing the south, in the middle 1920s, looking for artists to record for the popular new medium of the phonograph. When Rockwell met Narmour in Avalon, he asked about other musicians in the area who might be good enough to make records. The fiddler told him about John Hurt and not long afterwards Narmour and Rockwell drove over to Hurt’s house to set up an audition. Hurt played a song. Halfway through the second, Rockwell told him to stop, he had heard enough. Hurt was invited to go to Memphis for a recording session. On February 14, 1928, John Hurt became Mississippi John Hurt. He recorded eight songs and that same year, two of them were released on Okeh 8560, “Frankie” and “Nobody’s Dirty Business.” What happened next is in dispute. Some writers say the record sold so well that Hurt was offered a second recording session; others say the record flopped, but that Rockwell was convinced that Hurt had something that would sell records. At any rate, in December 1928 John Hurt traveled to New York City where he recorded songs for five more 78s. Even though Hurt was in New York City for the first time in his life—it was only the second time he had traveled more than 20 miles from Avalon—even though he met Lonnie Johnson, the most popular blues guitarist in America, it was Christmas time and Hurt felt like a poor boy a long ways from home. He missed his wife, he missed Mississippi. In the last song recorded at the session, “Avalon Blues,” he sings “Avalon’s my home-town/always on my mind.” That song would have enormous repercussions later in Mississippi John Hurt’s life. Bad Sales, Hard Times Hurt’s records were a disappointment for Okeh, each selling only a few hundred copies. Some believe Okeh was ultimately responsible for their failure. First, they gave the records titles like “Candy Man Blues” and “Stack o’ Lee Blues,” when the songs had nothing in common with the true Mississippi blues being invented just a few miles from Hurt’s front door. They were actually ragtime songs dating from an older folksong tradition. Second, because Hurt was nofsinging blues, because he came from the songster tradition, which was much closer to country music, he could have been popular among white audiences. Okeh, however, insisted upon listing his records in their “race” catalog of exclusively black artists. It was all moot anyway. Less than a year after Hurt’s second recording session, the Great Depression hit America. The poor audiences at whom Hurt’s kind of music was aimed.black and white alike, could no longer afford frivolities like records. Hurt just settled down with Jessie Lee, his second wife, back in Avalon. He raised a family, found worked regularly, played guitar around town when he could and forgot about any career in music—and was forgotten by the rest of the world in return. Interest in Mississippi John Hurt reawoke in the early 1950s following the release of Harry Smith’s monumental Anthology of American Folk Music. The six-record set included two Hurt songs “Frankie” and Spike Driver Blues.” Like most of the musicians on the Anthology, Hurt was a mystery. In fact, most listeners, according to the notes included with the 1997 Anthology reissue, assumed that John Hurt was white. Guitar players, in particular, were fascinated with his fingerpicking style and struggled to learn the songs, first from the Anthology, and later off old 78 records that began resurfacing. According to one story, one of Andres Segovia’s students brought a record by Hurt for the master to hear. After listening to Hurt, Segovia reportedly asked who was playing the second guitar on the song. Hurt played solo on all his recordings. Rediscovered at Avalon Home In the early 1960s, two young folk musicians in Washington, D.C., Tom Hoskins and Mike Stewart, heard “Avalon Blues” on a tape a record collector had given them. What if there was a city called Avalon in Mississippi, they wondered. And what if Hurt still lived there? They couldn’t find Avalon on any contemporary maps, but the tiny town finally turned up in an atlas published in 1878. When they went to the Delta with their tape recorder, they discovered that Avalon wasn’t much more than a general store on the road between Grenada and Greenwood. They asked some men sitting in front of the store if they had ever heard of a Mississippi John Hurt. One pointed and said “A mile down that road, third mailbox up. Can’t miss it.” When Hoskins and Stewart arrived, Hurt was out in the fields on his tractor. They introduced themselves, explained that they were interested in music, and pulled out their tape recorder. From there Hurt’s second career in music snowballed quickly. Back in Washington, Hoskins released two albums of songs he had recorded at Hurt’s farm. Not long after, Hurt came to Washington to play local folk clubs. He was a smash at the 1963 Newport Folk Festival, and later the same year, at the Philadelphia Folk Festival. Suddenly, at age 71, Hurt was one of the top stars in the American folk music scene. For the next three years, he toured festivals and folk clubs throughout the country, released albums on the Piedmont and Vanguard labels—this time the records were very popular—and entranced fans with his broad repertoire of ballads, ragtime numbers, old pop tunes, and religious songs, his storytelling, and his gentle personality. Hurt’s fingerpicking style is unusual among black players of his time. Only Elizabeth Cotten—another self-taught guitarist—used a similar technique. Nonetheless his playing has had an enormous impact on guitar players from the 1960s onward and echoes of his playing can be heard in the work of musicians like Leo Kottke and Stefan Grossman. John Fahey, a player who took many of Hurt’s techniques into uncharted, new realms, composed and recorded a moving tribute, “Requiem For Mississippi John Hurt,” on his Vanguard album Requia. But Hurt’s influence pervades all guitar playing. When beginning guitarists first begin to fingerpick, almost invariably the first tunes they learn are Hurt’s, pieces like “Louis Collins” or “Stack O’ Lee Blues.” John Hurt was unfazed by the abrupt end of his first career as a professional musician in 1929; at the end of his life he seemed equally undaunted by the stardom that had burst upon him, out of nowhere as far as he was concerned. Once asked if he knew how good his music was he answered almost with embarrassment. “Yeah... I know it… and I been knowin’ it, but I never dreamed things would’ve turned out like they have...never dreamed it.” Mississippi John Hurt died in Grenada Mississippi on November 2, 1966. Selected discography 1928 Sessions, Yazoo 1965 Mississippi John Hurt Today! Vanguard (VSD 79220), 1966. The Immortal Mississippi John Hurt, Vanguard (VSD 79248), 1967. The Best Of Mississippi John Hurt, Vanguard (VSD 19/20), 1970. Mississippi John Hurt Rediscovered, Vanguard, (79519-2) 1998. Last Sessions Vanguard (VSD 79327). Sources Books Eriewene, Michael, Vladimir Bogdano, Chris Woodstra, and Cub Koda. All Music Guide to the Blues, San Francisco: Miller Freeman Books, 1996. Herzhaft, Gérard, Encyclopedia of the Blues, 2nd ed., Fayetteville, Arkansas: University of Arkansas Press, 1997. Online http://home.t-online.de/home/t_maria.wagner/jhurt.htm http://www.eyeneer.com/America/Genre/Blues/Profiles/mississippi.john.html Other Calt, Stephen, Mississippi John Hurt, 1928 Sessions, liner notes. Ward, Ed. Mississippi John Hurt Rediscovered, liner notes. Additional materials provided by Vanguard Records.
4189	dbpedia	1	42	https://www.amoeba.com/best-of-mississippi-john-hurt-cd-mississippi-john-hurt/albums/815889/	en	Best Of Mississippi John Hurt (CD)	https://www.amoeba.com/a…ippiJohnHurt.jpg	https://www.amoeba.com/a…ippiJohnHurt.jpg	[ "https://www.facebook.com/tr?id=1504176719887270&ev=PageView&noscript=1", "https://www.amoeba.com/static/b47f18cf/assets/site/paywith.png", "https://www.amoeba.com/static/b47f18cf/assets/site/ajax-loader2.gif", "https://www.amoeba.com/sized-images/max/185/185/uploads/albums/covers/other//MississippiJohnHurt_TheBestOfMississippiJohnHurt.jpg", "https://www.amoeba.com/uploads/format-icons/CD.png", "https://www.amoeba.com/sized-images/crop/48/45/uploads/albums/covers/other//602567485827.jpg", "https://www.amoeba.com/sized-images/crop/48/45/uploads/albums/covers/other//Beck_Colors.jpeg", "https://www.amoeba.com/sized-images/crop/48/45/uploads/buystuff_items/5028421950532.jpeg", "https://www.amoeba.com/sized-images/crop/48/45/uploads/buystuff_items/602527710709.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other/708535791829.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//605633138344.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//725543002013.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//725543130013.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//706091810619.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//089353340223.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other/767981159812.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//MississippiJohnHurtLiveatOberlinCollegeCD.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//813547024275.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//725543033611.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//1042731MississippiJohhurt.JPG", "https://www.amoeba.com/sized-images/max/50/60//uploads/buystuff_items/725543978912.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//888072050495.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//888072037571.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//888072030923.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//888072024090.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//888072024106.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//888072020412.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//888072007109.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//888072007048.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//888072007048.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//888072007093.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//oar_xx.jpg", "https://www.amoeba.com/sized-images/max/50/60//uploads/albums/covers/other//888072003880.jpg", "https://www.amoeba.com/sized-images/maxs/1000/1000/uploads/Guayaki-Album-Detail-Banner_400x400.jpg", "https://www.amoeba.com/uploads/format-icons/CD.png", "https://www.amoeba.com/uploads/format-icons/CD.png", "https://www.amoeba.com/sized-images/maxs/1000/1000/uploads/amoeba_merch_banner.jpg", "https://www.amoeba.com/uploads/content/banners/paypal_banner.jpg", "https://www.amoeba.com/sized-images/maxs/1000/1000/uploads/Guayaki-Amoeba-Site-Footer_-3_456x204.jpg", "https://www.amoeba.com/sized-images/maxs/1000/1000/uploads/large_collections_banner.jpg", "https://www.amoeba.com/static/b47f18cf/assets/site/ajax-loader2.gif", "https://www.amoeba.com/static/b47f18cf/assets/site/amoeba_social_icons/new/twitter.png", "https://www.amoeba.com/static/b47f18cf/assets/site/amoeba_social_icons/new/facebook.png", "https://www.amoeba.com/static/b47f18cf/assets/site/amoeba_social_icons/new/instagram.png", "https://www.amoeba.com/static/b47f18cf/assets/site/amoeba_social_icons/new/youtube.png", "https://www.amoeba.com/static/b47f18cf/assets/site/amoeba_social_icons/new/tiktok.jpg", "https://www.amoeba.com/static/b47f18cf//assets/site/ajax-loader2.gif", "https://www.amoeba.com/static/b47f18cf/assets/site/ajax-loader.gif" ]	[]	[]	[ "" ]	null	[]	null	Buy Best Of Mississippi John Hurt (CD) by Mississippi John Hurt (CD $13.98). Amoeba Music. Ships Free in the U.S.	en		Amoeba Music	https://www.amoeba.com/best-of-mississippi-john-hurt-cd-mississippi-john-hurt/albums/815889/	Disc 1 Titles Artist Length 1. Here Am I, Oh Lord, Send Me Mississippi John Hurt 03:02 2. I Shall Not Be Moved Mississippi John Hurt 03:26 3. Nearer My God to Thee Mississippi John Hurt 03:04 4. Baby, What's Wrong With You? Mississippi John Hurt 03:35 5. It Ain't Nobody's Business Mississippi John Hurt 02:37 6. Salty Dog Mississippi John Hurt 02:58 7. Coffee Blues Mississippi John Hurt 03:15 8. Avalon My Home Town Mississippi John Hurt 03:41 9. Make Me a Pallet on the Floor Mississippi John Hurt 03:45 10. Since I've Laid My Burden Down Mississippi John Hurt 03:45 11. Sliding Delta Mississippi John Hurt 03:06 12. Monday Morning Blues Mississippi John Hurt 03:56 13. Richland Women Blues Mississippi John Hurt 04:33 14. Candy Man Mississippi John Hurt 03:47 15. Stagolee Mississippi John Hurt 04:22 16. My Creole Belle Mississippi John Hurt 02:25 17. C.C. Rider Mississippi John Hurt 03:59 18. Spanish Fandango Mississippi John Hurt 01:05 19. Talking Casey Mississippi John Hurt 04:19 20. Chicken Mississippi John Hurt 00:54
4189	dbpedia	0	9	https://www.45worlds.com/vinyl/album/vsd79220	en	Mississippi John Hurt	https://images.45worlds.…t-today-ab-s.jpg	https://images.45worlds.…t-today-ab-s.jpg	[ "https://www.45worlds.com/assets/flg/fff1611/us-fff1611.png", "https://images.45worlds.com/s/ab/mississippi-john-hurt-today-ab-s.jpg", "https://images.45worlds.com/s/ab/mississippi-john-hurt-vanguard-4-ab-s.jpg", "https://www.45worlds.com/assets/wpx/ab-blank-t.gif", "https://www.45worlds.com/assets/wpx/ab-blank-t.gif", "https://www.45worlds.com/assets/wpx/ab-blank-t.gif", "https://www.45worlds.com/assets/wpx/ab-blank-t.gif", "https://www.45worlds.com/assets/wpx/ab-blank-t.gif", "https://images.45worlds.com/t/ab/perreykingsley-the-in-sound-from-way-out-ab-t.jpg", "https://images.45worlds.com/t/ab/skip-james-today-ab-t.jpg" ]	[]	[]	[ "" ]	null	[]	null	Full track listing and details of the Vinyl Album: Mississippi John Hurt - Today! (1966), on 45worlds.	en	/favicon.ico	45worlds	https://www.45worlds.com/vinyl/album/vsd79220	» Search eBay #AD » Search Amazon #AD This site contains affiliate links for which we may be compensated.
4189	dbpedia	1	39	https://deltadownload.com/f/keeping-john-hurts-music-alive	en	Keeping John Hurt's music alive	https://img1.wsimg.com/i…onal_cropped.jpg	https://img1.wsimg.com/i…onal_cropped.jpg	[ "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/Blog%20logo%20layout.jpg/:/rs=h:75,cg:true,m/qt=q:100/ll", "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/Blog%20logo%20layout.jpg/:/rs=h:75,cg:true,m/qt=q:100/ll", "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/BannerMapwFRame.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=h:1000,cg:true", "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/Robert-Press-1-Photo.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25", "https://isteam.wsimg.com/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/1778-8305-Jerry-Atnip.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25", "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/Tefteller%20Time%20Travel%20Promo6.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:96.17%25/rs=w:1240,h:620,cg:true", "https://isteam.wsimg.com/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/Aug%202006.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/fx-gs", "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/DavidKimbrough1web.jpeg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25", "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/cropped-paramount-walk-of-fame-grafton-wi-angi.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25", "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/2.-MrsA%40RJhome-1-0001.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25", "https://isteam.wsimg.com/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/BudPazur_1967_150dpi.jpg/:/" ]	[]	[]	[ "" ]	null	[ "Delta Download" ]	null	Jim Ohlschmidt was living in Birmingham back in 2004 when he grabbed an atlas, jumped in his Dodge sedan and took off down the road for Avalon, Mississippi.	en	//img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/favicon/692340be-d277-4922-adbb-3219ea07dfe3.jpg/:/rs=w:16,h:16,m	Delta Download	https://deltadownload.com/f/keeping-john-hurts-music-alive	The Kimbrough name is part of a blues dynasty, begun by the legendary Junior Kimbrough. His youngest son, Robert Kimbrough Sr. is driven to carry on his late father's hypnotic, polyrhythmic Cotton Patch Soul Blues—considered almost a genre unto itself. Here Robert reflects on losses and gains in his life and career. He's been capturing Mississippi blues culture with his camera lens for nearly three decades. Bill Steber's images are evocative, provocative and memorable. They're also recognized worldwide. Here the acclaimed photographer, musician and artist takes on issues of race, culture, access and avocation. "T-Model says, 'I ain't done' and pulls out this switchblade. Lightnin Malcolm told him to put that up, and Cedric Burnside knocked the blade out of his hand with drumsticks," recalls Sam Brand as he laughs about the craziness of that day. Today, 56 years after his birth and 18 months after his passing, David Kimbrough Jr. 3rd, remains a musical force. "He was a blues Shaman in a sweat lodge, guiding the spirits. He had the ability to transport a roomful of people like few others," said friend Bill Steber after David's death in July 2019. Angie Mack Reilly lives on the Mississippi Blues Trail—in Grafton, Wisconsin...home to legendary Paramount Records. She's the closest thing Grafton has to a local blues historian, says American music journalist Amanda Petrusich. Angie has worked tirelessly since 2002 to preserve and commemorate Grafton's music legacy. The great Delta bluesman Robert Johnson died on August 16, 1938. "Brother Robert: Growing Up With Robert Johnson" was released in 2020 by his "baby sis" with details of his life never before reported. Here we interview Elijah Wald, the Grammy award winner who wrote the foreword for this lauded book. A promotional poster of an old Delta bluesman with a National steel guitar in his lap grabbed his attention. Seeing Son House live on campus at Penn State in 1967 changed his life.
4189	dbpedia	1	97	https://www.recordshopx.com/artist/hurt_mississippi_john/last_sessions/	en	Hurt, Mississippi John : Last Sessions	https://www.recordshopx.…31/310987.jpg?cd	https://www.recordshopx.…31/310987.jpg?cd	[ "https://www.recordshopx.com/images/logo-s.gif", "https://www.recordshopx.com/images/menu_banners/kaarme_banneri.png", "https://www.recordshopx.com/images/menu_banners/koirat_banneri.png", "https://www.recordshopx.com/cover/normal/3/31/310987.jpg?cd", "https://www.recordshopx.com/images/loader.gif", "https://www.recordshopx.com/images/loader.gif", "https://www.recordshopx.com/cover/thumb/3/31/310987.jpg?cd", "https://www.recordshopx.com/images/payment-methods.png", "https://www.recordshopx.com/images/shipping-methods-dhl.png", "https://www.recordshopx.com/images/payment-methods.png", "https://www.recordshopx.com/images/bg/helpdesk.png", "https://www.recordshopx.com/images/logo-s.gif", "https://www.recordshopx.com/images/kotiinkuljetus_kartta.jpg" ]	[]	[]	[ "Last Sessions", "Hurt", "Mississippi John", "Blues", "CD" ]	null	[]	null	Record Shop X: Hurt, Mississippi John: Last Sessions: CD	en	https://www.recordshopx.com/favicon.ico		null	The truth is that also us, Record Shop X, need so called "cookies" so that we can offer you the best experience when you browse our webstore. By accepting these digital cookies we can suggest and market exactly the kind of records and artists You are interested in. So this is not a hoax, no games, no scam or anything like that and our webstore works properly even if you choose not to accept the cookies. But if you are interested in our best possible service, just accept them all. You can always change the cookie settings here if you like. Laters, all the best and have a good one. Always.
4189	dbpedia	0	63	https://georgelamplugh.com/tag/mississippi-john-hurt/	en	Mississippi John Hurt	https://secure.gravatar.com/blavatar/a5c1c6a5cf8135fc50ac6685d34f66e4722176ceb5b8f898a6ffe126a5f5f86d?s=200&ts=1723610286	https://secure.gravatar.com/blavatar/a5c1c6a5cf8135fc50ac6685d34f66e4722176ceb5b8f898a6ffe126a5f5f86d?s=200&ts=1723610286	[ "https://georgelamplugh.wordpress.com/wp-content/themes/pub/twentyten/images/headers/path.jpg?m=1610459589i", "https://secure.gravatar.com/blavatar/a5c1c6a5cf8135fc50ac6685d34f66e4722176ceb5b8f898a6ffe126a5f5f86d?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/a5c1c6a5cf8135fc50ac6685d34f66e4722176ceb5b8f898a6ffe126a5f5f86d?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	null	Posts about Mississippi John Hurt written by georgelamplugh	en	https://secure.gravatar.com/blavatar/a5c1c6a5cf8135fc50ac6685d34f66e4722176ceb5b8f898a6ffe126a5f5f86d?s=32	Retired But Not Shy	https://georgelamplugh.com/tag/mississippi-john-hurt/	A little over a year ago, I posted an account of the evolution of this blog as it reached its fourth birthday. It’s now time to provide an update, a few months after the fifth anniversary of “Retired But Not Shy,” and the appearance … Continue reading → A Review of Philip R. Ratcliffe, Mississippi John Hurt: His Life, His Times, His Blues. Jackson: University Press of Mississippi, 2011. This entry in the University Press of Mississippi’s “American Made Music” series is very interesting, for several reasons. The … Continue reading →
4189	dbpedia	1	96	https://fontsinuse.com/uses/14345/the-immortal-mississippi-john-hurt-album-art	en	The Immortal Mississippi John Hurt album art	https://cards.fontsinuse.com/cardshot?s=og&t=use&url=https://fontsinuse.com/uses/14345/the-immortal-mississippi-john-hurt-album-art&k=71a3fd4e51663921e1188f85adee1f9b	https://cards.fontsinuse.com/cardshot?s=og&t=use&url=https://fontsinuse.com/uses/14345/the-immortal-mississippi-john-hurt-album-art&k=71a3fd4e51663921e1188f85adee1f9b	[ "https://assets.fontsinuse.com/images/nameplate.svg?v=03a3d26ec091a612caa2196e5712c80b", "https://assets.fontsinuse.com/use-media/43547/upto-700xauto/57d3ad7c/1/jpeg/the-immortal-mississippi-john-hurt-4f2c39fc3ea24.jpeg", "https://assets.fontsinuse.com/use-media/43546/upto-700xauto/57d3ad7c/1/jpeg/28282765005_185c856ded_o.jpeg", "https://assets.fontsinuse.com/use-media/43549/upto-700xauto/57d3ad7c/1/jpeg/The%20Immortal%20Mississippi%20John%20Hurt%20-%20back%20cover.jpeg", 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I Just Popped Off by Saki NONPOROUS Contributed by Out of the Dark
4189	dbpedia	1	79	https://www.amazon.com/Discovery-Rebirth-Mississippi-John-Hurt/dp/B005L3HKCC	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/derqnxxq/Captcha_byigfadoii.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=REK97TSDA8QF2H4A9GCN&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
4189	dbpedia	0	74	https://artrockstore.com/products/mississippi-john-hurt-artist	en	Mississippi John Hurt	http://artrockstore.com/cdn/shop/products/MississippiJohnHurt-Band_grande.jpg?v=1683160161	http://artrockstore.com/cdn/shop/products/MississippiJohnHurt-Band_grande.jpg?v=1683160161	[ "https://artrockstore.com/cdn/shop/files/ARTROCKSTORE_120x.svg?v=1719731953", "https://artrockstore.com/cdn/shop/products/MississippiJohnHurt-Band_1024x1024.jpg?v=1683160161", "https://cdn.shopify.com/s/files/1/1712/4551/files/mono-black.svg?v=1620883797?size=250x83&h=dbf8cc67646ee577080f8cf28d06e45f", "https://artrockstore.com/cdn/shop/articles/fv_520x500_b9624767-40e2-4310-828a-ee1f0f536ff3_large.jpg?v=1683158899", "https://artrockstore.com/cdn/shop/articles/Feature_Artist_5481e775-39e8-4965-a7b6-45ef0f1b2b44_large.png?v=1722068913", "https://artrockstore.com/cdn/shop/articles/Feature_Album_be60d333-7603-4f23-aa50-a8d5798327f9_large.png?v=1716210790", "https://artrockstore.com/cdn/shop/articles/Classic_Album_740996b8-67fe-4bc7-8942-8a7cbc9c5452_large.png?v=1722069046", "https://artrockstore.com/cdn/shop/articles/Next_Wave_cfb73ea0-2a23-4ebd-bc45-d16e6ff20367_large.png?v=1716986667" ]	[ "https://open.spotify.com/embed/artist/1FdwVX3yL8ITuRnTZxetsA" ]	[]	[ "" ]	null	[]	null	John Smith Hurt aka Mississippi John Hurt, was an American country blues singer and guitarist born 1892 in Teoc, Mississippi. Raised in Avalon, Mississippi, Hurt taught himself to play the guitar around the age of nine. He worked as a sharecropper and began playing at dances and parties, singing to a melodious fingerpi		//artrockstore.com/cdn/shop/t/4/assets/favicon.ico?v=105489941234660396951616694553	Artrockstore	https://artrockstore.com/products/mississippi-john-hurt-artist	John Smith Hurt aka Mississippi John Hurt, was an American country blues singer and guitarist born 1892 in Teoc, Mississippi. Raised in Avalon, Mississippi, Hurt taught himself to play the guitar around the age of nine. He worked as a sharecropper and began playing at dances and parties, singing to a melodious fingerpicking accompaniment. His first recordings, made for Okeh Records in 1928, were commercial failures, and he continued to work as a farmer. Blues enthusiasts Dick Spottswood and Tom Hoskins located Hurt in 1963 and persuaded him to move to Washington, D.C. where he was recorded by the Library of Congress in 1964. This helped further the American folk music revival, which led to the rediscovery of many other bluesmen of Hurt's era, such as Big Bill Broonzy, Skip James and Furry Lewis. Hurt performed on the university and coffeehouse concert circuit with other Delta Blues musicians who were brought out of retirement. He also recorded several albums for Vanguard Records. Hurt returned to Mississippi in 1965 where he died in Grenada a year later. Material recorded by him has been re-released by many record labels and his songs have been recorded by Bob Dylan, Dave Van Ronk, Jerry Garcia, Beck, Doc Watson, John McCutcheon, Taj Mahal, Bruce Cockburn, David Johansen, Bill Morrissey, Gilliam Welch, Josh Ritter, Chris Smither and Rory Block. Hurt used a fast, syncopated fingerpicking style of guitar playing that he taught himself. He was influenced by an elderly, unrecorded blues singer from the area where he lived, Rufus Hanks, who played twelve-string guitar and harmonica. He also recalled listening to the country singer Jimmie Rodgers. According to the music critic Robert Christgau "the school of John Fahey proceeded from (Hurt's) finger-picking, and while he's not the only quietly conversational singer in the modern folk tradition, no one else has talked the blues with such delicacy or restraint." Recommended albums include Folk Songs and Blues (1963), Worried Blues (1964), Today! (1966), The Immortal (1967) and Last Sessions (1972). Also highly recommended is the 1979 archival release on Yazoo, 1928 Sessions. Artist Website: wikipedia/Mississippi_John_Hurt Featured Albums: Mississippi John Hurt
4189	dbpedia	1	55	https://www.sunsetblvdrecords.com/blog/2021/6/7/mississippi-john-hurt-mr-hurt-goes-to-washington-liner-notes	en	Mr. Hurt Goes To Washington — Sunset Boulevard Records	http://static1.squarespace.com/static/5b44fb49b27e39edb872d0f3/t/5b451eb103ce64cf6ce852eb/1531256498378/SunsetBlvd_logo1.png?format=1500w	http://static1.squarespace.com/static/5b44fb49b27e39edb872d0f3/t/5b451eb103ce64cf6ce852eb/1531256498378/SunsetBlvd_logo1.png?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/5b44fb49b27e39edb872d0f3/1531256524373-83MUNR3FW0BN9FKDHDCM/SunsetBlvd_logo1.png", "https://images.squarespace-cdn.com/content/v1/5b44fb49b27e39edb872d0f3/1531256524373-83MUNR3FW0BN9FKDHDCM/SunsetBlvd_logo1.png" ]	[]	[]	[ "" ]	null	[ "len fico" ]	2021-06-07T00:00:00	Mississippi John Hurt - Mr. Hurt Goes To Washington The early 1960s were like the musical equivalent of Field of Dreams for fans of pre-war country blues, decades before that immortal baseball movie was ever envisioned. Against all odds, one blues great after another was doggedly tracked down b	en	https://assets.squarespace.com/universal/default-favicon.ico	Sunset Boulevard Records	https://www.sunsetblvdrecords.com/blog/2021/6/7/mississippi-john-hurt-mr-hurt-goes-to-washington-liner-notes	Mississippi John Hurt - Mr. Hurt Goes To Washington The early 1960s were like the musical equivalent of Field of Dreams for fans of pre-war country blues, decades before that immortal baseball movie was ever envisioned. Against all odds, one blues great after another was doggedly tracked down by young admirers they never knew they had and proudly reintroduced to the world, thus putting faces to names whose recognition had previously been limited to the faded labels of scratchy old 78s. Most of those living, breathing legends were game for donning their guitars again so they could finally realize some much overdue scratch for having invented a priceless art form many years earlier. Of all those grizzled greats of the genre, the elfin Mississippi John Hurt may have weathered the lost decades the best. His dexterous, gently rolling finger-picking and calm, almost conversational vocal approach seemed indigenous to his essence. He had lived his life in an isolated region of Mississippi with virtually no discernible musical influences, rendering Hurt a virtual sub-genre unto himself. Born March 8, 1892 in Teoc, Mississippi, Hurt’s recording career can be neatly divided into two parts: the pieces he committed to disc during three seminal 1928 recording dates for the OKeh label (a February session in Memphis and two more that December in New York that were held a week apart) that produced 20 solo titles, although only 13 are known to exist, and everything he placed on tape from 1963 on after his rediscovery by young guitarist Tom Hoskins in Hurt’s longtime hometown of Avalon, Mississippi. Mississippi John had a habit of staying way under the radar to the outside world. OKeh recording director Tommy Rockwell looked him up in 1928 on the recommendation of one of his white artists, fiddler Willie Narmour, who often played with Hurt locally. It was harder to find him 35 years later. Musicologist Richard Spottswood asked Hoskins to poke around Avalon on his way down to Mardi Gras in New Orleans (an ultra-rare tape of Hurt’s old 78 “Avalon Blues” had recently turned up, offering a precious clue as to his possible whereabouts). When Hoskins found Hurt’s humble abode and asked him to play a few numbers to confirm he was the real deal, Hurt was understandably suspicious, worried that the young musician was a cop or an FBI agent. Fortunately for the blues world, Hoskins was persuasive, shepherding him back to D.C. The first album Hurt made during his rediscovery years was supervised by Spottswood and Hoskins in April of ‘63 and released on the Piedmont label. Then in July, Mississippi John laid down the great majority of his vast repertoire for the Library of Congress in D.C. Recorded on the stage of Coolidge Auditorium on July 15 and 23 by engineers Bob Carneal and John Howell, the recordings offered the best document of Hurt’s singular legacy. His songlist ranged from blues to country to folk to spirituals (some musicologists of the day insisted he was a songster rather than a bluesman). The best of them are gathered on this collection. Disc one is dominated by many of Hurt’s best-known songs, which were ripe for revisiting at those two amazingly bountiful dates: “Candy Man,” “Stack O’Lee,” “Frankie And Albert,” “Nobody’s Dirty Business,” “Spike Driver Blues,” and the theme that inadvertently spurred his rediscovery, “Avalon Blues.” The second disc digs a little deeper, examining Hurt’s penchant for country (“Waiting For A Train” underscores his respect for Jimmie Rodgers, whose music he heard on records and tha radio), spirituals, and whatever else popped into his mind while situated in front of the Library’s microphone. Hurt quickly became the darling of the festival circuit, delighting the assembled folkies at Newport three years running and more new fans all across the country as well as making fresh recordings for Vanguard. He starred at the University of Chicago and Carnegie Hall as well as inside intimate coffeehouses, his laidback downhome charm never deserting him. Hurt lived in D.C. from 1963 to 1966. But he was already past 70 when he was rediscovered, and an enlarged heart hinted that he wouldn’t last too much longer. He returned to Grenada, Mississippi, suffering a fatal heart attack on November 2, 1966 at age 74. Truly one of a kind, Mississippi John Hurt singlehandedly put Avalon on the musical map. --Bill Dahl SOURCES Blues & Gospel Records 1902-1943, by Robert M.W. Dixon and John Godrich (Essex, Great Britain: Storyville Pubs., 1982) Blues Who’s Who, by Sheldon Harris (New York: Da Capo Press, 1991)
4189	dbpedia	1	75	https://www.recordshopx.com/artist/hurt_mississippi_john/the_complete_studio_recordings/	en	Hurt, Mississippi John : The Complete Studio Recordings	https://www.recordshopx.…/73/73334.jpg?cd	https://www.recordshopx.…/73/73334.jpg?cd	[ "https://www.recordshopx.com/images/logo-s.gif", "https://www.recordshopx.com/images/menu_banners/kaarme_banneri.png", "https://www.recordshopx.com/images/menu_banners/koirat_banneri.png", "https://www.recordshopx.com/cover/normal/7/73/73334.jpg?cd", "https://www.recordshopx.com/images/loader.gif", "https://www.recordshopx.com/images/loader.gif", "https://www.recordshopx.com/cover/thumb/7/73/73334.jpg?cd", "https://www.recordshopx.com/images/payment-methods.png", "https://www.recordshopx.com/images/shipping-methods-dhl.png", "https://www.recordshopx.com/images/payment-methods.png", "https://www.recordshopx.com/images/bg/helpdesk.png", "https://www.recordshopx.com/images/logo-s.gif", "https://www.recordshopx.com/images/kotiinkuljetus_kartta.jpg" ]	[]	[]	[ "The Complete Studio Recordings", "Hurt", "Mississippi John", "Blues", "3CD" ]	null	[]	null	Record Shop X: Hurt, Mississippi John: The Complete Studio Recordings: 3CD	en	https://www.recordshopx.com/favicon.ico		null	The truth is that also us, Record Shop X, need so called "cookies" so that we can offer you the best experience when you browse our webstore. By accepting these digital cookies we can suggest and market exactly the kind of records and artists You are interested in. So this is not a hoax, no games, no scam or anything like that and our webstore works properly even if you choose not to accept the cookies. But if you are interested in our best possible service, just accept them all. You can always change the cookie settings here if you like. Laters, all the best and have a good one. Always.
4189	dbpedia	0	97	https://wbssmedia.com/artists/detail/270	en	Mississippi John Hurt	https://wbssmedia.com/de…ages/favicon.png	https://wbssmedia.com/de…ages/favicon.png	[ "https://wbssmedia.com/assets/images/site-structure/WBSS_Mediaonclearblue-logo.png", "https://wbssmedia.com/assets/images/site-structure/WBSS_Mediaonclearblue-logo.png", "https://wbssmedia.com/artist_images/full_thumb/844286633MississippiJohnHurtB1.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	/dev/assets/images/favicon.png		null	John Smith Hurt (possibly March 3, 1892 – November 2, 1966), better known as Mississippi John Hurt, was an American country blues singer and guitarist. Raised in Avalon, Mississippi, Hurt taught himself to play the guitar around the age of nine. He worked as a sharecropper and began playing at dances and parties, singing to a melodious fingerpicked accompaniment. His first recordings, made for Okeh Records in 1928, were commercial failures, and he continued to work as a farmer. Dick Spottswood and Tom Hoskins, a blues enthusiast, located Hurt in 1963 and persuaded him to move to Washington, D.C. He was recorded by the Library of Congress in 1964. This helped further the American folk music revival, which led to the rediscovery of many other bluesmen of Hurt's era. Hurt performed on the university and coffeehouse concert circuit with other Delta blues musicians who were brought out of retirement. He also recorded several albums for Vanguard Records. Hurt returned to Mississippi, where he died, in Grenada, a year later. Material recorded by him has been re-released by many record labels. His songs have been recorded by Bob Dylan, Dave Van Ronk, Jerry Garcia, Beck, Doc Watson, John McCutcheon, Taj Mahal, Bruce Cockburn, David Johansen, Bill Morrissey, Gillian Welch, Josh Ritter, Guthrie Thomas, Parsonsfield, and Rory Block. Biography Early years Hurt was born in Teoc, Carroll County, Mississippi, and raised in Avalon, Mississippi. He taught himself to play guitar at the age of nine, stealthily playing the guitar of a friend of his mother's, who often stayed at the Hurt home while courting a woman who lived nearby. As a youth he played old-time music for friends and at dances. He worked as a farmhand and sharecropper into the 1920s. His fast, highly syncopated style of playing was meant for dancing. On occasion, a medicine show would come through the area. Hurt recalled that one wanted to hire him: "One of them wanted me, but I said no because I just never wanted to get away from home." In 1923 he played with the fiddle player Willie Narmour as a substitute for Narmour's regular partner, Shell Smith. First recordings When Narmour got a chance to record for Okeh Records as a prize for winning first place in a 1928 fiddle contest, he recommended Hurt to Okeh producer Tommy Rockwell. After auditioning "Monday Morning Blues" at his home, Hurt took part in two recording sessions, in Memphis and New York City (see Discography below). While in Memphis, he recalled seeing "many, many blues singers ... Lonnie Johnson, Blind Lemon Jefferson, Bessie Smith, and lots, lots more." Hurt described his first recording session as follows: ... a great big hall with only the three of us in it: me, the man [Rockwell], and the engineer. It was really something. I sat on a chair, and they pushed the microphone right up to my mouth and told me that I couldn't move after they had found the right position. I had to keep my head absolutely still. Oh, I was nervous, and my neck was sore for days after. Hurt attempted further negotiations with Okeh to record again, but his records were commercial failures. Okeh went out of business during the Great Depression, and Hurt returned to Avalon and obscurity, working as a sharecropper and playing at local parties and dances. Rediscovery and death Hurt's renditions of "Frankie" and "Spike Driver Blues" were included in The Anthology of American Folk Music in 1952 which generated considerable interest in locating him. When a copy of “Avalon Blues” was discovered in 1963, it led musicologist Dick Spottswood to locate Avalon in an atlas, and ask Tom Hoskins, who was traveling that way, to enquire after Hurt. When Hoskins arrived in Avalon the first person he asked directed him to Hurt’s cabin. Avalon, my home town, always on my mind / Avalon, my home town. Hoskins persuaded an apprehensive Hurt to perform several songs for him, to ensure that he was genuine. Hoskins was convinced and, seeing that Hurt's guitar playing skills were still intact, encouraged him to move to Washington, D.C., and perform for a broader audience. His performance at the 1963 Newport Folk Festival caused his star to rise in the folk revival occurring at that time. He performed extensively at colleges, concert halls, and coffeehouses and appeared on The Tonight Show Starring Johnny Carson. He also recorded three albums for Vanguard Records. Much of his repertoire was also recorded for the Library of Congress. His fans particularly liked the ragtime songs "Salty Dog" and "Candy Man" and the blues ballads "Spike Driver Blues" (a variant of "John Henry") and "Frankie". Hurt's influence spanned several music genres, including blues, spirituals, country, bluegrass, folk, and contemporary rock and roll. A soft-spoken man, his nature was reflected in the work, which consisted of a mellow mix of country, blues, and old-time music. Hurt died on November 2, 1966, of a heart attack, in hospital at Grenada, Mississippi. Style Hurt used a fast, syncopated fingerpicking style of guitar playing that he taught himself. He was influenced by few other musicians, among whom was an elderly, unrecorded blues singer from the area where he lived, Rufus Hanks, who played twelve-string guitar and harmonica. He also recalled listening to the country singer Jimmie Rodgers. On occasion, Hurt would use an open tuning and a slide, as he did in his arrangement of "The Ballad of Casey Jones". According to the music critic Robert Christgau, "the school of John Fahey proceeded from his finger-picking, and while he's not the only quietly conversational singer in the modern folk tradition, no one else has talked the blues with such delicacy or restraint." Tributes There is a memorial to Hurt in Avalon, Mississippi. It is parallel to RR2, the rural road on which he grew up. The American singer-songwriter Tom Paxton, who met Hurt and played on the same bill with him at the Gaslight in Greenwich Village around 1963, wrote and recorded a song about him in 1977, "Did You Hear John Hurt?", which he still frequently plays in live performances. The first track of John Fahey's 1968 solo acoustic guitar album Requia is "Requiem for John Hurt". Fahey's posthumous live album, The Great Santa Barbara Oil Slick, also features a version of the piece, entitled "Requiem for Mississippi John Hurt". The British folk and blues artist Wizz Jones recorded a tribute song, "Mississippi John", for his 1977 album Magical Flight. The Delta blues artist Rory Block recorded the album Avalon: A Tribute to Mississippi John Hurt, released in 2013 as part of her "Mentor Series". The New England singer-songwriter Bill Morrissey released the Grammy-nominated album Songs of Mississippi John Hurt in 1999. In 2017 John Hurt’s life story was told in the award-winning documentary series American Epic. The film featured unseen film footage of Hurt performing and being interviewed, and radically improved restorations of his 1920s recordings. Director Bernard MacMahon stated that Hurt “was the inspiration for American Epic”. Hurt’s life was profiled in the accompanying book, American Epic: The First Time America Heard Itself. To learn more about the artist, please visit
4189	dbpedia	0	42	https://deltadownload.com/f/keeping-john-hurts-music-alive	en	Keeping John Hurt's music alive	https://img1.wsimg.com/i…onal_cropped.jpg	https://img1.wsimg.com/i…onal_cropped.jpg	[ "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/Blog%20logo%20layout.jpg/:/rs=h:75,cg:true,m/qt=q:100/ll", "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/Blog%20logo%20layout.jpg/:/rs=h:75,cg:true,m/qt=q:100/ll", "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/BannerMapwFRame.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=h:1000,cg:true", "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/Robert-Press-1-Photo.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25", "https://isteam.wsimg.com/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/1778-8305-Jerry-Atnip.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25", "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/Tefteller%20Time%20Travel%20Promo6.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:96.17%25/rs=w:1240,h:620,cg:true", "https://isteam.wsimg.com/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/Aug%202006.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/fx-gs", "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/DavidKimbrough1web.jpeg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25", "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/cropped-paramount-walk-of-fame-grafton-wi-angi.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25", "https://img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/2.-MrsA%40RJhome-1-0001.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25", "https://isteam.wsimg.com/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/BudPazur_1967_150dpi.jpg/:/" ]	[]	[]	[ "" ]	null	[ "Delta Download" ]	null	Jim Ohlschmidt was living in Birmingham back in 2004 when he grabbed an atlas, jumped in his Dodge sedan and took off down the road for Avalon, Mississippi.	en	//img1.wsimg.com/isteam/ip/ae41d1af-77ae-4fb2-9b4d-1114ee76a7b3/favicon/692340be-d277-4922-adbb-3219ea07dfe3.jpg/:/rs=w:16,h:16,m	Delta Download	https://deltadownload.com/f/keeping-john-hurts-music-alive	The Kimbrough name is part of a blues dynasty, begun by the legendary Junior Kimbrough. His youngest son, Robert Kimbrough Sr. is driven to carry on his late father's hypnotic, polyrhythmic Cotton Patch Soul Blues—considered almost a genre unto itself. Here Robert reflects on losses and gains in his life and career. He's been capturing Mississippi blues culture with his camera lens for nearly three decades. Bill Steber's images are evocative, provocative and memorable. They're also recognized worldwide. Here the acclaimed photographer, musician and artist takes on issues of race, culture, access and avocation. "T-Model says, 'I ain't done' and pulls out this switchblade. Lightnin Malcolm told him to put that up, and Cedric Burnside knocked the blade out of his hand with drumsticks," recalls Sam Brand as he laughs about the craziness of that day. Today, 56 years after his birth and 18 months after his passing, David Kimbrough Jr. 3rd, remains a musical force. "He was a blues Shaman in a sweat lodge, guiding the spirits. He had the ability to transport a roomful of people like few others," said friend Bill Steber after David's death in July 2019. Angie Mack Reilly lives on the Mississippi Blues Trail—in Grafton, Wisconsin...home to legendary Paramount Records. She's the closest thing Grafton has to a local blues historian, says American music journalist Amanda Petrusich. Angie has worked tirelessly since 2002 to preserve and commemorate Grafton's music legacy. The great Delta bluesman Robert Johnson died on August 16, 1938. "Brother Robert: Growing Up With Robert Johnson" was released in 2020 by his "baby sis" with details of his life never before reported. Here we interview Elijah Wald, the Grammy award winner who wrote the foreword for this lauded book. A promotional poster of an old Delta bluesman with a National steel guitar in his lap grabbed his attention. Seeing Son House live on campus at Penn State in 1967 changed his life.
4189	dbpedia	0	15	https://www.amazon.com/Live-MISSISSIPPI-JOHN-HURT/dp/B0000658WH	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/dgbcpgrn/Captcha_ynmfdlrxim.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=HRSD3Z4AZJ38B23W559C&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
4189	dbpedia	1	59	https://www.mississippijohnhurtfoundation.org/2014vid.html	en	The Mississippi John Hurt Foundation Tribute	https://www.mississippij…018135012new.png	https://www.mississippij…018135012new.png	[ "https://www.mississippijohnhurtfoundation.org/wp-content/uploads/2018/08/logo8212018135012new.png" ]	[]	[]	[ "" ]	null	[]	null	78-rpm releases "Frankie" / "Nobody's Dirty Business" (Okeh Records, OKeh 8560), 1928 "Stack O' Lee" / "Candy Man Blues" (Okeh Records, OKeh 8654), 1928 "Blessed Be the Name" / "Praying on the Old Camp Ground" (Okeh Records, OKeh 8666), 1928 "Blue Harvest Blues" / "Spike Driver Blues" (Okeh Records, OKeh…	en	/wp-content/uploads/2018/08/logo8212018135012new.png	The Mississippi John Hurt Foundation Tribute	https://www.mississippijohnhurtfoundation.org/2014vid.html	78-rpm releases “Frankie” / “Nobody’s Dirty Business” (Okeh Records, OKeh 8560), 1928 “Stack O’ Lee” / “Candy Man Blues” (Okeh Records, OKeh 8654), 1928 “Blessed Be the Name” / “Praying on the Old Camp Ground” (Okeh Records, OKeh 8666), 1928 “Blue Harvest Blues” / “Spike Driver Blues” (Okeh Records, OKeh 8692), 1928 “Louis Collins” / “Got the Blues (Can’t Be Satisfied)” (Okeh Records, OKeh 8724), 1928 “Ain’t No Tellin'” / “Avalon Blues” (Okeh Records, OKeh 8759), 1928 Albums
4189	dbpedia	1	52	https://www.facebook.com/groups/197624643745929/posts/mississippi-john-hurt-was-born-131-years-ago-today-in-1893-731893john-smith-hurt/2826166930891674/	en	Facebook			[]	[]	[]	[ "" ]	null	[]	null		de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		null
4189	dbpedia	1	6	https://acerecords.co.uk/the-complete-studio-recordings	en	The Complete Studio Recordings	https://www.acerecords.c…1a_1200_1200.jpg	https://www.acerecords.c…1a_1200_1200.jpg	[ "https://acerecords.co.uk/cache/images/3VCD-181_500_500.jpg", "https://acerecords.co.uk/cache/images/3VCD-181a_500_500.jpg", "https://acerecords.co.uk/cache/images/3VCD-181_154_154.jpg", "https://acerecords.co.uk/cache/images/3VCD-181a_154_154.jpg", "https://acerecords.co.uk/layout/img-new/fb-share@2x.png", "https://acerecords.co.uk/layout/img-new/twitter-share@2x.png", "https://acerecords.co.uk/layout/img-new/pinterest-share@2x.png", "https://acerecords.co.uk/cache/images/mississippi-john-hur_205_205.jpg", "https://acerecords.co.uk/cache/images/VCD-19_1_205_205.jpg", "https://acerecords.co.uk/cache/images/VMD-79248_205_205.jpg", "https://acerecords.co.uk/cache/images/VCD-79519_205_205.jpg", "https://acerecords.co.uk/cache/images/VMD-79220_205_205.jpg", "https://acerecords.co.uk/cache/images/VCD-79702_205_205.jpg", "https://acerecords.co.uk/cache/images/CDTAK-7059_205_205.jpg", "https://acerecords.co.uk/cache/images/RoyHawkinsTheThrillI_1_205_205.jpg", "https://acerecords.co.uk/cache/images/CDCHD-710_205_205.jpg", "https://acerecords.co.uk/cache/images/Willie Headen Blame It On The Blues-DVACHD-1118_205_205.jpg", "https://acerecords.co.uk/cache/images/VMD-8005_205_205.jpg", "https://acerecords.co.uk/cache/images/CharlieMusselwhiteTh_205_205.jpg", "https://acerecords.co.uk/cache/images/PeeWeeCraytonThingsI_205_205.jpg", "https://acerecords.co.uk/cache/images/The Flash Records Story-DVTOP2-1309_205_205.jpg", "https://acerecords.co.uk/cache/images/john-lee-hooker-folk_205_205.jpg", "https://acerecords.co.uk/layout/img/template/payment-types.gif", "https://acerecords.co.uk/layout/img-new/worldpay.png" ]	[]	[]	[ "Mississippi John Hurt", "Blues", "Vanguard" ]	null	[ "Ace Records" ]	null	The Complete Studio Recordings by Mississippi John Hurt on Vanguard			Ace Records	null	There are no second acts in American lives, F. Scott Fitzgerald wrote in his notebook, and his comment says much about a popular culture sustained by personalities of fleeting fame. So do the exceptions to the rule. It's doubtful that the jazz-age author of The Great Gatsby, published in 1925, ever heard the folk blues that John Hurt of Carroll County, Mississippi recorded in 1928. Few did. Hurt, who never thought of himself as a professional musician anyway, slipped back into anonymity. But Hurt had a favourite saying of his own - Don't die 'til your dead. John Smith Hurt's second act, highlighted by the three studio albums collected here, was as unexpected as it was unlikely - and began in 1963 with the song: Avalon Blues and a pair of young white blues musicians from Washingston, D.C. Tom Hoskins and Mike Stewart. The two musicians came across the recording Avalon Blues on a tape of unreleased Hurt recordings. One line in particular caught their ear: Avalon's my home town, always on my mind. Was it possible that John Hurt still lived in Avalon? The gumshoe guitar pickers checked a contemporary map but could find no such town. But then, in an atlas published in 1878, they discovered that Avalon was a speck of a community on a secondary road between Greenwood and Grenada, Mississippi. Hoskins packed up his car and headed for the Delta. Two days later, he pulled up to Stinson's, a combination general store, gas station, and post office that constituted downtown Avalon, and asked if anybody knew the whereabouts of a blues singer named John Hurt. To his surprise, he was told to go 'bout a mile down that road, third mail box up the hill. Can't miss it. Hurt was hesitant when an unknown white man parked his car in front of his three-room house, and later told an interviewer that he thought it was the police or the FBI or something like that. Hurt, who no longer owned a guitar was still suspicious when Hoskins offered up his own instrument to see if the old master could still play. Hurt eventually agreed to follow the young man back to Washington D.C. Since Hurt thought he had no choice, he'd decided to go voluntarily. And so it was that the lost legend slipped through the looking glass into a whole new world. The transition from tending livestock to minding a musical career had to be difficult, but as a black man scratching out a living in a white man's world, Hurt already knew what it was to be an outsider. The only difference was that the white people he worked for now didn't own farmland or cattle, but coffee-houses and record companies. He found a friend and confidant in Patrick Sky, a folk singer who recorded for Vanguard but who, more importantly, was born and raised in the South, and knew a thing or two about culture shock. Hurt was signed to Vanguard Records and invited Sky to come to his first recording session. At the label's studio, located in the bohemian Chelsea Hotel, John sat alone in a big room adjoining a sound booth crowded with onlookers, including Vanguard's co-founder, Maynard Solomon. Hurt tried some songs, but nobody was happy with the results. I walked over to Maynard Solomon, recalls Sky, and asked him, 'Do you want to get a good record out of John Hurt? Make me the producer.' So the first thing I did as producer was to say, 'Now that I'm the producer, everybody get the fuck out.' From then on, it was just me, John and the recording engineer. Then I went out, got a fifth of Jack Daniel's, poured John a drink and we smoked some cigarettes. It all came out pretty easily after that. The performances captured on those three days inevitably recall those of 1928, and while there's nothing quite like the vintage vigour of those original recordings, these later works carry another 38 years of playing the guitar. Close your eyes while listening to these intimate recordings and you could be at a house party in Avalon, or a coffee-house in the village. Hurt died in his sleep on 2 November 1966, and is buried a couple of miles outside Avalon. But he continues to live in the fingers of countless guitar players. By John Milward We offer free P&P to UK addresses. For all other territories packaging is free and postage is charged on a weight basis. We use Royal Mail First Class for UK deliveries and standard Air Mail for all other territories, very large orders will usually be sent via parcelforce. You may cancel your order at any time prior to your order being dispatched by emailing us at orders@acerecords.com ensuring that you quote your name, address and order reference number or by telephoning +44 (0) 208 453 1311 between 9am and 5pm GMT/BST, Monday to Friday. Please note: As music downloads are dispatched immediately after purchase, there is no possibility of cancelling these orders. In the event that any products supplied to you by us are damaged or defective, we agree to replace or repair the damaged or defective products or refund the amount you paid for such goods (including postage & packaging) providing you notify us (either via post at or e-mail: orders@acerecords.com ) and return the goods within 28 days of purchase. Physical goods should be sent back to us in the same condition you received them to: “Returns” Ace Records, Such Close, Letchworth Garden City SG6 1JF, United Kingdom. Music downloads should be returned to us via the e-mail address above including a copy of your notification. You have the right to cancel your order within seven days of purchase, or seven days of receipt of the goods (whichever is the longer). If you choose to cancel your order, full payment will be returned to you. Returned items should be sent to: “Returns” c/o Ace Records, Such Close, Letchworth Garden City SG6 1JF, United Kingdom. Music downloads should be returned to us via the email address: orders@acerecords.com including a copy of your notice of cancellation and order number.
4189	dbpedia	1	44	https://www.popmatters.com/various-avalonblues-2496121993.html	en	Various Artists: Avalon Blues: A Tribute to the Music of Mississippi John Hurt	https://www.popmatters.c…05C61-32x32.jpeg	https://www.popmatters.c…05C61-32x32.jpeg	[ "https://www.popmatters.com/wp-content/uploads/2021/02/cropped-logo.png", "https://www.popmatters.com/wp-content/uploads/2021/02/cropped-logo.png", "https://www.popmatters.com/wp-content/uploads/2021/01/img-95419.jpg", "https://www.popmatters.com/wp-content/uploads/2021/01/img-95419.jpg", "https://www.popmatters.com/wp-content/uploads/2024/08/Oasis-by-Kevin-Cummins-720x380.jpg", "https://www.popmatters.com/wp-content/uploads/2024/08/Oasis-by-Kevin-Cummins-720x380.jpg", "https://www.popmatters.com/wp-content/uploads/2024/08/Osheaga-Festival-2024-by-Stacey-Begrand-1-720x380.jpg", "https://www.popmatters.com/wp-content/uploads/2024/08/Osheaga-Festival-2024-by-Stacey-Begrand-1-720x380.jpg", "https://www.popmatters.com/wp-content/uploads/2021/02/img-558.jpg", "https://www.popmatters.com/wp-content/uploads/2021/02/img-558.jpg", "https://www.popmatters.com/wp-content/uploads/2024/08/For-Your-Own-Special-Sweetheart-720x380.jpg", "https://www.popmatters.com/wp-content/uploads/2024/08/For-Your-Own-Special-Sweetheart-720x380.jpg", "https://www.popmatters.com/wp-content/uploads/2024/08/deadwood-david-milch-fi-720x380.jpg", "https://www.popmatters.com/wp-content/uploads/2024/08/deadwood-david-milch-fi-720x380.jpg", "https://www.popmatters.com/wp-content/uploads/2024/04/all-things-reconsidered-call-music-may-2024-720x380.jpg", "https://www.popmatters.com/wp-content/uploads/2024/04/all-things-reconsidered-call-music-may-2024-720x380.jpg", "https://www.popmatters.com/wp-content/uploads/2022/04/AdobeStock_219599883-1-720x380.jpg", "https://www.popmatters.com/wp-content/uploads/2022/04/AdobeStock_219599883-1-720x380.jpg", "https://www.popmatters.com/wp-content/uploads/2024/01/all-things-reconsidered-call-film-winter-2023-720x380.jpg", "https://www.popmatters.com/wp-content/uploads/2024/01/all-things-reconsidered-call-film-winter-2023-720x380.jpg", "https://www.popmatters.com/wp-content/uploads/2022/09/wilhelm-gunkel-Bbi7f45FBxc-unsplash-720x380.jpeg", "https://www.popmatters.com/wp-content/uploads/2022/09/wilhelm-gunkel-Bbi7f45FBxc-unsplash-720x380.jpeg", "https://www.popmatters.com/wp-content/uploads/2021/07/AFC93FCB-109D-438E-8023-0BECC8309AB5-720x380.jpeg", "https://www.popmatters.com/wp-content/uploads/2021/07/AFC93FCB-109D-438E-8023-0BECC8309AB5-720x380.jpeg" ]	[]	[]	[ "" ]	null	[ "Patrick Gill", "Adrien Begrand", "Brice Ezell", "Brian Stout", "Daniel Vollaro", "Sarah Zupko Kondeusz", "Karen Zarker", "PopMatters Staff" ]	null	Tribute records trade on our respect for the artists they supposedly pay tribute to, and bet that we'll pay good money for an album of lame covers recorded...	en	https://www.popmatters.c…05C61-32x32.jpeg	PopMatters	https://www.popmatters.com/various-avalonblues-2496121993.html	Tribute records trade on our respect for the artists they supposedly pay tribute to, and bet that we’ll pay good money for an album of lame covers recorded for next to nothing by crappy bands, simply because they are lame covers of an artist we love. If the tribute artist happens to be some undervalued saint like Gram Parsons or Nick Drake, so much the better. Just the fact that someone is finally recognizing the genius of Obscuro Mac-Cult-Hero (whose lack of recognition we take personally as the image of our own unrecognized genius) makes the tribute album a tribute to us, to our good taste, to everything we shoulda-coulda-been. The real tribute does not happen on the albums themselves (which should mostly be re-titled “An Insult to . . .”) but across the counter in the form of the money we pay for these redundant pieces of crap. Avalon Blues: A Tribute To The Music of Mississippi John Hurt mixes artists from the old-fart alt-country and old fart never-sold-any-records-so-must-have-integrity scenes (Steve Earle, John Hiatt) with some semi-cool young bucks like Ben Harper and Alvin Youngblood Hart. The idea is apparently to broaden Mississippi John Hurt’s appeal to hip MOR and college rock consumers. This is not a bad idea in principle, and this review is not the tirade of a purist who wants to keep the real folk blues sealed in sanctified obscurity. I wish Mississippi John Hurt, Willie McTell, Charlie Patton, and Willie Johnson were the foundations of everyone’s CD collection, as they are certainly the foundations of American music. But Mississippi John Hurt doesn’t need Beck to make him hip, and the versions on this album will persuade no one to listen to Mississippi John Hurt, because they are mostly so deeply and dully inferior to the originals. The main problem is that the artists featured here, although not crappy, do not have the class to play on a tribute album to an artist like Mississippi John Hurt. To be a genuine tribute to one of the fathers of American music, Vanguard should have chosen only major A-list successors like Johnny Cash, Neil Young, Al Green, Van Morrison, Bob Dylan, etc. With the exception of Beck, however, the artists on Avalon Blues are C list or worse, and for the most part they are completely out of their depth. Featuring Ben Harper, for example, on A Tribute to Mississippi John Hurt, is like featuring Kenny G on A Tribute to John Coltrane. Mississippi John Hurt’s music is bare essence. His playing and singing are as smoothly blended, glittering and ungraspable as light sparkling in a river. Nothing is missing from his music and there is nothing to add to it. The most successful versions on this tribute album are those that approach the material in this spirit, humbly, and without any decorative or interpretive agendas. John Hiatt’s version of “I’m Satisfied”, Lucinda Williams’s take on “The Angels Laid Him Away”, and Beck’s “Staggolee” all work because the artists have the good sense to just play the songs to the best of their ability. Unfortunately most of the artists here feel the need to try and improve upon the original material. To the extent that they do so, their own artistic weaknesses are cruelly revealed. Taj Mahal decides to throw some Hawaiian guitar on his version of “Creole Belle”, perhaps to evoke the stale World Music bandwagon he has been riding for the last 20 years. Taj once had his picture taken with Mississippi John Hurt, so perhaps that’s when he found out about Hurt’s secret Hawaiian connections. But why not get really creative and inter-ethnic and throw in some bagpipes and a didjeridu? Steve and Justin Earle’s leering version of “Candy Man” is even more embarrassing. White people can’t seem to handle the sexuality in black music. They either want to censor it or they get all overexcited by it. Steve Earle takes the nudge-nudge, wink-wink, approach and the song ends up sounding very dirty raincoat-ish. Not only that, but he tries to improve on Mississippi John Hurt’s lyrics (Steve is a songwriter after all). He contributes a verse about the Candy Man having a “nine-inch candy stick”. I guess what makes those ended-up-in-Nashville-because-everybody-here’s -so-fat-and-boring-that-they-make-a-dullard- like-me-look-cutting-edge type alt-country singers so alternative is that they have these deep cross-cultural insights like “black guys have big dicks”. Then there’s Geoff Muldaur and his wives or sisters or daughters or some women called Muldaur, singing “Chicken”. Geoff & Co. get some points for good taste, because this spelling song is a cool piece, but then they decide to add some “down home” style country fiddle. Mississippi John Hurt needs to have the rural vibe of his music emphasized like James Brown’s music needs to be arranged by white people to make it more funky. Geoff also makes the song twice as long, like it was too short in the first place.
4189	dbpedia	0	73	https://www.thevinyldistrict.com/storefront/2022/05/graded-curve-v-story-vanguard/	en	Graded on a Curve: V/A, The Story of Vanguard	https://www.thevinyldist…-of-Vanguard.png	https://www.thevinyldist…-of-Vanguard.png	[ "https://www.thevinyldistrict.com/wp-content/uploads/2022/11/tower_tvd.jpg", "https://www.thevinyldistrict.com/wp-content/uploads/2015/10/tvd_header_icons.jpg", "https://i0.wp.com/www.thevinyldistrict.com/wp-content/uploads/2022/05/The-Story-of-Vanguard.png?resize=425%2C389&ssl=1", "https://www.thevinyldistrict.com/wp-content/uploads/2023/07/tvd_appad_2023-1.png", "https://www.thevinyldistrict.com/wp-content/uploads/2024/04/RSCWeb_Vertical.png", "https://www.thevinyldistrict.com/wp-content/uploads/2024/06/2024_06_17_MV_webbanner_150x700px.png", "https://www.thevinyldistrict.com/wp-content/uploads/2024/03/black-and-wyatt-banner_A.jpg", "https://www.thevinyldistrict.com/wp-content/uploads/2023/10/va.png", 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"https://www.thevinyldistrict.com/wp-content/uploads/2013/07/7_grimeys.gif", "https://www.thevinyldistrict.com/wp-content/uploads/2011/04/PREX_Banner_150x550.gif", "https://www.thevinyldistrict.com/wp-content/uploads/2015/01/TRSad1.jpg", "https://www.thevinyldistrict.com/wp-content/uploads/2013/07/14_jackpot.gif", "https://www.thevinyldistrict.com/wp-content/uploads/2010/12/6_crookedbeat2.gif", "https://www.thevinyldistrict.com/wp-content/uploads/2011/04/redo.gif", "https://www.thevinyldistrict.com/wp-content/uploads/2012/08/davesrecords.gif", "https://www.thevinyldistrict.com/wp-content/uploads/2011/04/holdfast_tvdad.gif", "https://www.thevinyldistrict.com/wp-content/uploads/2013/07/13_bullcity.gif", "https://www.thevinyldistrict.com/wp-content/uploads/2012/10/repo_recs_ad.gif", "https://www.thevinyldistrict.com/wp-content/uploads/2011/12/twist_ad.png", "https://www.thevinyldistrict.com/wp-content/uploads/2012/01/horizon-vd-fin.gif", "https://www.thevinyldistrict.com/wp-content/uploads/2012/03/VinylDisAd.gif", "https://www.thevinyldistrict.com/wp-content/uploads/2011/01/sonicboomrecordstoredayad1.gif", "https://i2.wp.com/www.thevinyldistrict.com/wp-content/uploads/2022/02/tvd_mompop_copyright2022-1.jpeg?fit=1500%2C300&ssl=1", "http://pixel.quantserve.com/pixel/p-cci_XOvXU3hMU.gif" ]	[]	[]	[ "" ]	null	[]	2022-05-18T16:20:57+00:00	There was a time in popular recorded music history when certain record labels had a clear artistic vision or were a home for true artists. These labels—Blue Note, Sun Records, Atlantic Records, Motown, and Stax to name five—became the home of some of the most groundbreaking talents of the post-war era, primarily in the ‘50s and ‘60s. Later, labels like	en		The Vinyl District	https://www.thevinyldistrict.com/storefront/2022/05/graded-curve-v-story-vanguard/	There was a time in popular recorded music history when certain record labels had a clear artistic vision or were a home for true artists. These labels—Blue Note, Sun Records, Atlantic Records, Motown, and Stax to name five—became the home of some of the most groundbreaking talents of the post-war era, primarily in the ‘50s and ‘60s. Later, labels like Reprise, Warner Bros., A&M and others became a place where musicians could begin their careers and slowly develop, eventually becoming the blockbuster artists of the vinyl album heyday of the 1970s. There are certainly many others worthy of mention here. One of the keys to the success of these labels was the men and women that ran them or, in some cases, also owned them. Elektra Records, founded by Jac Holzman, must be mentioned. The label began primarily as a folk label, was significant in the development of world music through its Nonsuch imprint, and then became a defining label of ’70s popular album music. Independent Jazz, R&B, and folk labels in their heyday often released albums that transcended music and became culturally significant in the development of the rapid social and political changes of the ‘50s and ‘60s. Along with Elektra, Smithsonian Folkways was a major label releasing folk music. A label that has been one of the most important and longest-lasting folk and roots music labels is Vanguard Records. Any record collection that includes a healthy amount of seminal folk music would include plenty of releases from Vanguard. Begun in 1950 by brothers Maynard and Seymour Solomon in New York, early on the label was the home of Eric Anderson, Ramblin’ Jack Elliott, Richard and Mimi Farina, Cisco Houston, Ian & Sylvia, Phil Ochs, Paul Robeson, and Tom Paxton, among many other artists. Vanguard also released classical music, blues, country, and music from such undefinable artists as Sandy Bull, John Fahey, and Bert Jansch. Even as folk music waned in popularity in the mid-’60s, the label still released albums that redefined popular music from such artists as Country Joe and the Fish, Jim Kweskin, Patrick Sky, and Jerry Jeff Walker. The label had a strong reissue program even before CDs were introduced in the early 1980s, but now it has released perhaps the best reissue in its long-storied career: The Story of Vanguard, A Vinyl Me Please Anthology. The box contains six vinyl albums that were defining releases from the label, and although all are rooted in folk, they cover a wide array of styles. The six albums are The Weavers at Carnegie Hall (1957), My Eyes Have Seen (1958) by Odetta, the self-titled debut album from Joan Baez (1960), It’s My Way! (1964) by Buffy Sainte-Marie, the self-titled debut album from Doc Watson (1964), and Today! (1966) from Skip James. This box set is limited to 1000 copies—all the albums are pressed on six different colored 180-gram vinyl and cut from the mono masters by Ryan Smith at Sterling Sound. All of the albums here through the Joan Baez LP were originally available only in mono. The album covers, period labels and sleeves are faithful and beautiful reproductions of the originals with premium jacket materials, with the entire package in a slip-case box. There is also a 36-page booklet. The Buffy Sainte-Marie release is her debut album and lyrically touches on issues that reflect injustices that have again reared their ugly heads since 2016. It is her version of “Universal Soldier” that inspired the popular Donovan version that he recorded the year after this album was released. The Odetta album is her Vanguard debut, features all traditional songs, and is supported musically on bass by Bill Lee, Spike Lee’s father. It came out after she released two albums on Tradition and her first album, a live recording of her and Larry Mohr, of performances primarily at the Tin Angel in San Francisco. Long after her heyday, Odetta would continue to have a major influence for decades on artists as diverse as Joan Armatrading and Tracy Chapman, to name just two. The Weavers live album was the group’s comeback album. Reflecting the wide musical net cast by the group the record is comprised of 20 performances that mix traditional songs, songs from members of the group, two popular Leadbelly compositions—“Rock Island Line” and “Goodnight Irene”—a Woody Guthrie song and a Merle Travis composition. The group had disbanded in 1952 (it formed in 1948) after being blacklisted during the McCarthy era, an example of how intertwined this music was with the political and social fabric of the times. Pete Seeger, the most well-known member of the group, had also been a part of the Almanac Singers with fellow Weaver Lee Hayes. Joan Baez continues until today and she is the only artist here of the six who was at Woodstock. The other artist from the Vanguard label who performed at Woodstock was Country Joe and the Fish. Fred Hellerman, from the Weavers is on Baez’s album. Her album is comprised mostly of interpretations of traditional songs, such as the traditional roots workhorse songs “Silver Dagger,” “House of the Rising Sun,” and “Wildwood Flower.” The Skip James album is significant as it came long at the moment when there was a major blues revival. This revival had a strong impact on the British blues scene of the time, influencing first Blues Incorporated, Alexis Korner, Cyril Davies, Graham Bond, and John Mayall and then The Rolling Stones, The Yardbirds, Fleetwood Mac, Bluesology and many others. Vanguard also released blues albums by Mississippi John Hurt, Sonny Terry, and Brownie McGhee and many others. The Skip James song “I’m So Glad” was covered by Cream on the group’s debut album Fresh Cream in 1966 and on the live Goodbye Cream album in 1968 and was a staple of their live shows. Doc Watson, who would go on to perform extensively with his son Merle, was a major force in the ‘60s folk revival of authentic indigenous American roots music. His album here and the Skip James album place the emphasis more on musical proficiency and dexterity than commenting on social issues. The significance of this music cannot be overstated. Given the precarious political state the United States is in at this time, the message of some of this music is unfortunately more relevant than ever. Hopefully, this is not a one-off box set reissue. The Vanguard tape vaults are overflowing with albums that deserve this sort of premium treatment. Here is a possible selection of six albums that might make a great volume two: ‘Bout Changes ‘n’ Things by Eric Anderson, E Pluribus Unum by Sandy Bull, Electric Music for the Mind and Body by Country Joe & the Fish, Circus Maximus, featuring Jerry Jeff Walker, John Hammond’s self-titled debut album, and Celebrations for a Grey Day Richard & Mimi Fariña.
4189	dbpedia	3	4	https://acerecords.co.uk/today	en	Mississippi John Hurt	https://www.acerecords.c…20_1200_1200.jpg	https://www.acerecords.c…20_1200_1200.jpg	[ "https://acerecords.co.uk/cache/images/VMD-79220_500_500.jpg", "https://acerecords.co.uk/cache/images/VMD-79220_154_154.jpg", "https://acerecords.co.uk/layout/img-new/fb-share@2x.png", "https://acerecords.co.uk/layout/img-new/twitter-share@2x.png", "https://acerecords.co.uk/layout/img-new/pinterest-share@2x.png", "https://acerecords.co.uk/cache/images/VMD-79327_205_205.jpg", "https://acerecords.co.uk/cache/images/VCD-19_1_205_205.jpg", "https://acerecords.co.uk/cache/images/VMD-79248_205_205.jpg", "https://acerecords.co.uk/cache/images/3VCD-181_205_205.jpg", "https://acerecords.co.uk/cache/images/VCD-79519_205_205.jpg", "https://acerecords.co.uk/cache/images/CDTOP2-1309_205_205.jpg", "https://acerecords.co.uk/cache/images/Dana Gillespie I Rest My Case-DVCHD-1279_205_205.jpg", "https://acerecords.co.uk/cache/images/ABOXCD-4_205_205.jpg", "https://acerecords.co.uk/cache/images/CDCHD-993_205_205.jpg", "https://acerecords.co.uk/cache/images/CDSEWM-142_205_205.jpg", "https://acerecords.co.uk/cache/images/CDTOP-1618-NYCBlues_205_205.jpg", "https://acerecords.co.uk/cache/images/CDCHD-1600-Dana-Gill_205_205.jpg", "https://acerecords.co.uk/cache/images/BB King Singin The Blues-DVCHM-1041_205_205.jpg", "https://acerecords.co.uk/cache/images/DVACE-012_205_205.jpg", "https://acerecords.co.uk/cache/images/VCD-79703_205_205.jpg", "https://acerecords.co.uk/layout/img/template/payment-types.gif", "https://acerecords.co.uk/layout/img-new/worldpay.png" ]	[]	[]	[ "Mississippi John Hurt", "Blues", "Vanguard" ]	null	[ "Ace Records" ]	null	Today! by Mississippi John Hurt on Vanguard			Ace Records	null	This album was the first that Mississippi John Hurt recorded for Vanguard Records in the three years before his death from a heart attack in November 1966. It followed two other albums released on Piedmont Records in 1963 and 1964 that immediately followed his re-discovery by musicologist Tom Hoskins the former year. Hoskins had tracked him down to the small town of Avalon, Mississippi and, after assuring himself that he had actually found the right man, he tempted him back to performance and recording. John Hurt had recorded way back in the twenties for Okeh Records in Memphis and New York, but had then dropped out of the musical world, settling for a steady working life on farms in cotton fields and jobs on the river and the railroad. Still working the fields when found by Hoskins, John was a man who was satisfied with his lot, but was eventually persuaded to re-connect with the music industry with appearances at folk clubs, college campuses and even at the well-established Newport Folk Festival. Throughout it all his wife and family remained in Avalon while John's playing and singing were embraced by legions of new fans. Though generally seen as a bluesman, John Hurt's music was in fact much wider than the normal parameters of the genre. His music certainly drew from blues standards, but also included religious songs, jazz influences, children's songs and a gentle mixture of many other strands he had picked up along the way. Vocally he was far from the well established harsh and care-worn delivery favoured by the majority of blues singers, but rather he sang with a quiet and charming delicacy that was not only beguiling but also made him instantly recognisable. His was a charming and warm personality that would immediately engage an audience, one that makes these recordings as accessible now to modern listeners in the twenty-first century as they did back in the 1960s. His “Today!” album contained four tracks which are marked as public domain: ‘Make Me A Pallet On Your Floor’, ‘Corrina, Corrina’, ‘Hot Time In The Old Town Tonight’ and ‘Beulah Land’. These songs were common currency among blues and folk players, but with John's interpretations they became seen by many as his songs, especially the first of the four. The remaining eight songs here are indeed John's own, and provided rich pickings for the many artists who went on to cover his work. Standouts here include ‘Candy Man’, ‘Coffee Blues’ and ‘Spike Driver's Blues’, all of which are songs that continue to provoke interest and covers over the years. The last is a re-working of the John Henry story, and it is thought that ‘Coffee Blues’ provided the Lovin' Spoonful with their group name, while ‘Candy Man’ has seen a rich variety of covers. This album is undoubtedly a historical landmark and as good an introduction to John Hurt's wonderful work as you could wish for. It is available via Ace in this form or in a 3CD set, and some of its tracks can be found on Mississippi John Hurt Rediscovered. However you get it though, you will be richly rewarded. We offer free P&P to UK addresses. For all other territories packaging is free and postage is charged on a weight basis. We use Royal Mail First Class for UK deliveries and standard Air Mail for all other territories, very large orders will usually be sent via parcelforce. You may cancel your order at any time prior to your order being dispatched by emailing us at orders@acerecords.com ensuring that you quote your name, address and order reference number or by telephoning +44 (0) 208 453 1311 between 9am and 5pm GMT/BST, Monday to Friday. Please note: As music downloads are dispatched immediately after purchase, there is no possibility of cancelling these orders. In the event that any products supplied to you by us are damaged or defective, we agree to replace or repair the damaged or defective products or refund the amount you paid for such goods (including postage & packaging) providing you notify us (either via post at or e-mail: orders@acerecords.com ) and return the goods within 28 days of purchase. Physical goods should be sent back to us in the same condition you received them to: “Returns” Ace Records, Such Close, Letchworth Garden City SG6 1JF, United Kingdom. Music downloads should be returned to us via the e-mail address above including a copy of your notification. You have the right to cancel your order within seven days of purchase, or seven days of receipt of the goods (whichever is the longer). If you choose to cancel your order, full payment will be returned to you. Returned items should be sent to: “Returns” c/o Ace Records, Such Close, Letchworth Garden City SG6 1JF, United Kingdom. Music downloads should be returned to us via the email address: orders@acerecords.com including a copy of your notice of cancellation and order number.
4189	dbpedia	1	91	https://orionsbastard.com/2016/01/19/mississippi-john-hurt-pay-day/	en	Mississippi John Hurt – Pay Day	http://img.youtube.com/vi/BVoiHcwp8Bo/0.jpg	http://img.youtube.com/vi/BVoiHcwp8Bo/0.jpg	[ "https://orionsbastard.com/i/rss/red-medium.png", "https://secure.gravatar.com/blavatar/7230b19d5a3e9b9e25d1fdec7ade6d2b7c5b848adec6a4dc09e308366eae275d?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/7230b19d5a3e9b9e25d1fdec7ade6d2b7c5b848adec6a4dc09e308366eae275d?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[ "https://www.youtube.com/embed/BVoiHcwp8Bo?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[]	2016-01-19T00:00:00	https://www.youtube.com/watch?v=BVoiHcwp8Bo In keeping with many masters of delta blues, Mississippi John Hurt did not receive much recognition until later in his life, though he is revered as a master of the style to this day. Pay Day comes off his 1966 Vanguard release Today!, released the same year (1996) as Skip James Today!. Like…	en	https://secure.gravatar.com/blavatar/7230b19d5a3e9b9e25d1fdec7ade6d2b7c5b848adec6a4dc09e308366eae275d?s=32	Orion's Bastard	https://orionsbastard.com/2016/01/19/mississippi-john-hurt-pay-day/	In keeping with many masters of delta blues, Mississippi John Hurt did not receive much recognition until later in his life, though he is revered as a master of the style to this day. Pay Day comes off his 1966 Vanguard release Today!, released the same year (1996) as Skip James Today!. Like Skip James, Mississippi John Hurt was a self-taught fingerpicker from (you guessed it) Mississippi whose recordings for Okeh records in 1928 met with little success. His music career seemingly over before it started, he spent the next forty years sharecropping and playing local shows and bars and dance halls. Inclusion on the Smithsonian’s Anthology of American Folk Music revived interest in his work and the man himself, who was located in part because one of his few early singles contained lyrics suggesting his hometown was Avalon, MS. Riding a renewed wave of interest in American roots music throughout the 1960s, Hurt recorded a number of albums first for the Smithsonian and then for Vanguard, Piedmont, and Gryphon. John Fahey memorialized him in the first track from his Requia release, Requiem for John Hurt, which was released following Hurt’s death in 1966. You can see Hurt perform Lonesome Valley here on an episode from Pete Seeger’s Rainbow Quest, a short lived television show hosted by Seeger devoted to folk music. For more info on Hurt’s life and music career, check out this website run by his nephew.
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His three 1960's studio albums in their entirity. The sound is superb! Hurt is an important part of American music histo…	en	https://www.bear-family.…tile-310x310.png	Bear Family Records	https://www.bear-family.com/hurt-mississippi-john-the-complete-vanguard-recordings-3-cd.html	Mississippi John Hurt Mississippi John Hurt, (born July 3, 1893, Teoc, Miss.; died November 2, 1966, Grenada, Miss.) Mississippi John Hurt was a songster whose repertoire included a caressing, gentle version of the blues, handed-down folk songs, light rags, and ballads. Apart from a brief recording career in the late 1920s, Hurt lived nearly all of his life in obscurity until being rediscovered by folk fan Tom Hoskins in 1963. During the three years before his death in 1966, Hurt performed his soft-spoken, finger-picked blues and folk tunes at college coffeehouses and numerous festivals, in-cluding the Newport Folk Festival (1963 to 1965). A favorite with the early-'60s folk crowd, who were touched by his untroubled voice and equally tranquil guitar picking, Hurt also appeared on national television, performed in the blues docu-mentary This Hour Has Seven Days, and recorded three albums for Vanguard Records. Hurt was raised in Mississippi, where he taught himself how to play guitar. He worked as a farmhand and often performed at local dances and socials. Hurt was discovered by an Okeh Records talent scout in 1928 and sent to Memphis and New York where he recorded thirteen sides, only seven of which were ever released. Hurt returned to Mississippi where he continued to do farm work and occasional performances in the Avalon area until age seventy-one, when Hoskins found him. Hurt was a major influence on the many folk artists who came of age in the early 1960s. Everyone from Bob Dylan down has paid tribute to Hurt's inventive finger-picking technique and his humble brand of blues.
4189	dbpedia	0	53	https://www.sunsetblvdrecords.com/blog/2021/6/7/mississippi-john-hurt-mr-hurt-goes-to-washington-liner-notes	en	Mr. Hurt Goes To Washington — Sunset Boulevard Records	http://static1.squarespace.com/static/5b44fb49b27e39edb872d0f3/t/5b451eb103ce64cf6ce852eb/1531256498378/SunsetBlvd_logo1.png?format=1500w	http://static1.squarespace.com/static/5b44fb49b27e39edb872d0f3/t/5b451eb103ce64cf6ce852eb/1531256498378/SunsetBlvd_logo1.png?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/5b44fb49b27e39edb872d0f3/1531256524373-83MUNR3FW0BN9FKDHDCM/SunsetBlvd_logo1.png", "https://images.squarespace-cdn.com/content/v1/5b44fb49b27e39edb872d0f3/1531256524373-83MUNR3FW0BN9FKDHDCM/SunsetBlvd_logo1.png" ]	[]	[]	[ "" ]	null	[ "len fico" ]	2021-06-07T00:00:00	Mississippi John Hurt - Mr. Hurt Goes To Washington The early 1960s were like the musical equivalent of Field of Dreams for fans of pre-war country blues, decades before that immortal baseball movie was ever envisioned. Against all odds, one blues great after another was doggedly tracked down b	en	https://assets.squarespace.com/universal/default-favicon.ico	Sunset Boulevard Records	https://www.sunsetblvdrecords.com/blog/2021/6/7/mississippi-john-hurt-mr-hurt-goes-to-washington-liner-notes	Mississippi John Hurt - Mr. Hurt Goes To Washington The early 1960s were like the musical equivalent of Field of Dreams for fans of pre-war country blues, decades before that immortal baseball movie was ever envisioned. Against all odds, one blues great after another was doggedly tracked down by young admirers they never knew they had and proudly reintroduced to the world, thus putting faces to names whose recognition had previously been limited to the faded labels of scratchy old 78s. Most of those living, breathing legends were game for donning their guitars again so they could finally realize some much overdue scratch for having invented a priceless art form many years earlier. Of all those grizzled greats of the genre, the elfin Mississippi John Hurt may have weathered the lost decades the best. His dexterous, gently rolling finger-picking and calm, almost conversational vocal approach seemed indigenous to his essence. He had lived his life in an isolated region of Mississippi with virtually no discernible musical influences, rendering Hurt a virtual sub-genre unto himself. Born March 8, 1892 in Teoc, Mississippi, Hurt’s recording career can be neatly divided into two parts: the pieces he committed to disc during three seminal 1928 recording dates for the OKeh label (a February session in Memphis and two more that December in New York that were held a week apart) that produced 20 solo titles, although only 13 are known to exist, and everything he placed on tape from 1963 on after his rediscovery by young guitarist Tom Hoskins in Hurt’s longtime hometown of Avalon, Mississippi. Mississippi John had a habit of staying way under the radar to the outside world. OKeh recording director Tommy Rockwell looked him up in 1928 on the recommendation of one of his white artists, fiddler Willie Narmour, who often played with Hurt locally. It was harder to find him 35 years later. Musicologist Richard Spottswood asked Hoskins to poke around Avalon on his way down to Mardi Gras in New Orleans (an ultra-rare tape of Hurt’s old 78 “Avalon Blues” had recently turned up, offering a precious clue as to his possible whereabouts). When Hoskins found Hurt’s humble abode and asked him to play a few numbers to confirm he was the real deal, Hurt was understandably suspicious, worried that the young musician was a cop or an FBI agent. Fortunately for the blues world, Hoskins was persuasive, shepherding him back to D.C. The first album Hurt made during his rediscovery years was supervised by Spottswood and Hoskins in April of ‘63 and released on the Piedmont label. Then in July, Mississippi John laid down the great majority of his vast repertoire for the Library of Congress in D.C. Recorded on the stage of Coolidge Auditorium on July 15 and 23 by engineers Bob Carneal and John Howell, the recordings offered the best document of Hurt’s singular legacy. His songlist ranged from blues to country to folk to spirituals (some musicologists of the day insisted he was a songster rather than a bluesman). The best of them are gathered on this collection. Disc one is dominated by many of Hurt’s best-known songs, which were ripe for revisiting at those two amazingly bountiful dates: “Candy Man,” “Stack O’Lee,” “Frankie And Albert,” “Nobody’s Dirty Business,” “Spike Driver Blues,” and the theme that inadvertently spurred his rediscovery, “Avalon Blues.” The second disc digs a little deeper, examining Hurt’s penchant for country (“Waiting For A Train” underscores his respect for Jimmie Rodgers, whose music he heard on records and tha radio), spirituals, and whatever else popped into his mind while situated in front of the Library’s microphone. Hurt quickly became the darling of the festival circuit, delighting the assembled folkies at Newport three years running and more new fans all across the country as well as making fresh recordings for Vanguard. He starred at the University of Chicago and Carnegie Hall as well as inside intimate coffeehouses, his laidback downhome charm never deserting him. Hurt lived in D.C. from 1963 to 1966. But he was already past 70 when he was rediscovered, and an enlarged heart hinted that he wouldn’t last too much longer. He returned to Grenada, Mississippi, suffering a fatal heart attack on November 2, 1966 at age 74. Truly one of a kind, Mississippi John Hurt singlehandedly put Avalon on the musical map. --Bill Dahl SOURCES Blues & Gospel Records 1902-1943, by Robert M.W. Dixon and John Godrich (Essex, Great Britain: Storyville Pubs., 1982) Blues Who’s Who, by Sheldon Harris (New York: Da Capo Press, 1991)
4189	dbpedia	1	48	https://mississippi.universitypressscholarship.com/view/10.14325/mississippi/9781617030086.001.0001/upso-9781617030086-chapter-5	en				[]	[]	[]	[ "" ]	null	[]	null					null
4189	dbpedia	0	90	https://sundayblues.org/%3Fp%3D2459	en	Big Road Blues	https://i0.wp.com/sunday…it=32%2C32&ssl=1	https://i0.wp.com/sunday…it=32%2C32&ssl=1	[ "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/07/Tarheel-Slim-Peg-Leg-Sam-UNC-Chapel-Hill-March-31st-1973-sm-e1722179274422.png?resize=450%2C304&ssl=1", "https://i0.wp.com/static.addtoany.com/buttons/share_save_120_16.png?w=648&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2023/11/396719075_915421429934368_7422430838796634442_n.jpg?resize=526%2C526&ssl=1", "https://i0.wp.com/static.addtoany.com/buttons/share_save_120_16.png?w=648&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/05/R-12930004-1544743546-4304-modified-e1714598977959.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/05/Blind_Joe_Reynolds_Full-modified-e1714599349665.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/05/pigmeat-modified-e1714599778622.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/05/joseph-falcon-ouvrez-grand-ma-fenetre-raise-my-window-high-decca-78-e1714600019413.jpg?resize=350%2C350&ssl=1", "https://i0.wp.com/static.addtoany.com/buttons/share_save_120_16.png?w=648&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/lefthandcharlie-e1713450739583.jpg?resize=350%2C500&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/R-12343059-1533322788-5827-modified-e1713451023786.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/GUITAR-GABLE-e1713451259300.png?resize=500%2C367&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/R-2627593-1635593419-2530-modified-e1713527022236.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/R-16271550-1606341777-6554-modified-e1713451507787.png?resize=350%2C350&ssl=1", "https://i0.wp.com/static.addtoany.com/buttons/share_save_120_16.png?w=648&ssl=1", "https://sundayblues.org/wp-content/uploads/2024/01/imageedit_2_3478529461.png", "https://sundayblues.org/wp-content/uploads/2023/04/cropped-mixcloud-logo-and-tiles-1-e1680382201349.jpg" ]	[]	[]	[ "blues radio", "blues music", "blues reviews", "pre-war blues", "blues history", "delta blues", "chicago blues" ]	null	[]	2024-08-01T07:00:37-04:00	Big Road Blues radio airs on Sundays 5 to 7 PM (EST) on WGMC Jazz90.1 and streams live on the web. The show is an exploration of traditional blues spanning the 1920’s through the 1970’s. Updated regularly with playlists, show notes and blues articles	en	https://i0.wp.com/sunday…it=32%2C32&ssl=1		https://sundayblues.org	Well, it’s been a bit – our last new show was way back at the beginning of May. I have been thoroughly enjoying my summer vacation but I’m gearing up to resume the show on September 1st. I’ve started to record new shows recently so here’s a preview of some things we have on tap, with no set order yet: -South Carolina Blues Pt. 1 & 2 – this show will spotlight Peg Leg Sam, Baby Tate and Pink Anderson with issued and unissued material as well as rare interviews from the artists’ themselves. -Blues & Dance – My postponed interview with Felix Lambert and his impressive set of books on the history of African-American dance and its connections to blues. -Post-War Label Spotlight – A whole series of shows on the many obscure and enterprising indie labels that popped around WWII to record black music. Labels like like Regis, 20th Century, Acorn, Rockin’, Regent, Chart, Elko and many others. -The Year 1949 – A return to our long-running feature spotlighting a particular year. This one is a two-parter. -Ed Huey/Michael Hortig Field Recordings – Another field recording special as we spin music largely unissued from the 1980s. -Trumpet Records & Home of the Blues – Spotlights on these two labels in conjunction with Producer/Researcher Marc Ryan. Marc wrote the definitive book on Trumpet, produced several collections of music from the label and is currently issuing a series of collections devoted to Home of the Blues recordings. As we sail into our 17th year, I just want to thank everyone for listening and thanks for sticking with us during the downtime. I hope you’re as excited as these guys with our return. ARTISTSONGALBUM Chuck Higgins Here I'm IsThe Dootone Story Herb Fisher Don't Want Nobody ElseFurther Mellow Cats 'N' Kittens Al Jackson It Ain't Gonna Be Like ThatLaughin' At The Blues Frank Stokes Nehi Mamma Blues Memphis Blues Singers Vol. 1 Furry Lewis You Can Leave Baby Memphis Sessions 1956-1961 Gus Cannon, Will Shade, Laura Dukes Dirty Mother for You Memphis Sessions 1956-1961 Joey Thomas Bad Luck ChildNew York City The Blues Yesterday Vol .9 Bob Marshall I'm Going to Live for TodayNew York City The Blues Yesterday Vol .9 Bobby Smith And Orchestra Don't Shake Those Hips At MeLost R&B Shouters Vol 1 Julius Daniels 99 Year Blues Blues Images Vol. 2 Blind Joe Reynolds Ninety Nine Blues Bluesin' By the Bayou: Rough 'N' Tough Dan Pickett 99 1/2 Won't Do 1949 Country Blues Sister Rosetta Tharpe 99 Half Won't Do Sister Rosetta Tharpe Vol. 5 Ramblin' Hi Harris I Haven't Got A HomeBluesin' By The Bayou: Aint' Broke, Ain't Hungry Ramblin' Hi Harris Trying To Call My BabyThe Legendary Jay Miller Sessions Vol. 3 William Moore Midnight Blues The Great Race Records Vol. 1 Robert Wilkins Losin' Out BluesMasters of the Memphis Blues Kokomo Arnold Goin' Down in Galilee (Swing Along With Me)Kokomo Arnold Vol. 4 1937-1938 The Famous Hokum Boys Pig Meat StrutThe Famous Hokum Boys Dickie Thompson Hand in Hand Blues New York City The Blues Yesterday Vol .9 Arkansas Johnny Todd Keep Em Down Modern Downhome Blues Sessions Vol. 4 Cleoma Falcon Raise My Window HighCajun Early Recordings Lizzie MilesA Good Man Is Hard To FindJazzin' The Blues 1943 -1952 Baby Face Turner Gonna Let You GoThe Modern Downhome Blues Sessions Vol. 2 Ike Turners Kings Of Rhythm w/ Tommy Hodge Down & OutCobra Records Story Buddy Guy I Hope You Come Back HomeThis Is the Beginning: The Best of the Aritistic, Cobra & U.S.A. Sessions Smiley Lewis The RocksNew Orleans Guitar 1953-1954 Dave Bartholomew The Golden RuleDave Bartholomew 1950-52 Little Sonny Jones Going Back To The CountryCrescent City Bounce Lonnie Johnson Away Down in the Alley BluesA Life in Music: Selected Sides Texas Alexander Yellow Girl BluesTexas Alexander & His Circle 1927-1951 Juke Boy Bonner Call Me Juke BoyGoin' Down To Louisiana Billy Boy Arnold & Johnny Jones Tell Me BabyChicago Blues: Live At The Fickle Pickle Sonny Boy Williamson Going In Your DirectionCool, Cool Blues: The Classic Sides Papa Harvey Hull and Long Cleve ReedDon't You Leave Me HereBlues Images Vol. 12 Charlie Patton Jim Lee Blues Pt. 1Best Of Casey Bill Weldon Big Katy AdamThe Essential Jazz Gillum Big Katy Adams Bill ''Jazz'' Gillum Vol. 2 1938-1941 Show Notes: A fine batch of recordings today spanning the 20s through the 50s. On deck today are a couple of sets of jump blues, we hear from several early Memphis blues artists, two sides from the mysterious Ramblin’ Hi Harris and some tracks featuring Lonnie Johnson. In addition we here a set of related blues and gospel songs, a set of terrific pre-war guitarists, some blues songs sung in French, some fine New Orleans artists, songs about steamboats and much more. I want to give a plug to Gérard Herzhaft, a first rate blues researcher who has run the terrific blog, Blue Eye, for several years. Gérard puts together thematic collections of blues for download which would make for a great CD’s. Gérard collects lots of hard-to-find tracks that I’ve often used on this show because they are not available elsewhere. Today we spin several tracks from New York City The Blues Yesterday Vol .9. From that collection we hear from Bob Marshall who’s featured track is the title for today’s show. He recorded 12 fine sides in 1949-50, some as vocalist of the Cozy Cole Orchestra. We spin the fine “Hand in Hand Blues” from Dickie Thompson. Thompson is best known for “Thirteen Women” which was covered by Bill Haley. During the 1940’s to the 60’s, Thompson made himself a name in New York City as a trustworthy and talented sideman, playing jazz or R&B with the same efficiency behind Cozy Cole, Lawrence Brown, Sam Woodward, Wild Bill Davis, Clifford Scott, Harry Edison, Johnny Hodges, Dinah Washington and others. He was the lead guitarist for singer Jackie Wilson and the Jonah Jones Quintet. Thompson managed to make some R&B records as a leader with little success. We spin a fair bit of early blues artists, several who made records in the post-war era. From Memphis we spin some track for a hard-t0-find collection titled Memphis Sessions 1956-1961. In 1961 Dave Mangurian and Donald Hill recorded Gus Cannon, Will Shade and Laura Dukes over two days in Memphis. The recordings have been issued as bootlegs on Will Shade & Gus Cannon 1961 (Document) and the above mention album on Wolf. Cannon’s band of the ’20’s and ’30’s, Cannon’s Jug Stompers, along with contemporaries, The Memphis Jug Band, recorded the finest jug music of the era. We hear some top-flight guitarists from the pre-war era include outstanding sides by William Moore, Robert Wilkins, Kokomo Arnold and The Famous Hokum Boys on the dazzling guitar workout “Pig Meat Strut.” Moore was a A resident of Tappahannock, Virginia and recorded sixteen sides for Paramount in 1928. The name “The Hokum Boys” is a bit confusing as several groups of musicians worked under this name. Tampa Red and Georgia Tom recorded as Tampa Red’s Hokum Jug Band and The Hokum boys at sessions done in 1928. In 1929 a group calling themselves the Hokum Boys began recording for Paramount. Throughout the six sessions that year the group consisted of a varying mix of personal. As Chris Smith notes: “By 1930 ‘The Hokum Boys’ was a well-established identity, cloaking a number of different musicians who produced a similar sounding music, reliant on agile guitar playing and ingenious double entendres. …ARC boldly entered the market with its dimestore labels, and promoted Georgia Tom, Big Bill Broonzy and Frank Brasswell as the ‘Famous Hokum Boys.’ According to Dorsey he and Big Bill never worked together outside the studio.” Brasswell was later replaced by Bill Williams. Also joining the group Hannah May who also recorded as Jane Lucas and Kansas City Kitty. The group recorded close to fifty sides by the end of 1930. A last session, in January 1931, consisted of Jane Lucas, Big Bill and Georgia Tom recording under the name Harum Scarums. Like most Americans, I don’t speak a second language – I blame my schooling in the Bronx but that may be a cop out. Regardless, we spin two numbers sung in French by Cleoma Falcon and Lizzie Miles. Guitarist/Singer Cléoma Falcon who, along with her husband Joe Falcon, recorded one of the first known examples of Cajun music. In the mid-1920s, she was joined in performing by accordion player Joe Falcon and would later marry in 1931. In 1928, politician and music enthusiast George Burrs hoped to capitalize on the group’s popularity on the dance-hall circuit, and negotiated a deal with Columbia Records to record the trio which included vocalist Leon Meche. In August 1929, they were invited to Columbia Records’ headquarters in New York City to record six sides. Their next recording session was on August 8, 1934, for Decca Records. Lizzie Miles was born in New Orleans in 1895. She worked with Joe Oliver, Kid Ory, Bunk Johnson, and A.J. Piron from 1909-1911. She then toured the South, performing in theaters, circuses, and with minstrel shows. She moved to New York and made her first recordings in 1922. Miles toured Europe in 1924 and 1925 and then returned to New York and worked in clubs from 1926 to 1931. She recorde around sixty sides between 1922 and 1930. Miles suffered a serious illness and retired from the music industry in the 1930s. Despite her illness, Miles appeared in two films in the early 1930s. She began working regularly again in 1935, performing with Paul Barbarin at the Strollers Club in New York.She sang with Fats Waller in 1938, made some recordings in 1939 and then worked in Chicago until she left music in 1942. In 1950, Miles lived in California where she sang with George Lewis in 1953 and 1954, performed and in Las Vegas from 1955 to 1957 and sang with Joe Darensbourg in Chicago in 1958 and 1959. She returned to New Orleans, where she appeared with Freddie Kohlman and Paul Barbarin. She recorded with several Dixieland and traditional jazz bands, appeared at the Monterey Jazz Festival in 1958, and made regular radio broadcasts before retiring in 1959. As usual we spin some related songs, this time dealing with the number ninety nine. In blues songs ninety nine is not a great number as it usually connotes a jail term as is the case in Julius Daniels’ “Ninety-Nine Year Blues ” recorded in 1927. Blind Joe Reynolds cut “Ninety Nine Blues” in 1930 but with a a different meaning: “I got ninety-nine women, cravin’ nineteen more/And if I get them hundred, boys, I’m gonna let nineteen go.” The number is also associated with a classic gospel number. The first release of “Ninety-Nine and a Half Won’t Do” I found was by Sister Rosetta Tharpe and Her Mother (Katie Bell Nubin) with the Sam Price Trio recorded in 1949. Tharpe recorded it again in 1956. Dorothy Love Coates & The Original Gospel Harmonettes recorded a version in 1956. It was since covered by many gospel artists. Dan Pickett’s “99 1/2 Won’t Do” cut in 1949 is related but seems to be an amalgam of different songs. We hear from one of my favorites, Lonnie Johnson on the amazing instrumental, “Away Down in the Alley Blues” and back Texas Alexander on “Yellow Girl Blues.” Alexander was popular and prolific, cutting sixty-four issued sides between 1927 and 1934, first for Okeh and then for Vocalion. The record companies must have had some faith in Alexander as his recorded were advertised nine times in the Chicago Defender between 1928 and 1930. He had he good fortune to work with superb accompanists such as guitarists Little Hat Jones, Lonnie Johnson, Eddie Lang, Carl Davis, Willie Reed to the string band blues of the Mississippi Sheiks and the jazz bands of King Oliver. We hear a set of songs about famous river boats. Charlie Patton’s 2-part number, “Jim Lee Blues”, celebrates a Mississippi river boat that plied between Vicksburg and Memphis. Kate Adams was the name given to a series of four side-wheel steamers made famous by their operation on the Mississippi River and its tributaries. The steamer’s name was mentioned by Long “Cleve” Reed & Little Harvey Hull (The Down Home Boys) in their song, “Don’t You Leave Me Here”: “Kate Adams got ways, just like a man/Well, she steals a woman, sweet lovin’ babe, everywhere she lands.” Casey Bill Weldon, Jazz Gillum, Mooch Richardson, Robert Wilkins all had songs that referenced the Kate Adams. I’ll wrap up with some mysteries from J.D. Miller’s studio in Crowley, Louisiana. We heard quite a bit of great music on last week’s show from Miller’s studio. Today we spin two tracks from Ramblin’ Hi Harris who was given that name at a later date because Miller couldn’t remember the singer’s real name. We also spin “I Hope You Come Back Home” from Miller’s studio which may be be Buddy Guy’s first recording made in 1957. Guy cut two other sides the same year in Baton Rouge. ARTISTSONGALBUM Left Hand Charlie Honey Bee Bayou Rhythm & Blues Shuffle Left Hand Charlie Miss My Lagnion Louisiana Swamp Blues 1954-1961 Left Hand Charlie Whole Lotta Drinkin' on the Block Louisiana Swamp Blues 1954-1961 Guitar Gable With King Karl IreneThe Excello Story Vol. 2 1955-1957 Guitar Gable With King Karl Life Problem The Legendary Jay Miller Sessions Vol. 36 Guitar Gable With King Karl Congo Mambo The Legendary Jay Miller Sessions Vol. 36 Wonder Boy Travis That's Alright Fort Worth Shuffle Wonder Boy Travis Imitation of Love Bluesin' By the Bayou: Rough 'N' Tough Wonder Boy Travis She Was Gone Rhythm 'N' Bluesin' By The Bayou: Nights Of Sin, Dirty Deals & Love Sick Souls Jimmy Dotson w/ Sylvester Buckley I Wanna Know The Legendary Jay Miller Sessions Vol. 3 Jimmy Dotson w/ Sylvester Buckley Looking for My Baby Bluesin' By the Bayou: Rough 'N' Tough King Charles Won't Be MeLouisiana Swamp Blues 1954-1962/63 King Charles w/ Left Hand Charlie But You Thrill Me Rhythm 'N' Bluesin' By The Bayou: Livin', Lovin' & Lyin' King Charles w/ Left Hand Charlie Bop Cat Stomp Rhythm 'N' Bluesin' By The Bayou: Bop Cat Stomp Guitar Gable With King Karl This Could Go On Forever House Rockin' & Hip Shakin', Volume 3: Killer Swamp Blues Guitar Guitar Gable With King Karl Cool, Calm and Collected Louisiana Swamp Blues 1954-1962/63 Guitar Gable With King Karl Have Mercy On Me The Legendary Jay Miller Sessions Vol. 36 Wonder Boy Travis She Went Thataway Rhythm 'N' Bluesin' By The Bayou: Rompin' & Stompin' Wonder Boy Travis You Know Yeah Rhythm 'N' Bluesin' By the Bayou: Mad Dogs, Sweet Daddies & Pretty Babies Wonder Boy Travis She's Got Eyes Like A Cat Rhythm 'N' Bluesin' By The Bayou: Rompin' & Stompin' Silas Hogan w/ Sylvester Buckley Trouble At Home Blues Bluesin' By The Bayou: I'm Not Jiving Silas Hogan w/ Sylvester Buckley You're Too Late Baby Authentic Excello R&B Left Hand Charlie I'm Gonna Kill That Hen Genuine Excello R&B Left Hand Charlie Watch That Crow Rhythm 'n' Bluesin' By The Bayou Left Hand Charlie Don't Bring No Friend Bluesin' By The Bayou: I'm Not Jiving Lazy Lester w/ Guitar Gable They Call Me Lazy I Hear You Knockin'!: The Excello Singles Lazy Lester w/ Guitar Gable Lester's Stomp I Hear You Knockin'!: The Excello Singles Sylvester Buckley She Treats Me So Evil The Legendary Jay Miller Sessions Vol. 2 Sylvester Buckley I Can Be On My Way Bluesin' By The Bayou Sylvester Buckley Mumblin' Blues The Legendary Jay Miller Sessions Vol. 2 Sylvester Buckley I'm Getting Tired The Legendary Jay Miller Sessions Vol. 49 Guitar Gable With King Karl Long Way from Home The Legendary Jay Miller Sessions Vol. 36 Guitar Gable With King Karl Walkin With The KingsThe Legendary Jay Miller Sessions Vol. 36 Lazy Lester w/ Sylvester Buckley You Better Listen I Hear You Knockin'!: The Excello Singles Lazy Lester w/ Sylvester Buckley Pondarosa Stomp I Hear You Knockin'!: The Excello Singles Mr. Calhoun (Vince Monroe) w/ Guitar Gable Hello Friends, Hello PalThe Legendary Jay Miller Sessions Vol. 3 Mr. Calhoun (Vince Monroe) w/ Guitar Gable I'm Ragged And Dirty The Legendary Jay Miller Sessions Vol. 3 Mr. Calhoun (Vince Monroe) w/ Guitar Gable Change Your WaysBluesin' By the Bayou: Rough 'N' Tough Wonder Boy Travis Do The Everything45 Wonder Boy Travis Travis Stomp Rhythm 'N' Bluesin' By The Bayou: Rompin' & Stompin' Show Notes: Today’s show is part of a semi-regular feature I call Forgotten Blues Heroes that spotlights great, but little remembered and little recorded blues artists that don’t really fit into my weekly themed shows. For today’s program we head to Louisiana for a batch of fine, little remembered artists who were recorded in Louisiana at Jay Miller’s small studio in Crowley, Eddie Schuler’ studio in Lake Charles as well as other small studios. Miller met with Ernie Young and worked out a deal that would lease the material he was recording to Excello Records for release and distribution. Soon Miller’s studio became ground zero for the sound known as “swamp-blues” issuing records by Slim Harpo, Lazy Lester, Silas Hogan, Lonesome Sundown and many others. Miller recorded way more material than he could issue hence many recordings were never released which includes many of the tracks featured today. In the 70’s the Flyright label, with the assistance of Miller, began a series called the The Legendary Jay Miller Sessions to issue these unissued sides. The series ran to over fifty volumes. The inspiration for this show comes from a recent article by Gene Tomko on the mysterious Left Hand Charlie who saw just a couple of singles released during his lifetime on Goldband and Excello. Guitar Gable was the second artist Miller leased to Excello who’s half dozen sides came out over two years plus many others that were not issued. King Karl was the vocalist/arranger/composer for the band. Gable also backed Lazy Lester and Vice Monroe sides heard today. Travis Phillips AKA Wonder Boy Travis came to Miller’s studio in 1959 with Clifton Chenier’s band and cut several sides that went unissued. Sylvester Buckley backed Lazy Lester, Silas Hogan and Jimmy Dotson on harmonica and cut some excellent sides under his own name, all of which went unissued. Willie Monroe Vincent recorded as Vincent Monroe, Mr. Calhoun and Polka Dot Slim. He was recorded by Miller in 1959 for Zynn and Excello and on Instant in the 60s. Left Hand Charlie was born Charles Morrison September 30, 1919, in Geismar, Louisiana. Although Morris’ early days as a musician are unknown, by the time he arrived on Eddie Shuler’s doorstep at Goldband Records around 1954 he was a highly seasoned musician and bandleader in his mid-30s. Backed by a crack band that included blind saxophonist John Hart (who would later work with Clifton Chenier, Little Bob, Rockin’ Dopsie, and others), Morris recorded five titles with some alternate takes that included the slow blues “Miss My Lagnion” (Shuler’s misinterpretation of l’argent, which is Creole French for money), “Honey Bee”, a tough, electrified reworking of Kansas Joe McCoy and Memphis Minnie’s classic “Bumble Bee”, and “Whole Lotta Drinkin’ on the Block.” Despite discographies citing 1954, Morris’ trip back to Goldband instead took place in March of 1956 as a band member with King Charles, a bandleader and trumpet player. Shuler released only one single by King Charles on Folk-Star, “Bop Cat Stomp” backed with “But You Thrill Me.” By the end of 1956 and into early 1957 Morris was leading his own band seven nights a week at Whit’s Lounge, a popular white nightclub in the Four Corners section of Lafayette. Morris was back in the studio in April 1957 for what appears to be his final recording session as a leader, this time at J.D. Miller’s studio in Crowley. Backed by Miller’s studio band at the time, which included guitarist Guitar Gable and his brother John Perrodin on bass, Tal Miller on piano, and Jockey Etienne on drums, Morris laid down several originals including “I’m Gonna Kill That Hen” and “Don’t Bring No Friend”, which Miller leased to Excello and was subsequently issued on its Nasco subsidiary. Through the late 1950s Morris continued performing with his own group and as a member of King Charles’ band. He was also lending his guitar talents out to regional bands. The guitarist was also known locally for playing jazz. Throughout the 1960s Left Hand Charlie performed as a member of bandleader and saxophonist Buddy Stewart’s famed Topnotchers of Baton Rouge. Morris continued to perform until the late 1970s when health issues forced him to retire from music. He died on October 8, 1983, at age 64. Gabriel Perrodin AKA Guitar Gable was born in Bellevue, St. Landry Parish , Louisiana in 1937. Gable was influenced by the music of Guitar Slim, and was self-taught in playing the guitar by his mid-teens. He formed a group called the Swing Masters, and was later introduced to King Karl and formed the band the Musical Kings a with Gable’s brother, Fats Perrodin on bass and Clarence “Jockey” Etienne on the drums. Introduced to Jay Miller, the band eventually became the heart of Miller’s house band. They backed musicians such as Lazy Lester, Classie Ballou, Bobby Charles and Slim Harpo. Guitar Gable and the Musical Kings recorded their own debut single for Excello in 1956. His first track was the instrumental “Congo Mombo”, and he A-side of the single was “Life Problem”, which featured King Karl’s vocals. The follow-up release included the swamp pop classic, “Irene.” After his debut, subsequent releases followed a similar pattern with Gable’s Caribbean-laced instrumentals such as “Congo Mom bo,” “Guitar Rhumbo” and “Gumbo Mombo,” pitched against rock and roll tracks including “Cool, Calm, Collected” and “Walking in the Park.” It was the blues influenced ballads including “Irene,” “Life Problem” and “This Should Go On Forever” that caused most interest. The latter track was recorded by Gable and his band in 1958, but did not find favor with Miller. A cover version was recorded by Rod Bernard, and it reached the Top 20 of the US Billboard R&B chart. Gable’s original was finally released in February 1959, but failed to match the success of Bernard’s cover. Gable and Karl left Miller and Excello and were reduced to issuing work on the much smaller labels of La Louisianne and Tamm into the early 1960s. Gable served in the armed forces but later continued with his own band, maintaining a following in local clubs until 1968. In the 1970s, Gable performed regularly with Lil’ Bob and the Lollipops, before he initially retired from performing in the 1980s. In the 1990s, Guitar Gable was tempted back to the performing stage by C.C. Adcock. Gable died in hospital at Opelousas, Louisiana, on January 28, 2017, at the age of 79. Travis Phillips, aka Wonder Boy Travis, came from Texas as part of Clifton Chenier’s band and during a long recording session in J.D. Miller’s Crowley studio took over the singing duties while Chenier gave his voice a rest. Impressed by his singing and guitar playing, Miller kept the tape running. Although none of the tracks made it to vinyl, they have been issued posthumously. It seems Travis saw his name on just one 45, “That’s Alright/ Do The Everything”, released a few years later on the Jox label out of San Antonio as by Travis Phillips & His Wonder Boys. Sylvester Buckley backed Lazy Lester, Silas Hogan and Jimmy Dotson on harmonica and cut four excellent sides under his own name circa 1963, all of which went unissued. Jimmy Dotson cut two records, one for Zynn and the other for Rocko (Miller’s own labels) in Crowley, Louisiana in 1959 and 1960 backed by Silas Hogan, Sylvester Buckley and Isaiah Chatman. One other record was issued on HOB in 1962. Five other Dotson sides were not issued at the time. When Hogan made his debut in 1962 the other musicians were present but not Dotson. Dotson said: “The Baton Rouge blues scene in the ’50s was nice, we had a following, we played from club to club. I played drums for Lightnin’ Slim for a while and with Slim it fluctuated, I was a kind of utility musician. If they needed a drummer I’d go play drums, if they needed a bass player, a guitar … I couldn’t play any too good on any of them but I could fit in. But they had a tremendous following, Lightnin’ Slim and Slim Harpo. They would go from club to club, sometimes we would play Sunday afternoon somewhere back over North Baton Rouge in the park area from two o’clock to six and the place would be full of people. OK then we would go across the river (to Port Allen) and they’d just line up in cars and follow us across the river! It was fantastic, it really was.” Willie Monroe Vincent recorded as Vince Monroe, Mr. Calhoun and Polka Dot Slim. His first recordings were made in 1956 and 1959 in Crowley, Louisiana, for Jay Miller, who released them under two different pseudonyms on Excello and Zynn. Several other sides from these sessions went unreleased. In 1964, he recorded “A Thing You Gotta Face” and “Ain’t Broke Ain’t Hungry”, produced by Sax Kari and released as a single on the Instant label as Polka Dot Slim. His last sides were cut for Apollo in 1966. He was a regular performer for many years in clubs and bars in New Orleans. Researcher John Broven described him in the 1970s as one of “the last of the rural country bluesmen still playing in New Orleans.”
4189	dbpedia	1	65	https://www.musikzimmer.ch/act/Mississippi%2BJohn%2BHurt	en	Mississippi+John+Hurt \| Act-Info und -Discografie \| Musikzimmer	https://www.musikzimmer.…icRock_thumb.jpg		[ "https://www.musikzimmer.ch/pics/musikzimmer.png", "https://www.musikzimmer.ch/pics/FormatStandardsPop_thumb.jpg", "https://www.musikzimmer.ch/pics/FormatClassicPop_thumb.jpg", "https://www.musikzimmer.ch/pics/FormatVintageRnB_thumb.jpg", "https://www.musikzimmer.ch/pics/FormatVintageCountry_thumb.jpg", "https://www.musikzimmer.ch/pics/FormatVintageRock_thumb.jpg", "https://www.musikzimmer.ch/pics/FormatClassicRock_thumb.jpg", "https://www.musikzimmer.ch/pics/logos/socialmedia/youtube.png", "https://www.musikzimmer.ch/pics/logos/socialmedia/rss.png" ]	[]	[]	[ "" ]	null	[ "Archiv für Moderne Musik", "Christian Schorno" ]	null	Musikzimmer Act-Discog: : Songs, Releases, Medien, Texte, Magazine \| Musikzimmer	de	https://www.musikzimmer.ch/pics/favicon.ico		null	Impressum / Imprint: Archiv für Moderne Musik, Christian Schorno, Limmattalstrasse 10, 8048 Zürich (CH). Datenschutz etc. / privacy and more Mehr über Musikzimmer, verwendete Quellen und die Datenbank. More about Musikzimmer and the database. Musikzimmer @ Youtube: RSS:
4189	dbpedia	0	52	https://www.capecodtimes.com/story/news/2000/12/09/john-hiatt-takes-tip-from/51001725007/	en	John Hiatt takes tip from BoxCar Willie	https://www.gannett-cdn.…ages/favicon.png	https://www.gannett-cdn.…ages/favicon.png	[]	[]	[]	[ "" ]	null	[ "JIM PATTERSON The Associated Press, Cape Cod Times" ]	2000-12-09T00:00:00	NASHVILLE, Tenn. — When John Hiatt brings up bluesman Mississippi John Hurt and Elvis Costello as influences, it makes sense. \n Hiatt's superb new album, \	en	https://www.gannett-cdn.…ages/favicon.png	Cape Cod Times	https://www.capecodtimes.com/story/news/2000/12/09/john-hiatt-takes-tip-from/51001725007/	NASHVILLE, Tenn. — When John Hiatt brings up bluesman Mississippi John Hurt and Elvis Costello as influences, it makes sense. Hiatt's superb new album, "Crossing Muddy Waters," is drenched in the blues, and the wordplay on his 1980s albums earned him critical respect as an American answer to Costello. Then he starts talking about the late BoxCar Willie, the guy who dressed like a hobo and imitated a train whistle on "Orange Blossom Special." That merits an explanation. It turns out BoxCar Willie's influence is more about business than music. "I remember a comment BoxCar Willie made years ago," Hiatt said. "He was selling like a million records on television. A Columbia Records guy said, 'We want to sign you.' "And BoxCar goes, 'Well, why would I want to do that?'" Hiatt, 48, isn't trying to sell his new album on cheesy late-night TV ads. But after building a loyal following over 25 years, he figures he doesn't need help from a major record label, or the attendant artistic interference. So he has left Capitol Records because the label's executives didn't like a rock music album he was recording earlier this year. When Internet music distributor EMusic.com (http://www.EMusic.com) asked for a song or two to sell, Hiatt and manager Ken Levitan offered an entire album. Blues-folk record label Vanguard licensed the right to distribute the album to record stores. Simpler songs "Crossing Muddy Waters" is driving acoustic blues, featuring Hiatt, bass player Davey Faragher and David Immergluck on mandolin and guitar. No drums are used. Faragher provided percussion on tambourine, stomping his feet and beating a metal folding chair. "We paid for it ourselves, made it in four days," Hiatt said. "The acoustic sound I did for I don't know what reason. It's a combination of getting older, living this rural sort of lifestyle. I've been living out in the woods for the last eight years or so. The songs just started coming out in this way." The reviews have been positive. "It's ... easily his best since 1987's 'Bring the Family,'" said the Toast magazine Web site (http://www.toastmag.com). "The songs are deceptively simple and unassuming, yet full of insight and nuance - he's rarely written better." Hiatt said the acoustic blues format pushed him to write less self-consciously. "I'm as guilty as the next guy of writing the kind of song that's like, 'I know something you don't and I know a clever way of saying it that you don't know. Here it is. Aren't you impressed?' I've done that," he said. "I've just kind of lost interest in that kind of song over the years. I'm kind of writing simpler as I get older, I guess." Hiatt, already renowned as a lyricist, has gotten even better. His cast of characters on "Crossing Muddy Waters" includes several men struggling to go on after calamities in life and love. "Gimme back my steel/gimme back my nerve," he moans in "What Do We Do Now." "Gimme back my youth/for the dead man's curve/for that icy feel when you start to swerve/give us back the love we don't deserve." 'Home' to Nashville Born in Indianapolis, Hiatt moved to Nashville in 1971. Inspired by "a folk-singing hippie" named Bob Frank, he talked a music publishing company into the same deal Frank had: $25 a week to write songs. He recorded two unsuccessful albums for Epic Records, then moved to the West Coast in the late 1970s. When punk and new-wave rock became popular, Hiatt found a style he could fit into. "First I heard the Ramones, and then I heard the whole Stiff Records (Costello's English record label) thing and I just flipped." Hiatt recorded two albums for MCA that earned him notice as an "American Elvis Costello." But the albums didn't sell. Three albums followed on Geffen before Hiatt was derailed by alcoholism and his wife's suicide in 1985. "I had a year-old daughter," Hiatt said. "I just figured I couldn't raise her up in L.A. I wouldn't have a chance. I don't know why I thought that, but I just thought of Nashville as like home. So I came back here in 1985, met my wife, and I've been here for 14 years." His "Bring the Family" album featured a rougher sound, with songs inspired by his newfound sobriet family life. "Crossing Muddy Waters" continues that artistic direction. Meanwhile, Hiatt is working on that rock record Capitol didn't like. "Vanguard would like to put the rock record out," he said. "So we're in a position of seeing how they do with this one first. "I've never been in that position before. It's kind of like the commercial where you're interviewing the bank lenders for who gets to loan you money."
4189	dbpedia	1	86	https://fingerstyle-blues.com/mississippi-john-hurt/	en	Mississippi John Hurt	https://i2.wp.com/finger…1024%2C814&ssl=1	https://i2.wp.com/finger…1024%2C814&ssl=1	[ "https://fingerstyle-blues.com/wp-content/uploads/2018/08/logo2-1.png", "https://i0.wp.com/fingerstyle-blues.com/wp-content/uploads/2008/10/mississippi_john_hurt.jpg?resize=287%2C231&ssl=1", "https://i0.wp.com/fingerstyle-blues.com/wp-content/uploads/2010/05/MJH_Avalon_large.jpg?w=1080&ssl=1", "https://www.assoc-amazon.com/e/ir?t=taoofgui-20&l=as2&o=1&a=B000002AEN", "https://i0.wp.com/fingerstyle-blues.com/wp-content/uploads/2010/05/MJH_complete.jpg?w=1080&ssl=1", "https://www.assoc-amazon.com/e/ir?t=taoofgui-20&l=as2&o=1&a=B00004Z3VB", "https://i0.wp.com/fingerstyle-blues.com/wp-content/uploads/2010/05/MJH_MJHbook1.jpg?w=1080&ssl=1", "https://www.assoc-amazon.com/e/ir?t=taoofgui-20&l=as2&o=1&a=0739043307", "https://i0.wp.com/fingerstyle-blues.com/wp-content/uploads/2010/05/MJH_Shakebook.jpg?w=1080&ssl=1", "https://www.assoc-amazon.com/e/ir?t=taoofgui-20&l=as2&o=1&a=0786671408", "https://i0.wp.com/fingerstyle-blues.com/wp-content/uploads/2010/05/MJH_Fingerpicking.jpg?w=1080&ssl=1", "https://www.assoc-amazon.com/e/ir?t=taoofgui-20&l=as2&o=1&a=B0002KWSJ4", "https://i0.wp.com/fingerstyle-blues.com/wp-content/uploads/2008/07/lemon1.jpg?resize=440%2C264&ssl=1", "https://i0.wp.com/fingerstyle-blues.com/wp-content/uploads/2008/07/rgd.jpg?resize=440%2C264&ssl=1", "https://i0.wp.com/fingerstyle-blues.com/wp-content/uploads/2008/10/blake.jpg?resize=440%2C264&ssl=1", "https://i0.wp.com/fingerstyle-blues.com/wp-content/uploads/2008/09/blind_willie.jpg?resize=440%2C264&ssl=1" ]	[ "https://www.youtube.com/embed/tx29hxvjPfk" ]	[]	[ "" ]	null	[ "Fingerstyle Blues" ]	2008-07-21T06:22:49+00:00	John Hurt was a self taught guitarist, who was given his first guitar by his mother when he was just nine years old. His playing was developed in near isolation as he rarely left his hometown in the remote town of Avalon, Mississippi.	en	https://fingerstyle-blue…018/08/logo1.png	Fingerstyle Blues	https://fingerstyle-blues.com/mississippi-john-hurt/	1892-1966 John Hurt was a self taught guitarist, who was given his first guitar by his mother when he was just nine years old. His playing was developed in near isolation as he rarely left his hometown in the remote town of Avalon, Mississippi. He learned much of his repertoire from field hands. He played primarily for his own enjoyment. He liked to perform solo for friends or local dances, becoming a popular local favorite. Never earning much he earned his living working as a farm hand. For this reason he owes very little debt, if any, to other guitarists of his time. The style he developed was a unique, powerful, flowing fingerstyle incorporating simple and elegant melodies over driving syncopated bass lines. In his words, “I taught myself to play the guitar the way I thought the guitar should sound.” The combination of his guitar playing and his gentle, haunting, and almost conversational vocals, established him as an accomplished, talented and remarkable artist. The combination of his down home lyrics, and topics about legendary figures like ‘Stack O’ Lee’ positioned him somewhere between the modern blues of the day and old time folk music. In 1912 he began playing parties around Jackson, Mississippi. His reputation grew steadily until he was finally auditioned by Tommy Rockwell for the Memphis based label Okeh records in 1928, who christened him “Mississippi” John Hurt, as a sales gimmick. He recorded eight sides and two of them, “Frankie” and “Nobody’s Dirty Business” sold well. Following his success he was invited to New York for another session where he recorded twelve more sides. His popularity was short lived. The Great Depression hit, record sales dropped and Okeh went out of business. Hurt was soon forgotten. He returned to Avalon and worked as a sharecropper, farmer and laborer, playing again at the occasional parties or dances. He was rediscovered again in the ‘60’s through the effort of an avid record collector and blues enthusiast named Tom Hoskins, who single-handedly tracked him down and dragged him out of obscurity. If it wasn’t for the song Avalon Blues, he probably never would have been found. When Hoskin’s found him at home and gave him a guitar to see if it was really him, Hurt was convinced this strange man was from the FBI or the police and muttered, ‘I haven’t done anything wrong.’ He was later amazed that not only had people heard of him, but his albums were now worth a lot of money. Unlike a lot of ‘rediscovered’ artists, John Hurt’s music had lost nothing; instead it had matured and grown. When he rejoined the music scene he became a hugely popular performer and recorded several more albums, all of which were greatly received. His newfound popularity lasted only three years until his death in 1966 at the age of 74. Here is MJH performing Spike Driver Blues. This is from Pete Seeger’s “Rainbow Quest” series which was recorded in 1965/1966 for a New Jersey public television station. Recommended Listening: You can’t go wrong with Mississippi John Hurt, no matter what albums you buy. Listening to his music for the first time will flick a switch in you, somewhere inside a little light will go on. You’ll feel it, even if you can’t pinpoint what it is, and you’ll be different. It’s hard to listen to this music and not take something away from it. That being said, in our opinion the complete 1928 Okeh recordings collection is an indispensable album, containing all of the original sides of his first recording sessions. This is MJH in his prime. Avalon Blues: Complete 1928 Okeh Recordings And secondly, this is everything the man recorded in the 60’s for Vanguard Records. Absolutely brilliant. The Complete Studio Recordings of Mississippi John Hurt For Further Study: Mississippi John Hurt, by Stefan Grossman. Shake That Thing The Guitar of Mississippi John Hurt, Volume 1, by Stefan Grossman.
4189	dbpedia	3	5	https://en.wikipedia.org/wiki/Mississippi_John_Hurt	en	Mississippi John Hurt	https://upload.wikimedia…/M_John_Hurt.jpg	https://upload.wikimedia…/M_John_Hurt.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/2e/M_John_Hurt.jpg/220px-M_John_Hurt.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/14/Mississippi_John_Hurt_-_grave_%28cropped%29.jpg/220px-Mississippi_John_Hurt_-_grave_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4e/50_Mississippi_John_Hurt_Museum%2C_Avalon%2C_MS.jpg/220px-50_Mississippi_John_Hurt_Museum%2C_Avalon%2C_MS.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2001-10-09T20:13:55+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Mississippi_John_Hurt	American country blues singer and guitarist Musical artist John Smith Hurt (March 8, 1893[1][nb 1] – November 2, 1966), known as Mississippi John Hurt, was an American country blues singer, songwriter, and guitarist.[3] Hurt was raised in Avalon, Mississippi and taught himself to play the guitar around the age of nine. He worked as a sharecropper and began playing at dances and parties, singing to a melodious fingerpicked accompaniment.[4] His first recordings, made for Okeh Records in 1928, were commercial failures, and he continued to work as a farmer. Dick Spottswood and Tom Hoskins, a blues enthusiast, located Hurt in 1963 and persuaded him to move to Washington, D.C.[5] He was recorded by the Library of Congress in 1964. This helped further the American folk music revival, which led to the rediscovery of many other bluesmen of Hurt's era. Hurt performed on the university and coffeehouse concert circuit with other Delta blues musicians who were brought out of retirement. He also recorded several albums for Vanguard Records. Hurt returned to Grenada, Mississippi, in 1966, where he died at the age of 73. Material recorded by Hurt has been re-released by several record labels. His songs have been recorded by Bob Dylan, Dave Van Ronk, Jerry Garcia, Beck, Doc Watson, John McCutcheon, Taj Mahal, Bruce Cockburn, David Johansen, Bill Morrissey, Gillian Welch, The Be Good Tanyas, Josh Ritter, Chris Smither, Guthrie Thomas, Parsonsfield, and Rory Block.[6] Biography [edit] Early years [edit] Hurt was born in Teoc,[7] Carroll County, Mississippi, and raised in Avalon, Mississippi. He taught himself to play guitar at the age of nine, stealthily playing the guitar of William Henry Carson, a friend of his mother, Mary Jane, who often stayed at the Hurt home while courting a woman who lived nearby.[8] As a youth, he played old-time music for friends and at dances. He worked as a farmhand and sharecropper into the 1920s.[9] Hurt's fast, highly syncopated style of playing was meant for dancing. On occasion, a medicine show came through the area. Hurt recalled that one wanted to hire him: "One of them wanted me, but I said no because I just never wanted to get away from home."[7] In 1923, he played with the fiddle player Willie Narmour as a substitute for Narmour's regular partner, Shell Smith.[9] First recordings [edit] When Narmour got a chance to record for Okeh Records as a prize for winning first place in a 1928 fiddle contest, he recommended Hurt to Okeh producer Tommy Rockwell.[10] After auditioning "Monday Morning Blues" at his home, Hurt took part in two recording sessions, in Memphis and New York City.[9] While in Memphis, he recalled seeing "many, many blues singers ... Lonnie Johnson, Blind Lemon Jefferson, Bessie Smith, and lots, lots more."[7] Hurt described his first recording session: ... a great big hall with only the three of us in it: me, the man [Rockwell], and the engineer. It was really something. I sat on a chair, and they pushed the microphone right up to my mouth and told me that I couldn't move after they had found the right position. I had to keep my head absolutely still. Oh, I was nervous, and my neck was sore for days after.[7] Hurt attempted further negotiations with Okeh to record again, but his records were commercial failures. Okeh went out of business during the Great Depression, and Hurt returned to Avalon and obscurity, working as a sharecropper and playing at local parties and dances.[4] Rediscovery and death [edit] Hurt's renditions of "Frankie" and "Spike Driver Blues" were included in The Anthology of American Folk Music in 1952 which generated considerable interest in locating him.[11] When a copy of "Avalon Blues" was discovered in 1963, it led musicologist Dick Spottswood to locate Avalon, Mississippi, in an atlas, and ask Tom Hoskins, who was traveling that way, to enquire after Hurt.[5][12] Avalon, my home town, always on my mind / Avalon, my home town. — Mississippi John Hurt, "Avalon Blues" Upon locating Hurt, Hoskins persuaded him to perform several songs, to ensure that he was genuine.[11] Hoskins was convinced and, seeing that Hurt's guitar playing skills were still intact, encouraged him to move to Washington, D.C., and perform for a broader audience. Early in 1963 Hurt recorded an album, Folk Songs And Blues, that was released in August 1963 through Piedmont Records.[13] His performance at the 1963 Newport Folk Festival caused his star to rise in the folk revival occurring at that time.[4] Soon after, in 1964, he recorded live for radio in Massachusetts with Skip James.[14][15] For a few short years, Hurt performed extensively at colleges, concert halls, and coffeehouses and appeared on The Tonight Show Starring Johnny Carson. He also recorded three albums for Vanguard Records.[4] Much of his repertoire was also recorded for the Library of Congress. His fans particularly liked the ragtime songs "Salty Dog" and "Candy Man" and the blues ballads "Spike Driver Blues" (a variant of "John Henry") and "Frankie".[4] Hurt's influence spanned several music genres, including blues, spirituals, country, bluegrass, folk, and contemporary rock and roll. A soft-spoken man, his nature was reflected in the work, which consisted of a mellow mix of country, blues, and old-time music.[9] Hurt died of a heart attack on November 2, 1966, at a hospital in Grenada, Mississippi.[1] His last recordings had been done at a hotel in New York City in February and July of that year but were not released until 1972 on the Vanguard LP Last Sessions.[16] Style [edit] Hurt used a fast, syncopated fingerpicking style of guitar playing that he taught himself. He was influenced by few other musicians, among whom was Rufus Hanks, an elderly, unrecorded blues singer from the area where he lived, who played twelve-string guitar and harmonica.[7] According to the music critic Robert Christgau, "the school of John Fahey proceeded from his finger-picking, and while he's not the only quietly conversational singer in the modern folk tradition, no one else has talked the blues with such delicacy or restraint."[17] Tributes [edit] There was a memorial and museum dedicated to Hurt in Avalon, Mississippi, parallel to RR2, the rural road on which he grew up. On February 20, 2024, it was destroyed in a fire the day after being made a National Landmark. Arson is not suspected. [18] The singer-songwriter Tom Paxton, who met Hurt and played on the same bill with him at the Gaslight in Greenwich Village around 1963, wrote and recorded a song about him in 1977, "Did You Hear John Hurt?".[19] The first track of John Fahey's 1968 solo acoustic guitar album Requia is "Requiem for John Hurt". Fahey's posthumous live album, The Great Santa Barbara Oil Slick, also features a version of the piece, entitled "Requiem for Mississippi John Hurt". Norman Greenbaum's eclectic minor hit, "Gondoliers, Shakespeares, Overseers, Playboys And Bums" refers to Mississippi John Hurt singing the blues.[20] The British folk and blues artist Wizz Jones recorded a tribute song, "Mississippi John", for his 1977 album Magical Flight. The Delta blues artist Rory Block recorded the album Avalon: A Tribute to Mississippi John Hurt, released in 2013 as part of her "Mentor Series".[6] The New England singer-songwriter Bill Morrissey released the Grammy-nominated album Songs of Mississippi John Hurt in 1999. In 2017, Hurt's life story was told in the documentary series American Epic.[21] The film featured footage of Hurt performing and being interviewed,[22][23] and improved restorations of his 1920s recordings.[24][25] Director Bernard MacMahon stated that Hurt "was the inspiration for American Epic".[23] Hurt's life was profiled in the accompanying book, American Epic: The First Time America Heard Itself.[26] In 2023, Rolling Stone ranked Hurt at number 159 on its list of the 200 Greatest Singers of All Time.[27] Discography [edit] This section was compiled from three sources.[28][29][30] 78-rpm releases [edit] "Frankie" / "Nobody's Dirty Business" (Okeh Records, Okeh 8560), 1928 "Stack O' Lee" / "Candy Man Blues" (Okeh Records, OKeh 8654), 1928 "Blessed Be the Name" / "Praying on the Old Camp Ground" (Okeh Records, OKeh 8666), 1928 "Blue Harvest Blues" / "Spike Driver Blues" (Okeh Records, OKeh 8692), 1928 "Louis Collins" / "Got the Blues (Can't Be Satisfied)" (Okeh Records, OKeh 8724), 1928 "Ain't No Tellin'" / "Avalon Blues" (Okeh Records, OKeh 8759), 1928 Albums [edit] Folk Songs and Blues (Piedmont Records, PLP 13157), 1963 Worried Blues, live recordings (Piedmont Records, PLP 13161), 1964 Today! (Vanguard Records, VSD-79220), 1966 The Immortal Mississippi John Hurt (Vanguard Records, VSD-79248), 1967 The Best of Mississippi John Hurt, live recording from Oberlin College, April 15, 1965 (Vanguard Records, VSD-19/20), 1970 Last Sessions (Vanguard Records, VSD-79327), 1972 Volume One of a Legacy, live recordings (Piedmont Records, CLPS 1068), 1975 Monday Morning Blues: The Library of Congress Recordings, vol. 1 (Flyright Records, FLYLP 553), 1980 Avalon Blues: The Library of Congress Recordings, vol. 2 (Heritage Records, HT-301), 1982 Satisfied, live recordings (Quicksilver Intermedia, QS 5007), 1982 The Candy Man, live recordings (Quicksilver Intermedia, QS 5042), 1982 Sacred and Secular: The Library of Congress Recordings, vol. 3 (Heritage Records, HT-320), 1988 Avalon Blues (Flyright Records, FLYCD 06), 1989 Memorial Anthology, live recordings (Genes Records, GCD 9906/7), 1993 Selected compilation albums [edit] The Original 1928 Recordings (Spokane Records, SPL 1001), 1971 1928: Stack O' Lee Blues – His First Recordings (Biograph Records, BLP C4), 1972 1928 Sessions (Yazoo Records, L 1065), 1979 Satisfying Blues (Collectables Records, VCL 5529), 1995 Avalon Blues: The Complete 1928 Okeh Recordings (Columbia Records, CK64986), 1996 Rediscovered (Vanguard Records, CD 79519), 1998 The Complete Recordings (Vanguard Records, CD 70181–2), 1998 Candy Man Blues: The Complete 1928 Sessions (Snapper Music, SBLUECD 010), 2004 American Epic: The Best of Mississippi John Hurt (Lo-Max / Sony Legacy / Third Man, TMR-459), 2017 Notes [edit] Further reading [edit] Ratcliffe, Philip R. (2011). Mississippi John Hurt: His Life, His Times, His Blues. Jackson: University Press of Mississippi. James, Steve (July 2018). "Gaslight Memories: Mississippi John Hurt's Influence on the 1960s Folk Scene and Beyond". Acoustic Guitar . References [edit]
4189	dbpedia	1	69	https://backroadbound.com/tag/folk-blues/	en	Back Road Bound	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://backroadbound.com/wp-content/uploads/2013/06/cropped-wp_header_07.jpg", "https://backroadbound.com/wp-content/uploads/2015/07/b_morrissey.jpg?w=300&h=293", "https://backroadbound.com/wp-content/uploads/2015/03/p_case_slh.jpg?w=300&h=267", "https://backroadbound.com/wp-content/uploads/2014/05/img_0203.jpg?w=520&h=374", "https://backroadbound.com/wp-content/uploads/2014/05/img_0212.jpg?w=520&h=346", "https://backroadbound.com/wp-content/uploads/2014/05/img_0214.jpg?w=520&h=545", "https://backroadbound.com/wp-content/uploads/2013/08/d_moore_over.jpg?w=300&h=297", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[ "https://petercase.com/embed/#?secret=ggDE0skXHo#?secret=cYHjXuDIZG" ]	[]	[ "" ]	null	[ "Jay Haeske" ]	2015-07-20T15:07:29+00:00	Posts about Folk-Blues written by Jay Haeske	en	https://s1.wp.com/i/favicon.ico	Back Road Bound	https://backroadbound.com/tag/folk-blues/	(Philo / Rounder Records 1999) Bill Morrissey, who passed away in 2011 at the age of 59, recorded these songs by Mississippi John Hurt with the stated intention not to record them note for note, as ‘I didn’t see the point’. And of course Mississippi John Hurt has done this better than anybody else ever could, so inimitable and singular is his totally relaxed and fluid, yet swinging guitar playing and equally laid-back singing style. This can never be heard better than on his exceedingly brilliant 3-CD compilation The Complete Studio Recordings, which I am fortunate enough to own and which has given me hours of unadulterated joy since I bought it. So the arrangements on here are somewhat embellished in comparison, although Morrissey’s guitar playing is naturally influenced a great deal by Hurt’s style and his vocals are well-suited to these songs. I have to confess that it took me a bit of getting used to the, for me and my expectations, unusual arrangements. As you may have guessed already by judging the posts on my blog, I like my music rather stripped down and kept simple. Avalon Blues for example featuring a rolling piano and a saxophone (which isn’t my favorite instruments in general) – but it works very well I have to say after getting used to it. Likewise, Louis Collins and I’m Satisfied are adorned by trumpets which I am especially fond of on the former song. The decidedly old-school sounding Funky Butt, Joe Turner Blues and Hey, Honey, Right Away are not merely fabulous songs but arranged on here exactly to my liking so are natural favorites on Songs Of Mississippi Hurt for me. An album holding high the flag for old-style Folk Blues (although there are other influences evident on various tracks), and I can’t think of many people who could have interpreted this batch of classic Mississippi John Hurt songs as convincing as Bill Morrissey. Peter Case’s new album will be released later this year, but as he’s in his early 60’s now, he’s got quite a long career to look back on to, although unfortunately he’s not quite blessed with the amount of success he definitely deserves. Starting his career in earnest in the mid-1970’s in San Francisco, he played with seminal Power Pop heroes The Nerves and The Plimsouls in the late 1970’s and early 1980’s. Most interesting for me however, was the solo career which he started with his self-titled album in 1986 and 1989’s The Man With The Post-Modern Fragmented Neo-Traditionalist Guitar. Both are very fine albums taking me right back to, what was for me, the most formative and probably the most exciting musical period of my life, with bands such as The Blasters, The Beat Farmers, The Long Ryders, The Del Lords, Jason & The Scorchers, X, Los Lobos, Lone Justice and countless others. Haven’t listened to both albums in ages (a fact I plan on rectifying rather sooner than later), and the same is true for Sings Like Hell. Like all albums close to your heart you never completely forget about them though, so I picked it up again recently – and, nor surprisingly, I love it as much nowadays as I did back in the mid-1990’s. I got hold of it through the record label, Glitterhouse Records, for which I was working for around that time and who released the album in Europe in 1994 (it was released on his own Travellin’ Light label in the US and was thankfully re-released through Vanguard Records which means it is still widely available). And if you are, like me, into primitive, old-fashioned and (at times) raw Folk-Blues sounding a lot like an updated version of Case’s Blues heroes from the first part of the 20th Century, it’s an album that should not be missing from your record collection. More than his first two solo records, Sings Like Hell was for him a return to the styles and sounds he was inspired by as a guitar player, as his early inspiration were artists like Lightnin’ Hopkins, Robert Johnson, Mississippi John Hurt and Skip James. Where he was accompanied by a host of other players in those first two solo records, here it’s only a small group of fine musicians, accompanying him on a limited number of tracks, drums and bass for example are only to be heard on Walkin’ Bum and Well Runs Dry. Naturally, I like the more folk-influenced songs on here best, especially Lakes Of Ponchartrain, Roving Gambler, Rose Conolly and How ‘Bout You. Lakes Of Ponchartrain, like most of the songs on here, is a traditional, but I don’t think there was ever a better version recorded. It’s slow and sweet, with Tammy Rogers’ violin coupled with Case’s harmonica and guitar making it one of the most gorgeous songs I have ever heard. Roving Gambler is even more simply arranged with only Case and his acoustic guitar – but that’s all you need when a great song is done by somebody as talented and good as Case. Rose Conolly’s pretty tune (much like that other famous murder ballad Knoxville Girl) belies the gruesome story about a cold-blooded murder. Jesse Winchester’s How ‘Bout You is another track arranged in a very understated manner with just an acoustic guitar and (producer and ex-Lone Justice) Marvin Etzioni’s mandolin. Waltz Of The Angels is another slow and tuneful ballad (again graced by Roger’s violin). However, the decidedly more blues-oriented songs on here don’t disappoint at all either. Album opener Brokedown Engine is as raw as they come on here and setting the mood of the album in fine style. Case’s version of Arthur ‘Big Boy’ Crudup’s classic So Glad You’re Mine sounds quite different, but at the same time as authentic as you can hope to, about 50 years after it was first recorded. Especially good too is Blind Lemon Jefferson’s Matchbox Blues, it’s very cool, highly entertaining and downright catchy with some very fine guitar work by Case. Down In The Alley, for a change, is arranged only with a glorious, stomping honky-tonk piano, harmonica and vocals. The shouty Well Runs Dry is piano-led too, but, as noted before, arranged with bass and drums so it’s the fullest-sounding and most ‘rocking’ track on Sings Like Hell. Case’s only composition on here, the fabulous North Coast Blues is testament to his songwriting skills and fits on the album perfectly well and in convincing style. Quite a few songs on Sings Like Hell remind me of Dylan’s early work, the rough-around-the-edges guitar playing and overall sound, and the rather high and nasal, raspy voice. What was working for Dylan on Another Side Of is working on here brilliantly too. Another album springing to mind as a comparison, is the Alvin Brothers’ 2014 record Common Ground, if not exactly in sound, but in spirit. Having yet to listen to the first two records again in depth, my verdict ist still out, but Sings Like Hell might very well be my favorite Peter Case album, it’s most definitely the most original and the coolest. His website: Home In March 2013 I finally, and belatedly, discovered the music of Greg Brown and through his albums, also that of Bo Ramsey, his long-term musical partner, and not only in my opinion I guess, guitar genius. How fond I have grown of either artist should come as now surprise if you have browsed through this blog before. I posted raving reviews of Greg Brown’s album If I Had Known and Bo Ramsey’s very fine album Fragile and have been listening to both artists a hell of a lot of time last spring and summer (and still do, actually). When planning last year’s trip through the Midwest which lead me, only partly coincidentally, through Iowa, I was looking to find out if Greg Brown was playing any shows in the 2 weeks I was there – without too much hope that would actually be the case. So I guess you can imagine that I was more then overjoyed to discover that both were playing a show in the central Iowa town of Ames which I could easily fit into my schedule. After spending about 10 exciting and interesting days on the road travelling through Nebraska and Iowa their show on the 27th of September was ideally timed towards the end of my trip so the timing was right too. Unfortunately I neglected to take notes about the songs they played but it was, naturally, an excellent show. I was especially surprised and delighted about Bo Ramsey’s brief 7 or so song set in the beginning. He sounded quite different compared with his album Fragile, which was the only album of his I currently know (a fact I plan on rectifying soon). He sounded very energetic, slightly rough, with songs, as far as I could follow the lyrics, mainly about travelling on dirt roads, trains and other similarly rustic subject matter, which was of course much to my liking. Their set together was also splendid, but as I wrote above I can’t really remember exactly which songs they played. As Greg Brown has released about 25 studio albums throughout his career, they have obviously got a wide variety of brilliant songs to choose from. Unfortunately I wasn’t really able to take good quality photos as the show was packed and I was a bit locked in the middle of the audience, so the photos on here are rather poor, sorry about that. But just being there was a dream come true and most probably a chance to catch them playing a show together I won’t have again, so I am absolutely happy with how things went. Pretty much the only song I do remember hearing is Here In The Going Going Gone. As I didn’t possess The Poet Game at the time, it was brand new to my ears. It immediately became one of my favorite Greg Brown songs, in my opinion it’s one of his finest compositions, both musically, but especially lyrically. It was also immediately stuck in my head, so back in my hotel I tried to find a video of it on YouTube, I didn’t find one of his versions but I found this absolute gem of a cover version. I must have watched the video about 10 times that night (and many more since). The guys playing this seem to be only gigging in the Seattle area and I could find very little information about their work, and, sadly, no recording. I was a little bit sceptical about the singer’s voice at first, but have become quite fond of it in the meantime. And that violin is just wonderful. A cover version doing a great song more than justice. Dave Moore : Over My Shoulder (Red House Records, 1990) I recently reviewed Dave Moore’s last album to date Breaking Down To 3 on my bog (check it out here). In comparison with that album on here it’s showcasing a broader variety of musical influences, mainly stemming from his experiences and the time he spent in various countries in Middle and South America. This time clearly left a lasting influence on him and the music on Over My Shoulder, whereas on Breaking Down… these are not really to be heard (I am not familiar yet with his first record Jukejoints and Cantinas form 1984 but judging from the album’s title these influences most probably are on there too). These South/Middle American and TexMex influences are prevailing on a number of tracks, most notably on Open Your Heart (Abre El Corazon) which seems to have been written/amended by Mexican artist Manuel Guerrero and is based on Buck Owens’ Open Up Your Heart (or the other way around) and El Golfo written by Lolo Cavazos, which is the most authentic Mexican tune performed on here. The song The Mexican Highway is the track bridging these influences (it’s one of a number of songs where Moore also shines on the button accordion) with the Singer-Songwriter, Folk and Blues influences to very fine effect and is one of the melodic highlights on here. The album starts off though with a track perhaps the clearest indication of what Dave Moore is all about, an immensely gifted acoustic guitar player strongly influenced by Folk-Blues artists the likes of Mississippi John Hurt (who is name-checked on Over My Shoulder) and a warm, rich voice. Just A Dog is a slightly up-tempo song, with some outstanding guitar work, a fiddle providing some memorable sounds and Moore’s expressive vocals (he howls like a dog a number of times). A great opener. Bukka White’s classic Fixin’ To Die, perhaps most famous in Bob Dylan’s version (to me at least) is given the Dave Moore makeover – I have to say I like it better than Dylan’s version – and you don’t often hear me saying something to that effect when it comes to Dylan’s early work. I very much like the brilliant slide guitar and harmonica on here. God Moves On The Water (by Blind Willie Johnson) is updated here very convincingly. I have to admit that I am not familiar with the original version, but Moore’s version is affecting and quietly beautiful, with the Peter Ostroushko’s lovely fiddle sounding very wonderful indeed. The afore-mentioned El Golfo is the only instrumental on here, although it’s maybe a tad too traditional for my taste, but that’s just me, I am far from an expert on this kind of music, my only experiences with it are pretty much from Los Lobos and Calexico records, so don’t mind me. The next two tracks A Little Hey Dad and Half My Life are a bit more familiar stylistically, both being excellent acoustic Singer/Songwriter/Folk songs, the first one featuring a highly original and brilliant vocal arrangement and Moore’s trademark harmonica which I love a lot (not just on this track, but throughout his work). Half My Life sounds very much like an Old Time Country tune, complete with Western fiddle and saloon piano – it’s a lot of fun to listen to. The tongue-in-cheek Waitresses is a catchy little Folk-Blues ditty holding the flag for the working class high, which is always endearing to me. The Third Candle I Burnt Tonight is another sparsely arranged, gentle ballad on which I especially love Chris Weygand’s standup bass, it’s understated, tasteful and the song is all the better because of that. The best track on here is the title track, tucked away right at the end of the album. There’s actually an even better version than this available, which I included below (it’s a live recording from The Mill in Iowa City with only Moore and a gorgeous violin by Al Murphy). But the version on here is brilliant too, and as a song it may just the best song Dave Moore has ever written, it definitely is one of my favorites. Listening to these two records, it’s clear to me that Dave Moore does belong in there with the best of his like and in my opinion it’s very unfortunate and unjustified that he is not as highly regarded or well-known as some of the other Singer/Songwriters and musicians of his generation. I wish he would release another album.
4189	dbpedia	1	12	https://musicbrainz.org/artist/802484e0-90de-4611-9fa4-f5ef0c7727b6	en	Mississippi John Hurt	https://musicbrainz.org/…avicon-32x32.png	https://musicbrainz.org/…avicon-32x32.png	[ "https://static.metabrainz.org/MB/header-logo-1f7dc2a.svg", "https://static.metabrainz.org/MB/search-52f8034.svg", "https://static.metabrainz.org/MB/filter-a7c3d16.png" ]	[]	[]	[ "" ]	null	[]	null	Type: Person, Gender: Male, Born: 1893-07-03 in Mississippi, Died: 1966-11-02 in Grenada, Area: United States	en	/static/images/favicons/apple-touch-icon-57x57.png		null
4189	dbpedia	0	48	https://www.walmart.com/ip/Mississippi-John-Hurt-Best-of-Blues-CD/1234580	en	Robot or human?			[]	[]	[]	[ "" ]	null	[]	null		en			null	Activate and hold the button to confirm that you’re human. Thank You!
4189	dbpedia	1	7	https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/	en	Any recommendations for Mississippi John Hurt releases?	https://forums.stevehoff…9.jpg?1362417442	https://forums.stevehoff…9.jpg?1362417442	[ "https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/data/avatars/m/38/38309.jpg?1362417442", "https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/styles/default/xenforo/avatars/avatar_m.png", "https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/data/avatars/m/13/13999.jpg?1391460044", "https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/data/avatars/m/0/25.jpg?1414369004", "https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/data/avatars/m/22/22672.jpg?1352778341", 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"https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/data/avatars/m/22/22232.jpg?1352778339", "https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/data/avatars/m/24/24803.jpg?1677064290", "http://img.photobucket.com/albums/v627/Flabbergast/1-42.jpg", "http://www.hostdemos1976.host56.com/images/missisvwv.jpg", "https://forums.stevehoffman.tv/images/2017logo-780w-2.png" ]	[]	[]	[ "" ]	null	[]	null	I've seen several that look interesting, Vanguard single & 3 disc sets, Okeh, etc. I'd like some advice, thanks.	en	/images/apple-touch-icon.png?v=2017a	Steve Hoffman Music Forums	https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/	Thanks, I put in search for MJH & got fairly general discussions about labels with brief mentions of releases but no comparisons or recommendations. Well, I compared the 1928 sessions on the Sony when that one came out with the Yazoo CD and the latter thrashed it. The noise reduction and other mastering choices on the Sony killed the music. Yeah the search functions are not so great even when you search titles only. You get the whole list of posts rather than just the thread you'd like to look through Two things: I have the Yazoo and Sony versions of the 1928 sessions, and I prefer the Yazoo. The Sony has been doctored to clean it up where the Yazoo is clearer, but has a lot of surface noise (cracks and pops). It's really just personal preference as I can see why some people may prefer the Sony (Avalon Blues). The second thing I wanted to say is regarding the search function, and this is applicable to any website. You'll get better results searching the site using Google. For example, in the Google search window type: "Mississippi John Hurt site: stevehoffman.tv" It'll give you much better results. Hope that helps. What he said. He plays a 12 string flawlessly live for the double album concert, doing all his best songs. It's where I learned how to fingerpick (He's slightly detuned if you're intrested). Thanks to all! I had Today on vinyl back in the day but it's been years. I ordered new & used, a tribute to MJH, the Vanguard 3 piece, the Yazoo, the Greatest/Live cd. I left the Library of Congress in my 'save for later', probably pick it up within the next couple of months. Again THANKS, this is reason #28 why I love this forum! Let us know how you enjoy the albums! Because I suspect that you will love them... Yes I do love them. Talk about pure, relaxing sounds, this is it. Today sounds as beautiful as it did back when. Did he insure his right thumb? After years and years of listening to probably all of John Hurt's recorded output, I find myself always going back to his first two albums released on Vanguard. On those two albums, his playing and singing were much more solid than when he later showed obvious signs of age and ill health, and his guitar was always in perfect tune (unlike some other releases). I will agree with others, however, that it is fascinating to hear his 1928 recordings, mostly because he was something like 35 years old. Personally, I would begin with these two albums; then the 1928 recordings. http://www.amazon.com/Today-Mississ...6217290&sr=1-4&keywords=mississippi+john+hurt http://www.amazon.com/Immortal-Miss...6217382&sr=1-9&keywords=mississippi+john+hurt So, getting these is better than getting the Library of Congress collection?
4189	dbpedia	0	67	https://www.thenationalnews.com/arts-culture/music/vanguard-records-box-set-celebrates-maverick-label-1.373228	en	Vanguard Records: Box set celebrates maverick label	https://thenational-the-…=1200&height=630	https://thenational-the-…=1200&height=630	[ "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/SJ6VO6YU42UT6PIZ47OTQCYB2A.jpg?smart=true&auth=3bba4c78e9f62ad4b01cbc1bca737b1ed024652422e10934bd4efb623d9157c5&width=400&height=225" ]	[]	[]	[ "" ]	null	[ "John Robinson" ]	2021-06-20T06:21:42.991000+00:00	A new four-CD box set celebrates the vital role played by the New York-based Vanguard label in promoting the 1960s musical revolution.	en	/pf/resources/favicon.jpeg?d=762	The National	https://www.thenationalnews.com/arts-culture/music/vanguard-records-box-set-celebrates-maverick-label-1.373228	Today we hear almost as much about the people behind the music as the people who made it. These people, as we have come to learn through music biography, are the "mavericks and madmen" of the record industry - essentially the enthusiasts who fell into business, and were as outrageous as any of the bands or artists with whom they worked. But what of those whose social lives offered a less convenient expression of their wildly alternative thinking? These we hear less about, and among that number are Maynard and Seymour Solomon. The two New Yorkers founded their Vanguard label as a classical imprint, with a loan from their father, and with the intention of releasing a definitive edition of the works of Bach. And yet, in the winter of 1955, the pair decided to abandon that comfort zone, embrace their leftist leanings, and release a live album of that year's Christmas concert by The Weavers. Today, the gentle strumming of The Weavers music sounds anything but radical, but in the 1950s this benign, progressive singing group was driven by a desire for equality that drew them into regular contact with the kinds of people - communists; African-American community leaders - that would mark them out to the government as persons of interest. In this paranoid climate, Weavers shows were picketed by right-wing groups, and band members were investigated by the House UnAmerican Activities Commission. By releasing their records, Vanguard effectively abandoned its comfortable home in high culture and staked out a tent near the confluence of political debate, racial equality and topical/regional/historical songwriting that helped make up the "folk revival". On this four-CD box set, the group are represented by just one song, their version of Woody Guthrie's This Land Is Your Land, but that is enough to be emblematic of the label's impressive reach and its radical mission. The song reaches back to the Depression and optimistically looks forward to better times. It anticipates the Utopian spirit of the 1960s radical counterculture, whose music Vanguard would also release, and even throws forward to today, where the song has been covered by Neil Young for his new album, Americana. It's an anthem for a nation that is changing, and Vanguard's mission tacitly became to record the grassroots-level musical expression of that change. As such, the label's compass is huge. It would persist into the 1970s and release disco records, but in this, its most important period, Vanguard reissued recordings from the 1938-39 From Spirituals To Swing concerts, which revolutionarily presented before an integrated audience African-American folk/blues artists like Big Bill Broonzy alongside gospel singers and jazz musicians. Mindful perhaps of the historic power of these recordings, in 1959 Vanguard signed a deal to ensure a supply of more, and become the label of record for the Newport Folk Festival, taping every note played at the event. It's this festival that provides some of the most illuminating material here. In this selection, you'll find the regional voices of rediscovered pre-war blues artists like the Reverend Robert Wilkins all the way to the million-selling collegiate bluegrass japes of the Kingston Trio. The Mumford And Sons of their day, their take on Woody Guthrie's Hard, It Ain't Hard borders on tongue-in-cheek. Newport was also the place where Maynard Solomon saw the 19-year-old Joan Baez, who he immediately signed. Compiler John Crosby has done a smart thing here, programming a Bob Dylan Newport performance of North Country Blues next to Joan's version of Dylan's Farewell, Angelina. Dylan was not signed to Vanguard (folklorist John Hammond, who had signed Bessie Smith, and would sign Bruce Springsteen, had taken him to Columbia), but here the compilation gives a solid illustration of the pair's unwanted, if attractive, status as the Prom King and Queen of the Folk Class of 1963. So great was Dylan's contribution to the scene at this time, it's difficult not to perceive some of the acts gathered here other than through his long shadow. The feisty Koerner, Ray And Glover (friends of Dylan's from the Minneapolis "Dinkytown" folk scene). The rough-hewn but melodically inventive Dave Van Ronk, Dylan's New York mentor. The hilarious, high-spirited performances of transplanted Irishman Liam Clancy (again a New York contemporary). Even if Vanguard didn't have a pole star of Dylan's magnitude to plot their course by they could certainly record a stout-hearted crew. But Vanguard did have Joan Baez. She was significant to the label, not only for her credentials as campaigner and artist, but also as a big seller. At one point Baez had three records in the Top 10, which was remarkable enough. When you consider these were generally recorded by Baez alone, at the Brooklyn Masonic Temple, she becomes a phenomenal business proposition. Overheads at these sessions typically only ran to tape, hire of the room, and a rug for the barefoot singer to stand on. The profits that the company made from such recordings were in part invested in new recordings by musicians lately "rediscovered" such as Mississippi John Hurt and Skip James. Their remit also widened to include the brand of folk pop that sprang up in Baez's wake: from the whimsical efforts of her own sister Mimi and her husband (Richard and Mimi Fariña) to the earnest but anodyne work of Ian & Sylvia. It recorded as the gaze of the folk singer turned inward from the world's injustice and gave birth to singer-songwriters like Patrick Sky and Jerry Jeff Walker. Not all of the label's experiments were successful: the hippy rock showcased on discs three and four from Frost, Serpent Power and Walker's first band, Circus Maximus, is, at best, of its time. However, when the label stuck closer to its core qualities: passion, a hard to define "artistry", and a certain radical commitment they could strike their own kind of gold. Country Joe & The Fish, as the sleeve of their first album attests, looked like a travelling yokel circus with magician pretensions. Their witty, anti-Vietnam war polemic Fixin' To Die Rag, however, perfectly caught the mood of the counterculture. Disappointed, exuberant, angry, it is an anthem of the 1960s. Vanguard, this set suggests, began by offering source materials to blues/folk purists, but would ultimately confound them. The label's core business - as much as it was about recording music - was about recording change. On Vanguard, young and old, traditional and modern stood shoulder to shoulder. Rather than being dominated by one personality, Vanguard provided something like a census of the notionally "folk" population: living and dying, adopting new influences, adapting, and being reborn. It would be hard in this respect to think of an artist who found a more natural home or who better personified the label's ethos than John Fahey. Today, Fahey (who died in 2001) is a revered cult figure: his immense body of work testament to his drive; his relative obscurity a symptom of his unmanageable personality. So keen was Fahey's zeal for the blues, he didn't only rediscover the music of Skip James - in 1964 he tracked down the actual person, crotchety and afflicted with cancer in a Tunica, Mississippi, hospital. For this act alone, Fahey would be revered, but his engagement with blues source material took it to genuinely new places. Fahey played blues guitar, but through his unique filter of modern classical music theory, part-remembered Christian music, and his own prolix self-mythologising. It's difficult to point to one among his 30 or so albums as definitive, but we can admire the playing excerpted here (the wonderful March! For Martin Luther King and Commemorative Transfiguration and Transformation At Magruder Park) and explore further. The Vanguard label invokes much the same response. It invites us to salute the achievement in amassing such a varied body of work, and admire the passionate, utterly individual approach that gave rise to it. The revolution is no easier to record or neatly compile than it is to televise - the achievement of this set, however, is to suggest something of its power. John Robinson is associate editor of Uncut and the Guardian Guide's rock critic. He lives in London.
4189	dbpedia	1	93	https://www.billboard.com/music/music-news/beck-williams-harper-salute-mississippi-john-hurt-79470/	en	Beck, Williams, Harper Salute Mississippi John Hurt	https://www.billboard.co…icon-512x512.png	https://www.billboard.co…icon-512x512.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://cdn.shopify.com/s/files/1/0237/2843/products/2020_04_540x.jpg?v=1581608516", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Billboard Staff" ]	2001-06-08T04:00:00+00:00	Beck, Lucinda Williams, Steve Earle and his son Justin, Taj Mahal, John Hiatt, Gillian Welch, Ben Harper, Geoff Muldaur, Mark Selby, Alvin Youngblood Hart, Bruce Cockburn, Chris Smither, and Bill Morrissey are among the artists who have contributed newly recorded tracks to "Avalon Blues: A Tribute to the Music of Mississippi John Hurt," due Tuesday (June 12) on Vanguard.	en	https://www.billboard.co…e-touch-icon.png	Billboard	https://www.billboard.com/music/music-news/beck-williams-harper-salute-mississippi-john-hurt-79470/	Beck, Lucinda Williams, Steve Earle and his son Justin, Taj Mahal, John Hiatt, Gillian Welch, Ben Harper, Geoff Muldaur, Mark Selby, Alvin Youngblood Hart, Bruce Cockburn, Chris Smither, and Bill Morrissey are among the artists who have contributed newly recorded tracks to “Avalon Blues: A Tribute to the Music of Mississippi John Hurt,” due Tuesday (June 12) on Vanguard. The album was executive produced by singer/songwriter Peter Case, who duets with recent Grammy winner Dave Alvin on “Monday Morning Blues.” Even Case’s ex-wife, Victoria Williams, contributes a version of “Since I’ve Laid My Burden Down.” One of the true giants of Delta blues, Hurt made a series of recordings for OKeh Records in 1928 that were distinguished by their unconventional song structures, dazzling guitar work, and subdued, almost sweet vocals. He disappeared back into Mississippi after cutting those sides. But, after his rediscovery by Tom Hoskins in 1963, Hurt enjoyed a remarkable career resurgence during the American folk revival and made a number of new albums, most notably for Vanguard, before his death in 1966. Case says he fell under Hurt’s spell as a 14-year-old exploring the music collection of the library in his hometown of Hamburg, N.Y. “I was interested in weird folk blues records,” he recalls. “The first week I [borrowed] a Josh White record. The next week I got [the 1966 Vanguard album] ‘Mississippi John Hurt Today!’ I took it home, and it blew my head off.” Case went on to perform Hurt’s music as a street busker in San Francisco in the period during the ’70s before he moved to L.A. and founded the influential pop/rock bands the Nerves and the Plimsouls. Initially recruiting friends, musical associates, and sympathetic labelmates for the project, Case picked up other performers for “Avalon Blues” as interested musicians heard about the tribute and called to offer their services. “Two or three generations of current musicians seem to be deeply influenced by him,” says Case. “[The album is] almost like a night with a bunch of people sitting in a living room and passing a guitar around.”
4189	dbpedia	3	6	https://www.allmusic.com/album/today%2521-mw0000193954	en	Music Search, Recommendations, Videos and Reviews	https://cf.allmusic.com/…cebook_share.png	https://cf.allmusic.com/…cebook_share.png	[ "https://cf.allmusic.com/images/logo_tower_whiteonblack.svg", "https://b.scorecardresearch.com/p?c1=2&c2=6685975&cv=2.0&cj=1" ]	[]	[]	[ "" ]	null	[]	null	AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.	en	https://cf.allmusic.com/….png?v=47BXOjEqB	AllMusic	https://www.allmusic.com/updated
4189	dbpedia	0	71	https://www.nodepression.com/album-reviews/mississippi-john-hurt-rediscovered/	en	Mississippi John Hurt	https://b1222810.smushcd…1&strip=1&webp=0		[ "https://www.facebook.com/tr?id=1301674290642181&ev=PageView&noscript=1", "https://b1222810.smushcdn.com/1222810/wp-content/uploads/2019/01/2019nodep-1.png?lossy=1&strip=1&webp=0", "https://secure.gravatar.com/avatar/c1825fb4e8d2d9676af21adae68ee72a?s=60&d=mm&r=g", "https://secure.gravatar.com/avatar/c1825fb4e8d2d9676af21adae68ee72a?s=60&d=mm&r=g", "https://www.nodepression.com/album-reviews/mississippi-john-hurt-rediscovered/<iframe src=\"https:/open.spotify.com/embed?uri=spotify%3Aplaylist%3A5WOVw2iX7HuDug1MfvuGA2\" width=\"100%\" height=\"400\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"></iframe>", "https://b1222810.smushcdn.com/1222810/wp-content/uploads/2024/06/front-cover-ND-Summer-24-smaller.jpg?lossy=1&strip=1&webp=0", "https://www.nodepression.com/wp-content/uploads/2024/06/front-cover-ND-Summer-24-smaller.jpg", "https://b1222810.smushcdn.com/1222810/wp-content/uploads/2018/04/youtube-150x150.jpg?lossy=1&strip=1&webp=0", "https://b1222810.smushcdn.com/1222810/wp-content/uploads/2024/06/front-cover-ND-Summer-24-smaller.jpg?lossy=1&strip=1&webp=0", "https://www.nodepression.com/wp-content/uploads/2024/06/front-cover-ND-Summer-24-smaller.jpg", "https://b1222810.smushcdn.com/1222810/wp-content/uploads/2019/01/fg-2.png?lossy=1&strip=1&webp=0" ]	[]	[]	[ "music online magazine", "american music guide", "music review magazine", "country root music festivals schedule" ]	null	[]	1999-03-01T00:00:00+00:00	In Peter Guralnick’s Feel Like Going Home, Dick Waterman, onetime manager of Skip James and John Hurt, recalled James’ dismissal of Hurt’s music: “It was play-party, ball-less, pleasant music…but not to be taken seriously as great blues.” Similarly, critics struggling […]	en	https://b1222810.smushcd…1&strip=1&webp=0	No Depression	https://www.nodepression.com/album-reviews/mississippi-john-hurt-rediscovered/	In Peter Guralnick’s Feel Like Going Home, Dick Waterman, onetime manager of Skip James and John Hurt, recalled James’ dismissal of Hurt’s music: “It was play-party, ball-less, pleasant music…but not to be taken seriously as great blues.” Similarly, critics struggling to place Hurt within the blues tradition often fall back upon descriptive terms such as “gentle,” “sweet,” “passive,” “non-threatening.” In a word, Hurt is soft — a label as damning in latter-day blues as it is in modern-day hip-hop. What few remember is that Hurt was 34 at the time of his first Okeh session, markedly older than most recorded country-blues performers of the ’20s. As Ed Ward argues in his liner notes to Rediscovered, Hurt’s music is best described as pre-blues, owing as much to ragtime and the “songster” tradition as to his Delta-area contemporaries. In fact, his guitar style — marked by complex fingerings, gentle syncopation, melodic lift and a rolling tone — seems all but unique; Hurt acknowledged few influences, instead demurring, “I just make it sound the way I think it ought to.” This unassuming originality extends into his songwriting and choice of standards. Rediscovered cherry-picks from Hurt’s Vanguard catalog, beginning with “Coffee Blues”, a tribute to the beneficent powers of Maxwell House coffee, and closing with as loving and tender a “Goodnight Irene” as you’re likely to hear. Throughout, the material reflects a sense of abiding, the easy confidence of a life lived contentedly within limits. Further highlights include “Avalon, My Home Town”, a homesick ballad written while Hurt was recording in New York, and his cautionary take on “Stagolee”, devoid of the number’s usual trickster mythopoeia. Recent reissues of Hurt’s Okeh sessions on Avalon Blues and Harry Smith’s Anthology have refocused attention on the artist’s earliest recordings. But Hurt’s strengths — delicacy, restraint, a playful warmth and rhythmic assurance — merely deepened and matured over a lifetime of obscurity. Recorded more than 30 years after his artistic debut, Hurt’s Vanguard sides represent his creative peak; and though I’ve long cherished his Last Sessions, this set, with its 20-bit mastering and choice material, is near essential as music — if not blues.
4189	dbpedia	1	4	https://www.amazon.com/Rediscovered-Mississippi-John-Hurt/dp/B000009NLR	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/sgkknrsj/Captcha_hstojwxvuo.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=JB2Z8W7PAT2JPRCWD9HZ&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
4189	dbpedia	1	66	https://www.salvationsouth.com/finding-mississippi-john-hurt/	en	Finding Mississippi John Hurt – Salvation South	https://www.salvationsou…JN2018-01794.jpg	https://www.salvationsou…JN2018-01794.jpg	[ "https://www.salvationsouth.com/wp-content/uploads/2021/11/salvation_south_porch_swing_masthead.png", "https://www.salvationsouth.com/wp-content/uploads/2022/04/NMAH-JN2018-01794.jpg", "https://www.salvationsouth.com/wp-content/uploads/2021/12/Square-Michael-VM-150x150.png", "https://www.salvationsouth.com/wp-content/uploads/2024/03/CONDENSED-mother-crow-cover-Hanka-Steidle-Shutterstock-150x150.jpg", "https://www.salvationsouth.com/wp-content/uploads/2021/12/1-Final-2021115-LINC-Wilmington-45-150x150.jpg" ]	[]	[]	[ "" ]	null	[ "Michael Venutolo-Mantovani https:", "www.salvationsouth.com", "michael-venutolo-mantovani", "Michael Venutolo-Mantovani", "www.facebook.com" ]	null	The guitar was pulled from a white cabinet that looked like all the other white cabinets we saw that morning.	en	https://www.salvationsou…e_icon-70x70.png		https://www.salvationsouth.com/finding-mississippi-john-hurt/	Row upon row of industrial-strength storage, coded with numbers that meant nothing to us but everything to the museum’s white-gloved curator, each holding a trove of treasured piece of American cultural history. We saw the Fonz’s famous leather jacket, a baseball bearing the signature of the Babe, Rick Flair’s feathers and George Foreman’s trunks, Dr. Jones’s fedora and Mister Spock’s ears. But it was the instrument room where the curator thought we might be most interested. After all, it was a rock and roll band he was guiding on a private tour through the deepest bowels of the Smithsonian Museum of American History. He showed us one of Prince’s Symbol-shaped guitars, Duke Ellington’s travel bag, and Dizzy Gillespie’s upturned trumpet. And then he pulled out the Emory and strummed a gentle chord. The sound was no more or less spectacular than any other vintage acoustic I’ve ever handled; not the 1920s Gibson I was allowed to use to make a record nor the 1930s Martin I played at instrument emporium-cum-makeshift museum, Chicago Music Exchange. The wood was aged, a dark amber color due to the decades of the oil and dirt and sweat of human hands working into its pores and the instrument looked more like the side of an old ship than a guitar. There were small, horizontal cracks running along the seams of the guitar’s top and tiny chips taken out of the edges of the soundhole. The tuners, no doubt once brilliant white, were a rich and dark yellow. Even the guitar’s brand name beveled into the guitar’s sixteenth fret, showed signs of a century of age. And though the ‘E,’ ‘M,’ ‘R,’ and ‘Y’ were worn from the stressors of its steel strings being pressed into it, the ‘O,’ wedged safely between the third and fourth strings, was as dark and as brilliant as perhaps the day it was made. Structurally and historically, this Emory, made sometime in the late nineteenth or early twentieth century, was just like any other century-old guitar. But intrinsically, the guitar was anything but normal. It was the guitar Mississippi John Hurt played at the 1963 Newport Folk Festival, a performance many historians believe helped usher in an era of appreciation and reverence for traditional Southern blues music. Which is why, of the many guitars Hurt played over the course of his life, this one sits in a locked cabinet in a locked room in a locked hallway, a revered artifact of American cultural history. Hurt, who was born 130 years ago this month, spent most of his life as a sharecropper and farmhand in Mississippi. He taught himself how to play guitar at the age of nine and honed his talent playing at local dances. In 1928, Hurt recorded his first singles for the OKeh label after being recommended by fiddle player Willie Narmour, who won the recording sessions in a fiddle contest. The singles, recorded in Memphis and New York City, were commercial failures, resulting in Hurt returning to farmwork in Mississippi, where he would remain until the legendary American musicologist Dick Spottswood, in 1963, came across a copy of Hurt’s final OKeh single, “Avalon Blues.” Hurt’s music had found some interest a decade prior, when two of his OKeh singles—“Frankie” and “Spike Driver Blues”—were included in the Anthology of American Folk Music, a 1952 release culled from the personal collection of the artist and experimental filmmaker Harry Smith. However, attempts to locate Hurt proved unsuccessful. A decade later, Spottswood asked a musician friend named Tom Hoskins, who was traveling near Avalon, Mississippi, if he might inquire about Hurt. Hoskins found Hurt’s cabin and, after some persuasion, convinced the bluesman to play for him, that he might confirm Hurt’s identity. After some urging from Hoskins, Hurt moved from his lifelong home to Washington D.C., intent on trying once again to find a broader audience for his music. Later that year, Hurt would play at the Newport Folk Festival, using an Emory guitar that, at the time, was at least six decades old. His performance coincided perfectly with the burgeoning folk revival across America, allowing Hurt to perform around America, to cut three records with the Vanguard label, and even appear on "The Tonight Show" with Johnny Carson. His late-life career was cut all too short, however, when Hurt died in Grenada, Mississippi, just twenty miles away from his lifelong home in November 1966. And though he only spent four short years in the spotlight, Mississippi John Hurt’s impact on American music is considered so important, it has been preserved in the Library of Congress. And under lock and key is a guitar he once played, its cracked amber wood so much like any other century old guitar, but its story so not.
4189	dbpedia	1	89	https://mississippi.universitypressscholarship.com/view/10.14325/mississippi/9781617030086.001.0001/upso-9781617030086-miscMatter-7	en				[]	[]	[]	[ "" ]	null	[]	null					null
4189	dbpedia	0	51	https://sundayblues.org/%3Fp%3D25728	en	Big Road Blues	https://i0.wp.com/sunday…it=32%2C32&ssl=1	https://i0.wp.com/sunday…it=32%2C32&ssl=1	[ "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/07/Tarheel-Slim-Peg-Leg-Sam-UNC-Chapel-Hill-March-31st-1973-sm-e1722179274422.png?resize=450%2C304&ssl=1", "https://i0.wp.com/static.addtoany.com/buttons/share_save_120_16.png?w=648&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2023/11/396719075_915421429934368_7422430838796634442_n.jpg?resize=526%2C526&ssl=1", "https://i0.wp.com/static.addtoany.com/buttons/share_save_120_16.png?w=648&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/05/R-12930004-1544743546-4304-modified-e1714598977959.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/05/Blind_Joe_Reynolds_Full-modified-e1714599349665.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/05/pigmeat-modified-e1714599778622.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/05/joseph-falcon-ouvrez-grand-ma-fenetre-raise-my-window-high-decca-78-e1714600019413.jpg?resize=350%2C350&ssl=1", "https://i0.wp.com/static.addtoany.com/buttons/share_save_120_16.png?w=648&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/lefthandcharlie-e1713450739583.jpg?resize=350%2C500&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/R-12343059-1533322788-5827-modified-e1713451023786.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/GUITAR-GABLE-e1713451259300.png?resize=500%2C367&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/R-2627593-1635593419-2530-modified-e1713527022236.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/R-16271550-1606341777-6554-modified-e1713451507787.png?resize=350%2C350&ssl=1", "https://i0.wp.com/static.addtoany.com/buttons/share_save_120_16.png?w=648&ssl=1", "https://sundayblues.org/wp-content/uploads/2024/01/imageedit_2_3478529461.png", "https://sundayblues.org/wp-content/uploads/2023/04/cropped-mixcloud-logo-and-tiles-1-e1680382201349.jpg" ]	[]	[]	[ "blues radio", "blues music", "blues reviews", "pre-war blues", "blues history", "delta blues", "chicago blues" ]	null	[]	2024-08-01T07:00:37-04:00	Big Road Blues radio airs on Sundays 5 to 7 PM (EST) on WGMC Jazz90.1 and streams live on the web. The show is an exploration of traditional blues spanning the 1920’s through the 1970’s. Updated regularly with playlists, show notes and blues articles	en	https://i0.wp.com/sunday…it=32%2C32&ssl=1		https://sundayblues.org	Well, it’s been a bit – our last new show was way back at the beginning of May. I have been thoroughly enjoying my summer vacation but I’m gearing up to resume the show on September 1st. I’ve started to record new shows recently so here’s a preview of some things we have on tap, with no set order yet: -South Carolina Blues Pt. 1 & 2 – this show will spotlight Peg Leg Sam, Baby Tate and Pink Anderson with issued and unissued material as well as rare interviews from the artists’ themselves. -Blues & Dance – My postponed interview with Felix Lambert and his impressive set of books on the history of African-American dance and its connections to blues. -Post-War Label Spotlight – A whole series of shows on the many obscure and enterprising indie labels that popped around WWII to record black music. Labels like like Regis, 20th Century, Acorn, Rockin’, Regent, Chart, Elko and many others. -The Year 1949 – A return to our long-running feature spotlighting a particular year. This one is a two-parter. -Ed Huey/Michael Hortig Field Recordings – Another field recording special as we spin music largely unissued from the 1980s. -Trumpet Records & Home of the Blues – Spotlights on these two labels in conjunction with Producer/Researcher Marc Ryan. Marc wrote the definitive book on Trumpet, produced several collections of music from the label and is currently issuing a series of collections devoted to Home of the Blues recordings. As we sail into our 17th year, I just want to thank everyone for listening and thanks for sticking with us during the downtime. I hope you’re as excited as these guys with our return. ARTISTSONGALBUM Chuck Higgins Here I'm IsThe Dootone Story Herb Fisher Don't Want Nobody ElseFurther Mellow Cats 'N' Kittens Al Jackson It Ain't Gonna Be Like ThatLaughin' At The Blues Frank Stokes Nehi Mamma Blues Memphis Blues Singers Vol. 1 Furry Lewis You Can Leave Baby Memphis Sessions 1956-1961 Gus Cannon, Will Shade, Laura Dukes Dirty Mother for You Memphis Sessions 1956-1961 Joey Thomas Bad Luck ChildNew York City The Blues Yesterday Vol .9 Bob Marshall I'm Going to Live for TodayNew York City The Blues Yesterday Vol .9 Bobby Smith And Orchestra Don't Shake Those Hips At MeLost R&B Shouters Vol 1 Julius Daniels 99 Year Blues Blues Images Vol. 2 Blind Joe Reynolds Ninety Nine Blues Bluesin' By the Bayou: Rough 'N' Tough Dan Pickett 99 1/2 Won't Do 1949 Country Blues Sister Rosetta Tharpe 99 Half Won't Do Sister Rosetta Tharpe Vol. 5 Ramblin' Hi Harris I Haven't Got A HomeBluesin' By The Bayou: Aint' Broke, Ain't Hungry Ramblin' Hi Harris Trying To Call My BabyThe Legendary Jay Miller Sessions Vol. 3 William Moore Midnight Blues The Great Race Records Vol. 1 Robert Wilkins Losin' Out BluesMasters of the Memphis Blues Kokomo Arnold Goin' Down in Galilee (Swing Along With Me)Kokomo Arnold Vol. 4 1937-1938 The Famous Hokum Boys Pig Meat StrutThe Famous Hokum Boys Dickie Thompson Hand in Hand Blues New York City The Blues Yesterday Vol .9 Arkansas Johnny Todd Keep Em Down Modern Downhome Blues Sessions Vol. 4 Cleoma Falcon Raise My Window HighCajun Early Recordings Lizzie MilesA Good Man Is Hard To FindJazzin' The Blues 1943 -1952 Baby Face Turner Gonna Let You GoThe Modern Downhome Blues Sessions Vol. 2 Ike Turners Kings Of Rhythm w/ Tommy Hodge Down & OutCobra Records Story Buddy Guy I Hope You Come Back HomeThis Is the Beginning: The Best of the Aritistic, Cobra & U.S.A. Sessions Smiley Lewis The RocksNew Orleans Guitar 1953-1954 Dave Bartholomew The Golden RuleDave Bartholomew 1950-52 Little Sonny Jones Going Back To The CountryCrescent City Bounce Lonnie Johnson Away Down in the Alley BluesA Life in Music: Selected Sides Texas Alexander Yellow Girl BluesTexas Alexander & His Circle 1927-1951 Juke Boy Bonner Call Me Juke BoyGoin' Down To Louisiana Billy Boy Arnold & Johnny Jones Tell Me BabyChicago Blues: Live At The Fickle Pickle Sonny Boy Williamson Going In Your DirectionCool, Cool Blues: The Classic Sides Papa Harvey Hull and Long Cleve ReedDon't You Leave Me HereBlues Images Vol. 12 Charlie Patton Jim Lee Blues Pt. 1Best Of Casey Bill Weldon Big Katy AdamThe Essential Jazz Gillum Big Katy Adams Bill ''Jazz'' Gillum Vol. 2 1938-1941 Show Notes: A fine batch of recordings today spanning the 20s through the 50s. On deck today are a couple of sets of jump blues, we hear from several early Memphis blues artists, two sides from the mysterious Ramblin’ Hi Harris and some tracks featuring Lonnie Johnson. In addition we here a set of related blues and gospel songs, a set of terrific pre-war guitarists, some blues songs sung in French, some fine New Orleans artists, songs about steamboats and much more. I want to give a plug to Gérard Herzhaft, a first rate blues researcher who has run the terrific blog, Blue Eye, for several years. Gérard puts together thematic collections of blues for download which would make for a great CD’s. Gérard collects lots of hard-to-find tracks that I’ve often used on this show because they are not available elsewhere. Today we spin several tracks from New York City The Blues Yesterday Vol .9. From that collection we hear from Bob Marshall who’s featured track is the title for today’s show. He recorded 12 fine sides in 1949-50, some as vocalist of the Cozy Cole Orchestra. We spin the fine “Hand in Hand Blues” from Dickie Thompson. Thompson is best known for “Thirteen Women” which was covered by Bill Haley. During the 1940’s to the 60’s, Thompson made himself a name in New York City as a trustworthy and talented sideman, playing jazz or R&B with the same efficiency behind Cozy Cole, Lawrence Brown, Sam Woodward, Wild Bill Davis, Clifford Scott, Harry Edison, Johnny Hodges, Dinah Washington and others. He was the lead guitarist for singer Jackie Wilson and the Jonah Jones Quintet. Thompson managed to make some R&B records as a leader with little success. We spin a fair bit of early blues artists, several who made records in the post-war era. From Memphis we spin some track for a hard-t0-find collection titled Memphis Sessions 1956-1961. In 1961 Dave Mangurian and Donald Hill recorded Gus Cannon, Will Shade and Laura Dukes over two days in Memphis. The recordings have been issued as bootlegs on Will Shade & Gus Cannon 1961 (Document) and the above mention album on Wolf. Cannon’s band of the ’20’s and ’30’s, Cannon’s Jug Stompers, along with contemporaries, The Memphis Jug Band, recorded the finest jug music of the era. We hear some top-flight guitarists from the pre-war era include outstanding sides by William Moore, Robert Wilkins, Kokomo Arnold and The Famous Hokum Boys on the dazzling guitar workout “Pig Meat Strut.” Moore was a A resident of Tappahannock, Virginia and recorded sixteen sides for Paramount in 1928. The name “The Hokum Boys” is a bit confusing as several groups of musicians worked under this name. Tampa Red and Georgia Tom recorded as Tampa Red’s Hokum Jug Band and The Hokum boys at sessions done in 1928. In 1929 a group calling themselves the Hokum Boys began recording for Paramount. Throughout the six sessions that year the group consisted of a varying mix of personal. As Chris Smith notes: “By 1930 ‘The Hokum Boys’ was a well-established identity, cloaking a number of different musicians who produced a similar sounding music, reliant on agile guitar playing and ingenious double entendres. …ARC boldly entered the market with its dimestore labels, and promoted Georgia Tom, Big Bill Broonzy and Frank Brasswell as the ‘Famous Hokum Boys.’ According to Dorsey he and Big Bill never worked together outside the studio.” Brasswell was later replaced by Bill Williams. Also joining the group Hannah May who also recorded as Jane Lucas and Kansas City Kitty. The group recorded close to fifty sides by the end of 1930. A last session, in January 1931, consisted of Jane Lucas, Big Bill and Georgia Tom recording under the name Harum Scarums. Like most Americans, I don’t speak a second language – I blame my schooling in the Bronx but that may be a cop out. Regardless, we spin two numbers sung in French by Cleoma Falcon and Lizzie Miles. Guitarist/Singer Cléoma Falcon who, along with her husband Joe Falcon, recorded one of the first known examples of Cajun music. In the mid-1920s, she was joined in performing by accordion player Joe Falcon and would later marry in 1931. In 1928, politician and music enthusiast George Burrs hoped to capitalize on the group’s popularity on the dance-hall circuit, and negotiated a deal with Columbia Records to record the trio which included vocalist Leon Meche. In August 1929, they were invited to Columbia Records’ headquarters in New York City to record six sides. Their next recording session was on August 8, 1934, for Decca Records. Lizzie Miles was born in New Orleans in 1895. She worked with Joe Oliver, Kid Ory, Bunk Johnson, and A.J. Piron from 1909-1911. She then toured the South, performing in theaters, circuses, and with minstrel shows. She moved to New York and made her first recordings in 1922. Miles toured Europe in 1924 and 1925 and then returned to New York and worked in clubs from 1926 to 1931. She recorde around sixty sides between 1922 and 1930. Miles suffered a serious illness and retired from the music industry in the 1930s. Despite her illness, Miles appeared in two films in the early 1930s. She began working regularly again in 1935, performing with Paul Barbarin at the Strollers Club in New York.She sang with Fats Waller in 1938, made some recordings in 1939 and then worked in Chicago until she left music in 1942. In 1950, Miles lived in California where she sang with George Lewis in 1953 and 1954, performed and in Las Vegas from 1955 to 1957 and sang with Joe Darensbourg in Chicago in 1958 and 1959. She returned to New Orleans, where she appeared with Freddie Kohlman and Paul Barbarin. She recorded with several Dixieland and traditional jazz bands, appeared at the Monterey Jazz Festival in 1958, and made regular radio broadcasts before retiring in 1959. As usual we spin some related songs, this time dealing with the number ninety nine. In blues songs ninety nine is not a great number as it usually connotes a jail term as is the case in Julius Daniels’ “Ninety-Nine Year Blues ” recorded in 1927. Blind Joe Reynolds cut “Ninety Nine Blues” in 1930 but with a a different meaning: “I got ninety-nine women, cravin’ nineteen more/And if I get them hundred, boys, I’m gonna let nineteen go.” The number is also associated with a classic gospel number. The first release of “Ninety-Nine and a Half Won’t Do” I found was by Sister Rosetta Tharpe and Her Mother (Katie Bell Nubin) with the Sam Price Trio recorded in 1949. Tharpe recorded it again in 1956. Dorothy Love Coates & The Original Gospel Harmonettes recorded a version in 1956. It was since covered by many gospel artists. Dan Pickett’s “99 1/2 Won’t Do” cut in 1949 is related but seems to be an amalgam of different songs. We hear from one of my favorites, Lonnie Johnson on the amazing instrumental, “Away Down in the Alley Blues” and back Texas Alexander on “Yellow Girl Blues.” Alexander was popular and prolific, cutting sixty-four issued sides between 1927 and 1934, first for Okeh and then for Vocalion. The record companies must have had some faith in Alexander as his recorded were advertised nine times in the Chicago Defender between 1928 and 1930. He had he good fortune to work with superb accompanists such as guitarists Little Hat Jones, Lonnie Johnson, Eddie Lang, Carl Davis, Willie Reed to the string band blues of the Mississippi Sheiks and the jazz bands of King Oliver. We hear a set of songs about famous river boats. Charlie Patton’s 2-part number, “Jim Lee Blues”, celebrates a Mississippi river boat that plied between Vicksburg and Memphis. Kate Adams was the name given to a series of four side-wheel steamers made famous by their operation on the Mississippi River and its tributaries. The steamer’s name was mentioned by Long “Cleve” Reed & Little Harvey Hull (The Down Home Boys) in their song, “Don’t You Leave Me Here”: “Kate Adams got ways, just like a man/Well, she steals a woman, sweet lovin’ babe, everywhere she lands.” Casey Bill Weldon, Jazz Gillum, Mooch Richardson, Robert Wilkins all had songs that referenced the Kate Adams. I’ll wrap up with some mysteries from J.D. Miller’s studio in Crowley, Louisiana. We heard quite a bit of great music on last week’s show from Miller’s studio. Today we spin two tracks from Ramblin’ Hi Harris who was given that name at a later date because Miller couldn’t remember the singer’s real name. We also spin “I Hope You Come Back Home” from Miller’s studio which may be be Buddy Guy’s first recording made in 1957. Guy cut two other sides the same year in Baton Rouge. ARTISTSONGALBUM Left Hand Charlie Honey Bee Bayou Rhythm & Blues Shuffle Left Hand Charlie Miss My Lagnion Louisiana Swamp Blues 1954-1961 Left Hand Charlie Whole Lotta Drinkin' on the Block Louisiana Swamp Blues 1954-1961 Guitar Gable With King Karl IreneThe Excello Story Vol. 2 1955-1957 Guitar Gable With King Karl Life Problem The Legendary Jay Miller Sessions Vol. 36 Guitar Gable With King Karl Congo Mambo The Legendary Jay Miller Sessions Vol. 36 Wonder Boy Travis That's Alright Fort Worth Shuffle Wonder Boy Travis Imitation of Love Bluesin' By the Bayou: Rough 'N' Tough Wonder Boy Travis She Was Gone Rhythm 'N' Bluesin' By The Bayou: Nights Of Sin, Dirty Deals & Love Sick Souls Jimmy Dotson w/ Sylvester Buckley I Wanna Know The Legendary Jay Miller Sessions Vol. 3 Jimmy Dotson w/ Sylvester Buckley Looking for My Baby Bluesin' By the Bayou: Rough 'N' Tough King Charles Won't Be MeLouisiana Swamp Blues 1954-1962/63 King Charles w/ Left Hand Charlie But You Thrill Me Rhythm 'N' Bluesin' By The Bayou: Livin', Lovin' & Lyin' King Charles w/ Left Hand Charlie Bop Cat Stomp Rhythm 'N' Bluesin' By The Bayou: Bop Cat Stomp Guitar Gable With King Karl This Could Go On Forever House Rockin' & Hip Shakin', Volume 3: Killer Swamp Blues Guitar Guitar Gable With King Karl Cool, Calm and Collected Louisiana Swamp Blues 1954-1962/63 Guitar Gable With King Karl Have Mercy On Me The Legendary Jay Miller Sessions Vol. 36 Wonder Boy Travis She Went Thataway Rhythm 'N' Bluesin' By The Bayou: Rompin' & Stompin' Wonder Boy Travis You Know Yeah Rhythm 'N' Bluesin' By the Bayou: Mad Dogs, Sweet Daddies & Pretty Babies Wonder Boy Travis She's Got Eyes Like A Cat Rhythm 'N' Bluesin' By The Bayou: Rompin' & Stompin' Silas Hogan w/ Sylvester Buckley Trouble At Home Blues Bluesin' By The Bayou: I'm Not Jiving Silas Hogan w/ Sylvester Buckley You're Too Late Baby Authentic Excello R&B Left Hand Charlie I'm Gonna Kill That Hen Genuine Excello R&B Left Hand Charlie Watch That Crow Rhythm 'n' Bluesin' By The Bayou Left Hand Charlie Don't Bring No Friend Bluesin' By The Bayou: I'm Not Jiving Lazy Lester w/ Guitar Gable They Call Me Lazy I Hear You Knockin'!: The Excello Singles Lazy Lester w/ Guitar Gable Lester's Stomp I Hear You Knockin'!: The Excello Singles Sylvester Buckley She Treats Me So Evil The Legendary Jay Miller Sessions Vol. 2 Sylvester Buckley I Can Be On My Way Bluesin' By The Bayou Sylvester Buckley Mumblin' Blues The Legendary Jay Miller Sessions Vol. 2 Sylvester Buckley I'm Getting Tired The Legendary Jay Miller Sessions Vol. 49 Guitar Gable With King Karl Long Way from Home The Legendary Jay Miller Sessions Vol. 36 Guitar Gable With King Karl Walkin With The KingsThe Legendary Jay Miller Sessions Vol. 36 Lazy Lester w/ Sylvester Buckley You Better Listen I Hear You Knockin'!: The Excello Singles Lazy Lester w/ Sylvester Buckley Pondarosa Stomp I Hear You Knockin'!: The Excello Singles Mr. Calhoun (Vince Monroe) w/ Guitar Gable Hello Friends, Hello PalThe Legendary Jay Miller Sessions Vol. 3 Mr. Calhoun (Vince Monroe) w/ Guitar Gable I'm Ragged And Dirty The Legendary Jay Miller Sessions Vol. 3 Mr. Calhoun (Vince Monroe) w/ Guitar Gable Change Your WaysBluesin' By the Bayou: Rough 'N' Tough Wonder Boy Travis Do The Everything45 Wonder Boy Travis Travis Stomp Rhythm 'N' Bluesin' By The Bayou: Rompin' & Stompin' Show Notes: Today’s show is part of a semi-regular feature I call Forgotten Blues Heroes that spotlights great, but little remembered and little recorded blues artists that don’t really fit into my weekly themed shows. For today’s program we head to Louisiana for a batch of fine, little remembered artists who were recorded in Louisiana at Jay Miller’s small studio in Crowley, Eddie Schuler’ studio in Lake Charles as well as other small studios. Miller met with Ernie Young and worked out a deal that would lease the material he was recording to Excello Records for release and distribution. Soon Miller’s studio became ground zero for the sound known as “swamp-blues” issuing records by Slim Harpo, Lazy Lester, Silas Hogan, Lonesome Sundown and many others. Miller recorded way more material than he could issue hence many recordings were never released which includes many of the tracks featured today. In the 70’s the Flyright label, with the assistance of Miller, began a series called the The Legendary Jay Miller Sessions to issue these unissued sides. The series ran to over fifty volumes. The inspiration for this show comes from a recent article by Gene Tomko on the mysterious Left Hand Charlie who saw just a couple of singles released during his lifetime on Goldband and Excello. Guitar Gable was the second artist Miller leased to Excello who’s half dozen sides came out over two years plus many others that were not issued. King Karl was the vocalist/arranger/composer for the band. Gable also backed Lazy Lester and Vice Monroe sides heard today. Travis Phillips AKA Wonder Boy Travis came to Miller’s studio in 1959 with Clifton Chenier’s band and cut several sides that went unissued. Sylvester Buckley backed Lazy Lester, Silas Hogan and Jimmy Dotson on harmonica and cut some excellent sides under his own name, all of which went unissued. Willie Monroe Vincent recorded as Vincent Monroe, Mr. Calhoun and Polka Dot Slim. He was recorded by Miller in 1959 for Zynn and Excello and on Instant in the 60s. Left Hand Charlie was born Charles Morrison September 30, 1919, in Geismar, Louisiana. Although Morris’ early days as a musician are unknown, by the time he arrived on Eddie Shuler’s doorstep at Goldband Records around 1954 he was a highly seasoned musician and bandleader in his mid-30s. Backed by a crack band that included blind saxophonist John Hart (who would later work with Clifton Chenier, Little Bob, Rockin’ Dopsie, and others), Morris recorded five titles with some alternate takes that included the slow blues “Miss My Lagnion” (Shuler’s misinterpretation of l’argent, which is Creole French for money), “Honey Bee”, a tough, electrified reworking of Kansas Joe McCoy and Memphis Minnie’s classic “Bumble Bee”, and “Whole Lotta Drinkin’ on the Block.” Despite discographies citing 1954, Morris’ trip back to Goldband instead took place in March of 1956 as a band member with King Charles, a bandleader and trumpet player. Shuler released only one single by King Charles on Folk-Star, “Bop Cat Stomp” backed with “But You Thrill Me.” By the end of 1956 and into early 1957 Morris was leading his own band seven nights a week at Whit’s Lounge, a popular white nightclub in the Four Corners section of Lafayette. Morris was back in the studio in April 1957 for what appears to be his final recording session as a leader, this time at J.D. Miller’s studio in Crowley. Backed by Miller’s studio band at the time, which included guitarist Guitar Gable and his brother John Perrodin on bass, Tal Miller on piano, and Jockey Etienne on drums, Morris laid down several originals including “I’m Gonna Kill That Hen” and “Don’t Bring No Friend”, which Miller leased to Excello and was subsequently issued on its Nasco subsidiary. Through the late 1950s Morris continued performing with his own group and as a member of King Charles’ band. He was also lending his guitar talents out to regional bands. The guitarist was also known locally for playing jazz. Throughout the 1960s Left Hand Charlie performed as a member of bandleader and saxophonist Buddy Stewart’s famed Topnotchers of Baton Rouge. Morris continued to perform until the late 1970s when health issues forced him to retire from music. He died on October 8, 1983, at age 64. Gabriel Perrodin AKA Guitar Gable was born in Bellevue, St. Landry Parish , Louisiana in 1937. Gable was influenced by the music of Guitar Slim, and was self-taught in playing the guitar by his mid-teens. He formed a group called the Swing Masters, and was later introduced to King Karl and formed the band the Musical Kings a with Gable’s brother, Fats Perrodin on bass and Clarence “Jockey” Etienne on the drums. Introduced to Jay Miller, the band eventually became the heart of Miller’s house band. They backed musicians such as Lazy Lester, Classie Ballou, Bobby Charles and Slim Harpo. Guitar Gable and the Musical Kings recorded their own debut single for Excello in 1956. His first track was the instrumental “Congo Mombo”, and he A-side of the single was “Life Problem”, which featured King Karl’s vocals. The follow-up release included the swamp pop classic, “Irene.” After his debut, subsequent releases followed a similar pattern with Gable’s Caribbean-laced instrumentals such as “Congo Mom bo,” “Guitar Rhumbo” and “Gumbo Mombo,” pitched against rock and roll tracks including “Cool, Calm, Collected” and “Walking in the Park.” It was the blues influenced ballads including “Irene,” “Life Problem” and “This Should Go On Forever” that caused most interest. The latter track was recorded by Gable and his band in 1958, but did not find favor with Miller. A cover version was recorded by Rod Bernard, and it reached the Top 20 of the US Billboard R&B chart. Gable’s original was finally released in February 1959, but failed to match the success of Bernard’s cover. Gable and Karl left Miller and Excello and were reduced to issuing work on the much smaller labels of La Louisianne and Tamm into the early 1960s. Gable served in the armed forces but later continued with his own band, maintaining a following in local clubs until 1968. In the 1970s, Gable performed regularly with Lil’ Bob and the Lollipops, before he initially retired from performing in the 1980s. In the 1990s, Guitar Gable was tempted back to the performing stage by C.C. Adcock. Gable died in hospital at Opelousas, Louisiana, on January 28, 2017, at the age of 79. Travis Phillips, aka Wonder Boy Travis, came from Texas as part of Clifton Chenier’s band and during a long recording session in J.D. Miller’s Crowley studio took over the singing duties while Chenier gave his voice a rest. Impressed by his singing and guitar playing, Miller kept the tape running. Although none of the tracks made it to vinyl, they have been issued posthumously. It seems Travis saw his name on just one 45, “That’s Alright/ Do The Everything”, released a few years later on the Jox label out of San Antonio as by Travis Phillips & His Wonder Boys. Sylvester Buckley backed Lazy Lester, Silas Hogan and Jimmy Dotson on harmonica and cut four excellent sides under his own name circa 1963, all of which went unissued. Jimmy Dotson cut two records, one for Zynn and the other for Rocko (Miller’s own labels) in Crowley, Louisiana in 1959 and 1960 backed by Silas Hogan, Sylvester Buckley and Isaiah Chatman. One other record was issued on HOB in 1962. Five other Dotson sides were not issued at the time. When Hogan made his debut in 1962 the other musicians were present but not Dotson. Dotson said: “The Baton Rouge blues scene in the ’50s was nice, we had a following, we played from club to club. I played drums for Lightnin’ Slim for a while and with Slim it fluctuated, I was a kind of utility musician. If they needed a drummer I’d go play drums, if they needed a bass player, a guitar … I couldn’t play any too good on any of them but I could fit in. But they had a tremendous following, Lightnin’ Slim and Slim Harpo. They would go from club to club, sometimes we would play Sunday afternoon somewhere back over North Baton Rouge in the park area from two o’clock to six and the place would be full of people. OK then we would go across the river (to Port Allen) and they’d just line up in cars and follow us across the river! It was fantastic, it really was.” Willie Monroe Vincent recorded as Vince Monroe, Mr. Calhoun and Polka Dot Slim. His first recordings were made in 1956 and 1959 in Crowley, Louisiana, for Jay Miller, who released them under two different pseudonyms on Excello and Zynn. Several other sides from these sessions went unreleased. In 1964, he recorded “A Thing You Gotta Face” and “Ain’t Broke Ain’t Hungry”, produced by Sax Kari and released as a single on the Instant label as Polka Dot Slim. His last sides were cut for Apollo in 1966. He was a regular performer for many years in clubs and bars in New Orleans. Researcher John Broven described him in the 1970s as one of “the last of the rural country bluesmen still playing in New Orleans.”
4189	dbpedia	1	8	https://sixstrstories.com/2013/07/03/this-historic-day-in-music-mississippi-john-hurt-3/	en	This Historic Day In Music: Mississippi John Hurt	https://sixstrstories.co…htoday.jpg?w=300	https://sixstrstories.co…htoday.jpg?w=300	[ "https://sixstrstories.com/wp-content/uploads/2010/09/cropped-cropped-p6190171.jpg", "https://sixstrstories.com/wp-content/uploads/2013/07/mjhtoday.jpg?w=300&h=298", "https://0.gravatar.com/avatar/97656d7b02693e1cdbf4cb8024c0fea99ad0efb1c20ca39aa162db3be17e4090?s=60&d=identicon&r=G", "https://1.gravatar.com/avatar/acfd40d4b77d3cb82d209f121e26b32897b337cbf146f5d4d2ecab0b5a4dc06d?s=40&d=identicon&r=G", "https://0.gravatar.com/avatar/0afa169acbd706e724dd3ffe6e9fee4550ff710c6c4476762b4f3c0f6103b52a?s=40&d=identicon&r=G", "https://sixstrstories.com/wp-content/uploads/2017/07/cropped-img_1112.jpg?w=50", "https://sixstrstories.com/wp-content/uploads/2017/07/cropped-img_1112.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[ "https://www.youtube.com/embed/Sb5qqoQgPlk?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[]	2013-07-03T00:00:00	Today! was the first album of music by Mississippi John Hurt that I owned. Although I don't recall where or when I bought it, I do know that Today! introduced me to an artist that remains among the most enjoyable and remarkable of all the musicians I've ever heard. Released in 1966 by Vanguard Records, Today! contains 12…	en	https://sixstrstories.co…mg_1112.jpg?w=32	sixstr stories	https://sixstrstories.com/2013/07/03/this-historic-day-in-music-mississippi-john-hurt-3/	Today! was the first album of music by Mississippi John Hurt that I owned. Although I don’t recall where or when I bought it, I do know that Today! introduced me to an artist that remains among the most enjoyable and remarkable of all the musicians I’ve ever heard. Released in 1966 by Vanguard Records, Today! contains 12 songs featuring just John Hurt’s vocals and fingerstyle guitar accompaniment. In the LP’s liner notes, esteemed music journalist Nat Hentoff describes Mississippi John Hurt’s music as having “an uncommon gentleness,” “finely shaded nuances” and “an unforced, unhurried sensuality.” Writing in 2003 for the All Music Guide to Blues, David Freedlander says of the music on Today!: “It is still difficult to believe that there is just one man playing on the seemingly effortless guitar work” and “…that sound, along with a mellow and heartfelt voice, wizened here by decades, combine to make Today! an unforgettable whole.” Mississippi John Hurt once said of his music: “I just make it sound like I think it ought to.” One of my favorite songs on Today! is the one that starts off the second side of the LP: “Coffee Blues,” a John Hurt original. Mississippi John Hurt was born John Smith Hurt, in Teoc, Mississippi, on this day, July 3, 1893. (Some sources state his date of birth as being March 8, 1892.) He passed away on November 2, 1966. If you’d like to read more about Mississippi John Hurt, especially the incredible story of his “rediscovery” in 1963, look into the blog archives for July 2010 and find the July 3 post entitled “On This Day In Music History: Mississippi John Hurt.” If you’d like to listen to some more of his music and see video of the man himself, check out my blog post of July 3, 2012. One of the reasons I started writing this blog was to do my small part in helping to keep this kind of music alive. If you’ve enjoyed the music as well, and would like to help, please pass a link on to your family and friends. If someone should ask, just tell them: “Good music doesn’t get old.”
4189	dbpedia	0	47	https://www.musicandvideo.it/en/cat0_24076_10249_10261_33410/music-vinyl-lp-cd-sacd-xrcd-tapes/cd-sacd-xrcd-dvd-audio/cd/blues-various-labels/p1231211-the-complete-studio-recordings-mississippi-john-hurt-3-cd-made-in-eu-2000-vanguard-records-181-83-2-open-cd.php	en	The complete studio recordings / mississippi john…	https://www.musicandvideo.it/inc/scripts/thumb.php?bg=ffffff&w=1200&h=630&img=http%3A%2F%2Fadmin.abc.sm%2Fupload%2F4952%2Fcatalogodinamico%2Fprodotti%2Fimg_1231211_114529DSC09728.jpeg&v=1723543943	https://www.musicandvideo.it/inc/scripts/thumb.php?bg=ffffff&w=1200&h=630&img=http%3A%2F%2Fadmin.abc.sm%2Fupload%2F4952%2Fcatalogodinamico%2Fprodotti%2Fimg_1231211_114529DSC09728.jpeg&v=1723543943	[ "https://www.musicandvideo.it/js_source/css/titanka/default-icons/svg_originali/it.svg", "https://www.musicandvideo.it/js_source/css/titanka/default-icons/svg_originali/en.svg", "https://www.musicandvideo.it/source/logo.svg?v=1723543943", "https://www.musicandvideo.it/js_source/css/titanka/default-icons/svg_originali/it.svg", "https://www.musicandvideo.it/js_source/css/titanka/default-icons/svg_originali/en.svg", "https://www.musicandvideo.it/inc/scripts/thumb.php?bg=ffffff&w=770&h=770&img=http%3A%2F%2Fadmin.abc.sm%2Fupload%2F4952%2Fcatalogodinamico%2Fprodotti%2Fimg_1231211_114529DSC09728.jpeg", "https://www.musicandvideo.it/inc/scripts/thumb.php?bg=ffffff&w=145&h=125&img=http%3A%2F%2Fadmin.abc.sm%2Fupload%2F4952%2Fcatalogodinamico%2Fprodotti%2Fimg_1231211_114529DSC09729.jpeg", "https://www.musicandvideo.it/inc/scripts/thumb.php?bg=ffffff&w=145&h=125&img=http%3A%2F%2Fadmin.abc.sm%2Fupload%2F4952%2Fcatalogodinamico%2Fprodotti%2Fimg_1231211_114529DSC09730.jpeg", "https://admin.abc.sm/img/gallery/upload/4952/band%20ital(4).gif", "https://admin.abc.sm/img/gallery/upload/4952/band%20ing(3).gif", "https://www.musicandvideo.it/source/smartphone.svg?v=1723543943", "https://www.musicandvideo.it/source/imballaggio.svg?v=1723543943", "https://www.musicandvideo.it/source/spedizioni.svg?v=1723543943", "https://www.musicandvideo.it/source/consegne.svg?v=1723543943", "https://www.musicandvideo.it/source/spedizioni-pieno-1.svg", "https://www.musicandvideo.it/source/logo-footer.svg?v=1723543943" ]	[]	[]	[ "" ]	null	[ "TITANKA! Spa" ]	null	The complete studio recordings / mississippi john hurt - 3 cd - made in eu 2000 - vanguard records 181/83-2 - open cd for sale online in Musica & Video.	en	/source/favicon.ico		https://www.musicandvideo.it/en/cat0_24076_10249_10261_33410/music-vinyl-lp-cd-sacd-xrcd-tapes/cd-sacd-xrcd-dvd-audio/cd/blues-various-labels/p1231211-the-complete-studio-recordings-mississippi-john-hurt-3-cd-made-in-eu-2000-vanguard-records-181-83-2-open-cd.php
4189	dbpedia	0	10	https://www.amazon.com/Complete-Studio-Recordings-Mississippi-John/dp/B00004Z3VB	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/kwizfixk/Captcha_jlpvndpive.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=73Z6YFYGRGPT35QP5B5T&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
4189	dbpedia	0	11	https://open.spotify.com/album/2AijI0LujDEUd9smSk87Uw	en	Today!	https://i.scdn.co/image/ab67616d0000b273f5e61b0e6c4e53081d9bb490	https://i.scdn.co/image/ab67616d0000b273f5e61b0e6c4e53081d9bb490	[]	[]	[]	[ "" ]	null	[]	2006-01-01T00:00:00	Listen to Today! on Spotify · Album · Mississippi John Hurt · 2006 · 12 songs	en	https://open.spotifycdn.…n32.b64ecc03.png	Spotify	https://open.spotify.com/album/2AijI0LujDEUd9smSk87Uw
4189	dbpedia	0	93	https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/	en	Vanguard RSD vinyl & quality control	https://forums.stevehoff…5.jpg?1352778259	https://forums.stevehoff…5.jpg?1352778259	[ "https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/data/avatars/m/8/8175.jpg?1352778259", "https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/data/avatars/m/17/17599.jpg?1715432295", "https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/data/avatars/m/8/8175.jpg?1352778259", "https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/data/avatars/m/12/12517.jpg?1352778288", "https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/data/avatars/m/18/18491.jpg?1352778321", "https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/styles/default/xenforo/avatars/avatar_m.png", "https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/data/avatars/m/22/22907.jpg?1531524535", "https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/data/avatars/m/22/22344.jpg?1405911407", "https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/data/avatars/m/20/20081.jpg?1352846110", "https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/data/avatars/m/22/22907.jpg?1531524535", "https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/data/avatars/m/1/1342.jpg?1504453856", "https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/data/avatars/m/22/22907.jpg?1531524535", "https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/data/avatars/m/20/20617.jpg?1352778330", "https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/data/avatars/m/19/19741.jpg?1352778326", "https://forums.stevehoffman.tv/images/2017logo-780w-2.png" ]	[]	[]	[ "" ]	null	[]	null	I picked up 2 albums from Vanguard on RSD, "The Immortal" Mississippi John Hurt and John Hammond "So Many Roads." The sleeves to both albums left a...	en	/images/apple-touch-icon.png?v=2017a	Steve Hoffman Music Forums	https://forums.stevehoffman.tv/threads/vanguard-rsd-vinyl-quality-control.248369/	I picked up 2 albums from Vanguard on RSD, "The Immortal" Mississippi John Hurt and John Hammond "So Many Roads." The sleeves to both albums left a whole bunch if small paper remnants stuck to the albums, and on the John Hammond lp, the punched out center hole piece from the sleeve was still inside the sleeve with the vinyl. "The Immortal" had a few light clicks, nothing that I couldn't deal with or a cleaning wouldn't help. Some inaudible very light scuffing as well. The vinyl itself was cut at Masterdisk. I bit on the bright side, but it sounds good nonetheless. The John Hammond album, while also cut at Masterdisk, is a disappointment, especially for the $22 I paid. It looks like it was poorly pressed, as you can see a change in the grooves on the first track for both sides of the album, which may be contributing to some mistracking. It also has scuff marks on both sides and light clicking, probably as a result of the garbage that was/is stuck to the vinyl, maybe due to the sleeve issue (paper, glue). This is a shame, because quality control aside, it is a great album! Maybe it's me, but this sounds a little on the bright side as well. Is this indicative of how Vanguard is remastering these reissues? I wanted to try to find the Country Joe & The Fish "Electric Music...", but I think I'll shy away from the Vanguard re-issues for now. My copy of Skip James - Today had the small paper remnants, part of the label was missing by the center hole punch, looks off center also, while the record looked flat to the eye when I put it on the table the first tracks you can see the arm bobbing up and down like on a carousel ride. The first tracks on both side mis-track a bit due to this. I am taking mine back for the other copy in the store on Saturday. That aside it did sound good but I won't pick up anything else from this re-issue series.
4189	dbpedia	1	67	https://www.voanews.com/a/a-13-a-2001-07-23-3-i-avalon-66939497/377470.html	en	<i>Avalon Blues,</i> A Tribute to the Music of 'Mississippi' John Hurt - 2001-07-23	https://www.voanews.com/…op_logo_news.png	https://www.voanews.com/…op_logo_news.png	[ "https://ssc.voanews.com/b/ss/bbgprod,bbgentityvoa/1/G.4--NS/167589401?pageName=voa%3aeng%3aw%3aarticle%3a%3ci%3eavalon%20blues%2c%3c%2fi%3e%20a%20tribute%20to%20the%20music%20of%20%27mississippi%27%20john%20hurt%20-%202001-07-23&c6=%3ci%3eavalon%20blues%2c%3c%2fi%3e%20a%20tribute%20to%20the%20music%20of%20%27mississippi%27%20john%20hurt%20-%202001-07-23&v36=8.33.0.0.279&v6=D=c6&g=https%3a%2f%2fwww.voanews.com%2fa%2fa-13-a-2001-07-23-3-i-avalon-66939497%2f377470.html&c1=D=g&v1=D=g&events=event1,event52&c16=voa%20english&v16=D=c16&c5=english-news&v5=D=c5&ch=news&c15=english&v15=D=c15&c4=article&v4=D=c4&c14=377470&v14=D=c14&v20=no&c17=web&v17=D=c17&mcorgid=518abc7455e462b97f000101%40adobeorg&server=www.voanews.com&pageType=D=c4&ns=bbg&v29=D=server&v25=voa&v30=461&v105=D=User-Agent ", "https://www.voanews.com/Content/responsive/img/player-spinner.png", "https://www.voanews.com/Content/responsive/VOA/en-US/img/logo-compact.svg", "https://www.voanews.com/Content/responsive/VOA/en-US/img/logo.svg", "https://www.voanews.com/Content/responsive/VOA/en-US/img/logo-print.gif", "https://www.voanews.com/Content/responsive/VOA/en-US/img/logo-print_color.png" ]	[]	[]	[ "News", "Washington" ]	null	[ "VOA" ]	2001-07-23T00:00:00	Fifteen of his better-known fans are featured on this new CD	en	/Content/responsive/VOA/img/webApp/favicon.svg	Voice of America	https://www.voanews.com/a/a-13-a-2001-07-23-3-i-avalon-66939497/377470.html	For two months in 1928, bluesman "Mississippi" John Hurt ventured to Memphis and New York City to record his music. He then disappeared into the hills of the Mississippi Delta before being rediscovered in 1963. John Hurt only toured during the three years before his death in 1966, but the blues icon's brief career influenced countless listeners. Fifteen of Hurt's better-known fans are featured on a new tribute CD called Avalon Blues. It's hard to imagine a guitar player who has had such an influence on so many styles of music as "Mississippi" John Hurt. Every few decades, the music of John Hurt is saved from obscurity by a new generation of admirers. Avalon Blues, a winning and warm tribute by performers including Beck, Lucinda Williams and Chris Smither, is the latest rescue. Chris Smither is one of 15 artists breathing new life into the songs of John Hurt on Avalon Blues. This is more of a folk-rock-blues album than a strict delta blues collection. And while blues purists may object, the concept is that the variety will expose some of Hurt's songs to fans who buy it because they like Steve Earle or Beck, not because they think of themselves as blues fans. Singer-songwriter Peter Case produced the album and, with Dave Alvin, offers a new take on "Monday Morning Blues." Case says the idea behind this tribute was not to make a traditional record and have people imitate Hurt, but to give their impression of the spirit and feel of his music. There's something for every taste on Avalon Blues - Gospel from Alvin Youngblood Hart, spicy blues from Taj Mahal and even a humorous spelling lesson in "Chicken" by Geoff Muldaur and his daughters. Avalon Blues is a wonderful exploration of the wide-ranging roots of "Mississippi" John Hurt's music. No matter what your taste in music, in the end you're sure to say "I'm Satisfied," just as singer John Hiatt does.
4189	dbpedia	1	88	https://forums.stevehoffman.tv/threads/mississippi-john-hurt-complete-studio-recordings.70163/	en	Mississippi John Hurt - Complete Studio Recordings	https://forums.stevehoff…4.jpg?1352778252	https://forums.stevehoff…4.jpg?1352778252	[ "https://forums.stevehoffman.tv/threads/mississippi-john-hurt-complete-studio-recordings.70163/data/avatars/m/6/6974.jpg?1352778252", "https://forums.stevehoffman.tv/threads/mississippi-john-hurt-complete-studio-recordings.70163/data/avatars/m/0/460.jpg?1352778205", "https://forums.stevehoffman.tv/threads/mississippi-john-hurt-complete-studio-recordings.70163/data/avatars/m/1/1019.jpg?1386654985", "https://forums.stevehoffman.tv/threads/mississippi-john-hurt-complete-studio-recordings.70163/data/avatars/m/6/6974.jpg?1352778252", "https://forums.stevehoffman.tv/threads/mississippi-john-hurt-complete-studio-recordings.70163/images/smilies/orangesmile.gif", "https://forums.stevehoffman.tv/threads/mississippi-john-hurt-complete-studio-recordings.70163/data/avatars/m/0/460.jpg?1352778205", "https://forums.stevehoffman.tv/threads/mississippi-john-hurt-complete-studio-recordings.70163/images/smilies/orangesmile.gif", "https://forums.stevehoffman.tv/threads/mississippi-john-hurt-complete-studio-recordings.70163/data/avatars/m/6/6974.jpg?1352778252", "https://forums.stevehoffman.tv/threads/mississippi-john-hurt-complete-studio-recordings.70163/data/avatars/m/1/1019.jpg?1386654985", "https://forums.stevehoffman.tv/images/2017logo-780w-2.png" ]	[]	[]	[ "" ]	null	[]	null	Just wondering if I should get it. Is sound quality ok? I understand that there's nothing to compare it too (in terms of other...	en	/images/apple-touch-icon.png?v=2017a	Steve Hoffman Music Forums	https://forums.stevehoffman.tv/threads/mississippi-john-hurt-complete-studio-recordings.70163/	Just wondering if I should get it. Is sound quality ok? I understand that there's nothing to compare it too (in terms of other masterings/releases)...but if I were to get only one Mississippi John Hurt album, should I get this one? It's quite cheap too - only $18 at DeepDiscountCD. That's about what I'd pay for three discs at yourmusic. EDIT: I'd be interested in hearing about the sound quality on the Avalon Blues: The Complete 1928 Okeh Recordings too. I'm thinking of picking that one up too. Thanks! The Yazoo is the best way to go with the early stuff, but prefer the 60s Vanguard material. The live album that he recorded for Vanguard is not on the 3 CD complete studio recordings and is my favourite Hurt.
4189	dbpedia	1	26	http://deadessays.blogspot.com/2020/02/mississippi-john-hurt.html	en	Grateful Dead Guide: Mississippi John Hurt	https://blogger.googleus…o-nu/Frankie.jpg	https://blogger.googleus…o-nu/Frankie.jpg	[ "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGgA6JwjXb1SPgKHref5Lyk3NLUMGKYLq5mFxsnTQypcM3yUx8iI4DRPDR7ugsizgMdCg55bx4UB2vg0a4kD0GQRvbLZFCzUXiLtvhCZln3qF-mNJfGg2E4cM1pyW3oEkQNxxY7tRvpsM/s320/Frankie.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiM3-iSNOqbrV1c8qo_AO9qlEfn1vvuL0orlWFzIsluDCHghtScfomQTNoOwHioRRbuKs9LPn6jhkqvcKByMIBNBVLvIMQ0Qr1DJZAmHvwUzLDc31bjCY3qihEyhTo-Yo-i-oLfKbAx5M/s400/Race+Record+Dream.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwXTGR93edtOqiB837JsBesIIgshBraTtycl7WRnuVTlsyoSyc6d5gp8w5Iz47NSSpbPSbqKnMvffWniyNoFGJ8SyzpekrOc8D-M6DzNNsoiius9aHZ26ltHdpyMEH1s42DTBkr_mXdAY/s400/Berkeley+Folk+1964-2+crop.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg5naETwC0Vwja6P11Ay_xRr5I71qyVteHoT8vcEBNUlNRZo2hD2HaA-cfFFTuiN5IK-ldkRlFsl8rFupQ-LuK9BLRBklmnlZ6k0qzBO_UaVUJjnWPWvHvuKoB2pK57HMaK8SMvA42JuA/s400/inu-brkflk-16-3-45-3-1-Mississippi-John-Hurt-from-backstage-Greek-Theater-Cal-1964-Berkeley-Folk-Music-Festival.jpg", "https://resources.blogblog.com/img/icon18_email.gif", "https://resources.blogblog.com/img/icon18_edit_allbkg.gif", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/subscribe-netvibes.png", "https://resources.blogblog.com/img/widgets/subscribe-yahoo.png", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/subscribe-netvibes.png", "https://resources.blogblog.com/img/widgets/subscribe-yahoo.png", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png" ]	[]	[]	[ "" ]	null	[ "Light Into Ashes" ]	null	This is just a short post on one of the musicians Jerry Garcia admired. While Mississippi John Hurt had only a small influence on the Gr...	en	http://deadessays.blogspot.com/favicon.ico		http://deadessays.blogspot.com/2020/02/mississippi-john-hurt.html
4189	dbpedia	1	5	https://www.bear-family.com/hurt-mississippi-john-the-classic-years-2-cd.html	en	Mississippi John Hurt CD: The Classic Years (2	https://www.bear-family.…032427117202.jpg	https://www.bear-family.…032427117202.jpg	[ "https://www.bear-family.com/media/image/1f/6e/d0/bear-logo3.jpg", "https://www.bear-family.com/media/image/32/f7/47/5032427117202_200x200.jpg, https://www.bear-family.com/media/image/62/7c/2c/5032427117202_200x200@2x.jpg 2x", "https://www.bear-family.com/media/image/f4/45/4a/5032427117202-1_200x200.jpg, https://www.bear-family.com/media/image/36/e7/2c/5032427117202-1_200x200@2x.jpg 2x", "https://www.bear-family.com/media/image/81/ab/f5/5032427117202_600x600.jpg, https://www.bear-family.com/media/image/fe/e7/9b/5032427117202_600x600@2x.jpg 2x, https://www.bear-family.com/media/image/81/ab/f5/5032427117202_600x600.jpg 2x", "https://www.bear-family.com/media/image/00/b9/d1/5032427117202-1_600x600.jpg, 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"https://www.bear-family.com/media/image/c3/6e/c5/bc10_200x200.jpg, https://www.bear-family.com/media/image/13/46/13/bc10_200x200@2x.jpg 2x", "https://www.bear-family.com/media/image/67/22/fc/rou2208_200x200.jpg, https://www.bear-family.com/media/image/02/29/35/rou2208_200x200@2x.jpg 2x", "https://www.bear-family.com/media/image/6c/68/b3/vsd181_3_200x200.jpg, https://www.bear-family.com/media/image/7f/2f/01/vsd181_3_200x200@2x.jpg 2x", "https://www.bear-family.com/media/image/3e/44/0f/CDROC3387_200x200.jpg, https://www.bear-family.com/media/image/34/df/48/CDROC3387_200x200@2x.jpg 2x" ]	[]	[]	[ "(Prestige", "Elite", "Records)", "34", "tracks", "incl.", "bonus", "live", "CD", "recorded", "April", "1965", "Ohiotest" ]	null	[ "Bear Family" ]	null	(Prestige Elite Records) 34 tracks, incl. bonus live CD, recorded April 1965, Ohio	en	https://www.bear-family.…tile-310x310.png	Bear Family Records	https://www.bear-family.com/hurt-mississippi-john-the-classic-years-2-cd.html	Mississippi John Hurt Mississippi John Hurt, (born July 3, 1893, Teoc, Miss.; died November 2, 1966, Grenada, Miss.) Mississippi John Hurt was a songster whose repertoire included a caressing, gentle version of the blues, handed-down folk songs, light rags, and ballads. Apart from a brief recording career in the late 1920s, Hurt lived nearly all of his life in obscurity until being rediscovered by folk fan Tom Hoskins in 1963. During the three years before his death in 1966, Hurt performed his soft-spoken, finger-picked blues and folk tunes at college coffeehouses and numerous festivals, in-cluding the Newport Folk Festival (1963 to 1965). A favorite with the early-'60s folk crowd, who were touched by his untroubled voice and equally tranquil guitar picking, Hurt also appeared on national television, performed in the blues docu-mentary This Hour Has Seven Days, and recorded three albums for Vanguard Records. Hurt was raised in Mississippi, where he taught himself how to play guitar. He worked as a farmhand and often performed at local dances and socials. Hurt was discovered by an Okeh Records talent scout in 1928 and sent to Memphis and New York where he recorded thirteen sides, only seven of which were ever released. Hurt returned to Mississippi where he continued to do farm work and occasional performances in the Avalon area until age seventy-one, when Hoskins found him. Hurt was a major influence on the many folk artists who came of age in the early 1960s. Everyone from Bob Dylan down has paid tribute to Hurt's inventive finger-picking technique and his humble brand of blues.
4189	dbpedia	1	92	https://www.45worlds.com/vinyl/album/blpc4	en	Mississippi John Hurt	https://images.45worlds.…ordings-ab-s.jpg	https://images.45worlds.…ordings-ab-s.jpg	[ "https://www.45worlds.com/assets/flg/fff1611/us-fff1611.png", "https://images.45worlds.com/s/ab/mississippi-john-hurt-1928-his-first-recordings-ab-s.jpg", "https://images.45worlds.com/s/ab/mississippi-john-hurt-1928-his-first-recordings-2-ab-s.jpg", "https://images.45worlds.com/s/ab/mississippi-john-hurt-blpc4-ab-s.jpg", "https://images.45worlds.com/s/ab/mississippi-john-hurt-biograph-ab-s.jpg", "https://images.45worlds.com/t/ab/mississippi-john-hurt-the-best-of-mississippi-john-hurt-5-ab-t.jpg", "https://images.45worlds.com/t/ab/mississippi-john-hurt-the-immortal-mississippi-john-hurt-ab-t.jpg", "https://images.45worlds.com/t/ab/ruth-etting-hello-baby-ab-t.jpg", "https://images.45worlds.com/t/ab/the-boswell-sisters-the-boswell-sisters-193234-ab-t.jpg", "https://images.45worlds.com/t/ab/various-artists-great-hits-of-the-fantastic-50s-volume-1-3-ab-t.jpg" ]	[]	[]	[ "" ]	null	[]	null	Full track listing and details of the Vinyl Album: Mississippi John Hurt - 1928 - His First Recordings (1972), on 45worlds.	en	/favicon.ico	45worlds	https://www.45worlds.com/vinyl/album/blpc4	» Search eBay #AD » Search Amazon #AD This site contains affiliate links for which we may be compensated.
4189	dbpedia	0	66	https://www.recordshopx.com/artist/hurt_mississippi_john/the_complete_studio_recordings/	en	Hurt, Mississippi John : The Complete Studio Recordings	https://www.recordshopx.…/73/73334.jpg?cd	https://www.recordshopx.…/73/73334.jpg?cd	[ "https://www.recordshopx.com/images/logo-s.gif", "https://www.recordshopx.com/images/menu_banners/kaarme_banneri.png", "https://www.recordshopx.com/images/menu_banners/koirat_banneri.png", "https://www.recordshopx.com/cover/normal/7/73/73334.jpg?cd", "https://www.recordshopx.com/images/loader.gif", "https://www.recordshopx.com/images/loader.gif", "https://www.recordshopx.com/cover/thumb/7/73/73334.jpg?cd", "https://www.recordshopx.com/images/payment-methods.png", "https://www.recordshopx.com/images/shipping-methods-dhl.png", "https://www.recordshopx.com/images/payment-methods.png", "https://www.recordshopx.com/images/bg/helpdesk.png", "https://www.recordshopx.com/images/logo-s.gif", "https://www.recordshopx.com/images/kotiinkuljetus_kartta.jpg" ]	[]	[]	[ "The Complete Studio Recordings", "Hurt", "Mississippi John", "Blues", "3CD" ]	null	[]	null	Record Shop X: Hurt, Mississippi John: The Complete Studio Recordings: 3CD	en	https://www.recordshopx.com/favicon.ico		null	The truth is that also us, Record Shop X, need so called "cookies" so that we can offer you the best experience when you browse our webstore. By accepting these digital cookies we can suggest and market exactly the kind of records and artists You are interested in. So this is not a hoax, no games, no scam or anything like that and our webstore works properly even if you choose not to accept the cookies. But if you are interested in our best possible service, just accept them all. You can always change the cookie settings here if you like. Laters, all the best and have a good one. Always.
4189	dbpedia	1	21	https://annikalareview.com/mississippi-john-hurt-coffee-blues/	en	Just a Lovin’ Spoonful: Mississippi John Hurt’s “Coffee Blues”	https://annikalareview.c…-NYC-cropped.jpg	https://annikalareview.c…-NYC-cropped.jpg	[ "https://annikalareview.com/wp-content/uploads/2024/02/Annikala-logo.png", "https://annikalareview.com/wp-content/uploads/2024/03/Mississippi-John-Hurt-NYC-cropped.jpg", "https://annikalareview.com/wp-content/uploads/2024/03/Mississippi-John-Hurt.jpg", "https://annikalareview.com/wp-content/uploads/2024/03/Mississippi-John-Hurt-at-Ontario-Place.jpg", "https://secure.gravatar.com/avatar/a8b4168bc649b80c50bb85739307971b?s=170&d=mm&r=g", "https://annikalareview.com/wp-content/uploads/2024/06/kaldi-adapted-from-uker-150x150.png", "https://annikalareview.com/wp-content/uploads/2024/04/Screenshot-1-Niko-looks-out-the-window-150x150.jpg", "https://annikalareview.com/wp-content/uploads/2024/04/coffee-trader-featured-image-150x150.jpg", "https://secure.gravatar.com/avatar/a8b4168bc649b80c50bb85739307971b?s=150&d=mm&r=g" ]	[]	[]	[ "" ]	null	[ "Brian Lokker" ]	2024-03-28T16:15:07-04:00	In Mississippi John Hurt's Coffee Blues, he sings about his beloved coffee and the girl who used to make it. All he wants is a lovin' spoonful.	en	https://annikalareview.c…e-icon-32x32.png	Annikala Review	https://annikalareview.com/mississippi-john-hurt-coffee-blues/	Mississippi John Hurt was a beloved country blues musician whose life story is both sad and inspirational. Born dirt-poor in rural Mississippi, he was a self-taught country blues singer and guitarist. After a short burst of modest success in the 1920s, he languished in obscurity for decades before he and his music were rediscovered in the 1960s. By all accounts, Hurt was an unassuming man whose disarming, gentle style endeared him to audiences. In an essay written for the Library of Congress in 2009, his granddaughter Mary Frances Hurt and musician Ed Levine note that his lyrics “range from the haunting to the hilarious.” But they go on to say: “As impressive as his lyrics are, Mississippi John Hurt is most regarded for his picking style. John’s ability to combine a distinct base line, played mostly with his thumb, plus a separate and distinct melody make his one guitar sound like two. Still, it is not just the musicianship nor the writing but the whole package that transports us. The easy style of play and turn of phrase, combined with exquisite timing and a voice that makes one wish he was your actual grandad, makes it nearly impossible to hear Mississippi John Hurt’s music without smiling.” Mississippi John Hurt loved his coffee. He loved it so much that he wrote a song about it, the classic “Coffee Blues.” It’s a song that, as much as any other, captures what made Hurt such a great artist and so beloved by his listeners. In “Coffee Blues,” Mississippi John has the blues because he can’t get his coffee. All he needs is a spoonful. But not just any brand of coffee will do. It’s got to be Maxwell House coffee. Just a spoonful of the “good to the last drop” coffee will do him as much good as two or three cups of “this other coffee” he’s got now. But what he’s really troubled by in “Coffee Blues” are the “lovin’ blues.” His girl moved away—some people said she went to Memphis and some said to Leland (Mississippi). He needs to find her, so she can give him the “lovin’ spoonful” he misses so much. Even though he can get other brands of lovin’, he’d rather have just a spoonful from his baby. If he can get her back, life will be good again. He imagines being with her in the morning: “Good mornin’, baby, how you do this mornin’? / Well, please, ma’am, just a lovin’ spoon, just a lovin’ spoonful …” John Smith Hurt was born in 1892 or 1893 in rural Teoc, Mississippi, in the Mississippi Delta, and raised in nearby Avalon. He began teaching himself how to play the guitar when he was eight years old. As he got older, he performed for local audiences while working as a sharecropper picking cotton and also working part-time on the railroad. Hurt made some records for the OKeh label in 1928, recording eight songs in Memphis in February and twelve more in New York City in December. Although he may have already written “Coffee Blues” by that point, it was not one of the songs that OKeh released. Hurt said later that he was paid only $20 per song and his contract did not include royalties. In any event, record sales fell when the Depression hit, and Hurt got no more recording opportunities. His professional music career was cut short. Back in Avalon, Hurt eked out a living by sharecropping, doing odd jobs, and tending cows. He played music locally at some small clubs and parties over the next several decades. But he was so far from the limelight that music fans, if they were aware of him at all, assumed he was dead. In 1963, musicologist and blues enthusiast Tom Hoskins of Arlington, Virginia, decided to see if he could find the old bluesman. He had heard some of Hurt’s OKeh recordings from 1928, which intrigued him. Noting that Hurt’s song “Avalon Blues” contained the line “Avalon my hometown, always on my mind,” Hoskins located the tiny rural Mississippi town in an atlas and went looking for him. He found him living on a tenant farm. After asking him to play a few songs to make sure he had the right man, Hoskins persuaded him to move to Washington, D.C., and perform for larger audiences. As entertainment columnist Will Jones reported in his “After Last Night” column in the Minneapolis Star Tribune on January 24, 1964, Hurt was convinced that Hoskins was really an FBI man. “I knew I hadn’t done anything sinful,” he said, “but I went along any way. Now I’m sorry the FBI man didn’t discover me a few years earlier.” When he moved to Washington, D.C., Hurt became an immediate success as a performer. He had regular gigs at the Ontario Place coffee house from 1963 to 1965. Audiences loved him, and so did other musicians. He also resumed recording for the first time since 1928. He recorded an album for the Piedmont label, Mississippi John Hurt: Folk Songs and Blues. In July 1963, he recorded more than two dozen songs at the Library of Congress. These recordings were not released to the public until the 1980s, but they included his first known recording of “Coffee Blues.” Hurt then traveled to Newport, Rhode Island, for the 1963 Newport Folk Festival. The Festival brought together numerous folk, bluegrass, country, and blues musicians for three days of concerts and music workshops from July 26 to July 28. The impressive array of artists included Bob Dylan (also making his first Newport appearance), Joan Baez, Ramblin’ Jack Elliott, John Hammond, John Lee Hooker, and many others. Hurt’s performance at Newport brought him many new fans. Four songs from his set at the Sunday evening concert, including “Coffee Blues,” were included on a popular Vanguard album released in September 1963, The Newport Folk Festival—1963: The Evening Concerts: Vol. 1. This live version of “Coffee Blues” was the first commercial release of the song. After Newport, Hurt was in demand on the college and coffeehouse concert circuit and was invited to perform at various music festivals throughout North America. His festival appearances included the 1963 Philadelphia Folk Music Festival, the 1964 Berkeley Folk & Music Festival, and the 1964 Mariposa Folk Festival in Ontario. He appeared on The Tonight Show with Johnny Carson. In 1964, he toured the United Kingdom with other blues artists in the American Folk, Blues, and Gospel Caravan, He also returned to Newport for the 1964 and 1965 folk festivals. In 1964, Hurt recorded a studio album for Vanguard Records that was released in 1966 as Mississippi John Hurt Today! Its 14 tracks include “Coffee Blues.” In his liner notes, music critic Nat Hentoff wrote, “I’m certain Maxwell House Coffee has yet to receive as convincing an unsolicited testimonial as John Hurt’s Coffee Blues.” Hurt lived to enjoy only a few short years after his re-emergence on the music scene in 1963. In November 1963, he died from a heart attack near his home in Avalon. In the 50 years since Hurt’s death, numerous anthology albums of his songs have been released. Many include the iconic “Coffee Blues,” including a 1996 album, Mississippi John Hurt: Coffee Blues, that takes its title from the song. The Library of Congress added Mississippi John Hurt Today! to the National Recording Registry in 2009. And in a different type of tribute, one of the most popular folk-rock bands of the 1960s, The Lovin’ Spoonful, took its name from the lyrics of Hurt’s “Coffee Blues.” John Sebastian, one of the two founding members of the band along with Zal Yanofsky, was a Mississippi John Hurt fan. When a fellow musician suggested the name, Sebastian loved it, and The Lovin’ Spoonful was born. So when the band’s fans listened to The Lovin’ Spoonful, whether they knew it or not, they were also celebrating Mississippi John Hurt and his classic song “Coffee Blues.”
4189	dbpedia	1	76	https://blueschronicles.com/mississippi-john-hurt-the-life-and-legacy-of-a-blues-legend/	en	Mississippi John Hurt: The Life and Legacy of a Blues Legend	https://blueschronicles.…i_John_Hurt.webp	https://blueschronicles.…i_John_Hurt.webp	[ "https://i0.wp.com/blueschronicles.com/wp-content/uploads/2023/06/BluesChroniclesLogo-1-e1688232002936.webp?fit=81%2C81&ssl=1", "https://i0.wp.com/blueschronicles.com/wp-content/uploads/2023/07/mississippi_john_hurt_1.webp?resize=261%2C174&ssl=1", "https://i0.wp.com/blueschronicles.com/wp-content/uploads/2023/07/John_hurt.webp?resize=329%2C265&ssl=1", "https://blueschronicles.com/wp-content/uploads/2023/06/My-project-2-97x97.png", "https://i0.wp.com/blueschronicles.com/wp-content/uploads/2023/06/Blues-Foundation.png?fit=300%2C225&ssl=1" ]	[ "https://www.youtube.com/embed/ciXE66DWmq0?feature=oembed&enablejsapi=1" ]	[]	[ "" ]	null	[ "Jess Uribe" ]	2023-07-08T16:19:37-04:00	Mississippi John Hurt: The Life and Legacy of a Blues Legend Introduction Mississippi John Hurt was a renowned blues singer and guitarist who left an indelible mark on American folk music. Born on July 3, 1893, in Carroll County, Mississippi, Hurt's unique style and repertoire made him a beloved figure in the folk music revival	en	https://i0.wp.com/bluesc…it=32%2C32&ssl=1	Blues Chronicles.com - Journey Into The Blues	https://blueschronicles.com/mississippi-john-hurt-the-life-and-legacy-of-a-blues-legend/	Introduction Mississippi John Hurt was a renowned blues singer and guitarist who left an indelible mark on American folk music. Born on July 3, 1893, in Carroll County, Mississippi, Hurt’s unique style and repertoire made him a beloved figure in the folk music revival of the 1960s. In this article, we will delve into the life and legacy of Mississippi John Hurt, exploring his early years, his introduction to music, the challenges he faced, his musical style, and the musicians he influenced. We will also take a look at his later years and the impact he had on the music industry. Early Life and Introduction to Music Mississippi John Hurt, born John Smith Hurt, grew up in a small town in Carroll County, Mississippi. At a young age, he developed a deep love for music and began playing the guitar around the age of nine. His mother, Mary Frances Hurt, recognized his talent and encouraged him to pursue his passion. Hurt’s introduction to music came from his fiddle-playing neighbor, Willie Narmour. Narmour taught Hurt the basics of playing the guitar and exposed him to the rich tradition of blues and folk music. Inspired by the sounds of the Mississippi Delta, Hurt soon developed his own unique fingerpicking style, blending elements of blues, ragtime, and folk. The Challenges Faced Despite his talent, Hurt faced numerous challenges as a musician. In the early 1920s, he recorded several songs for Okeh Records in Memphis and New York, but these recordings failed to gain commercial success. Hurt’s music remained relatively unknown to the wider public, and he returned to his life as a sharecropper, working in the fields to make ends meet. For over three decades, Hurt’s music remained largely forgotten until the folk music revival of the 1960s. It was during this time that a blues enthusiast named Tom Hoskins located Hurt in Avalon, Mississippi. Hoskins recommended Hurt to Vanguard Records, leading to the release of several albums that showcased Hurt’s incredible talent. Musical Style and Influence Mississippi John Hurt’s musical style was characterized by his gentle, soft-spoken demeanor and intricate fingerpicking technique. His songs often told stories of love, loss, and the struggles of everyday life. Hurt’s unique blend of blues, folk, and country music resonated with audiences and influenced a generation of musicians. Here we get to listen to John Hurt 1928 Recording of “Avalon Blues” on Okeh Records: Hurt’s fingerpicking style, characterized by its intricate melodies and rhythmic complexity, set him apart from other blues artists of his time. His delicate touch on the guitar strings created a melodic and soothing sound that captivated listeners. Songs like “Avalon Blues” and “Candy Man Blues” became signature pieces in Hurt’s repertoire, showcasing his exceptional talent as both a singer and guitarist. Influence on Other Musicians Mississippi John Hurt’s impact on the music industry cannot be overstated. His recordings and performances inspired countless musicians, both during his time and in the years that followed. Artists like Bob Dylan, Joan Baez, and Jerry Garcia have cited Hurt as a major influence on their own musical journeys. Hurt’s unique singing style, characterized by his warm and melodic voice, resonated with audiences and set him apart from other blues storytellers. His ability to convey emotion through his music touched the hearts of listeners and solidified his status as a true musical legend. Later Years and Legacy In the 1960s, Mississippi John Hurt experienced a resurgence in popularity. He performed at prestigious venues such as the Newport Folk Festival and became a living legend in the folk music community. Despite his newfound fame, Hurt remained humble and continued to play music that spoke to the hearts of his audience. Tragically, Mississippi John Hurt’s career was cut short when he passed away on November 2, 1966. However, his legacy lives on through his recordings and the impact he had on the music industry. His fingerpicking style and gentle singing continue to inspire musicians to this day, ensuring that his contributions to American folk music will never be forgotten. Conclusion Mississippi John Hurt’s life and legacy are a testament to the power of music to transcend boundaries and touch the souls of listeners. From his humble beginnings in Carroll County, Mississippi, to his influential recordings and performances, Hurt’s impact on the music industry is undeniable. His unique style and storytelling ability continue to inspire musicians and captivate audiences, solidifying his place as one of the greatest blues artists of all time. ### Q: Who was Mississippi John Hurt? A: Mississippi John Hurt was a renowned blues artist born on July 3, 1893, in Carroll County, Mississippi. He was known for his distinctive fingerpicking style on the guitar and his soulful singing. Q: Where was Mississippi John Hurt born? A: Mississippi John Hurt was born in Carroll County, Mississippi. Q: When was Mississippi John Hurt born and when did he pass away? A: Mississippi John Hurt was born on July 3, 1893, and he passed away on November 2, 1966. Q: What did Mississippi John Hurt do before becoming a musician? A: Before becoming a musician, Mississippi John Hurt worked as a farmer in Grenada, Mississippi. Q: Who discovered Mississippi John Hurt? A: Mississippi John Hurt was discovered by a record company called Okeh Records in 1928. Q: What is Mississippi John Hurt’s most famous song? A: One of Mississippi John Hurt’s most famous songs is “Avalon Blues.” Q: Where can I find Mississippi John Hurt’s music? A: You can find Mississippi John Hurt’s music on various record labels, such as Vanguard Records, and also in the Library of Congress archives. Q: When did Mississippi John Hurt’s music career gain recognition? A: Mississippi John Hurt’s music career gained recognition in the 1960s when he returned to the music scene after being rediscovered. Q: How many albums did Mississippi John Hurt release? A: Mississippi John Hurt released several albums during his career. Q: What is Mississippi John Hurt’s style of music? A: Mississippi John Hurt’s style of music is often described as country blues or folk blues. ###
4189	dbpedia	1	60	https://www.grooveyard.ca/store/music/cd/hurtmississippi-john-complete-studio-recordings-2/	en	HURT,MISSISSIPPI JOHN / COMPLETE STUDIO RECORDINGS	https://www.grooveyard.c…ogo-30-years.png	https://www.grooveyard.c…ogo-30-years.png	[ "https://www.grooveyard.ca/wp-content/uploads/logo-30-years.png", "https://www.grooveyard.ca/wp-content/uploads/no-image-416x416.jpg", "https://www.grooveyard.ca/wp-content/uploads/no-image-324x324.jpg", "https://www.grooveyard.ca/wp-content/uploads/039841456325.jpg", "https://www.grooveyard.ca/wp-content/uploads/no-image-324x324.jpg", "https://www.grooveyard.ca/wp-content/uploads/no-image-324x324.jpg", "https://www.grooveyard.ca/wp-content/uploads/no-image-324x324.jpg", "https://www.grooveyard.ca/wp-content/uploads/no-image-324x324.jpg" ]	[]	[]	[ "" ]	null	[]	2020-10-08T06:48:14+00:00	POP BLUES CD Released on: VANGUARD IMPORTS 02-26-2001 HURT,MISSISSIPPI JOHN /	en	https://www.grooveyard.c…e-icon-32x32.png	The Grooveyard	https://www.grooveyard.ca/store/music/cd/hurtmississippi-john-complete-studio-recordings-2/	Released: 2/26/2001 $25.99 POP BLUES CD Released on: VANGUARD IMPORTS 02-26-2001 HURT,MISSISSIPPI JOHN / COMPLETE STUDIO RECORDINGS Out of stock at main suppliers warehouse If an item is in-stock at our store, it should ship right away. If an item is in-stock at our suppliers warehouse, then it usually ships within approximately a week. If the item is not in-stock at our suppliers warehouse; then it is on "Backorder" (currently sold out) & we cannot guarantee when it will ship. However; we can guarantee that your name will be on the list to receive the item as soon as it becomes back in-stock.
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Mississippi John Hurt was a songster whose repertoire included a caressing, gentle version of the blues, handed-down...	en	https://www.bear-family.…tile-310x310.png	Bear Family Records	https://www.bear-family.com/hurt-mississippi-john/	Mississippi John Hurt, (born July 3, 1893, Teoc, Miss.; died November 2, 1966, Grenada, Miss.) Mississippi John Hurt was a songster whose repertoire included a caressing, gentle version of the blues, handed-down folk songs, light rags, and ballads. Apart from a brief recording career in the late 1920s, Hurt lived nearly all of his life in obscurity until being rediscovered by folk fan Tom Hoskins in 1963. During the three years before his death in 1966, Hurt performed his soft-spoken, finger-picked blues and folk tunes at college coffeehouses and numerous festivals, in-cluding the Newport Folk Festival (1963 to 1965). A favorite with the early-'60s folk crowd, who were touched by his untroubled voice and equally tranquil guitar picking, Hurt also appeared on national television, performed in the blues docu-mentary This Hour Has Seven Days, and recorded three albums for Vanguard Records. Hurt was raised in Mississippi, where he taught himself how to play guitar. He worked as a farmhand and often performed at local dances and socials. Hurt was discovered by an Okeh Records talent scout in 1928 and sent to Memphis and New York where he recorded thirteen sides, only seven of which were ever released. Hurt returned to Mississippi where he continued to do farm work and occasional performances in the Avalon area until age seventy-one, when Hoskins found him. Hurt was a major influence on the many folk artists who came of age in the early 1960s. Everyone from Bob Dylan down has paid tribute to Hurt's inventive finger-picking technique and his humble brand of blues. Copyright © Bear Family Records®. Copying, also of extracts, or any other form of reproduction, including the adaptation into electronic data bases and copying onto any data mediums, in English or in any other language is permissible only and exclusively with the written consent of Bear Family Records® GmbH.
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label # / notes 10 inch 78 rpm Since this ain't no museum, my aim is not to depict actually existing specimen of 78 rpm records, but to show the labels as pristine as workmanlike possible even if this - in some cases - takes a whole lot of my time to photoshop process the initial data 11928Mississippi John Hurt - Frankie (400221-B) @ youtube - Nobody's Dirty Business (400223-B) @ youtube rec. February 14, 1928 in Memphis, TN; Mississippi John Hurt, voc, g OKeh 8560 (1928) [OKeh switched to black labels from about 8610 on] OKeh 8560 (1928) - Monday Morning Blues (400219-B) - Shiverlie Blues (400220-B) - Casey Jones (400222-B) - Blessed Be The Name (400224-B) - Meeting On The Old Camp Ground (400225-B) - Sliding Delta (400226-B) rec. February 14, 1928 in Memphis, TN; Mississippi John Hurt, voc, g OKeh unissued 21928Mississippi John Hurt - Stack O'Lee Blues (401481-B) @ youtube - Candy Man Blues (401483-B) @ youtube rec. December 28, 1928 in New York City; Mississippi John Hurt, voc, g OKeh 8654 31928Mississippi John Hurt - Blessed Be The Name (401485-B) @ youtube - Praying On The Old Camp Ground (401486-B) @ youtube rec. December 28, 1928 in New York City; Mississippi John Hurt, voc, g OKeh 8666 41928Mississippi John Hurt - Blue Harvest Blues (401487-A) @ youtube - Spike Driver Blues (401488-B) @ youtube rec. December 28, 1928 in New York City; Mississippi John Hurt, voc, g OKeh 8692 51928Mississippi John Hurt - Louis Collins (401472-A) # @ youtube - Got The Blues Can't Be Satisfied (401484-B) * @ youtube # rec. December 21, 1928 in New York City; Mississippi John Hurt, voc, g * rec. December 28, 1928 in New York City; Mississippi John Hurt, voc, g OKeh 8724 61928Mississippi John Hurt - Ain't No Tellin' (401471-A) @ youtube - Avalon Blues (401473-B) @ youtube rec. December 21, 1928 in New York City; Mississippi John Hurt, voc, g OKeh 8759 - Big Leg Blues (401474-B) # @ youtube - Window Light Blues (401482-B) * # rec. December 21, 1928 in New York City; Mississippi John Hurt, voc, g * rec. December 28, 1928 in New York City; Mississippi John Hurt, voc, g OKeh unissued # Yazoo L 1009 (1968) LP / CD compilations 71952Anthology Of American Folk Music Volume One: Ballads LP 1: Dick Justice - Henry Lee (3:28) Nelstone's Hawaiians - Fatal Flower Garden (2:58) Clarence Ashley - The House (3:16) Coley Jones - Drunkard's Special (3:16) Bill And Belle Reed - Old Lady And The Devil (3:05) Buell Kazee - The Butcher's Boy (3:05) Buell Kazee - The Wagoner's Lad (3:05) Chubby Parker and His Old Time Banjo - King Kong Kitchie Kitchie Ki-Me-O (3:09) Uncle Eck Dunford - Old Shoes And Leggings (3:01) Richard Burnett and Leonard Rutherford - Willie Moore (3:16) Buster Carter and Preston Young - A Lazy Farmer Boy (3:00) The Carolina Tar Heels - Peg And Awl (2:59) G.B. Grayson - Ommie Wise (3:12) Kelly Harrell and The Virginia String Band - My Name Is John Johanna (3:13) LP 2: Edward L. Crain - Bandit Cole Younger (2:57) Kelly Harrell and The Virginia String Band - Charles Giteau (3:05) The Carter Family - John Hardy Was A Desperate Little Man (2:57) The Williamson Brothers and Curry - Gonna Die With My Hammer In My Hand (3:26) Frank Hutchison - Stackalee (3:01) Charlie Poole and The North Carolina Ramblers - White House Blues (3:31) Mississippi John Hurt - Frankie (3:28) [OKeh 8560] William and Versey Smith - When That Great Ship Went Down (2:58) The Carter Family - Engine 143 (3:19) Furry Lewis - Kassie Jones (6:16) The Bently Boys - Down On Penny's Farm (2:50) The Masked Marvel - Mississippi Boweavil Blues (3:09) The Carolina Tar Heels - Got The Farm Land Blues (3:17) edited by Harry Smith 2 LP set booklet of notes by Harry Smith "Folkways Records and Service Corp., 117 W. 46 St., N.Y.C." Folkways FP-251 (US 1952) 2 LP set booklet of notes by Harry Smith "Folkways Records and Service Corp., 701 7th Ave., N.Y.C." = Folkways FA 2953 (US 1960) 2 LP set booklet of notes by Harry Smith "Folkways Records and Service Corp., 701 Seventh Ave., N.Y.C." = Folkways FA 2953 (US 1967) box set of 3 double CDs notes by Amy Horowitz, Anthony Seeger, Neil V. Rosenberg, Jeff Place, Jon Pankake, Greil Marcus & Pete Reiniger (=) Smithsonian Folkways SFW 40090 (US 1997) containing Folkways FA 2951, FA 2952 & FA 2953 2 LP set = Doxy DOY625 (It 2009) = Mississippi MRP-070 (US 2014) = Death Is Not The End DEATH010 (cassette) (UK 2016) 81952Anthology Of American Folk Music Volume Three: Songs LP 1: - The Coo Coo Bird - Clarence Ashley - East Virginia - Buell Kazee - Minglewood Blues - Cannon's Jug Stompers - I Woke Up One Morning In May - Didier Hebert - James Alley Blues - Richard "Rabbit" Brown - Sugar Baby - Dock Boggs - I Wish I Was a Mole In the Ground - Bascom Lamar Lunsford - Mountaineer's Courtship - Ernest and Hattie Stoneman - The Spanish Merchant's Daughter - The Stoneman Family - Bob Lee Junior Blues - The Memphis Jug Band - Single Girl, Married Girl - The Carter Family - Le Vieux Soulard Et Sa Femme - Clemo Breaux and Joseph Falcon - Rabbit Foot Blues - Blind Lemon Jefferson - Expressman Blues - Sleepy John Estes and Yank Rachell LP 2: - Poor Boy Blues - Ramblin' Thomas - Feather Bed - Cannon's Jug Stompers - Country Blues - Dock Boggs - 99 Year Blues - Julius Daniels - Prison Cell Blues - Blind Lemon Jefferson - See That My Grave Is Kept Clean - Blind Lemon Jefferson - C'est Si Triste Sans Lui - Cleoma and Orphy Breaux w/ Joe Falcon - Way Down The Old Plank Road - Uncle Dave Macon - Buddy Won't You Roll Down The Line - Uncle Dave Macon - Spike Driver Blues - Mississippi John Hurt [OKeh 8692] - K.C. Moan - The Memphis Jug Band - Train On The Island - J.P. Nestor - The Lone Star Trail - Ken Manyard - Fishing Blues - Henry Thomas edited by Harry Smith 2 LP set Folkways FP-253 (US 1952) 2 LP set booklet of notes by Harry Smith = Folkways FA 2953 (US 1967) = Folkways FA 2953 (US 1972) "Folkways Records and Service Corp., 43 W. 61st St., N.Y.C., U.S.A. 10023" box set of 3 double CDs notes by Amy Horowitz, Anthony Seeger, Neil V. Rosenberg, Jeff Place, Jon Pankake, Greil Marcus & Pete Reiniger (=) Smithsonian Folkways SFW 40090 (US 1997) containing Folkways FA 2951, FA 2952 & FA 2953 2 LP set = Doxy DOY627 (It 2009) = Mississippi MRP-072 (US 2014) = Death Is Not The End DEATH012 (cassette) (UK 2016) 91960The Rural Blues A Study of the Vocal and Instrumental Resources LP 1: Will Shade - I Can't Stand It Hambone Willie Newbern - Shelby County Work House Blues Robert Johnson - From Four Until Late Furry Lewis - You Can Leave, Baby Sleepy John Estes - Sloppy Drunk Blues [= "Milk Cow Blues"] L'il Son Jackson - Roberta Blues Lightnin' Hopkins - Bad Luck And Trouble °° Blind Boy Fuller - Thousand Woman [sic!] Blues Arthur Crudup - If I Get Lucky Charlie Pickett - Down The Highway Kokomo Arnold - Milk Cow Blues Blind Willie Johnson - Take Your Burden To The Lord Tommy McClennan - New Highway 51 Lightnin' Hopkins - Penitentiary Blues °° Blind Willie McTell - Mama T'ain't Long 'Fo' Day Charlie Burse - Take Your Fingers Off It Charlie Lincoln - My Wife Drove Me From My Door [on back cover: "Drive"] Peg Leg Howell - Skin Game Blues Lightnin' Hopkins - Come Go Home With Me °° Lightnin' Hopkins - Goin' Back To Florida Robert Johnson - Standing At The Crossroads LP 2: Lightnin' Hopkins - One Kind Favor Furry Lewis - John Henry Blind Willie Johnson - Nobody's Fault But Mine Furry Lewis - Warm Up Bukka White - Bukka's Jitterbug Swing Furry Lewis - Casey Jones Peg Leg Howell - Coal Man Blues John Hurt - Frankie °° Blind Willie McTell - Southern Can Mama Papa Charlie Jackson - Airy Man Blues Skip James - Little Cow And Calf Is Gonna Die Blues Leroy Carr & Scrapper Blackwell - New How Long Blues Bert Bilbro - Mohana Blues °° Sonny Terry & Oh Red - Harmonica Stomp Frank Stokes - Shiney Town Blues Virgil Perkins - Trouble In Mind Arthur Crudup- Mean Old Frisco Brownie McGhee- Sportin' Life Blues Virgil Perkins - [Washboard] Solo Charlie Burse - Tippin' Round Ham Gravy - Mama Don't 'Low It Moochie Reeves - Key To The Highway compiled by Samuel B. Charters "The Material is in part from unissued material in the author's collection, in part from material on the author's Folkways releases, and in part from early blues recordings." RF-202 features only extracts of most of the recordings! °° tracks not on RF-202 (X) (1964) Moochie Reeves track rec. July 1954 in Mobile, AL; previously unissued and from Samuel B. Charters' collection 2 LP boxed set notes (8-page booklet) by Samuel B. Charters same front cover as RF-202(X) (1964), but with more reddish lettering notes captioned "RBF RECORDS album No. RF 202 Copyright © 1960" RBF RF-202 (1960) (=) RBF RF-202 (X) (1964) RBF discography 9a1960Low Down Blues Leroy Carr - Mean Mistreater Mama No. 2 Bumble Bee Slim - I Done Lost My Baby Charlie Campbell - Goin' Away Blues Jack Kelly - Red Ripe Tomatoes Blind Boy Fuller - Thousand Woman Blues [sic] Big Bill Broonzy - Come Home Early Washboard Sam - I'm A Prowlin' Groundhog Black Boy Shine - Coal Woman Blues Mississippi John Hurt - Stack O'Lee Blues Texas Alexander - Katy Crossing Blues Roosevelt Scott - Do You Call That Right? Yas Yas Girl - Reckless Life Blues Brownie McGhee - Try Me One More Time Little Bill Gaither - A Short Cut To The Grave Champion Jack Dupree - Heavy Heart Blues ed. by H.R. Rookmaaker gatefold LP notes by H.R. Rookmaaker Fontana 682.099 TL (NL 1960) Fontana Records discography March 1963: Mississippi John Hurt "rediscovered" by Tom "Fang" Hoskins 9b1963 The Mississippi Blues 1927-1940 Bukka White - The Panama Limited - Special Streamline Willie Brown - Future Blues - M & O Blues Kid Bailey - Mississippi Bottom Blues Robert Wilkins - That's No Way To Get Along - I Do Blues Mississippi John Hurt - Got The Blues, Can't Be Satisfied [OKeh 8724] - Louis Collins [OKeh 8724] William Harris - Bullfrog Blues - Hot Time Blues Skip James - If You Haven't Any Hay, Get On Down The Road - Hard Time Killin' Floor Blues Son House - Preachin the Blues, Part 1 - Preachin the Blues, Part 2 brochure notes by Gayle Dean Wardlow Origin Jazz Library OJL-5 (US 1963)also delivered with labels: "The Mississippi Blues No. 1" notes by Gayle Dean Wardlow (biographies) and David Evans (lyric transcriptions plus leaflet "The Mississippi Blues") Origin Jazz Library OJL-5 (US 196?) on labels: "The Mississippi Blues No. 1" notes by Gayle Dean Wardlow (biographies) and David Evans (lyric transcriptions plus leaflet "The Mississippi Blues") Origin Jazz Library OJL-5 (US 196?) on labels: "The Mississippi Blues No. 1" notes by Gayle Dean Wardlow (biographies) and David Evans (lyric transcriptions) = Origin Jazz Library OJL-5 (US 1966) on labels: "The Mississippi Blues No. 1" = Origin Jazz Library OJL-5 (180g repro 2018) OJL Records discography 101963Mississippi John Hurt: Folk Songs And Blues - Avalon Blues @ youtube - Richland Women Blues @ youtube - Spike Driver Blues @ youtube - Salty Dog @ youtube - Cow Hooking Blues @ youtube - Spanish Fangdang @ youtube - Casey Jones $ @ youtube - Louis Collins @ youtube - Candy Man Blues @ youtube - My Creole Bell @ youtube - Liza Jane (God's Unchanging Hands) # @ youtube - Joe Turner Blues @ youtube "Recorded by P.V. Kuykendall, Peter Silitch and Sandy Fisher on March 24, 26, 29 and April 2, 1963 [at Sandy Fisher's house] in [Annapolis, near] Washington, D.C."; Mississippi John Hurt, voc, g, $ 12 string g; # hca; produced by Dick Spottswood Piedmont PLP 13157 photos [of John Hurt playing Tom Hoskins' Gibson J-45] by Pete Grant; cover design by Tom Hoskins ("Fang") Piedmont/OJL PLP 13157 cover photos by Raeburn Flerlage; cover design by Pete Welding OJL 8053 front cover photo by Dick Waterman the record number (13157) was meant to take up where Paramount records left off when they went out of business in 1931! notes by T.G. Rockwell & Dick Spottswood Piedmont PLP 13157 (1st press 1963, blue labels) "presenting, Mississippi John Hurt - Folk Songs and Blues" on back cover: "Produced by Music Research, Incorporated, 2023 N Woodstock Street, Arlington 7, Virginia, U.S.A." (Arlington is where Dick and Louisa Spottswood lived at that time!) notes by T.G. Rockwell & Dick Spottswood Piedmont PLP 13157 (2nd press 1963?, blue labels) without "presenting," on back cover: "Produced by Music Research, Incorporated, 2023 N Woodstock Street, Arlington 7, Virginia, U.S.A." notes by T.G. Rockwell & Dick Spottswood = Gryphon GLP 13157 (1963?) on back cover: "Produced by Gryphon, Spottswood Music Co, Inc., Box 7102, Arlington, Virginia, 22207, U.S.A." Gryphon Records, one of Dick Spottswood's labels founded soon after he "left" Music Research, Inc./Piedmont Records notes by T.G. Rockwell & Dick Spottswood = Piedmont PLP 13157 (3rd press 1965?, black labels) on back cover: "Produced by Music Research, Inc., producers of Piedmont and Bullfrog records" "Music Research, Inc., P.O.Box 288, Silver Spring, MD, U.S.A." (Gene Rosenthal [then working for Takoma Records] had built a recording studio in the basement of his parents' house in Silver Spring, Maryland) original notes by T.G. Rockwell & Dick Spottswood; additional notes by Lawrence Cohn (1964 Sing Out! article) = Piedmont PLP 13157 (reissued and distributed 19?? by OJL) "Mississippi John Hurt, 1963 (Volume I of the Original Piedmont Recordings - 'Folksongs and Blues')" original notes by T.G. Rockwell & Dick Spottswood; additional notes by Lawrence Cohn (1964 Sing Out! article) = Piedmont PLP 13157 (reissued and distributed 19?? by OJL) "Mississippi John Hurt, 1963 (Volume I of the Original Piedmont Recordings - 'Folksongs and Blues')" notes by Bill Givens = Origin Jazz Library OJL 8053 (US c.1984) special reissue, produced by Bill Givens On back sleeve: "This material reissued by special arrangement with Music Research, Inc., Tom Hoskins, Pres." On labels: "(C)℗ Music Research, Piedmont Records - Bullfrog Music" notes by David Brown & Thomas Hoskins = Rounder CD 1081 (US 1991) "Avalon Blues 1963" = Rounder C-1081 (cassette) (US 1991) "Avalon Blues 1963" mini LP replica CD with OBI = Vivid Sound VSCD-130 (Jp 2001) = Old Days ODR-6226 (Jp 4/2016) = Doxy (download only?) (It 8/2017) 180 g LP = Hi Horse HHO 13001 (US/Ca 2018) Piedmont Records discography Origin Jazz Library (OJL) discography 119/1963The Newport Folk Festival 1963 The Evening Concerts Volume 1 Sam Hinton - The Barnyard Song (1:20) @ youtube - Must I Go Bound (1:30) @ youtube - The Arkansas Traveller (2:45) @ youtube Mississippi John Hurt - See, See Rider ("9:11" actually 3:11) @ youtube - Stagolee (3:10) @ youtube - Spike Driver Blues (2:40) @ youtube - Coffee Blues (2:37) @ youtube Ramblin' Jack Elliott - Diamond Joe (3:07) @ youtube The Rooftop Singers - Walk Right In (2:30) @ youtube Ian & Sylvia - Un Canadien Errant (3:00) @ youtube SNCC Freedom Singers - Woke Up This Morning (3:50) @ youtube Joan Baez - Oh Freedom (2:43) @ youtube - Te Ador Até Amanha (3:00) @ youtube - Wagoner's Lad (2:18) @ youtube Bob Dylan - Blowin' In The Wind (3:00) @ youtube SNCC Freedom Singers (Bob Dylan with the Freedom Singers, Peter Paul & Mary, Pete Seeger & Joan Baez) - We Shall Overcome (3:35) @ youtube rec. July 26-28, 1963 live at the Newport Folk Festival in Newport, Rhode Island design by Jules Halfant; photo by Norman Vershay notes by Stacey Williams = Vanguard VTC 1688 (AMPEX reel to reel tape stereo) (US 1963) notes by Stacey Williams Vanguard VRS-9148 (mono) (US 9/1963) notes by Stacey Williams = Vanguard VSD-79148 (stereo) notes by Stacey Williams = Fontana TFL.6041 (mono) (UK 1964) notes by Stacey Williams = Vanguard/Orizzonte ORL 8197 (stereo) (It 1978) original 1963 notes by Stacey Williams = Vanguard VCD 770002-2 (Germany/EU 1997) original 1963 notes by Stacey Williams = Vanguard VCD 77002 (US 1997) = Vanguard CV 77002 (cassette) (US 1997) Newport Folk Festival discography Fontana Records discography 125/1964Blues At Newport Recorded live at the Newport Folk Festival 1963 Brownie McGhee & Sonny Terry - Long Gone - Key To The Highway Mississippi John Hurt - Candy Man - Trouble, I've Had It All My Days - Frankie John Hammond - No Money Down - Me & The Devil - Tallahassee Woman Rev. Gary Davis - Samson And Delilah - You Got To Move John Lee Hooker - Sometimes You Make Me Feel So Bad - Bus Station Blues Dave Van Ronk - That Will Never Happen No More - Gambler's Blues Brownie McGhee & Sonny Terry - Walk On rec. July 26-28, 1963 live at the Newport Folk Festival in Newport, Rhode Island Gary Davis tracks rec. July 11/12, 1959 live at the Newport Folk Festival in Newport, Rhode Island (tracks "included here because of their special significance") notes by Stacey Williams Vanguard VRS-9145 (mono) (US 5/1964) notes by Stacey Williams = Vanguard VSD-79145 (stereo) (US 5/1964) notes by Stacey Williams = Fontana TFL 6037 (stereo) (UK 1964) 4-pp. insert = Vanguard/King SR-660 (Jp 1971) = Vanguard VSD 79145 (stereo) (US 4/2013) (Record Store Day) Newport Folk Festival discography 131964Mississippi John Hurt: Worried Blues - Lazy Blues - Farther Along - Sliding Delta - Nobody Cares For Me - Cow Hooking Blues No. 2 - Talking Casey - Weeping And Wailing - Worried Blues - Oh Mary, Don't You Weep - I Been Cryin' Since You Been Gone "Recorded by Peter V. Kuykendall, Wynwood Recording Studio, on March 14, 15 and 21, 1964"; produced by Dick Spottswood notes by Robert Shelton and Dick Spottswood Piedmont PLP 13161 notes by Robert Shelton and Dick Spottswood = Chesapeake CLP 13161 [Dick Spottswood label founded soon after he "left" Music Research, Inc./Piedmont Records] original notes by Robert Shelton and Dick Spottswood reissued and distributed 19?? by OJL "Mississippi John Hurt, 1964 (Volume II of the Original Recordings 'Worried Blues')" notes by Eric Park = OJL 8054 notes by David Brown = Rounder CD 1082 (1991) "Worried Blues 1963" ["1963" ?] www.rounder.com = Vivid Sound VSCD-131 (Jp 2001) Piedmont Records discography 141964Friends of Old Time Music - Double File - Doc Watson and Gaither Carlton - Hicks' Farewell - Doc Watson and Gaither Carlton - Soldier's Joy - Hobart Smith - Claude Allen - Hobart Smith - Monday Morning Blues - Mississippi John Hurt # - Pallet On The Floor - Mississippi John Hurt # - Chick-A-La-Lee-O - Almeda Riddle - Come All Ye Tender Hearted - Stanley Brothers - Little Birdie - Stanley Brothers - Rabbit In The Log - Stanley Brothers - Dark Holler Blues - Doc Watson and Clarence Ashley - What Did I Do To Be So Black And Blue? - Jesse Fuller - Mistreated Mama Blues - Dock Boggs - Hook And Line - Roscoe Holcomb - Pretty Fair Miss All In A Garden - Roscoe Holcomb - He's Coming In Glory Some Day - Doc Watson, Clint Howard, Fred Price # rec. March 14, 15 & 21, 1964 at Wynwood Recording Studio by Peter V. Kuykendall; produced by Dick Spottswood Folkways FA 2390 = Disc D-113 (1965) www.folkways.si.edu 151965Blues at Newport 1964 - Part 2 Mississippi John Hurt - Sliding Delta - Bye And Bye I Will See Jesus - Talking Casey Skip James - Devil Got My Woman - Cherry Ball Blues - Sick Bed Blues - Cypress Grove Blues Rev. Robert Wilkins - The Prodigal Son Elizabeth Cotten - Freight Train - Oh Baby It Ain't No Lie Willie Doss - Coal Black Mare - I Had A Woman - Hobo Blues rec. live at the Newport Folk Festival, Ri. July 23-26, 1964 Vanguard VRS 9181 (mono) = VSD 79181 (stereo) 2 CD set King/Vanguard KICP 2118/9 (Jp 1991) The Blues at Newport 1964 part 1 and 2 161965Traditional Music at Newport 1964 - Part 2 Clayton McMichen with Frank Wakefield - Old Joe Clark - Bile Them Cabbage Down Phipps Family - Anchored His Love - God Gave Noah The Rainbow Sign Robert Pete Williams - Bull Dog Blues Seamus Ennis - Did The Rum-Do-Daddy - Piper On The Hearth - What'll Ye Do - Father's Maid Prank Proffitt - My Home's Across The Blue Ridge Mountains - Poor Man Georgia Sea Island Singers - Down In The Mire Mississippi John Hurt - Coffee Blues Glenn Ohrlin - Montana Is My Home - The Chickens They Grow Tall Jean Ritchie - 'Tis The Gift To Be Simple - Goin' To Boston Almeda Riddle - The Hangman Phoeba and Roscoe Parsons - Sourwood Mountain - Shortening Bread Rev. Robert Wilkins - I Wish I Was In Heaven Sitting Down - Thank You Jesus (with the Georgia Sea Island Singers) rec. live at the Newport Folk Festival July 23-26, 1964 Vanguard VRS 9183 (mono) = VSD 79183 (stereo) ????Mississippi John Hurt 1970-08-29 [sic] - C.C. Rider - Avalon Blues - Nobody's Dirty Business - Make Me A Pallet On Your Floor # - Stack-O'Lee Blues rec. August 29, 1964 [not 1970 as CDr claims - MJH died November 2, 1966!] at the Philadelphia Folk Festival on Old Poole Farm, Schwenksville, PA; Mississippi John Hurt, voc, g; # Jerry Ricks, g; # John Sebastian, hca # reissued on Sliced Bread SB 74440 (2001) CDr no label (Yugoslavia) 171966Blues Rediscoveries Mississippi John Hurt - Ain't No Tellin' [OKeh 8759] - Avalon Blues [OKeh 8759] Bukka White - Sleepy Man Blues - Aberdeen, Mississippi Blues Henry Townsend - Poor Man Blues John Estes - Poor Man's Friend - Liquor Store Blues Blind Gary Davis - Oh Lord Search My Heart - You Got to Go Down Peg Leg Howell - Doin' Wrong Furry Lewis - Jelly Roll - Sweet Papa Moan Big Joe Williams - Highway 49 - Someday Baby edited by Samuel Charters front cover photo by Ann Charters notes by Samuel Charters RBF 11 (US 1966) RBF discography 17a1966 The Party Blues Dennis McMillon - Paper Wooden Daddy @ youtube Blind Lemon Jefferson - Bed Springs Blues @ youtube Tampa Red's Hokum Jug Band - It's Tight Like That @ youtube - How Long How Long Blues @ youtube - She Loves So Good @ youtube Red Nelson ["Dirty Red"] - Mother Fuyer Soldier Boy Houston - Western Rider Blues [Atlantic 971] @ youtube Bill Johnson's Louisiana Jug Band - Don't Drink It In Here @ Spotify Memphis Jug Band - Oh Ambulance Man @ youtube - Cave Man Blues @ youtube Jim Hill & Eddie Anthony - Wringing That Thing @ youtube Mississippi John Hurt - Candy Man Blues @ youtube Bo Carter - All Around Man @ youtube Blind Blake - Diddie Wa Diddie @ youtube prod. by Richard Spottswood Melodeon MLP 7324 (US 1966) Melodeon MLP 7324 ("Biograph" reissue 197?) "Party Blues" Melodeon Records discography 181966 notes by Nat Hentoff Vanguard VRS-9220 (mono) Mississippi John Hurt Today! - Pay Day (4:23) # @ youtube @ Spotify - I'm Satisfied (2:56) @ Spotify - Candy Man (2:58) @ Spotify - Make Me A Pallet On The Floor (4:35) @ Spotify - Talking Casey (5:09) @ Spotify - Corrinna, Corrinna (1:52) @ Spotify - Coffee Blues (3:47) @ Spotify - Louis Collins (4:09) @ Spotify - Hot Time In The Old Town Tonight (3:33) @ Spotify - If You Don't Want Me Baby (3:21) # @ youtube @ Spotify - Spike Driver's Blues (3:28) @ Spotify - Beulah Land (3:45) @ Spotify "plus" tracks on KICP-2034 (from Vanguard VSD 79248): - Since I've Laid My Burden Down - Moaning The Blues - Richland Woman Blues - Hop Joint - Monday Morning Blues - Keep On Knocking - Stagolee - Nearer My God To Thee rec. July 1964 at the Manhattan Towers Hotel & at Vanguard's 23rd Street Recording Studio in New York City; Mississippi John Hurt, voc, g [Stefan Grossman's Martin OM-45]; # Jerry Ricks, 2nd g [not credited on LP cover]; production supervised by Patrick Sky photo by Ed Freeman notes by Nat Hentoff Vanguard VSD-79220 (stereo) notes by Nat Hentoff = Vanguard SVRL19032 (UK) "Mississippi John Hurt" notes by Nat Hentoff = Fontana TFL 6079 "Mississippi John Hurt" = Vanguard VMD/VSD-79220 (US 1987) = KICP-2034 (Jp) "Today (plus)" = Pure Pleasure 9220 (UK) (180 g vinyl) mastered by Kevin Gray & Steve Hoffman 14 versions at discogs.com Fontana Records discography Jerry Ricks discography 191967Mississippi Blues Vol. 1 (1927-1942) Jelly Jaw Short (J.D. Short) - Snake Doctor Blues Blind Joe Amos - C & O Blues William Harris - Early Mornin' Blues Sam Collins - Signifyin' Blues Charley Patton & Henry Sims - Mean Black Moan Charley Patton & Henry Sims - Jesus Is A Dying-Bed Maker Robert Wilkins - Rolling Stone, part 1 & 2 Isaiah Nettles (The Mississippi Moaner) - Mississippi Moan Skip James - Cypress Grove Blues Son House - The Jinx Blues - No. 2 Bukka White - Black Train Blues Jelly Jaw Short (J.D. Short) - Barefoot Blues Ishman Bracey - Left Alone Blues Mississippi John Hurt - Blue Harvest Blues Robert Johnson - Kind-Hearted Woman No. 2 Roots RL-302 (Austria 1967, 1st pressing) [line of front cover text in black] Roots RL-302 (Austria 1968, 2nd pressing) [line of front cover text in red] Roots RL-302 (Austria 19??, 3rd pressing) [line of front cover text in red] = autogram/Roots RL-302 (Germany 2013) Roots Records discography 19a1967They Sang The Blues (1927-1929) Mississippi John Hurt - Nobody's Dirty Business [OKeh 8560] "Mr. Freddie" Spruell - Tom Cat Blues Ki Ki Johnson - Wrong Woman Blues - Lady, Your Clock Ain't Right Willie Reed - Leavin' Home Sluefoot Joe - Shouting Baby Blues - Tooten' Out Blues Blind Bobby Baker (= Bobby Leecan) - Macon Georgia Cut Out - Nobody Knows You When You're Down And Out Frenchy's String Band - Texas And Pacific Blues - Sunshine Special Cotton Top Mountain Sanctified Singers - I Want Two Wings To Veil My Face prod. by Arnold S. Caplin; cover by Paul Burgess notes by Arnold S. Caplin Historical ASC-17 = Historical ASC-5829-17 notes by Paul Burgess = Historical HLP-17 Historical Records discography 201967The Immortal Mississippi John Hurt - Since I've Laid My Burden Down - Moaning The Blues # - Buck Dance - Lazy Blues - Richland Women Blues - Tender Virgins - Hop Joint - Monday Morning Blues # - I've Got The Blues - I Can't Get Satisfied - Keep On Knocking - Chicken - Stagolee - Nearer My God To Thee rec. July 1964 at the Manhattan Towers Hotel & at Vanguard's 23rd Street Recording Studio in New York City; Mississippi John Hurt, voc, g (Stefan Grossman's Martin OM-45); # Patrick Sky, 2nd g; production supervised by Patrick Sky notes by Dick Waterman Vanguard VSD 79248 (US) = SVRL 19005 (UK) = Vanguard CD 79248-2 20a1968Nearer My God To Thee Sanctified Singers, Preachers & Congregations (1926-1942) Richard Rabbit Brown - Sinking Of The Titanic Sister Mary Nelson - The Royal Telephone Joe & Emma Taggart - Mother's Love Rev. F.W. McGee - Jonah In The Belly Of The Whale Washington Phillips - Lift Him Up That's All Mississippi John Hurt - Praying On The Old Camp Ground Arizona Dranes - Sweet Heaven Is My Home Blind Willie Johnson - You'll Need Somebody On Your Bond Bozie Sturdivant - Ain't No Grave Can Hold My Body Down Mississippi John Hurt - Blessed Be The Mama Rev. F.W. McGee - With His Stripes We Are Healed Arizona Dranes - It's All Right Now Blind Joe Taggart - Religion Is Something Within You Blind Lemon Jefferson - He Arose From The Dead Skip James - Be Ready When He Comes Barbecue Bob - When The Saints Go Marching In compiled and produced by Evelyn Parth (resp. Evelyn Sperker) Roots RL-304 (Austria 1968) autogram/Roots RL-304 (Germany ????) Roots Records discography 20b1968Mississippi Blues Vol. 3 1928-1942 Arthur Petties - Out On The Santa Fe Blues Bo Carter - I Want You To Know Poor Boy Lofton - Jake Leg Blues - My Mean Baby Blues Mississippi Sheiks - Jail Bird Love Song - Yodeling Fiddling Blues Big Joe McCoy - I'm Through With You - When You Said Goodbye Robert Johnson - Drunken Hearted Man Mr. Freddie Spruell - Let's Go Riding Robert Petway - My Baby Left Me - Cotton Pickin' Blues Mississippi John Hurt - Stack O'Lee Blues Mississippi Jook Band - Dangerous Woman Tommy McClennan - Mozelle Blues - Mr. So And So Blues compiled and produced by Evelyn Sperker Roots RL-314 (Austria 1968) Roots Records discography 211968Mississippi Moaners 1927-1942 Mississippi John Hurt - Big Leg Blues [OKeh unissued] Washington White - The New 'Frisco Train Mattie Delaney - Down The Big Road Blues Rube Lacey - Ham Hound Crave Skip James - Cherry Ball Blues Uncle Bud Walker - Stand Up Suitcase Blues Charley Patton - Devil Sent The Rain Blues Son House - Special Rider Blues Bobby Grant - Lonesome Atlanta Blues Mae Glover - Gas Man Blues Papa Harvey Hull - Two Little Tommies Blues Joe Calicot [sic] - Traveling Mama Blues [Brunswick 7166] The Mississippi Moaner - Mississippi Moan Blind Willie Reynolds - Married Man Blues notes by Brad Sweet (= Stephen Calt) "Yazoo Records, 390 East 8th Street, New York, N.Y. 10009" Yazoo L 1009 (US 1968) original press, cover font and small / large Yazoo logo in red; black labels notes by Steve Calt "Yazoo Records, 54 King Street – New York, N.Y. 10014" Yazoo L 1009 (US 1971 ff.) cover font and large Yazoo logo in orange; black and red labels notes by Steve Calt "Yazoo Records, 54 King Street – New York, N.Y. 10014" = Yazoo L 1009 (US 19??) cover font and small Yazoo logo in blue; black labels notes by Steve Calt "Yazoo Records, 245 Waverly Place, New York, N.Y. 10014" = Yazoo L 1009 (US 19??) cover font and small Yazoo logo in orange; peacock labels, catalog # on labels printed to the left notes by Steve Calt "Yazoo Records, P.O Box 810, Newton, New Jersey 07860" = Yazoo/Shanachie L 1009 (US early 1990s) cover font and small Yazoo logo in blue; peacock labels, catalog # on labels printed to the right notes by Steve Calt = Yazoo L 1009 (US 1991) notes by Stephen Calt = Yazoo CD 1009 (US 1991) Yazoo Records discography Mississippi John Hurt discography Bukka White discography Mattie Delaney discography Rube Lacey discography Skip James discography Charley Patton discography Son House discography Papa Harvey Hull discography Mississippi Joe Callicott discography Blind Willie Reynolds discography 21a1968?Classic Guitar Blues Peg Leg Howell - Rock And Gravel Blues - Low Down Rounder Blues Sylvester Weaver - True Love Blues - Poor Boy Blues Mississippi John Hurt - Frankie [OKeh 8560] - Spike Driver Blues [OKeh 8692] Bo Carter - Pencil Blues - Backache Blues Bo Carter - Boot It - I've Got A Case Of Mashin' It Carl Martin - Farewell To You Baby - You Can't Play My Cheap - Badly Mistreated Man - Good Morning, Judge Curley Weaver - Sometime Mama - Two Faced Woman Confidential CLP 002 (Fr) 221969?The Mississippi Blues No. 3: Transition, 1926-1937 Hambone Willie Newbern - Roll and Tumble Blues - Hambone Willie's Dreamy-Eyed Woman's Blues Robert Johnson - I'm A Steady Rollin Man - Sweet Home Chicago Johnnie Temple - Big Boat Whistle Blind Joe Amos - C & O Blues Skip James - Cherry Ball Blues Bo Weavil Jackson - You Can't Keep No Brown Big Joe Williams - Stepfather Blues - 49 Highway Blues Mississippi John Hurt - Stack O Lee Blues [OKeh 8654] Mississippi Bracey - You Scolded Me And Drove Me From Your Door - I'll Overcome Someday Mary Butler - Mad Dog Blues Rosie Mae Moore - School Girl Blues Bertha Lee - Mind Reader Blues Origin Jazz Library OJL-17 OJL Records discography 231969Mississippi John Hurt (1963-1964) Newport, R.I., 1963 - Candy Man - Trouble, I've Had It All My Day - Frankie "FOTM" Festival, New York, 1964 - Monday Morning Blues - Pallet On The Floor - Newport, R.I., 1964 - Coffee Blues - Newport, R.I., 1964 - See See Rider - Stagolee - Spike Driver Blues - Sliding Delta - Bye And Bye I Will See Jesus - Talking Casey Private PR 5 (Austria) 241969The Story Of The Blues Fra-Fra Tribesmen - Yarum Praise Songs Mississippi John Hurt - Stack O' Lee Blues [OKeh 8654] Blind Willie McTell - Travelin' Blues Charley Patton - Stone Pony Blues Blind Lemon Jefferson - Black Snake Moan Leadbelly - Pig Meat Papa Texas Alexander - Broken Yo-yo Peg Leg Howell - Broke And Hungry Blues Barbecue Bob - It Won't Be Long Now Henry Williams - Georgia Crawl Mississippi Jook Band - Dangerous Woman Memphis Jug Band - Gator Wobble Bessie Smith - In The House Blues Lillian Glinn - Shake It Down Bertha 'Chippie' Hill - Pratt City Blues Butterbeans And Susie - What It Takes To Bring You Back (Mama Keeps It All The Time) Leroy Carr - Midnight Hour Blues Faber Smith - East St Louis Blues Peetie Wheatstraw - Good Whiskey Blues Casey Bill - W.P.A. Blues Bo Carter - Sorry Feeling Blues Robert Johnson - Little Queen Of Spades Bukka White - Parchman Farm Blues Memphis Minnie - Me And My Chauffeur Blues Blind Boy Fuller - I Want Some Of Your Pie Brownie McGhee - Million Lonesome Woman Joe Williams - Wild Cow Moan Big Bill Broonzy - All By Myself Joe Turner - Roll 'Em Pete Otis Spann - Bloody Murder Elmore James - Sunnyland Johnny Shines - I Don't Know compiled by Paul Oliver DLP CBS 22135 251970The Best Of Mississippi John Hurt - Here I Am, Oh Lord, Send Me - I Shall Not Be Moved - Nearer My Good To Thee - Baby What's Wrong With You - Ain't Nobody's Business - Salty Dog Blues - Coffee Blues - Avalon, My Home Town - Make Me A Pallet On The Floor - Since I've Laid This Burden Down - Sliding Delta - Monday Morning Blues - Richland Women Blues - Candy Man - Stagolee - My Creole Belle - C.C. Rider - Spanish Fandango - Talking Casey - Chicken - You Are My Sunshine rec. in concert April 15, 1966 [not 1965 ] at Oberlin College; prod. by Bob Scherl "The Oberlin Review" in march 1966 has a schedule for MJH performing shows at the Wilder Main Building on April 15, 1966; so Vanguard's liner notes / archive ("April 15, 1965") do not show the actual recording date !!! (more info at www.msjohnhurtmuseum.com) Vanguard VSD 19/20 notes by Nancy Toff (=) Vanguard VMS 73103 (sides A and B only mid-line series) = Vanguard CD 19/20-2 (1987 twofer) www.vanguardrecords.com 261971? color variant Mississippi John Hurt: The Original 1928 Recordings - Frankie [OKeh 8560] - Nobodys Dirty Business [OKeh 8560] - Ain't No Tellin [OKeh 8759] - Louis Collins [OKeh 8724] - Avalon Blues [OKeh 8759] - Big Leg Blues [OKeh unissued] - Stack O Lee Blues [OKeh 8654] - Candy Man Blues [OKeh 8654] - Got The Blues Cant Be Satisfied [OKeh 8724] - Blessed Be The Name [OKeh 8666] - Praying On The Old Camp Ground [OKeh 8666] - Blue Harvest Blues [OKeh 8692] - Spike Driver Blues [OKeh 8692] notes by Les Astrella Spokane SPL 1001 = Biograph BLP C4 (1972) = Yazoo L 1065 (1979) Spokane Records discography 271972Mississippi John Hurt: Last Sessions - Poor Boy, Long Ways From Home - Boys You're Welcome - Joe Turner Blues - First Shot Missed Him - Farther Along - Funky Butt - Spider, Spider - Waiting For You # - Shortin' Bread - Trouble, I've Had It All My Days - Let The Mermaids Flirt With Me - Good Morning, Carrie # - Nobody Cares For Me - All Night Long - Hey, Honey, Right Away - You've Got To Die - Goodnight Irene rec. February 1966 at Manhattan Towers, New York, and July 1966 at Vanguard's 23rd Street Recording Studio, New York; Mississippi John Hurt, voc, g (Stefan Grossman's Martin OM-45); # Patrick Sky, 2nd g; prod. by Patrick Sky front cover photo by David Gahr; back cover photo by Dick Waterman Vanguard VSD 79327 = Vanguard CD VMD 79327-2 (1991) 281972The Great Blues Men Vanguard VSD 25/26, LP 1: Homesick James - Set A Date John Lee Hooker - Dusty Road Sleepy John Estes - Corinna °° Muddy Waters - Nineteen Years Old Jesse Fuller - San Francisco Bay Blues Mance Lipscomb - Blues In G Rev. Gary Davis - If I Had My Way °° Brownie McGhee & Sonny Terry - Key To The Highway Otis Spann - Burning Fire Lightnin' Hopkins - Cotton Field Blues Big Bill Broonzy - Louise, Louise Blues Johnny Young - Tighten Up On It James Cotton - Ain't Nobody's Business Vanguard VSD 25/26, LP 2: Mississippi John Hurt - Moanin' The Blues Junior Wells - Stormy Monday Blues °° Johnny Shines - Dynaflow Blues Son House (+ Al Wilson) - Empire State Blues °° Sonny Terry - Mountain Blues Joe Turner & Pete Johnson - It's All Right, Baby Jimmy Rushing - How Long, How Long Blues Skip James - Cypress Grove Blues J. B. Hutto - Please Help Fred McDowell - Fred's Ramblin' Blues Ida Cox - Four Day Creep °° Robert Pete Williams - On My Way From Texas [Vanguard VRS 9180, Vanguard VCD 115/16 (US 1991) Newport Folk Festival discography Mississippi John Hurt discography Reverend Gary Davis discography Reverend Robert Wilkins discography Skip James discography Sleepy John Estes discography Yank Rachell discography Hammie Nixon discography Robert Pete Williams discography Jesse Fuller discography John P. Hammond discography Dave Van Ronk discography, Vanguard 3VCD 193/95-2] @ youtube Otis Rush - I't's A Mean Old World °° not on CD design by Jules Halfant; front cover collage by Eric Von Schmidt Vanguard VCD 25/26: Homesick James - Set A Date (2:44) John Lee Hooker - Dusty Road (3:05) Muddy Waters - Nineteen Years Old (4:55) Jesse Fuller - San Francisco Bay Blues (2:40) Mance Lipscomb - Blues In G (3:33) Mississippi John Hurt - Moanin' The Blues (3:15) Johnny Shines - Dynaflow Blues (2:35) Sonny Terry - Mountain Blues (3:04) Joe Turner & Pete Johnson - It's All Right, Baby (2:30) Sonny Terry & Brownie McGhee - Key To The Highway (3:38) Otis Spann - Burning Fire (3:15) Lightning Hopkins - Cotton Field Blues (5:36) Big Bill Broonzy - Louise, Louise Blues (2:55) Johnny Young - Tighten Up On It (3:06) James Cotton - Ain't Nobody's Business (3:23) Jimmy Rushing - How Long, How Long Blues (4:45) Skip James - Cypress Grove Blues (4:10) J.B. Hutto - Please Help (2:52) Fred McDowell - Fred's Rambling Blues (2:05) Robert Pete Williams - On My Way From Texas (3:43) Otis Rush - It's A Mean Old World (2:22) gatefold DLP notes Leroy J. Pierson Vanguard VSD 25/26 (US 1972) gatefold DLP notes Leroy J. Pierson = Vanguard VSD 25/26 (Fr 1972) DLP, no gatefold, but 2-page leaflet notes Leroy J. Pierson Vanguard VSD 25/26 (US 1986) notes Leroy J. Pierson (=) Vanguard VCD 25/26 (US 1988) lots of further editions at www.discogs.com 291972Bukka White sings Sic 'em Dogs on Me 1927 to 1939 Elizabeth Johnson - Be My Kid Blues (1928) - Sobbin' Woman Blues (1928) Mae Glover - I Ain't Givin' Nobody None (1929) Washington (Barrelhouse) White - Po' Boy (1939) - Sic 'Em Dogs On Me (1939) Ishman Bracey - Suitcase Full Of Blues (1930) Rosie Mae Moore - Ha Ha Blues (1928) De Ford Bailey - John Henry Blues (1928) D.H. Bilbro - Chester Blues (1931) Louie Lasky - How You Want Your Rollin' Done (1935) - Teasin' Brown Blues (1935) Willie Baker - Weak Minded Blues (1929) - Rag Baby (1929) Long "Cleve" Reed & The Downhome Boys - Mama You Don't Know How (1927) - Original Stack O'Lee Blues (1927) Mississipi John Hurt - Stack O'Lee Blues (1928) Furry Lewis - John Henry Blues - part 1 (1929) Charley Patton - Heart Like Railroad Steel (1929) notes by Bernard Klatzko Herwin H 201 Herwin Records discography 301972Mississippi John Hurt 1928: Stack O' Lee Blues His First Recordings - Frankie [OKeh 8560] - Nobodys Dirty Business [OKeh 8560] - Ain't No Tellin [OKeh 8759] - Louis Collins [OKeh 8724] - Avalon Blues [OKeh 8759] - Big Leg Blues [OKeh unissued] - Stack O Lee Blues [OKeh 8654] - Candy Man Blues [OKeh 8654] - Got The Blues Cant Be Satisfied [OKeh 8724] - Blessed Be The Name [OKeh 8666] - Praying On The Old Camp Ground [OKeh 8666] - Blue Harvest Blues [OKeh 8692] - Spike Driver Blues [OKeh 8692] Spokane SPL 1001 (1971?) notes by Richard Spottswood Biograph BLP C4 Yazoo LP 1065 (1979) Biograph Records discography 311975Mississippi John Hurt Volume One Of A Legacy - Trouble I've Had It All My Days - Pera Lee [slide g] - See See Rider - Louis Collins - Coffee Blues - Nobody's Dirty Business - Do Lord Remember Me - Monday Morning Blues (05:17) # - Let The Mermaids Flirt With Me - Pay Day - Stack-O-Lee (07:21) # - Casey Jones - Frankie And Albert (05:01) # # these are extended versions (compared to other recordings) rec. 1963-1964 in Washington, D.C. by John Irvine (Ca) notes by John Irvine Rebel CLPS 1068 (Ca) notes by John Irvine = Piedmont CLPS 1068 (US 1975) (=) Rounder CD 1100 (1997) 321976Great Bluesmen Newport Robert Pete Williams - Midnight Boogie (3:13) [Vanguard VRS 9180] @ youtube - Levee Camp Blues (5:16) [Vanguard VRS 9180] Sonny Terry and Brownie McGhee - My Baby Done Changed The Lock On The Door John Lee Hooker with Bill Lee on bass - Tupelo - Bus Station Blues Son House - Son's Blues (6:18) [aka "Preaching Blues"] [Vanguard VSD 79225] - Death Letter Blues (2:50) °° [Vanguard VSD 79225] - Pony Blues (2:30) [previously unissued] (with Mance Lipscomb, 2nd g) Sleepy John Estes - Mailman Blues [Vanguard VRS 9180 / VSD 79180] - Clean Up At Home [Vanguard VRS 9180 / VSD 79180] @ youtube Doc Reese - Hey Rattler / Oh My Lord [Vanguard VRS 9180 / VSD 79180] Mississippi John Hurt - Sliding Delta [Vanguard VRS-9145 / VSD-79145] - Trouble, I've Had It All My Day [Vanguard VRS-9145 / VSD-79145] Skip James - Hard Times Killing Floor Blues [previously unissued] - Cherry Ball Blues °° [Vanguard VRS-9181 / VSD-79181] - Illinois Blues [previously unissued] The Reverend Gary Davis - Death Don't Have No Mercy [Vanguard SRV-73008] Willie Doss - Catfish Blues [Vanguard VRS-9182 / VSD-79182] @ youtube - I Had A Woman [Vanguard VRS-9181 / VSD-79181] Mississippi Fred McDowell - Lord, I'm Going Down South - If The River Was Whiskey Lightnin' Hopkins with Samuel Lay - Cotten Fields Blues - Shake That Thing front cover drawing by Eric Von Schmidt °° note on CD 77/78: "due to compact disc time restrictions some songs on the original album are not included in this package" DLP notes by Maynard Solomon Vanguard VSD-77/78 (US 1976) DLP notes by Maynard Solomon = Vanguard VSD-77/78 (Fr 1976) = King/Vanguard LAX-155 (Jp 1976) notes (December 1988) by Samuel Charters (=) Vanguard CD 77/78 (US 1989) (2 LPs on 1 CD) °° "Great Bluesmen At Newport 1959-1965" 32a1976The Blues Are Back - Stack O' Lee Blues - Mississippi John Hurt - Black Snake Moan - Blind Lemon Jefferson - Pig Meat Papa - Leadbelly - In The House Blues - Bessie Smith - Little Queen Of Spades - Robert Johnson - Billie's Blues - Billie Holiday - Sunnyland - Elmore James - V-8 Ford Blues - Mose Allison - Dust My Broom - Taj Mahal - I Love You More Than You'll Ever Know - Blood, Sweat & Tears released as a promotion for the Sedgefield Jeans Company Columbia 13211 32b1979La Ballata Afro-Americana Afro-American Ballads La Ballade Afro-Américaine - Dying Crapshoot Blues - Blind Willie McTell - Casey Jones (Kassie Jones, part 1) - Furry Lewis - Casey Jones (Kassie Jones, part 2) - Furry Lewis - Casey Jones (Southern Casey Jones) - Jesse James - Boll Weevil - Leadbelly - Bettie And Dupree (Dupree Blues) - Willie Walker - Brady And Duncan (Bill Brady) - Leadbelly - Ella Speed - Leadbelly - John Henry - Willie Turner - John Henry - Furry Lewis - Titanic (Titanic Blues) - Hi Henry Brown - Delia (Little Delia) - Blind Willie McTell - Frankie And Albert (Frankie) - Mississippi John Hurt - Stackolee (Billy Lyons And Stack O'Lee) - Furry Lewis notes (Italian & English) by Alessandro Roffeni Albatros VPA 8437 (It 1979) = VC 4934 (cassette) Albatros Records discography 32c1978Golden Hour presents The Great Bluesmen Vol. II Mississippi John Hurt - Candy Man Mississippi Fred McDowell - Highway 61 Son House - Death Letter Blues Robert Pete Williams - Midnight Boogie Sonny Terry & Brownie McGhee - My Baby Done Changed The Lock On The Door Willie Doss - I Had A Woman Skip James - Sporting Life Blues John Lee Hooker - Bus Station Blues Sleepy John Estes - Clean Up At Home Lightning Hopkins - Shake That Thing Reverend Gary Davis - Death Don't Have No Mercy The James Cotton Blues Quartet - Cotton Crop Otis Spann's Southside Piano - Burning Fire Buddy Guy - Poison Ivy The Otis Rush Blues Band - I Can't Quit You Baby The Junior Wells Chicago Blues Band - Messing With The Kid Johnny Young's South Side Blues Band - I Got Mine In Time J.B. Hutto and his Hawks - Please Help Homesick James and his Dusters - Set A Date The Johnny Shines Blues Band - Dynaflow Blues Jimmy Rushing - Everyday compiled by Alan Balfour & Jed Kearse PYE Golden Hour GH 879 331979Mississippi John Hurt 1928 Sessions - Got The Blues Cant Be Satisfied [OKeh 8724] - Louis Collins [OKeh 8724] - Blue Harvest Blues [OKeh 8692] - Avalon Blues [OKeh 8759] - Blessed Be The Name [OKeh 8666] - Nobodys Dirty Business [OKeh 8560] - Frankie [OKeh 8560] - Ain't No Tellin [OKeh 8759] - Big Leg Blues [OKeh unissued] - Stack O Lee Blues [OKeh 8654] - Praying On The Old Camp Ground [OKeh 8666] - Spike Driver Blues [OKeh 8692] - Candy Man Blues [OKeh 8654] mastering and production: Nick Perls Spokane SPL 1001 (1971?) Biograph BLP C4 (1972) notes by Steve Calt Yazoo L 1065 = Yazoo CD 1065 Yazoo Records discography 341980Mississippi John Hurt Monday Morning Blues The Library Of Congress Recordings Volume One - Nobody's Dirty Business - Monday Morning Blues tk. 2 - Hey Baby Right Away - Spanish Fangdang - Pay Day - Keep On Knocking - Talking Casey Jones - Let The Mermaids Flirt With Me - Got The Blues That Can't Be Satisfied - Stocktime - Candy Man - Pera-Lee - Trouble I've Had All My Days - Waiting For You notes by Bruce Bastin Flyright FLYLP 553 Flyright Records discography 351982Mississippi John Hurt: Avalon Blues The Library Of Congress Recordings Volume Two - Avalon Blues - Joe Turner - Good Morning Miss Carrie - Richlands Women Blues - Frankie (and Albert) - If You Don't Want Me (two versions) - Louis Collins - Stackolee - Rubber Dolly - Coffee Blues - Slidin' Delta - Keep On Knockin' - Corrina, Corrina - Funky Butt rec. July 15 & 23, 1963 on stage at Coolidge Auditorium at Library of Congress notes by Bruce Bastin Heritage HT-301 361982Mississippi John Hurt Satisfied - Candy Man - My Creole Belle - Make Me A Pallet On The Floor - Shake That Thing - I'm Satisfied - Salty Dog - Nobody's Business But Mine - The Angels Laid Him Away - Casey Jones - Baby What's Wrong With You - Lonesome Blues rec. in concert April 15, 1966 [not 1965 ] at Oberlin College; prod. by Bob Scherl "The Oberlin Review" in march 1966 has a schedule for MJH performing shows at the Wilder Main Building on April 15, 1966; so Vanguard's liner notes / archive ("April 15, 1965") do not show the actual recording date !!! (more info at www.msjohnhurtmuseum.com) notes by Bob Scherl Quicksilver Intermedia QS 5007 (=) Prestige Elite CD 37 (2002) (Prestige Raw Blues series) 371982Mississippi John Hurt The Candy Man - Richland Women Blues - Trouble, I've Had It All My Days - C-h-i-c-k-e-n - Coffee Blues - Monday Morning Blues - Frankie And Albert - Talking Casey - Here I Am, Oh Lord, Send Me - Hard Time In The Old Town Tonight - Spike Driver's Blues rec. in concert April 15, 1966 [not 1965 ] at Oberlin College; prod. by Bob Scherl "The Oberlin Review" in march 1966 has a schedule for MJH performing shows at the Wilder Main Building on April 15, 1966; so Vanguard's liner notes / archive ("April 15, 1965") do not show the actual recording date !!! (more info at www.msjohnhurtmuseum.com) notes by Bob Scherl Quicksilver Intermedia QS 5042 = Blue Moon BMLP 1.030 (1986) (=) Prestige Elite CD 37 (2002) (Prestige Raw Blues series) 381986Mississippi John Hurt Shake That Thing - Candy Man - My Creole Belle - Make Me A Pallet On The Floor - Shake That Thing - I'm Satisfied - Salty Dog - Nobody's Business But Mine - The Angels Laid Him Away - Casey Jones (Ramblin' Mind) - Baby, What's Wrong With You? - Lonesome Blues rec. in concert April 15, 1966 [not 1965 ] at Oberlin College; prod. by Bob Scherl "The Oberlin Review" in march 1966 has a schedule for MJH performing shows at the Wilder Main Building on April 15, 1966; so Vanguard's liner notes / archive ("April 15, 1965") do not show the actual recording date !!! (more info at www.msjohnhurtmuseum.com) notes (reprinted from Quicksilver Intermedia QS 5042) by Bob Scherl Blue Moon BMLP 1.030 (=) Prestige Elite CD 37 (Prestige Raw Blues series) (2002) 391988Mississippi John Hurt Sacred And Secular The Library Of Congress Recordings Volume Three Secular - Pallet On The Floor - Staggolee - I'm Satisfied - Ain't Nobody But You Babe [I Don't Love Nobody] - C. C. Rider - Waiting For A Train - Funky Butt - Shortenin' Bread Sacred - Mary Don't You Weep - Farther Along - Do Lord Remember Me - Over In The Glory Land - Glory Glory Hallelujah [Since I've Laid My Burden Down] - What A Friend We Have In Jesus - Weeping And Wailing - Where Shall I Be Heritage HT-320 401988Country Blues Live! Mississippi John Hurt - I Shall Not Be Moved # [never re-released] @ youtube - Avalon Blues # [Document DOCD-5697] @ youtube - I Hate To See That Evening Sun Go Down # [Document DOCD-5697] @ youtube - Payday # [never re-released] @ youtube - Casey Jones # [Document DOCD-5697] @ youtube - Spanish Flang Dang # [Document DOCD-5697] @ youtube - Welcome (Address) # [Document DOCD-5697] @ youtube Robert Pete Williams - I'm So Worried \|\| [never re-released] @ youtube John Jackson - John Henry * [Document DOCD-5697] @ youtube - Poor Boy * [Document DOCD-5697] @ youtube - Buck Dancer's Choice * [Document DOCD-5697] @ youtube - Tell Me Pretty Mama * [Document DOCD-5697] @ youtube Sleepy John Estes & Yank Rachell - I'm A Tearing Little Daddy § [Document DOCD-5697] @ youtube - 80 Highway § [never re-released] @ youtube - Mailman Blues § [Document DOCD-5697] @ youtube # rec. 1960s at Joel Jacobson's in Washington, D.C. \|\| rec. October 1966 at Johnny [Parth]'s in Hinterbrühl, Austria * rec. prob. 1966 at the Washington Folk Festival in Washington, DC; John Jackson, voc, g § rec. October 1966 at a TV show in Vienna, Austria Document DLP 525 Limited Edition Document DOCD-5697 (UK 2013) Document Records discography 411989Checkin' Out The Blues Muddy Waters - Baby Please Don't Go - Rollin And Rumblin John Lee Hooker - Dimples - Boom Boom Lightning Slim - My Babe - Good Morning Heartache Etta James - I'd Rather Go Blind - Respect Yourself Otis Rush & Little Water - Blue Mood - I Feel Good Mississippi John Hurt - I'm Satisfied - Monday Morning Blues Howlin Wolf - Killing Floor - Goin Down Slow Buddy Guy & Junior Wells - Every Day I Have The Blues - Out Of Sight Elmore James - Dust My Broom - Mean Mistreatin' Mama B.B. King - Every Day I Have The Blues - The Letter Style LP STYRL007 = Style CD STYRD007 421989Mississippi John Hurt Avalon Blues - Avalon Bues - Richlands Women Blues - Frankie And Albert - Louis Collins - Stackolee - Coffee Blues - Slidin' Delta - Corrine Corrina - Nobody's Dirty Business - Monday Morning Blues - Hey Baby Right Away - Spanish Flangdang - Pay Day - Talking Casey Blues - Let The Mermaid Flirt With Me - Got The Blues That Can't Be Satisfied - Stocktime - Candy Man - Pera-Lee - Trouble I've Had All My Days July 1963 Library of Congress recordings (some were previously issued on Flyright and Heritage LPs) Flyright FLYCD 06 Flyright FLYCD 06 (2000) www.interstate-music.co.uk 42a1990The Greatest in Country Blues (1927-1956) LP 1 - High Water Everywhere - Charlie Patton - See That My Grave Is Kept Clean - Blind Lemon Jefferson - Cotton Field Blues Part 2 - Garfield Akers - James Alley Blues - Richard "Rabbit" Brown - Had A Good Father And Mother - Washington Phillips - Travelin' Blues - Blind Willie McTell - Canned Heat Blues - Tommy Johnson - Minglewood Blues - Cannon's Jug Stompers - Nappy Head Blues - Bobby Grant - Third Street Woman Blues - Blind Willie Reynolds - My Black Momma Part I - Son House - Bull-Doze Blues - Henry Thomas - Dark Was The Night Cold Was The Ground - Blind Willie Johnson - Trouble Hearted Blues - Ishman Bracey - Honey In The Rock - Blind Mamie Forehand - Frankie - Mississippi John Hurt - Man Trouble Blues - Jaybird Coleman - How Long - Frank Stokes - Future Blues - Willie Brown - Voice Throwin' Blues - Walter "Buddy Boy" Hawkins LP 2 - Devil Got The Woman - Skip James - When That Great Ship Went Down - William And Versey Smith - The Jail House Blues - Sam Collins - Touch Me Light Momma - George "Bullet" Williams - Mothers Love - Blind Joe Taggart - Skin Man Blues - "Hi" Henry Brown - Lost Lover Blues - Lottie Kimbrough - Levee Camp Moan Blues - Texas Alexander - K.C. Moan - Memphis Jug Band - Paddlin' Madeline Blues - Gitfiddle Jim - Preachin' Blues - Robert Johnson - Billy Lyons And Stack O'Lee - Furry Lewis - Fryin' Pan Skillet Blues - Bessie Tucker - Dallas Rag - Dallas String Band - Crazy Cryin' Blues - Memphis Minnie - Woke Up This Morning - Roosevelt Graves - That's No Way To Get Along - Robert Wilkins - McAbee Railroad Piece - Palmer McAbee - The Gone Dead Train - King Soloman Hill - Hastings St. - Blind Blake And Charlie Spand LP 3 - Shorty George - Smith Casey - Ain't No Grave Can Hold My Body Down - Bozie Sturdivant - I Be's Troubled - Muddy Waters - How You Want It Done? - Big Bill Broonzy - She's Coming Back Some Cold Rainy Day - The Georgia Cotton Pickers - Sic 'Em Dogs On - Bukka White - California Desert Blues - Lane Hardin - Lonesome Day Blues - Jesse James - Moanin' The Blues - Allen Shaw - Midnight Hour Blues - Leroy Carr - Jack O'Diamonds - Pete Harris - Dust My Broom - Elmore James - Rowdy Blues - Kid Bailey - Rollin' And Tumblin' - Baby Face Leroy - Penitentiary Blues (Pt. 1 & 2) - Smokey Hogg - Baby How Long - Dan Pickett - Mighty Long Time - Sonny Boy Williamson - River Blues (Pt. 2) - Lowell Fulson - Smokestack Lightnin' - Howlin' Wolf - Moanin' Blues - Lightnin' Hopkins compiled by Johnny Parth 3 LP set with 24 pp. booklet notes by Paul Oliver RST Blues Documents BD-01 (Austria 1990) 3 CD set notes by Paul Oliver 1927-1930 1927-1936 1929-1956 = Story Of Blues/Da Music 3521/3522/3523 (Austria 1992) = Century Media SOB 3521-2/3522-2/3523-2 (1994) 3 CD set = 1201 Music 7002-2 (US 1999) 42b1990The Greatest Songsters (1927-1929) Richard (Rabbit) Brown (1927) - James Alley Blues - Never Let The Same Bee Sting You Twice - I'm Not Jealous - Mystery Of The Dunbar's Child - Sinking Of The Titanic Mississippi John Hurt (1928) - Frankie - Nobody's Dirty Business - Ain't No Tellin' - Louis Collins - Avalon Blues - Big Leg Blues - Stack O'Lee Blues - Candy Man Blues - Got The Blues Can't Be Satified - Blessed Be The Name - Praying On The Old Camp Ground - Blue Harvest Blues - Spike Driver Blues Hambone Willie Newbern (1929) - She Could Toodle-Oo - Nobody Knows - Shelby County Workhouse Blues - Way Down In Arkansas - Dreamy-Eyed Woman's Blues - Roll and Tumble Blues notes by Chris Smith Document DOCD 5003 www.document-records.com = P-Vine PCD 2259 (2003) 42c1990Legends Of The Blues Volume One Columbia LP C/AL 46215 track sequence: - St. Louis Blues - Bessie Smith - Match Box Blues - Blind Lemon Jefferson - Ain't No Tellin' - Mississippi John Hurt - Lord, I Just Can't Keep From Crying - Blind Willie Johnson - Pigmeat Is What I Crave - Bo Carter - Southern Can Is Mine - Blind Willie McTell - Low Down St. Louis Blues - Lonnie Johnson - Revenue Man Blues Patton - Charley Patton - Stormy Night Blues - Leroy Carr - I Believe I'll Make A Change - Josh White - Forth Worth And Dallas Blues - Leadbelly - Sweet Home Blues - Peetie Wheatstraw - Stop Breakin' Down Blues - Robert Johnson - Truckin' My Blues Away, #2 - Blind Boy Fuller - Spreadin' Snakes Blues - Big Bill Broonzy - Nothing In Ramblin' - Memphis Minnie - Fixin' To Die Blues - Bukka White - Hard Day Blues - Muddy Waters - Don't You Leave Me Here (tk 1) - Big Joe Williams - Death Letter - Son House SPV Blue CD SPV 91722 bonus tracks: - Hell Hound On My Trail - Robert Johnson - Rock Island Line - Leadbelly and The Golden Gate Quartet original series compiled & prod. by Lawrence Cohn notes by Paul Oliver Columbia LP C/AL 46215 (US 1990) notes by Paul Oliver = Columbia/Legacy CD CK 46215 (US 1990) notes by Paul Oliver = CBS/Legacy CD 467245 (EU 1990) = CBS/Sony CSCS 5323 (Jp 1990) notes by Neil Slaven (=) SPV Blue SPV 91722 (Germany/Poland 2008) 20 CD box set, CD 5 (=) Sony Music 88875043322 (US 2014) (Roots n' Blues series) 431991Mississippi John Hurt: The Songster rec. in concert April 15, 1966 [not 1965 ] at Oberlin College; prod. by Bob Scherl "The Oberlin Review" in march 1966 has a schedule for MJH performing shows at the Wilder Main Building on April 15, 1966; so Vanguard's liner notes / archive ("April 15, 1965") do not show the actual recording date !!! (more info at www.msjohnhurtmuseum.com) DLP King Bee KNB 1002 (US) 441991Blues At Newport Recorded live at the Newport Folk Festival 1959-64 Mississippi John Hurt - Candy Man - Coffee Blues - Stagolee Brownie McGhee & Sonny Terry - Long Gone - Key To The Highway Reverend Gary Davis - Samson And Delilah - I Won't Be Back No More Reverend Robert Wilkins - The Prodigal Son - (I Wish I Was In) Heaven Sitting Down Skip James - Devil Got My Woman Sleepy John Estes, Yank Rachel [sic] & Hammy [sic] Nixon - Clean Up At Home Robert Pete Williams - On My Way From Texas - Bulldog Blues Jesse Fuller - I Double Double Do Love You - San Francisco Bay Blues John Hammond - Me And The Devil John Lee Hooker - Sometimes You Make Me Feel So Bad - Hobo Blues Dave Van Ronk - That Will Never Happen No More compilation prod. by Sam Charters notes by Sam Charters Vanguard VCD 115/16 (US 1991) Newport Folk Festival discography Reverend Gary Davis discography Reverend Robert Wilkins discography Skip James discography Sleepy John Estes discography Yank Rachell discography Hammie Nixon discography Robert Pete Williams discography Jesse Fuller discography John P. Hammond discography Dave Van Ronk discography 451991Mississippi John Hurt In Concert - Nobody's Business But Mine - Angels Laid Him Away - Baby What's Wrong With You - Casey Jones - Candy Man - Lonesome Blues - My Creole Belle - Make Me A Pallet On The Floor - Trouble I Had All My Days - Chicken - Coffee Blues - Shake That Thing - Monday Morning Blues - Frankie And Albert - Salty Dog - Spike Driver Blues - Here Am I, Oh Lord, Send Me - Talking Casey - Hot Time In The Old Town Tonight - I'm Satisfied - Richland Women Blues rec. in concert April 15, 1966 [not 1965 ] at Oberlin College; prod. by Bob Scherl "The Oberlin Review" in march 1966 has a schedule for MJH performing shows at the Wilder Main Building on April 15, 1966; so Vanguard's liner notes / archive ("April 15, 1965") do not show the actual recording date !!! (more info at www.msjohnhurtmuseum.com) Blue Moon CD 083 = Magnum CD 21 (1995) 45a1992Roots N' Blues - The Retrospective (1925-1950) disc 1: Charlie Poole with The North Carolina Ramblers - Whitehouse Blues Aiken County String Band - High Sheriff Frank Hutchison - The Last Scene Of The Titanic Hersal Thomas - Suitcase Blues Reverend J.M. Gates - Death's Black Train Is Coming Dora Carr - Cow-Cow Blues Vance's Tennessee Breakdowners - Washington County Fox Chase Fiddlin' John Carson - I'm Going To Take The Train To Charlotte Ernest V. Stoneman's Trio - Untitled Whistler And His Jug Band - Low Down Blues Washington Phillips - Paul & Silas In Jail Barbecue Bob - Blind Pig Blues Austin & Lee Allen - Chattanooga Blues Sherman Tedder - Untitled Dallas String Band with Coley Jones - Hokum Blues Gladys Bentley - Worried Blues Elizabeth Johnson - Empty Bed Blues Part 1 Elizabeth Johnson - Empty Bed Blues Part 2 South Georgia Highballers - Blue Grass Twist Charlie Bowman And His Brothers - Moonshiner And His Money Clarence Green - Johnson City Blues Reverend Johnny Blakey assisted by The Sanctified Singers - Warming By The Devil's Fire Papa Too Sweet & Harry Jones - (Honey) It's Tight Like That Mississippi John Hurt - Big Leg Blues Daniels-Deason Sacred Harp Singers - Hallelujah disc 2: Hershel Brown and His Happy Five - Liberty Mamie Smith - My Sportin' Man Blues Birdhead - Mean Low Blues Pink Anderson & Simmie Dooley - C.C. & O. Blues The Okeh Atlanta Sacred Harp Singers - Ortonville Slim Doucet - Dear Black Eyes (Chere Yeux Noirs) Roosevelt Sykes - Roosevelt Blues The Hokum Boys - Gin Mill Blues Joe Falcon acc. by Clemo Breaux & Ophy Breaux - Osson W.T. Narmour & S.W. Smith - Sweet Milk And Peaches (Breakdown) Gid Tanner & The Skillet Lickers With Riley Puckett & Clayton McMichen - Soldier's Joy Whistlin' Alex Moore - They May Not Be My Toes Mississippi Sheiks - The Jazz Fiddler Lonnie Johnson - I Have To Do My Time Tom Darby & Jimmie Tarlton - Lonesome Frisco Line Roy Harvey & Leonard Copeland - Back To The Blue Ridge Buster Carter & Preston Young - Darn Good Girl Bo Carter - West Jackson Blues Lonnie Johnson & Violet Green - You Had Too Much Silver Leaf Quartet - Oh! Glory Glory Freeny's Barn Dance Band - Don't You Remember The Time Pelican Wildcats - Walkin' Georgia Rose Peetie Wheatstraw - Police Station Blues Tindley Quaker City Gospel Singers - Hallelujah Side Will Batts - Highway # 61 Blues disc 3: W. Lee O'Daniel & Lightcrust Doughboys - Doughboys Theme Song # 1 W. Lee O'Daniel And His Hillbilly Boys - Ida (Sweet As Apple Cider) W. Lee O'Daniel & Lightcrust Doughboys - Doughboys Theme Song # 2 Blind Willie - Bell Street Lightnin' Charlie Patton - Jersey Bull Blues Walter Roland - Every Morning Blues Blue Ridge Ramblers - D Blues Breaux Freres - La Valse Des Yeux Bleus Bessie Jackson - Skin Game Blues Leroy Carr with Scrapper Blackwell - Good Woman Blues Pinewood Tom (Josh White) - Sissy Man The Rhythm Wreckers - Blue Yodel # 2 (My Lovin' Gal Lucille) The Anglin Twins - Just Inside The Pearly Gates Bumble Bee Slim - Hard Rocks In My Bed The Two Charlies - Tired Feelin' Blues Eldon Baker And His Brown County Revelers - One Eyed Sam A'nt Idy Harper And The Coon Creek Girls - Poor Naomi Wise Kid Prince Moore - South Bound Blues Big Bill Broonzy - C & A Blues George Curry - My Last Five Dollars The Nite Owls - Memphis Blues The Alley Boys Of Abbeville - Pourquoi tu m'aime pas Reverend Benny Campbell - Have Mercy On Me Albert Ammons - Shout For Joy Jack Kelly - Flower Blues Bob Clifford - Onion Eating Mama Callahan Bros. - Brown's Ferry Blues # 2 Little Buddy Doyle - Slick Capers Blues Bill McKinley (Jazz Gillum) - Poor Boy Blues disc 4: Frank Edwards - We Got To Get Together Sweet Violet Boys - You Got To See Mama Every Night (Or You Can't See Mama At All) The Humbard Family - I'll Fly Away Tony Hollins - Cross Cut Saw Blues Peter Cleighton (Clayton) - Black Snake Blues Black Cats And The Kitten - Step It Up And Go Bob And Randall Atcher - Papa's Going Crazy, Mama's Going Mad Adolf Hofner And His San Antonians - Cotton-Eyed Joe Poor Boy Burke - Old Vets Blues Little Son Joe - Black Rat Swing Big Maceo Merriweather - Maceo Special The Light Crust Doughboys with J.B. Brinkley - It's Funny What Love Will Make You Do Hank Penny And His Radio Cowboys - Army Blues James "Beal Street" Clark - Who But You Homer Harris - Tomorrow May Be Too Late McKinley Morganfield (Muddy Waters) - Burying Ground Blues Bill Monroe & His Bluegrass Boys - Goodbye Old Pal Gene Autry - Dixie Cannonball Bill Landford & The Landfordaires - Run On For A Long Time (Big) Joe Williams - Baby, Please Don't Go Sister Myrtle Fields acc. by The Austin McCoy Trio - I'm Toiling Willie "Boodle It" Right - Two By Four Blues Bailes Bros. - You Can't Go Halfway (And Get In) Molly O'Day & The Cumberland Mountain Folks - Heaven's Radio Rosetta Howard - Plow Hand Blues Memphis Seven - Grunt Meat Blues Deep South Boys - Until I Found The Lord Brother Porter & Brother Cook - I Know My Jesus Won't Deny Me compiled by Lawrence Cohn 4 disc set notes by Lawrence Cohn and Pete Welding Columbia Legacy 47911/47912-15 (US 1992) 20 CD box set (=) Sony Music 88875043322 (US 2014) 461993Mississippi John Hurt: Memorial Anthology Genes GCD 9906 (disc 1) / Edsel EDCD 381: - Slidin' Delta - Salty Dog °° - Louis Collins - Staggerlee - Monday Mornin' Blues - Comin' Home - Candyman Blues °° - A Hot Time In The Old Town Tonight - K.C. Jones Blues °° - Make Me A Pallet On Your Floor - You Can't Come In - Joe Turner - Spanish Flangdang °° - Lonesome Am I - I Shall Not Be Moved °° - C.C. Rider °° - Trouble Blues Genes GCD 9907 (disc 2) / Edsel EDCD 446: - Lovin' Spoonful - Richland Woman Blues - Frankie & Albert °° - Creole Belle °° - Chicken °° - Pete Seeger / John Hurt interview # °° - Let The Mermaids Flirt With Me # °° - Nobody's Dirty Business # - Stop Time (Buck Dance) # °° - Worried Blues # - Avalon Blues # °° not on Fat Possum/Amazon Music CD/LP FP1598 Fat Possum/Amazon Music CD/LP FP1598 track sequence: - Slidin' Delta - Louis Collins - Staggerlee - Monday Mornin' Blues - Comin' Home - A Hot Time In The Old Town Tonight - Make Me A Pallet On Your Floor - You Can't Come In - Joe Turner - Lonesome Am I - Trouble Blues - Lovin' Spoonful - Richland Woman Blues - Nobody's Dirty Business # - Worried Blues # - Avalon Blues # rec. November 27/28, 1964 at Ontario Place Coffee House, Washington. D.C. by Gene Rosenthal # rec. December 12, 1964 at Ontario Place Coffee House, Washington D.C. by Gene Rosenthal 2 CD set notes by Larry Hoffman, Richard Spottswood & Gene Rosenthal Genes GCD 9906/7 (US 1993) notes by Larry Hoffman, Richard Spottswood & Gene Rosenthal (=) Edsel EDCD 381 (UK 1994) notes by Larry Hoffman, Richard Spottswood & Gene Rosenthal (=) Edsel EDCD 446 (UK 1997) = Fat Possum/Amazon Music CD/LP FP1598 (US 2017) "Worried Blues" Adelphi/Genes discography 471993Blues With A Feeling Recorded live at the Newport Folk Festival disc 1 / Vanguard VCD 73133-2: - Introduction by Dick Waterman (2:05) # Son House (1965) [Vanguard 3VCD193/95-2] - Preachin' Blues (3:54) [Vanguard VSD 79225] # - Death Letter (4:01) [Vanguard VSD 79225] # - Empire State Express (3:50) # [Vanguard VSD 25/6; 3VCD 208-10] Skip James (1964 blues workshop, introduction most likely by Bill Barth) [Vanguard 3VCD193/95-2] - Devil Got My Woman (4:52) @ youtube Bukka White [Vanguard 3VCD193/95-2; 3VCD 208-10] - Aberdeen Mississippi Blues (5:00) Robert Pete Williams - Levee Camp Blues (5:26) °° [Vanguard VRS 9180; 3VCD193/95-2] Mississippi Fred McDowell [Vanguard 3VCD193/95-2] - Louise Louise (3:05) Rev. Robert Wilkins - Don't Let Nobody Turn You 'round (3:48) @ youtube Rev. Pearly Brown & Mrs. Christine Brown - Keep Your Lamp Trimmed And Burning (3:06) @ youtube Fred and Annie Mae McDowell with Rev. Robert Wilkins - What Do You Think About Jesus (5:43) @ youtube Lightnin' Hopkins (July 23, 1965 morning "Blue Guitar" workshop) [ Vanguard VCD 79715-2] - The Woman I'm Loving, She's Taken My Appetite (Monkey Faced Woman) (3:22) @ youtube - Come On Baby (2:13) @ youtube - Baby Please Don't Go (2:46) [Vanguard 3VCD 208-10] @ youtube Mance Lipscomb [Vanguard 3VCD193/95-2] - Freddie (2:01) [Vanguard 3VCD 208-10] @ youtube - So Different Blues (2:33) @ youtube - God Moves On The Water (The Sinking Of The Titanic) (2:36) @ youtube disc 2 / Vanguard VCD 73134-2: Elizabeth Cotten - Freight Train (4:02) [Vanguard 3VCD 208-10] Mississippi John Hurt [Vanguard 3VCD193/95-2] - Here I Am Lord, Send Me (3:54) - Make Me A Pallet On The Floor (3:20) Jesse Fuller [Vanguard VRS-9185; 3VCD193/95-2; 3VCD 208-10] - San Francisco Bay Blues (2:51) °° John Lee Hooker (1964 blues workshop) [Vanguard 3VCD193/95-2] - I Can't Quit You Baby / Stop Now Blues (2:48) @ youtube Muddy Waters (1968 blues workshop) [Vanguard 3VCD193/95-2] - Walkin' Blues (4:31) @ youtube - I Can't Be Satisfied (3:16) @ youtube Eddie Boyd & Willie Dixon - Five Long Years (2:26) [Vanguard 3VCD 208-10] Willie Dixon & Lafayette Leake with Pete Seeger, bj - Wrinkles (instr) (3:28) Dave Van Ronk - Cocaine (3:44) [Vanguard 3VCD 208-10] John Hammond - Drop Down Mama (2:50) Eric Von Schmidt - Grizzly Bear (4:55) [Vanguard 3VCD 208-10] John Koerner - Traveling Blues (4:49) [Vanguard 3VCD 208-10] @ youtube The Chambers Brothers [Vanguard 3VCD193/95-2] - See See Rider (3:21) [Vanguard 3VCD 208-10] @ youtube Paul Butterfield Blues Band (July 23, 1965) - Blues With A Feeling (4:12) * [Vanguard 3VCD193/95-2; 3VCD 208-10] @ youtube - Look Over Yonders Wall (2:10) * @ youtube - Born In Chicago (4:08) ** [Vanguard 3VCD193/95-2] @ youtube compilation prod. by Mary Katherine Aldin # rec. 1965 live at Newport Folk Festival ("Blues Workshop") in Newport, RI; Son House, voc, g * rec. July 23, 1965 at an afternoon workshop called "Blues: Origins and Offshoots" (late addition to the roster - advertisements for the concert series make no mention of the group); Paul Butterfield, voc, hca; Michael Bloomfield, g; Elvin Bishop, g; Jerome Arnold, b; Sam Lay, dr; Nick Gravenites, voc; ** Bruce Langhorne, tamb "all tracks previously unreleased except" °° 2 CD set notes (May 1993) by Mary Katherine Aldin Vanguard VCD2-77005 (US/Germany 1993) (=) Vanguard VCD 73133-2 (US 1997) "part one" (=) Vanguard VCD 73134-2 (US 1997) "part two" 481995Mississippi John Hurt: Satisfying Blues - C-H-I-C-K-E-N Blues - Monday Morning Blues - Candy Man - Lonesome Blues - Nobody's Business But Mine - Angels Laid Him Away - Baby What's Wrong With You - Richland Women Blues - Frankie And Albert - Salty Dog - Spike Driver's Blues - Hot Time In The Old Town Tonight - My Creole Belle - Make Me A Pallet On Your Floor - Coffee Blues Collectables VCL 5529 (Home Cooking) 48a1995Folk Music at Newport, Part 1 Patrick Sky - Separation Blues Ian & Sylvia - Someday Soon Ian & Sylvia - Play One More Bill Monroe & His Blue Grass Boys - Blue Moon Of Kentucky Bill Monroe, Peter Rowan, Tex Logan - Shady Grove Lightnin' Hopkins - The Woman I Am Loving, She's Taken My Appetite Cyprien Landreneau - Danse De Blackberry Briar Rev. Gary Davis - I Will Do My Last Singing In This Land Somewhere The New Lost City Ramblers - Gold Watch And Chain Maybelle Carter - Wildwood Flower Eck Robertson, The New Lost City Ramblers - Forked Deer / Eighth Of January Kathy & Carol - A Swallow Song Sam & Kirk McGee - Milk 'Em In The Evening Blues Pete Seeger - Oh Mary Don't You Weep Joan Baez, Donovan - Colours Cousin Emmy, The New Lost City Ramblers - Free Little Bird Mance Lipscomb - The Sinking Of The Titanic Charles River Valley Boys - I'll Meet You In The Morning Jim Kweskin & The Jug Band - Sadie Green (The Vamp Of New Orleans) Bill Keith, Jim Rooney - Little Sadie Richard & Mimi Farina - Celebration For A Grey Day Kingston Trio - M.T.A. Mississippi John Hurt - Candy Man The Chambers Brothers - I Got It rec. at the 1965 Newport Folk Festival Vanguard CD 77007-2 (US 1995) 491996Mississippi John Hurt: Avalon Blues The Complete 1928 OKeh Recordings - Frankie [OKeh 8560] - Nobodys Dirty Business [OKeh 8560] - Ain't No Tellin [OKeh 8759] - Louis Collins [OKeh 8724] - Avalon Blues [OKeh 8759] - Big Leg Blues [OKeh unissued] - Stack O Lee Blues [OKeh 8654] - Candy Man Blues [OKeh 8654] - Got The Blues Can't Be Satisfied [OKeh 8724] - Blessed Be The Name [OKeh 8666] - Praying On The Old Camp Ground [OKeh 8666] - Blue Harvest Blues [OKeh 8692] - Spike Driver Blues [OKeh 8692] Sonic Solutions "NoNoise" processed! notes by Larry Cohn Columbia/Sony CK64986 501996 Vanguard Blues Sampler Mississippi John Hurt - Corrina, Corrina Vanguard CD 74002-2 511996Mississippi John Hurt: Coffee Blues - Frankie & Albert - Talkin' Casey - Trouble I Had All My Day - Coffee Blues - Hard Time In Old Town Tonight - Chicken Blues - Here I Am, Oh Lord Send Me - Spike Driver Blues - Richland Woman Blues - Monday Morning Blues IMP/Blues Collector 309 51a1996Before The Blues The Early American Black Music Scene - Bamalong Blues - Andrew And Jim Baxter - Run Mollie Run - Henry Thomas - Lonesome Road Blues - Sam Collins - Jackson Stomp - Missippi Mud Steppers - On Jordan's Stormy Banks We Stand - Seventh Day Adventist Choir - Mississippi Jail House Groan - Rube Lacy - Forked Deer - Taylor's Kentucky Boys - Bye Bye Baby Blues - Little Hat Jones - Pretty Polly - B.F. Shelton - Soft Steel Piston - Weaver & Beasley - Two White Horses In A Line - Evans & McClain - Jamestown Exhibition - Bayless Rose - Dupree Blues - Willie Walker - France Blues - Papa Harvey Hull - Dying Mother And Her Child - Rev. Gates & Congregation - John Hardy - Buell Kazee - Wayward Girl Blues - Lottie Kimbrough - Newport Blues - Cincinnati Jug Band - Tom Sherman's Barroom - Dick Devall - Stack O'Lee Blues - Mississippi John Hurt - Lawdy Lawdy Worried Blues - Teddy Darby - I'll Go With Her Blues - Robert Wilkins - Christian Soldier - Denson Quartet Yazoo CD 2015 (US 1996) 521997Mississippi John Hurt: Legend - Trouble, I've Had It All My Days - Pera Lee [slide g] - See See Rider - Louis Collins - Coffee Blues - Nobody's Dirty Business - Do Lord Remember Me - Monday Morning Blues (05:17) - Let The Mermaids Flirt With Me - Pay Day - Stack-O-Lee (07:21) - Casey Jones - Frankie And Albert (05:01) - Stockwell (previously unissued) rec. 1963-1964 in Washington, D.C. by John Irvine (Ca) Rebel CLPS 1068 (Ca 1975) Piedmont CLPS 1068 (US 1975) notes by John Hartley Fox Rounder CD 1100 www.rounder.com 531997Mississippi John Hurt Satisfied... Live - Candy Man - My Creole Belle - Make Me A Pallet On The Floor - Shake That Thing - I'm Satisfied - Salty Dog - Nobody's Business But Mine - Angels Laid Him Away - Casey Jones (Talkin' Casey) - Baby, What's Wrong With You? - Lonesome Blues Beacon 51577 = Boomerang BEA-51577 541997Blues With A Feeling Vol. 2 Recorded live at the Newport Folk Festival Elizabeth Cotten - Freight Train Mississippi John Hurt - Here I Am Lord Send Me - Pallet On Your Floor Jesse 'Lone Cat' Fuller - San Francisco Bay Blues John Lee Hooker - I Can't Quit You Baby/Stop Now Baby Muddy Waters - Walkin Blues - I Can't Be Satisfied Eddie Boyd/Willie Dixon - Five Long Years Lafayette Leake/Willie Dixon - Wrinkles Dave Van Ronk - Cocaine John Hammond - Drop Down Mama Eric Von Schmidt - Grizzly Bear 'Spider' John Koerner - Traveling Blues The Chambers Brothers - See See Rider Paul Butterfield Blues Band - Blues With A Feeling - Look Over Yonders Wall - Born In Chicago Vanguard VCD 73134 551998Mississippi John Hurt Rediscovered - Coffee Blues - I'm Satisfield - Make Me A Pallet On Your Floor - Monday Morning Blues - Since I've Laid My Burden Down - Stocktime (Buck Dance) - Hot Time In The Old Town Tonight - Richland Women Blues - Keep On Knocking - Stagolee - Hop Joint - Funky Butt - It Ain't Nobody's Business - Salty Dog Blues - Candy Man - You Are My Sunshine - I've Got The Blues And I Can't Be Satisfield - Nearer My God To Thee - Shortnin' Bread - Avalon, My Home Town - First Shot Missed Home - Let The Mermaids Flirt With Me - Talking Casey - Goodnight Irene compilation produced by Tom Vickers Selected from previous Vanguard albums. "Engineered for release by Jeff Zaraya from the original analog tapes, converted to 20 bit digital audio using the DCS 900. Sonic Solutions software was used to process the digital audio. The bass that was rolled off the original vinyl release has been restored. The final CD was turbo bit mapped." notes by Ed Ward Vanguard CD 79519 www.vanguardrecords.com 561998Mississippi John Hurt: The Complete Studio Recordings disc 1 - Pay Day - I'm Satisfied - Candy Man - Make Me A Pallet On The Floor - Talking Casey - Corrinna, Corrinna - Coffee Blues - Louis Collins - Hot Time In The Old Town - If You Don't Want Me Baby - Spike Driver Blues - Beulah Land disc 2 - Since I've Laid My Burden Down - Moanin' The Blues - Stocktime (Buck Dance) - Lazy Blues - Richland Woman Blues - Wise And Foolish Virgins (Tender Virgins) - Hop Joint - Monday Morning Blues - I've Got The Blues And I Can't Be Satified - Keep On Knocking - The Chicken - Stagolee - Nearer My God To Thee disc 3 - Poor Boy, Long Ways From Home - Boys You're Welcome - Joe Turner Blues - First Shot Missed Him - Farther Along - Funky Butt - Spider, Spider - Waiting For You - Shortnin' Bread - Trouble, I've Had It All My Days - Let The Mermaids Flirt With Me - Good Morning, Carrie - Nobody Cares For Me - All Night Long - Hey, Honey, Right Away - You've Got To Die - Goodnight Irene 3 CD set Vanguard CD 70181-2 571998The Best Of Mississippi John Hurt Ain't No Tellin' - Richland Woman Blues - Trouble I Had All My Days - Chicken - Coffee Blues - Monday Morning Blues - Frankie And Albert - Talking Casey - Here Am I, Oh Lord, Send - Hot Time In The Old Town Tonight - Spike Driver Blues - Candy Man - My Creole Belle - Make Me A Pallet On The Floor - Shake That Thing - I'm Satisfied - Salty Dog - Nobody's Business But Mine - The Angels Laid Him Away - Casey Jones - Baby, What's Wrong With You? - Lonesome Blues Aim CD 10 57a1998Hard Times Come Again No More Vol. 1 Rural Songs of Hard Times and Hardships Classic Recordings from the 1920s and 30s The Bentley Boys - Down On Penny's Farm Blind Alfred Reed - How Can A Poor Man Stand Such Times And Live Lane Hardin - Hard Time Blues Ernest Stoneman - All I Got's Gone Slim Smith - Bread Line Blues Alec Johnson - Miss Meal Cramp Blues Kelly Harrell - My Name Is John Johanna Dave McCarn - Serves 'em Fine J.D. Short - It's Hard Time Uncle Dave Macon - All In Down And Out Rutherford & Foster - Richmond Blues Elder Curry & His Congregation - Hard Times Cofer Brothers - Georgia Hobo Blind Lemon Jefferson - One Dime Blues Fiddlin' John Carson - Dixie Boll Weevil Chubby Parker - See The Black Clouds A'Breakin' Over Yonder Scrapper Blackwell - Down And Out Blues Edward L. Crain - Starving To Death On A Government Claim Barbecue Bob - We Sure Got Hard Times Samantha Bumgarner - Georgia Blues Mississippi John Hurt - Blue Harvest Blues Dixon Brothers - Weaver's Life Graham Brothers - Hard Times Come Again No More notes by Don Kent Yazoo CD 2036 (US 1998) 57b1999Broke, Black And Blue An Anthology Of Blues Classics And Rarities disc 1: Up Country Blues - Barrel House Blues - Ed Andrews - Georgia Stockade Blues - Tom Delaney - Sun Brimmers Blues - Memphis Jug Band - Goin' To Leave You Blues - Big Boy Cleveland - Dry Bone Shuffle - Blind Blake - Up Country Blues - DeFord Bailey - Dead Drunk Blues - Sippie Wallace - Original Stack O'Lee Blues - Long 'Cleve' Reed - Easy Rider Don't You Deny My Name - Barbecue Bob - Bo Lita - Kid Brown - Everybody Help The Boys Come Home - William & Versey Smith - Church Bells Blues - Luke Jordan - Two Ways To Texas - Emery Glen - It Won't Be Long Now - Barbecue Bob & Laughing Charley - Bottleneck Blues - Weaver & Beasley - Rock Island Blues - Lewis Black - Midnight Blues - Bill Moore - Fare Thee Blues - Johnnie Head - My Monday Woman Blues - Jim Jackson - What's The Matter Blues - Frank Stokes - School Girl Blues - Rosie Mae Moore - Cool Drink Of Water Blues - Tommy Johnson - Left Alone Blues - Ishman Bracey - T And T Blues - Mooch Richardson - TC Johnson Blues - T. C. Johnson disc 2: Broke & Hungry Blues - Ham Hound Crave - Rube Lacey - No More Women Blues - Alger "Texas" Alexander - How Long, How Long Blues - Willie Jackson - Unknown Blues - Tarter & Gay - Chicken Wilson Blues - Chicken Wilson - Stack O' Lee Blues - Mississippi John Hurt - Broke And Hungry Blues - Peg Leg Howell - Funny Feathers - Victoria Spivey - Pitchin' Boogie - William Ezell - Mr- Devil Blues - Jed Davenport - Mississippi Bottom Blues - Kid Bailey - Weary Heart Blues - James Wiggins - Poor Man Blues - Henry Townsend - Framer's Blues - Eli Framer - Trinity River Blues - T-Bone Walker - Heavy Suitcase Blues - Charley Taylor - Traveling Mama Blues - Joe Calicott - Jumpin' And Shoutin' Blues - Garfield Akers - Bedside Blues - Jim Thompkins - Walking Blues - Son House - Future Blues - Willie Brown - Long Ways from Home - Louise Johnson - Frisco Blues - Bayless Rose - Good Boy Blues - Arthur Petties - No Special Rider Blues - Little Brother Montgomery disc 3: Good Whiskey Blues - Married Man Blues - Blind Willie Reynolds - Dupree Blues - Willie Walker - 22-20 Blues - Skip James - Lonesome Road Blues - Sam Collins - Midnight Hour Blues - Leroy Carr - Fat Mama Blues - Jabo Williams - Never Mind Blues - Georgia Boyd - Twelves (Dirty Dozens) - Kokomo Arnold - Little Leg Woman - Big Joe Williams - That's What My Baby Likes - Bessie Jackson - Good Whiskey Blues - Peetie Wheatstraw - Strut That Thing - Cripple Clarence Lofton - Teasin' Brown Blues - Louie Lasky - Cold Blooded Murder, No.2 - Bumble Bee Slim - Baby You Gotta Change Your Mind - Blind Boy Fuller - Ashes In My Whiskey - Walter Davis - It's Cold in China Blues - The Mississippi Moaner - Jockey Blues - Jazz Gillum - Prisoner Blues - George Clarke - Back Door Blues - Casey Bill Weldon - Don't Sell It (Don't Give It Away) - Buddy Woods - Booker T. Blues - Washboard Sam - Hard Scufflin' Blues - Little Buddy Doyle - Jersey Belle Blues - Lonnie Johnson - Baby, Please Don't Tell On Me - Tommy McClennan disc 4: Jumpin' At The Club Blue Flame - East St.Louis Blues - Faber Smith, Jimmy Yancey - Bukka's Jitterbug Swing - Bukka White - Can't You Read - Big Maceo Merriweather - Life Is Like That - Memphis Slim - Memory Of Sonny Boy - Forrest City Joe - Horse Shoe Boogie - Lee Brown - Ruby Moore Blues - Lee Brown - Low Land Blues - Lee Brown - Round The World Blues - Lee Brown - Rock That Boogie - Jimmie Gordon - Fast Life - Jimmie Gordon - Mistreated Blues - Jimmie Gordon - I Ain't Like That No More - Jimmie Gordon - Chain Gang Blues - Johnny Temple - Yum, Yum, Yum - Johnny Temple - My Baby's Acting Funny - Jimmie Gordon - It's Time To Go - Jimmie Gordon - That Woman's A Pearl Diver - Jimmie Gordon - Jumpin' At The Club Blue Flame - Jimmie Gordon - I Believe I'll Go Downtown Again - Johnny Temple - Something In The Moon That Gives Me A Thrill - Johnny Temple - Dixie Flyer - Johnny Temple - Believe My Sins Have Found Me Out - Johnny Temple - Rhythm Mama - Johnny Temple - New Little Girl, Little Girl - Lee Brown 4 CD set 40-pp. booklet by Joop Visser Proper CDBOX 7 (UK 1999) 582000The Early Blues Roots of Bob Dylan Under The Influence, Vol. 4 - Ragged and Dirty - Sleepy John Estes - Blood In My Eyes - Mississippi Sheiks - Broke Down Engine - Blind Willie McTell - Stack-o-Lee - Mississippi John Hurt - Will The Circle Be Unbroken -Rev. J. C. Burnett - Frankie And Albert - Mississippi John Hurt - Sittin' On Top Of The World - Mississippi Sheiks - Step It Up And Go - Blind Boy Fuller - It Hurts Me Too - Tampa Red - Corrina Corrina - Bo Carter - Honey Allow Me One More Chance - Texas Henry Thomas - Fixin' To Die - Bukka White - See That My Grave Is Kept Clean - Blind Lemon Jefferson - Railroad Bill - Will Bennett - Motherless Children - Blind Willie Johnson - Grasshoppers In My Pillow - Leadbelly - Poor Lazarus - Josh White - Matchbox Blues - Blind Lemon Jefferson - Candy Man - Mississippi John Hurt - Po' Boy -Bukka White - Jesus Gonna Make Up My Dyin' Bed - Blind Willie Johnson Catfish CD 168 (UK 2000) 592001Mississippi John Hurt Live! - Nobody's Business But Mine - Angels Laid Him Away - Baby What's Wrong With You - Casey Jones - Candy Man - Lonesome Blues - My Creole Belle - Make Me A Pallet On The Floor - Trouble I Had All My Days - Chicken - Coffee Blues - Shake That Thing - Monday Morning Blues - Frankie And Albert - Salty Dog - Spike Driver Blues - Here Am I, Oh Lord, Send Me - Talking Casey - Hot Time In The Old Town Tonight - I'm Satisfied - Richland Women Blues Columbia River Entertainment Group/ Allegro 120007 602001Mississippi John Hurt Revisited - I'm Satisfied - Nobody's Business But Mine - Rich Women Blues - Baby What's Wrong With You - Talking Casey - Candy Man - Here Am I, Oh Lord, Send Me - Casey Jones - Spike Driver Blues - Lonesome Blues - Salty Dog - My Creole Belle - Make Me A Pallet On The Floor - Shake That Thing - Trouble I Had All My Days - Coffee Blues - The Angels Laid Him Away - C-H-I-C-K-E-N Varese CD 061149 612001Mississippi John Hurt - Nobody's Business But Mine - Angels Laid Him Away - Baby What's Wrong With You - Casey Jones - Candy Man - Lonesome Blues - My Creole Belle - Make Me A Pallet On The Floor - Trouble I Had All My Days - Chicken - Coffee Blues - Shake That Thing - Monday Morning Blues - Frankie And Albert - Salty Dog - Spike Driver Blues - Here Am I, Oh Lord, Send Me - Talking Casey - Hot Time In The Old Town Tonight - I'm Satisfied - Richland Women Blues Dressed To Kill 890 61a2001The Philadelphia Folk Festival 40th Anniversary disc 1: - Scots Piping - Bruce Martin - Walk A While - Fairport Convention - Green, Green Rocky Road - Dave Van Ronk - If I Had My Way - Rev. Gary Davis - Open Up Them Pearly Gates - Doc & Merle Watson - Kokomo Blues - Bonnie Raitt - Talkin' Fishin' Blues - Ramblin' Jack Elliott - Did You Hear John Hurt? - Tom Paxton - Ain't No Tellin' (Make Me A Pallet) - Mississippi John Hurt # - Irish Danc Medley - De Dannan - Here's To Cheshire, Here's To Cheese - Pete Seeger - The First Time I Ever Saw Your Face - Bonnie Dobson - Panama Limited - Tom Rush - City Of New Orleans - Steve Goodman - Sharon - David Bromberg Band - Farewell Toast/Boatman - Mike Cross disc 2: - These Are The Days - Michael Cooney - Hoedown - Mad Pudding - No Love Today - Chris Smither - Watchin' The River Go By - John Hartford - Sensitive New Age Guys - Christine Lavin - Wild Goose Chase - Roger Sprung - Hit Or Miss - Odetta - Society's Child - Janis Ian - Hello In There - John Prine - From A Distance - Nanci Griffith - Georgia State Patrol/Deep Gap Salute - Gamble Rogers - I'm Alright - Loudon Wainwright III - When I'm Gone - Mollie O'Brien - Ciorcirlia - Harmonia - People My Age - John Gorka - Le Jig Francais - Beausoleil disc 3: - Going Up - Great Big Sea - My Father's House - Eric Bibb - Tanglewood Tree - Dave Carter & Tracy Grammer - My Heart in Rio - Oscar Lopez - Old Dominion - Eddie From Ohio - Ode To A Butterfly - Nickel Creek - Cakewalk Into Town - Taj Mahal - Simple Gearle - Stacey Earle - Rawhide - Ricky Skaggs Band - This Town Is Wrong - Katryna & Nerissa Nields - Minnie The Moocher - Moxy Fruvous - Olympic Reel - Natalie MacMaster Band - Golden Apples Of The Sun - Judy Collins - Bee's Wing - Richard Thompson - St. Mary Of Regrets - Susan Werner - Alturas - Inti Illimani - You Jacobites By Name - Tempest disc 4: - Beg To Differ - Patty Larkin - Ring-Around-A-Rosie Rag - Arlo Guthrie - Darcy Farrow - Steve Gillette & Cindy Mangsen - I Ain't Marchin anymore - Phil Ochs - Devil's Dream/Sailor's Hornpipe - Bill Keith & Jim Rooney - I Blinked Once - Steve Forbert - El Pajarillo - Irene Farrara - Drag Queens In Limousines - Mary Gauthier - Goodnight Irene - Steve Goodman # "rec. 1963" [?]; Mississippi John Hurt, voc, g; Jerry Ricks, g; John Sebastian, hca includes a 58-page book with music notes, artist profiles and history of the Festival in both stories and rare photos 4 CD box set notes by Jonathan Takiff, Michael Cooney and Mark D. Moss Sliced Bread SB 74440 61b2001Newport Folk Festival Best of the Blues 1959-68 disc 1: Mississippi John Hurt - Sliding Delta - Candy Man - Coffee Blues - Stagger Lee - Here I Am Lord Send Me - Pallet On Your Floor Skip James - Devil Got My Woman (3:23) - Hard Time Killing Floor Blues Son House - Preaching Blues - Death Letter Blues - Empire State Express - Son Blues Bukka White - Aberdeen Mississippi Blues Mississippi Fred McDowell - Louise - If The River Was Whiskey Muddy Waters (solo) - Walkin' Blues [Vanguard VCD2-77005] - I Can't Be Satisfied [Vanguard VCD2-77005] disc 2: Robert Pete Williams - Levee Camp Blues - Midnight Boogie - On My Way From Texas Mance Lipscomb - Freddie - So Different Blues - God Moves On The Water (The Sinking Of The Titanic) Jesse Fuller - San Francisco Bay Blues - Double Double Do Love You Rev. Gary Davis - Samson And Delilah - I Won't Be Back No More Brownie McGhee & Sonny Terry - Intro/The Train Is Leaving °° - Drink Muddy Water °° - Long Gone - Key To The Highway - My Baby Done Changed The Lock On The Door Sleepy John Estes - Clean Up At Home disc 3: Lightnin' Hopkins - Woman I'm Lovin' She's Taken My Appetite - Baby Please Don't Go Lightnin' Hopkins & Samuel Lay - Shake That Thing John Lee Hooker & Bill Lee - Tupelo - Bus Station Blues - Let's Make It °° - Great Fire Of Natchez °° - Boom Boom °° - I Can't Quit You Baby / Stop Now Baby Memphis Slim - How Long °° - Black Cat Crossed My Path °° - Harlem Bound °° - Piano Instrumental °° Muddy Waters & Otis Spann - Blow Wind Blow °° @ youtube - Flood (= "Clouds In My Heart") °° @ youtube Chambers Brothers - CC Rider The Paul Butterfield Blues Band - Blues With A Feeling - Born In Chicago °° compilation prod. by Tom Vickers front cover painting by Meredith Steele °° 12 previously unreleased tracks 3 CD set notes by John Milward Vanguard 3VCD193/95-2 (US 2001) 622002Mississippi John Hurt Live - Here Am I, Oh Lord, Send Me - I Shall Not Be Moved - Nearer My God To Thee - Baby, What's Wrong With You? - Ain't Nobody's Business - Salty Dog - Coffee Blues - Avalon My Home Town - Make Me A Pallet On The Floor - Since I've Laid My Burden Down - Sliding Delta - Monday Morning Blues - Richland Woman Blues - Candy Man - Stagolee - My Creole Belle - C.C. Rider - Spanish Fandango - Talking Casey - Chicken - You Are My Sunshine - Hop Joint # - Trouble I Had All My Days # - Spike Driver Blues # rec. in concert April 15, 1966 [not 1965 ] at Oberlin College; prod. by Bob Scherl "The Oberlin Review" in march 1966 has a schedule for MJH performing shows at the Wilder Main Building on April 15, 1966; so Vanguard's liner notes / archive ("April 15, 1965") do not show the actual recording date !!! (more info at www.msjohnhurtmuseum.com) # rec. at the Newport Folk Festival Workshop, Newport, Rhode Island in 1965 [?]; previously unreleased notes by Billy Altmann Vanguard SKU 79702 (digitally remastered) 632002Mississippi John Hurt Ain't Nobody's Business - Nobody's Business But Mine - The Angels Laid Him Away - Baby What's Wrong With You - Casey Jones - Candy Man - Lonesome Blues - My Creole Belle - Make Me A Pallet On Your Floor - Trouble I Had All My Days - C-H-I-C-K-E-N Blues - Coffee Blues - Shake That Thing - Monday Morning Blues - Frankie And Albert - Salty Dog - Spike Drivers Blues - Here Am I, Lord, Send Me - Talking Casey - Hot Time In The Old Town Tonight - I'm Satisfied - Richland Women Blues rec. in concert April 15, 1966 [not 1965 ] at Oberlin College; prod. by Bob Scherl "The Oberlin Review" in march 1966 has a schedule for MJH performing shows at the Wilder Main Building on April 15, 1966; so Vanguard's liner notes / archive ("April 15, 1965") do not show the actual recording date !!! (more info at www.msjohnhurtmuseum.com) Quicksilver Intermedia QS 5007 & QS 5042 (1982) Prestige Elite CD 37 (Prestige Raw Blues series) 642002Best Of Mississippi John Hurt Classic World CD 2032 652003Mississippi John Hurt Frankie & Albert - Hot Time In Old Town Tonight - Candy Man - Baby, What's Wrong With You - Frankie And Albert - Louis Collins - Richland Woman Blues - I'm Satisfied - My Creole Bell - C-H-I-C-K-E-N Blues - Shake That Thing - Spike Driver Blues - Salty Dog - Casey Jones - Talkin' Casey - Coffee Blues - Monday Morning Blues - Trouble I Had All My Days - Nobody's Business But My Own - Make Me A Pallet On Your Floor - Lonesome Blues - Here I Am/Oh Lord Send Me Tomato Music CD 2070 662003Mississippi John Hurt Live At Newport 180 gram vinyl Universe 071 (I) 672003Mississippi John Hurt Today - Pay Day - I'm Satisfied - Candy Man - Make Me A Pallet On The Floor - Talking Casey - Corrinna, Corrinna - Coffee Blues - Louis Collins - Hot Time In The Old Town Tonight - If You Don't Want Me Baby - Spike Driver's Blues - Beulah Land 180 gram vinyl Universe 073 (I) 682003Mississippi John Hurt Live Vol. 1 - Here I Am, Oh Lord, Send Me - I Shall Not Be Moved - Nearer My Good To Thee - Baby What's Wrong With You - Ain't Nobody's Business - Salty Dog Blues - Coffee Blues - Avalon, My Home Town - Make Me A Pallet On The Floor - Since I've Laid This Burden Down - Sliding Delta - Monday Morning Blues rec. in concert April 15, 1966 [not 1965 ] at Oberlin College; prod. by Bob Scherl "The Oberlin Review" in march 1966 has a schedule for MJH performing shows at the Wilder Main Building on April 15, 1966; so Vanguard's liner notes / archive ("April 15, 1965") do not show the actual recording date !!! (more info at www.msjohnhurtmuseum.com) 180 gram vinyl Universe 082 (I) 692003Mississippi John Hurt Live Vol. 2 180 gram vinyl Universe 088 (I) 702003Mississippi John Hurt King Of The Blues Vol. 4 with Richard 'Rabbit' Brown & Hambone Willie Newbern Mississippi John Hurt - Frankie - Nobody's Dirty Business - Ain't No Tellin' - Louis Collins - Avalon Blues - Big Leg Blues - Stack O Lee Blues - Candy Man Blues - Got The Blues Can't Be Satisfied - Blessed Be The Name - Praying On The Old Camp Ground - Blue Harvest Blues - Spike Driver Blues Richard 'Rabbit' Brown - James Alley Blues - Never Let The Same Bee Sting You Twice - I'm Not Jealous - Mystery Of The Dunbar's Child - Sinking Of The Titanic Hambone Willie Newbern - She Could Toodle-Oo - Nobody Knows (What The Good Deacon Does) - Shelby County Workhouse Blues - Way Down In Arkansas - Hambone Willie's Dreamy-Eyed Woman's Blues - Roll And Tumble Blues The Reissue Project Cooperated by Johnny Parth, Document Records, Vienna, Austria Document DOCD 5003 (1990) P-Vine PCD 2259 70a2003Roots Of The Blues disc 1 "Folk Blues": Jesse Fuller - San Francisco Bay Blues (2:47) The Chambers Brothers - See See Rider (3:08) John Hammond - Statesboro Blues (3:39) Elizabeth Cotten - Freight Train (3:53) Dave Van Ronk - Cocaine (3:46) Buffy Sainte-Marie - You're Gonna Need Somebody On Your Bond (2:51) °° Spider John Koerner - Traveling Blues (4:44) Bill Monroe - Blue Yodel # 4 (2:43) Jim Kweskin Jug Band with Maria Muldaur - Richland Woman (4:19) Jim Kweskin Jug Band with Geoff & Maria Muldaur - Chevrolet (3:51) Sam & Kirk McGee - Milk Cow Blues (2:31) °° Tony Glover - I Dont Need No Whiskey (4:30) °° Josh White - What You Gonna Do When Your Meat Gives Out (1:49) °° Eric Von Schmidt - Grizzly Bear (4:34) Mance Lipscomb - Keep On Truckin' Mama (1:35) °° disc 2 "Delta & Country Blues": Mississippi John Hurt - Candy Man (2:53) Rev. Gary Davis - You Got To Move (5:50) Skip James - I'm So Glad (1:53) Son House - Empire State Express (3:50) Bukka White - Aberdeen Mississippi Blues (4:45) Mississippi Fred McDowell - If The River Was Whiskey (2:34) Muddy Waters - I Can't Be Satisfied (2:53) Odetta - Nobody Knows You When You're Down And Out (2:13) Sonny Terry & Brownie McGhee - Key To The Highway (3:37) Sleepy John Estes - Clean Up At Home (2:59) Mance Lipscomb - Freddie (1:50) Memphis Slim - How Long (2:59) Robert Pete Williams - Midnight Boogie (3:25) [Vanguard VRS 9180, Vanguard VSD 77/78, Vanguard CD 70193-2, Vanguard 3VCD 208-10] @ youtube Eddie Boyd & Willie Dixon - Five Long Years (2:22) Skip James - Devil Got My Woman (5:12) disc 3 "Urban Blues": Junior Wells - Messin' With The Kid (2:21) Otis Rush - I Can't Quit You Baby (3:14) J.B. Hutto & The Hawks - Going Ahead (2:03) Otis Spann - Marie (2:28) James Cotton - Rocket 88 (2:03) Homesick James And His Dusters - Dust My Broom (3:17) Johnny Young's South Side Blues Band - One More Time (2:26) The Johnny Shines Blues Band - If I Get Lucky (3:23) Buddy Guy - One Room Country Shack (5:30) Muddy Waters with Otis Spann - Blow Wind Blow (3:09) Lightnin' Hopkins - Baby Please Don't Go (2:37) Paul Butterfield Blues Band - Blues With A Feeling (3:55) Charlie Musselwhite - Juke (4:18) Big Mama Thornton - Ball And Chain (6:48) John Lee Hooker - Boom Boom (3:01) compilation prod. by Tom Vickers; cover design by Ann Smalley; photography by David Gahr °° previously unreleased tracks 3-CD Set notes by Ed Ward Vanguard 3VCD 208-10 (Germany 2002) = Vanguard CD 79715 (US 2003) 712004Mississippi John Hurt D.C. Blues: Library of Congress Recordings disc 1 - Avalon Blues - Richlands Women Blues - Frankie And Albert - Trouble I've Had All My Days - Pera-Lee - Candy Man - Stockwell - Got The Blues That Can't Be Satisfied - Let The Mermaids Flirt With Me - Talking Casey Jones - Pay Day - Louis Collins - Stackolee - Coffee Blues - Slidin' Delta - Corrina, Corrina - Hey Baby Right Away disc 2 - Pallet On The Floor - Waiting For A Train - Funky Butt - Spanish Flandang - Monday Morning Blues - Shortenin' Bread - Oh Mary Don't You Weep - Farther Along - Do Lord Remember Me - Over In The Glory Land - Glory Glory Hallelujah [Since I've Laid My Burden Down] - What A Friend We Have In Jesus - Where Shall I Be - Weeping And Waiting - Joe Turner - If You Don't Want Me - Rubber Dolly - Keep Me Knockin' (You Can't Come In) rec. July 15 / 23, 1963; remastered !!! 2 CD set notes by Bill Dahl Fuel 2000 CD 061407 722004Mississippi John Hurt Candy Man Blues The complete 1928 sessions - Frankie - Louis Collins - Nobody's Dirty Business - Ain't No Tellin' - Stack O' Lee - Avalon Blues - Big Leg Blues - Praying On The Old Camp Ground - Candy Man Blues - Blessed Be Thy Name - Blue Harvest Blues - Spike Driver Blues - Got The Blues (Can't Be Satisfied) Snapper SBLUECD 010 shop.instant-shop.com/ snapper 732004Mississippi John Hurt / Bukka White Shake' Em on Down Mississippi John Hurt - Candy Man Blues - Blessed Be the Name - Nobody's Dirty Business - Louis Collins - Praying on the Old Camp Ground - Spike Driver Blues - Avalon Blues - Ain't No Tellin' - Blue Harvest Blues - Frankie - Big Leg Blues - Stack O' Lee Blues - Got the Blues (Can't Be Satisfied) Bukka White - Good Gin Blues - Shake 'Em On Down - When Can I Change My Clothes? - High Fever Blues - Bukka's Jitterbug Swing - District Attorney Blues - Strange Place Blues - Sleepy Man Blues - Pinebluff, Arkansas - Fixin' To Die Blues - Special Streamline - Black Train Blues - Parchman Farm Blues - Aberdeen Mississippi Blues History CD 1941 [as you might have noticed left picture on cover isn't John Hurt, but Son House!] 742005Mississippi John Hurt D.C. Blues: Library of Congress Recordings Vol. 2 disc 1 - Monday Morning Blues - Nobody's Dirty Business - If You Don't Want Me - Spike Driver (John Henry) - Salty Dog - My C
4189	dbpedia	0	41	https://www.musikzimmer.ch/act/Mississippi%2BJohn%2BHurt	en	Mississippi+John+Hurt \| Act-Info und -Discografie \| Musikzimmer	https://www.musikzimmer.…icRock_thumb.jpg		[ "https://www.musikzimmer.ch/pics/musikzimmer.png", "https://www.musikzimmer.ch/pics/FormatStandardsPop_thumb.jpg", "https://www.musikzimmer.ch/pics/FormatClassicPop_thumb.jpg", "https://www.musikzimmer.ch/pics/FormatVintageRnB_thumb.jpg", "https://www.musikzimmer.ch/pics/FormatVintageCountry_thumb.jpg", "https://www.musikzimmer.ch/pics/FormatVintageRock_thumb.jpg", "https://www.musikzimmer.ch/pics/FormatClassicRock_thumb.jpg", "https://www.musikzimmer.ch/pics/logos/socialmedia/youtube.png", "https://www.musikzimmer.ch/pics/logos/socialmedia/rss.png" ]	[]	[]	[ "" ]	null	[ "Archiv für Moderne Musik", "Christian Schorno" ]	null	Musikzimmer Act-Discog: : Songs, Releases, Medien, Texte, Magazine \| Musikzimmer	de	https://www.musikzimmer.ch/pics/favicon.ico		null	Impressum / Imprint: Archiv für Moderne Musik, Christian Schorno, Limmattalstrasse 10, 8048 Zürich (CH). Datenschutz etc. / privacy and more Mehr über Musikzimmer, verwendete Quellen und die Datenbank. More about Musikzimmer and the database. Musikzimmer @ Youtube: RSS:
4189	dbpedia	2	5	https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/	en	Any recommendations for Mississippi John Hurt releases?	https://forums.stevehoff…9.jpg?1362417442	https://forums.stevehoff…9.jpg?1362417442	[ "https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/data/avatars/m/38/38309.jpg?1362417442", "https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/styles/default/xenforo/avatars/avatar_m.png", "https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/data/avatars/m/13/13999.jpg?1391460044", "https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/data/avatars/m/0/25.jpg?1414369004", "https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/data/avatars/m/22/22672.jpg?1352778341", 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"https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/data/avatars/m/22/22232.jpg?1352778339", "https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/data/avatars/m/24/24803.jpg?1677064290", "http://img.photobucket.com/albums/v627/Flabbergast/1-42.jpg", "http://www.hostdemos1976.host56.com/images/missisvwv.jpg", "https://forums.stevehoffman.tv/images/2017logo-780w-2.png" ]	[]	[]	[ "" ]	null	[]	null	I've seen several that look interesting, Vanguard single & 3 disc sets, Okeh, etc. I'd like some advice, thanks.	en	/images/apple-touch-icon.png?v=2017a	Steve Hoffman Music Forums	https://forums.stevehoffman.tv/threads/any-recommendations-for-mississippi-john-hurt-releases.366916/	Thanks, I put in search for MJH & got fairly general discussions about labels with brief mentions of releases but no comparisons or recommendations. Well, I compared the 1928 sessions on the Sony when that one came out with the Yazoo CD and the latter thrashed it. The noise reduction and other mastering choices on the Sony killed the music. Yeah the search functions are not so great even when you search titles only. You get the whole list of posts rather than just the thread you'd like to look through Two things: I have the Yazoo and Sony versions of the 1928 sessions, and I prefer the Yazoo. The Sony has been doctored to clean it up where the Yazoo is clearer, but has a lot of surface noise (cracks and pops). It's really just personal preference as I can see why some people may prefer the Sony (Avalon Blues). The second thing I wanted to say is regarding the search function, and this is applicable to any website. You'll get better results searching the site using Google. For example, in the Google search window type: "Mississippi John Hurt site: stevehoffman.tv" It'll give you much better results. Hope that helps. What he said. He plays a 12 string flawlessly live for the double album concert, doing all his best songs. It's where I learned how to fingerpick (He's slightly detuned if you're intrested). Thanks to all! I had Today on vinyl back in the day but it's been years. I ordered new & used, a tribute to MJH, the Vanguard 3 piece, the Yazoo, the Greatest/Live cd. I left the Library of Congress in my 'save for later', probably pick it up within the next couple of months. Again THANKS, this is reason #28 why I love this forum! Let us know how you enjoy the albums! Because I suspect that you will love them... Yes I do love them. Talk about pure, relaxing sounds, this is it. Today sounds as beautiful as it did back when. Did he insure his right thumb? After years and years of listening to probably all of John Hurt's recorded output, I find myself always going back to his first two albums released on Vanguard. On those two albums, his playing and singing were much more solid than when he later showed obvious signs of age and ill health, and his guitar was always in perfect tune (unlike some other releases). I will agree with others, however, that it is fascinating to hear his 1928 recordings, mostly because he was something like 35 years old. Personally, I would begin with these two albums; then the 1928 recordings. http://www.amazon.com/Today-Mississ...6217290&sr=1-4&keywords=mississippi+john+hurt http://www.amazon.com/Immortal-Miss...6217382&sr=1-9&keywords=mississippi+john+hurt So, getting these is better than getting the Library of Congress collection?
4189	dbpedia	0	61	https://www.latimes.com/archives/la-xpm-2002-jul-23-me-solomon23-story.html	en	Seymour Solomon, 80; One of Vanguard Label Founders	https://ca-times.brightspotcdn.com/dims4/default/64e287b/2147483647/strip/true/crop/2400x1260+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2Fdf%2F45%2F57d858144a2a88575fa2b03080bb%2Flatlogo-ss.jpg	https://ca-times.brightspotcdn.com/dims4/default/64e287b/2147483647/strip/true/crop/2400x1260+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2Fdf%2F45%2F57d858144a2a88575fa2b03080bb%2Flatlogo-ss.jpg	[ "https://ca-times.brightspotcdn.com/dims4/default/bb25d46/2147483647/strip/true/crop/2493x1667+4+0/resize/320x214!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F94%2F71%2Fc140a7e34bfcb6cee0d85fe111a9%2Fol2024-0811-161316-4865-alivecoverage.jpg 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568w,https://ca-times.brightspotcdn.com/dims4/default/31164b9/2147483647/strip/true/crop/3000x2000+0+0/resize/768x512!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F26%2F44%2Fa1e08af9432fa2b5f0922460b74f%2Fpeople-ti-36338.jpg 768w,https://ca-times.brightspotcdn.com/dims4/default/dc65b5e/2147483647/strip/true/crop/3000x2000+0+0/resize/840x560!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F26%2F44%2Fa1e08af9432fa2b5f0922460b74f%2Fpeople-ti-36338.jpg 840w", "https://ca-times.brightspotcdn.com/a6/d6/eea0f1094fb281dbea09e0aa79cd/art-caltimes-trademark-3x.png" ]	[]	[]	[ "" ]	null	[ "JON THURBER" ]	2002-07-23T00:00:00	Seymour Solomon, one of the co-founders of Vanguard Records, a leading independent label best known for its recordings by top American folk artists in the 1950s and '60s, has died.	en	/apple-touch-icon.png	Los Angeles Times	https://www.latimes.com/archives/la-xpm-2002-jul-23-me-solomon23-story.html	Seymour Solomon, one of the co-founders of Vanguard Records, a leading independent label best known for its recordings by top American folk artists in the 1950s and ‘60s, has died. He was 80. Solomon died Thursday in Lenox, Mass., where he maintained a summer home. Cause of death was not announced. With a $10,000 loan from their father, Solomon and his brother, Maynard, started Vanguard in the 1950s as the larger, long-playing records began to overtake 78 rpm records in the marketplace. Vanguard became known for producing albums of top quality. The label’s motto became “Recordings for the Connoisseur,” and its eclectic catalog lived up to that billing. Vanguard started as a classical label, but the Solomons--politically active and committed intellectuals--were not opposed to broadening the scope of their label and taking some risks to achieve that goal. Perhaps the best example of that came in 1956, when they licensed a tape of the 1955 Carnegie Hall concert by a folk group called the Weavers. In the early 1950s, the Weavers had some impressive hits in the pop-folk genre for Decca Records, but disbanded in 1953 after Pete Seeger, one of the group’s members, was cited for contempt of Congress for refusing to testify before the House Un-American Activities Committee. The 1955 concert, which marked the return of the Weavers to performing, was a critical and artistic success, but the political climate made many labels loath to release the recording. The Solomons purchased the rights, and the record became a huge hit. Many music experts say that the concert and subsequent recording marked the revival of folk music in the United States. Vanguard’s success with the Weavers album--and the reputation it developed for allowing a good deal of artistic freedom--led to the signing of other folk stars, including Joan Baez, Phil Ochs and Richard and Mimi Farina. In the 1960s, Vanguard began recording live concerts, including the Newport Folk Festival, and later spearheaded a resurgence in blues music by recording performers such as Mississippi John Hurt, James Cotton, Junior Wells and Charlie Musselwhite. Born in New York City, Seymour Solomon studied violin at Juilliard and served in the Army Air Corps orchestra during World War II. Following the war, he studied music at New York University, wrote criticism for several music magazines, and was a music commentator on several New York radio stations. Solomon’s first venture in recording came when he traveled to Europe with a tape recorder in 1950 and captured five Bach cantatas performed by the Vienna Philharmonic and the Vienna State Opera. These became the first recordings for his Bach Guild Label. The Solomon brothers founded Vanguard later that same year. They diversified into more contemporary music in the 1970s and ‘80s. Then, in 1985, they sold the label to the Welk Record Group run by Larry Welk, the son of bandleader Lawrence Welk. Seymour Solomon later began another label, Omega Classics. He eventually bought Vanguard’s old classical holdings from the Welk Record Group and re-released much of it on compact disc. In addition to his brother, Solomon is survived by three daughters, a stepson, a sister and nine grandchildren.
4189	dbpedia	1	95	https://sundayblues.org/%3Fp%3D2459	en	Big Road Blues	https://i0.wp.com/sunday…it=32%2C32&ssl=1	https://i0.wp.com/sunday…it=32%2C32&ssl=1	[ "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/07/Tarheel-Slim-Peg-Leg-Sam-UNC-Chapel-Hill-March-31st-1973-sm-e1722179274422.png?resize=450%2C304&ssl=1", "https://i0.wp.com/static.addtoany.com/buttons/share_save_120_16.png?w=648&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2023/11/396719075_915421429934368_7422430838796634442_n.jpg?resize=526%2C526&ssl=1", "https://i0.wp.com/static.addtoany.com/buttons/share_save_120_16.png?w=648&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/05/R-12930004-1544743546-4304-modified-e1714598977959.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/05/Blind_Joe_Reynolds_Full-modified-e1714599349665.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/05/pigmeat-modified-e1714599778622.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/05/joseph-falcon-ouvrez-grand-ma-fenetre-raise-my-window-high-decca-78-e1714600019413.jpg?resize=350%2C350&ssl=1", "https://i0.wp.com/static.addtoany.com/buttons/share_save_120_16.png?w=648&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/lefthandcharlie-e1713450739583.jpg?resize=350%2C500&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/R-12343059-1533322788-5827-modified-e1713451023786.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/GUITAR-GABLE-e1713451259300.png?resize=500%2C367&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/R-2627593-1635593419-2530-modified-e1713527022236.png?resize=350%2C350&ssl=1", "https://i0.wp.com/sundayblues.org/wp-content/uploads/2024/04/R-16271550-1606341777-6554-modified-e1713451507787.png?resize=350%2C350&ssl=1", "https://i0.wp.com/static.addtoany.com/buttons/share_save_120_16.png?w=648&ssl=1", "https://sundayblues.org/wp-content/uploads/2024/01/imageedit_2_3478529461.png", "https://sundayblues.org/wp-content/uploads/2023/04/cropped-mixcloud-logo-and-tiles-1-e1680382201349.jpg" ]	[]	[]	[ "blues radio", "blues music", "blues reviews", "pre-war blues", "blues history", "delta blues", "chicago blues" ]	null	[]	2024-08-01T07:00:37-04:00	Big Road Blues radio airs on Sundays 5 to 7 PM (EST) on WGMC Jazz90.1 and streams live on the web. The show is an exploration of traditional blues spanning the 1920’s through the 1970’s. Updated regularly with playlists, show notes and blues articles	en	https://i0.wp.com/sunday…it=32%2C32&ssl=1		https://sundayblues.org	Well, it’s been a bit – our last new show was way back at the beginning of May. I have been thoroughly enjoying my summer vacation but I’m gearing up to resume the show on September 1st. I’ve started to record new shows recently so here’s a preview of some things we have on tap, with no set order yet: -South Carolina Blues Pt. 1 & 2 – this show will spotlight Peg Leg Sam, Baby Tate and Pink Anderson with issued and unissued material as well as rare interviews from the artists’ themselves. -Blues & Dance – My postponed interview with Felix Lambert and his impressive set of books on the history of African-American dance and its connections to blues. -Post-War Label Spotlight – A whole series of shows on the many obscure and enterprising indie labels that popped around WWII to record black music. Labels like like Regis, 20th Century, Acorn, Rockin’, Regent, Chart, Elko and many others. -The Year 1949 – A return to our long-running feature spotlighting a particular year. This one is a two-parter. -Ed Huey/Michael Hortig Field Recordings – Another field recording special as we spin music largely unissued from the 1980s. -Trumpet Records & Home of the Blues – Spotlights on these two labels in conjunction with Producer/Researcher Marc Ryan. Marc wrote the definitive book on Trumpet, produced several collections of music from the label and is currently issuing a series of collections devoted to Home of the Blues recordings. As we sail into our 17th year, I just want to thank everyone for listening and thanks for sticking with us during the downtime. I hope you’re as excited as these guys with our return. ARTISTSONGALBUM Chuck Higgins Here I'm IsThe Dootone Story Herb Fisher Don't Want Nobody ElseFurther Mellow Cats 'N' Kittens Al Jackson It Ain't Gonna Be Like ThatLaughin' At The Blues Frank Stokes Nehi Mamma Blues Memphis Blues Singers Vol. 1 Furry Lewis You Can Leave Baby Memphis Sessions 1956-1961 Gus Cannon, Will Shade, Laura Dukes Dirty Mother for You Memphis Sessions 1956-1961 Joey Thomas Bad Luck ChildNew York City The Blues Yesterday Vol .9 Bob Marshall I'm Going to Live for TodayNew York City The Blues Yesterday Vol .9 Bobby Smith And Orchestra Don't Shake Those Hips At MeLost R&B Shouters Vol 1 Julius Daniels 99 Year Blues Blues Images Vol. 2 Blind Joe Reynolds Ninety Nine Blues Bluesin' By the Bayou: Rough 'N' Tough Dan Pickett 99 1/2 Won't Do 1949 Country Blues Sister Rosetta Tharpe 99 Half Won't Do Sister Rosetta Tharpe Vol. 5 Ramblin' Hi Harris I Haven't Got A HomeBluesin' By The Bayou: Aint' Broke, Ain't Hungry Ramblin' Hi Harris Trying To Call My BabyThe Legendary Jay Miller Sessions Vol. 3 William Moore Midnight Blues The Great Race Records Vol. 1 Robert Wilkins Losin' Out BluesMasters of the Memphis Blues Kokomo Arnold Goin' Down in Galilee (Swing Along With Me)Kokomo Arnold Vol. 4 1937-1938 The Famous Hokum Boys Pig Meat StrutThe Famous Hokum Boys Dickie Thompson Hand in Hand Blues New York City The Blues Yesterday Vol .9 Arkansas Johnny Todd Keep Em Down Modern Downhome Blues Sessions Vol. 4 Cleoma Falcon Raise My Window HighCajun Early Recordings Lizzie MilesA Good Man Is Hard To FindJazzin' The Blues 1943 -1952 Baby Face Turner Gonna Let You GoThe Modern Downhome Blues Sessions Vol. 2 Ike Turners Kings Of Rhythm w/ Tommy Hodge Down & OutCobra Records Story Buddy Guy I Hope You Come Back HomeThis Is the Beginning: The Best of the Aritistic, Cobra & U.S.A. Sessions Smiley Lewis The RocksNew Orleans Guitar 1953-1954 Dave Bartholomew The Golden RuleDave Bartholomew 1950-52 Little Sonny Jones Going Back To The CountryCrescent City Bounce Lonnie Johnson Away Down in the Alley BluesA Life in Music: Selected Sides Texas Alexander Yellow Girl BluesTexas Alexander & His Circle 1927-1951 Juke Boy Bonner Call Me Juke BoyGoin' Down To Louisiana Billy Boy Arnold & Johnny Jones Tell Me BabyChicago Blues: Live At The Fickle Pickle Sonny Boy Williamson Going In Your DirectionCool, Cool Blues: The Classic Sides Papa Harvey Hull and Long Cleve ReedDon't You Leave Me HereBlues Images Vol. 12 Charlie Patton Jim Lee Blues Pt. 1Best Of Casey Bill Weldon Big Katy AdamThe Essential Jazz Gillum Big Katy Adams Bill ''Jazz'' Gillum Vol. 2 1938-1941 Show Notes: A fine batch of recordings today spanning the 20s through the 50s. On deck today are a couple of sets of jump blues, we hear from several early Memphis blues artists, two sides from the mysterious Ramblin’ Hi Harris and some tracks featuring Lonnie Johnson. In addition we here a set of related blues and gospel songs, a set of terrific pre-war guitarists, some blues songs sung in French, some fine New Orleans artists, songs about steamboats and much more. I want to give a plug to Gérard Herzhaft, a first rate blues researcher who has run the terrific blog, Blue Eye, for several years. Gérard puts together thematic collections of blues for download which would make for a great CD’s. Gérard collects lots of hard-to-find tracks that I’ve often used on this show because they are not available elsewhere. Today we spin several tracks from New York City The Blues Yesterday Vol .9. From that collection we hear from Bob Marshall who’s featured track is the title for today’s show. He recorded 12 fine sides in 1949-50, some as vocalist of the Cozy Cole Orchestra. We spin the fine “Hand in Hand Blues” from Dickie Thompson. Thompson is best known for “Thirteen Women” which was covered by Bill Haley. During the 1940’s to the 60’s, Thompson made himself a name in New York City as a trustworthy and talented sideman, playing jazz or R&B with the same efficiency behind Cozy Cole, Lawrence Brown, Sam Woodward, Wild Bill Davis, Clifford Scott, Harry Edison, Johnny Hodges, Dinah Washington and others. He was the lead guitarist for singer Jackie Wilson and the Jonah Jones Quintet. Thompson managed to make some R&B records as a leader with little success. We spin a fair bit of early blues artists, several who made records in the post-war era. From Memphis we spin some track for a hard-t0-find collection titled Memphis Sessions 1956-1961. In 1961 Dave Mangurian and Donald Hill recorded Gus Cannon, Will Shade and Laura Dukes over two days in Memphis. The recordings have been issued as bootlegs on Will Shade & Gus Cannon 1961 (Document) and the above mention album on Wolf. Cannon’s band of the ’20’s and ’30’s, Cannon’s Jug Stompers, along with contemporaries, The Memphis Jug Band, recorded the finest jug music of the era. We hear some top-flight guitarists from the pre-war era include outstanding sides by William Moore, Robert Wilkins, Kokomo Arnold and The Famous Hokum Boys on the dazzling guitar workout “Pig Meat Strut.” Moore was a A resident of Tappahannock, Virginia and recorded sixteen sides for Paramount in 1928. The name “The Hokum Boys” is a bit confusing as several groups of musicians worked under this name. Tampa Red and Georgia Tom recorded as Tampa Red’s Hokum Jug Band and The Hokum boys at sessions done in 1928. In 1929 a group calling themselves the Hokum Boys began recording for Paramount. Throughout the six sessions that year the group consisted of a varying mix of personal. As Chris Smith notes: “By 1930 ‘The Hokum Boys’ was a well-established identity, cloaking a number of different musicians who produced a similar sounding music, reliant on agile guitar playing and ingenious double entendres. …ARC boldly entered the market with its dimestore labels, and promoted Georgia Tom, Big Bill Broonzy and Frank Brasswell as the ‘Famous Hokum Boys.’ According to Dorsey he and Big Bill never worked together outside the studio.” Brasswell was later replaced by Bill Williams. Also joining the group Hannah May who also recorded as Jane Lucas and Kansas City Kitty. The group recorded close to fifty sides by the end of 1930. A last session, in January 1931, consisted of Jane Lucas, Big Bill and Georgia Tom recording under the name Harum Scarums. Like most Americans, I don’t speak a second language – I blame my schooling in the Bronx but that may be a cop out. Regardless, we spin two numbers sung in French by Cleoma Falcon and Lizzie Miles. Guitarist/Singer Cléoma Falcon who, along with her husband Joe Falcon, recorded one of the first known examples of Cajun music. In the mid-1920s, she was joined in performing by accordion player Joe Falcon and would later marry in 1931. In 1928, politician and music enthusiast George Burrs hoped to capitalize on the group’s popularity on the dance-hall circuit, and negotiated a deal with Columbia Records to record the trio which included vocalist Leon Meche. In August 1929, they were invited to Columbia Records’ headquarters in New York City to record six sides. Their next recording session was on August 8, 1934, for Decca Records. Lizzie Miles was born in New Orleans in 1895. She worked with Joe Oliver, Kid Ory, Bunk Johnson, and A.J. Piron from 1909-1911. She then toured the South, performing in theaters, circuses, and with minstrel shows. She moved to New York and made her first recordings in 1922. Miles toured Europe in 1924 and 1925 and then returned to New York and worked in clubs from 1926 to 1931. She recorde around sixty sides between 1922 and 1930. Miles suffered a serious illness and retired from the music industry in the 1930s. Despite her illness, Miles appeared in two films in the early 1930s. She began working regularly again in 1935, performing with Paul Barbarin at the Strollers Club in New York.She sang with Fats Waller in 1938, made some recordings in 1939 and then worked in Chicago until she left music in 1942. In 1950, Miles lived in California where she sang with George Lewis in 1953 and 1954, performed and in Las Vegas from 1955 to 1957 and sang with Joe Darensbourg in Chicago in 1958 and 1959. She returned to New Orleans, where she appeared with Freddie Kohlman and Paul Barbarin. She recorded with several Dixieland and traditional jazz bands, appeared at the Monterey Jazz Festival in 1958, and made regular radio broadcasts before retiring in 1959. As usual we spin some related songs, this time dealing with the number ninety nine. In blues songs ninety nine is not a great number as it usually connotes a jail term as is the case in Julius Daniels’ “Ninety-Nine Year Blues ” recorded in 1927. Blind Joe Reynolds cut “Ninety Nine Blues” in 1930 but with a a different meaning: “I got ninety-nine women, cravin’ nineteen more/And if I get them hundred, boys, I’m gonna let nineteen go.” The number is also associated with a classic gospel number. The first release of “Ninety-Nine and a Half Won’t Do” I found was by Sister Rosetta Tharpe and Her Mother (Katie Bell Nubin) with the Sam Price Trio recorded in 1949. Tharpe recorded it again in 1956. Dorothy Love Coates & The Original Gospel Harmonettes recorded a version in 1956. It was since covered by many gospel artists. Dan Pickett’s “99 1/2 Won’t Do” cut in 1949 is related but seems to be an amalgam of different songs. We hear from one of my favorites, Lonnie Johnson on the amazing instrumental, “Away Down in the Alley Blues” and back Texas Alexander on “Yellow Girl Blues.” Alexander was popular and prolific, cutting sixty-four issued sides between 1927 and 1934, first for Okeh and then for Vocalion. The record companies must have had some faith in Alexander as his recorded were advertised nine times in the Chicago Defender between 1928 and 1930. He had he good fortune to work with superb accompanists such as guitarists Little Hat Jones, Lonnie Johnson, Eddie Lang, Carl Davis, Willie Reed to the string band blues of the Mississippi Sheiks and the jazz bands of King Oliver. We hear a set of songs about famous river boats. Charlie Patton’s 2-part number, “Jim Lee Blues”, celebrates a Mississippi river boat that plied between Vicksburg and Memphis. Kate Adams was the name given to a series of four side-wheel steamers made famous by their operation on the Mississippi River and its tributaries. The steamer’s name was mentioned by Long “Cleve” Reed & Little Harvey Hull (The Down Home Boys) in their song, “Don’t You Leave Me Here”: “Kate Adams got ways, just like a man/Well, she steals a woman, sweet lovin’ babe, everywhere she lands.” Casey Bill Weldon, Jazz Gillum, Mooch Richardson, Robert Wilkins all had songs that referenced the Kate Adams. I’ll wrap up with some mysteries from J.D. Miller’s studio in Crowley, Louisiana. We heard quite a bit of great music on last week’s show from Miller’s studio. Today we spin two tracks from Ramblin’ Hi Harris who was given that name at a later date because Miller couldn’t remember the singer’s real name. We also spin “I Hope You Come Back Home” from Miller’s studio which may be be Buddy Guy’s first recording made in 1957. Guy cut two other sides the same year in Baton Rouge. ARTISTSONGALBUM Left Hand Charlie Honey Bee Bayou Rhythm & Blues Shuffle Left Hand Charlie Miss My Lagnion Louisiana Swamp Blues 1954-1961 Left Hand Charlie Whole Lotta Drinkin' on the Block Louisiana Swamp Blues 1954-1961 Guitar Gable With King Karl IreneThe Excello Story Vol. 2 1955-1957 Guitar Gable With King Karl Life Problem The Legendary Jay Miller Sessions Vol. 36 Guitar Gable With King Karl Congo Mambo The Legendary Jay Miller Sessions Vol. 36 Wonder Boy Travis That's Alright Fort Worth Shuffle Wonder Boy Travis Imitation of Love Bluesin' By the Bayou: Rough 'N' Tough Wonder Boy Travis She Was Gone Rhythm 'N' Bluesin' By The Bayou: Nights Of Sin, Dirty Deals & Love Sick Souls Jimmy Dotson w/ Sylvester Buckley I Wanna Know The Legendary Jay Miller Sessions Vol. 3 Jimmy Dotson w/ Sylvester Buckley Looking for My Baby Bluesin' By the Bayou: Rough 'N' Tough King Charles Won't Be MeLouisiana Swamp Blues 1954-1962/63 King Charles w/ Left Hand Charlie But You Thrill Me Rhythm 'N' Bluesin' By The Bayou: Livin', Lovin' & Lyin' King Charles w/ Left Hand Charlie Bop Cat Stomp Rhythm 'N' Bluesin' By The Bayou: Bop Cat Stomp Guitar Gable With King Karl This Could Go On Forever House Rockin' & Hip Shakin', Volume 3: Killer Swamp Blues Guitar Guitar Gable With King Karl Cool, Calm and Collected Louisiana Swamp Blues 1954-1962/63 Guitar Gable With King Karl Have Mercy On Me The Legendary Jay Miller Sessions Vol. 36 Wonder Boy Travis She Went Thataway Rhythm 'N' Bluesin' By The Bayou: Rompin' & Stompin' Wonder Boy Travis You Know Yeah Rhythm 'N' Bluesin' By the Bayou: Mad Dogs, Sweet Daddies & Pretty Babies Wonder Boy Travis She's Got Eyes Like A Cat Rhythm 'N' Bluesin' By The Bayou: Rompin' & Stompin' Silas Hogan w/ Sylvester Buckley Trouble At Home Blues Bluesin' By The Bayou: I'm Not Jiving Silas Hogan w/ Sylvester Buckley You're Too Late Baby Authentic Excello R&B Left Hand Charlie I'm Gonna Kill That Hen Genuine Excello R&B Left Hand Charlie Watch That Crow Rhythm 'n' Bluesin' By The Bayou Left Hand Charlie Don't Bring No Friend Bluesin' By The Bayou: I'm Not Jiving Lazy Lester w/ Guitar Gable They Call Me Lazy I Hear You Knockin'!: The Excello Singles Lazy Lester w/ Guitar Gable Lester's Stomp I Hear You Knockin'!: The Excello Singles Sylvester Buckley She Treats Me So Evil The Legendary Jay Miller Sessions Vol. 2 Sylvester Buckley I Can Be On My Way Bluesin' By The Bayou Sylvester Buckley Mumblin' Blues The Legendary Jay Miller Sessions Vol. 2 Sylvester Buckley I'm Getting Tired The Legendary Jay Miller Sessions Vol. 49 Guitar Gable With King Karl Long Way from Home The Legendary Jay Miller Sessions Vol. 36 Guitar Gable With King Karl Walkin With The KingsThe Legendary Jay Miller Sessions Vol. 36 Lazy Lester w/ Sylvester Buckley You Better Listen I Hear You Knockin'!: The Excello Singles Lazy Lester w/ Sylvester Buckley Pondarosa Stomp I Hear You Knockin'!: The Excello Singles Mr. Calhoun (Vince Monroe) w/ Guitar Gable Hello Friends, Hello PalThe Legendary Jay Miller Sessions Vol. 3 Mr. Calhoun (Vince Monroe) w/ Guitar Gable I'm Ragged And Dirty The Legendary Jay Miller Sessions Vol. 3 Mr. Calhoun (Vince Monroe) w/ Guitar Gable Change Your WaysBluesin' By the Bayou: Rough 'N' Tough Wonder Boy Travis Do The Everything45 Wonder Boy Travis Travis Stomp Rhythm 'N' Bluesin' By The Bayou: Rompin' & Stompin' Show Notes: Today’s show is part of a semi-regular feature I call Forgotten Blues Heroes that spotlights great, but little remembered and little recorded blues artists that don’t really fit into my weekly themed shows. For today’s program we head to Louisiana for a batch of fine, little remembered artists who were recorded in Louisiana at Jay Miller’s small studio in Crowley, Eddie Schuler’ studio in Lake Charles as well as other small studios. Miller met with Ernie Young and worked out a deal that would lease the material he was recording to Excello Records for release and distribution. Soon Miller’s studio became ground zero for the sound known as “swamp-blues” issuing records by Slim Harpo, Lazy Lester, Silas Hogan, Lonesome Sundown and many others. Miller recorded way more material than he could issue hence many recordings were never released which includes many of the tracks featured today. In the 70’s the Flyright label, with the assistance of Miller, began a series called the The Legendary Jay Miller Sessions to issue these unissued sides. The series ran to over fifty volumes. The inspiration for this show comes from a recent article by Gene Tomko on the mysterious Left Hand Charlie who saw just a couple of singles released during his lifetime on Goldband and Excello. Guitar Gable was the second artist Miller leased to Excello who’s half dozen sides came out over two years plus many others that were not issued. King Karl was the vocalist/arranger/composer for the band. Gable also backed Lazy Lester and Vice Monroe sides heard today. Travis Phillips AKA Wonder Boy Travis came to Miller’s studio in 1959 with Clifton Chenier’s band and cut several sides that went unissued. Sylvester Buckley backed Lazy Lester, Silas Hogan and Jimmy Dotson on harmonica and cut some excellent sides under his own name, all of which went unissued. Willie Monroe Vincent recorded as Vincent Monroe, Mr. Calhoun and Polka Dot Slim. He was recorded by Miller in 1959 for Zynn and Excello and on Instant in the 60s. Left Hand Charlie was born Charles Morrison September 30, 1919, in Geismar, Louisiana. Although Morris’ early days as a musician are unknown, by the time he arrived on Eddie Shuler’s doorstep at Goldband Records around 1954 he was a highly seasoned musician and bandleader in his mid-30s. Backed by a crack band that included blind saxophonist John Hart (who would later work with Clifton Chenier, Little Bob, Rockin’ Dopsie, and others), Morris recorded five titles with some alternate takes that included the slow blues “Miss My Lagnion” (Shuler’s misinterpretation of l’argent, which is Creole French for money), “Honey Bee”, a tough, electrified reworking of Kansas Joe McCoy and Memphis Minnie’s classic “Bumble Bee”, and “Whole Lotta Drinkin’ on the Block.” Despite discographies citing 1954, Morris’ trip back to Goldband instead took place in March of 1956 as a band member with King Charles, a bandleader and trumpet player. Shuler released only one single by King Charles on Folk-Star, “Bop Cat Stomp” backed with “But You Thrill Me.” By the end of 1956 and into early 1957 Morris was leading his own band seven nights a week at Whit’s Lounge, a popular white nightclub in the Four Corners section of Lafayette. Morris was back in the studio in April 1957 for what appears to be his final recording session as a leader, this time at J.D. Miller’s studio in Crowley. Backed by Miller’s studio band at the time, which included guitarist Guitar Gable and his brother John Perrodin on bass, Tal Miller on piano, and Jockey Etienne on drums, Morris laid down several originals including “I’m Gonna Kill That Hen” and “Don’t Bring No Friend”, which Miller leased to Excello and was subsequently issued on its Nasco subsidiary. Through the late 1950s Morris continued performing with his own group and as a member of King Charles’ band. He was also lending his guitar talents out to regional bands. The guitarist was also known locally for playing jazz. Throughout the 1960s Left Hand Charlie performed as a member of bandleader and saxophonist Buddy Stewart’s famed Topnotchers of Baton Rouge. Morris continued to perform until the late 1970s when health issues forced him to retire from music. He died on October 8, 1983, at age 64. Gabriel Perrodin AKA Guitar Gable was born in Bellevue, St. Landry Parish , Louisiana in 1937. Gable was influenced by the music of Guitar Slim, and was self-taught in playing the guitar by his mid-teens. He formed a group called the Swing Masters, and was later introduced to King Karl and formed the band the Musical Kings a with Gable’s brother, Fats Perrodin on bass and Clarence “Jockey” Etienne on the drums. Introduced to Jay Miller, the band eventually became the heart of Miller’s house band. They backed musicians such as Lazy Lester, Classie Ballou, Bobby Charles and Slim Harpo. Guitar Gable and the Musical Kings recorded their own debut single for Excello in 1956. His first track was the instrumental “Congo Mombo”, and he A-side of the single was “Life Problem”, which featured King Karl’s vocals. The follow-up release included the swamp pop classic, “Irene.” After his debut, subsequent releases followed a similar pattern with Gable’s Caribbean-laced instrumentals such as “Congo Mom bo,” “Guitar Rhumbo” and “Gumbo Mombo,” pitched against rock and roll tracks including “Cool, Calm, Collected” and “Walking in the Park.” It was the blues influenced ballads including “Irene,” “Life Problem” and “This Should Go On Forever” that caused most interest. The latter track was recorded by Gable and his band in 1958, but did not find favor with Miller. A cover version was recorded by Rod Bernard, and it reached the Top 20 of the US Billboard R&B chart. Gable’s original was finally released in February 1959, but failed to match the success of Bernard’s cover. Gable and Karl left Miller and Excello and were reduced to issuing work on the much smaller labels of La Louisianne and Tamm into the early 1960s. Gable served in the armed forces but later continued with his own band, maintaining a following in local clubs until 1968. In the 1970s, Gable performed regularly with Lil’ Bob and the Lollipops, before he initially retired from performing in the 1980s. In the 1990s, Guitar Gable was tempted back to the performing stage by C.C. Adcock. Gable died in hospital at Opelousas, Louisiana, on January 28, 2017, at the age of 79. Travis Phillips, aka Wonder Boy Travis, came from Texas as part of Clifton Chenier’s band and during a long recording session in J.D. Miller’s Crowley studio took over the singing duties while Chenier gave his voice a rest. Impressed by his singing and guitar playing, Miller kept the tape running. Although none of the tracks made it to vinyl, they have been issued posthumously. It seems Travis saw his name on just one 45, “That’s Alright/ Do The Everything”, released a few years later on the Jox label out of San Antonio as by Travis Phillips & His Wonder Boys. Sylvester Buckley backed Lazy Lester, Silas Hogan and Jimmy Dotson on harmonica and cut four excellent sides under his own name circa 1963, all of which went unissued. Jimmy Dotson cut two records, one for Zynn and the other for Rocko (Miller’s own labels) in Crowley, Louisiana in 1959 and 1960 backed by Silas Hogan, Sylvester Buckley and Isaiah Chatman. One other record was issued on HOB in 1962. Five other Dotson sides were not issued at the time. When Hogan made his debut in 1962 the other musicians were present but not Dotson. Dotson said: “The Baton Rouge blues scene in the ’50s was nice, we had a following, we played from club to club. I played drums for Lightnin’ Slim for a while and with Slim it fluctuated, I was a kind of utility musician. If they needed a drummer I’d go play drums, if they needed a bass player, a guitar … I couldn’t play any too good on any of them but I could fit in. But they had a tremendous following, Lightnin’ Slim and Slim Harpo. They would go from club to club, sometimes we would play Sunday afternoon somewhere back over North Baton Rouge in the park area from two o’clock to six and the place would be full of people. OK then we would go across the river (to Port Allen) and they’d just line up in cars and follow us across the river! It was fantastic, it really was.” Willie Monroe Vincent recorded as Vince Monroe, Mr. Calhoun and Polka Dot Slim. His first recordings were made in 1956 and 1959 in Crowley, Louisiana, for Jay Miller, who released them under two different pseudonyms on Excello and Zynn. Several other sides from these sessions went unreleased. In 1964, he recorded “A Thing You Gotta Face” and “Ain’t Broke Ain’t Hungry”, produced by Sax Kari and released as a single on the Instant label as Polka Dot Slim. His last sides were cut for Apollo in 1966. He was a regular performer for many years in clubs and bars in New Orleans. Researcher John Broven described him in the 1970s as one of “the last of the rural country bluesmen still playing in New Orleans.”
4189	dbpedia	0	36	http://www.soundstagenetwork.com/vinyl/vinyl200707.htm	en	Found on Vinyl: Mississippi John Hurt, Son House, and Buddy Guy & Junior Wells (7/2007)			[ "http://www.soundstagenetwork.com/sslogo3.gif", "http://www.soundstagenetwork.com/vinyl/pics/200707_hurt.jpg", "http://www.soundstagenetwork.com/vinyl/pics/200707_house.jpg", "http://www.soundstagenetwork.com/vinyl/pics/200707_guy_wells.jpg", "http://www.soundstagenetwork.com/sslogo3.gif" ]	[]	[]	[ "" ]	null	[]	null					null	July 2007 Found on Vinyl: Mississippi John Hurt, Son House, and Buddy Guy & Junior Wells When someone mentions the blues, what do you think of? Chicago? Muddy Waters electric band? Chess Records? All of the above? While those are all certainly elements of the blues, they are not the only ones, or even the major ones. The blues as we know it evolved from the shouts and field hollers that black slaves used to express themselves in their everyday work life on the plantations in the Deep South. Those were turned into song as a means to vent the anger, frustration, and helplessness of slave life in a way that both expressed the situation and made life easier to get on with. One of the sad facts of the blues is that many of its greatest practitioners were virtually unknown for most of their lives. The eyes (and ears) of the general public were focused on what was happening in Chicago. While the electric blues that Chess documented was of great importance and would have a profound influence on the form of music we now know as rock'n'roll, it wasnt the only type of blues being played and enjoyed. After all, who were the ancestors of Waters, Otis Spann, John Lee Hooker, B.B. King and their ilk? In the mid-1960s, the world got the answer from, of all things, the folk-music revival. Suddenly artists such as Mississippi John Hurt and Son House began to reappear on the scene for the first time in almost a half-century. And just as suddenly, people began to hear raw acoustic blues performed in the flesh by singers who had actually lived and sung it as they had heard it all their lives. So great was this renaissance that it caused more than a few of the electric bluesmen to re-examine their roots as well. Mississippi John Hurt had originally recorded a few sides for the Paramount label in the 1920s. But due to poor recording and pressing quality and even poorer distribution, he had been relegated to life in Avalon, Mississippi, where he assumed he would be for the remainder of his life. Then, in 1963, blues collector Tom Hoskins rediscovered Hurt and brought him back into the public spotlight through folk festivals, folk clubs, and, most important, the recording studio. Today [Pure Pleasure/Vanguard VSD-79220] features just Hurt and his guitar playing the country blues hed always played -- except now he was reaching a wider audience. Listening to Hurt play was like hearing something new. He didnt play with the pain and suffering in the "done me wrong," raw, harsh style that most blues lovers of the day were used to hearing. His style has been described as more of a gentle, almost sweet sound that, while making his music that much more listenable, still managed to communicate the emotion of the blues. One listen to Today and youll hear why Hurt was such a big hit on the folk circuit -- he fit right in. Take the song "Im Satisfied." On the surface it has a folk song melody and beat, but a deeper listen will uncover the heartache. Today is chock-a-block full of such surprises. Pair Hurts basic blues repertoire with Vanguard's excellent recording and Pure Pleasures superb remastering and you can literally sit in your listening chair, close your eyes and envision Mississippi John Hurt in front of you. Add in deluxe packaging and a flat, quiet pressing and you have a winner in anyones book. Today will make an excellent addition to any blues lovers library, especially those stuck in electric Chicago. If Hurt's music could be described as sweet and gentle, the same could not be said for Son House. Born Eddie James House, Jr. in 1902, House put honest feeling into his music. When he launched into a song, you just knew you were going to hear the blues done in as real, raw and honest a manner as was possible. Perhaps thats because House had grown up playing the blues (and drinking whatever alcoholic beverage was available) with the legendary Charlie Patton. He also was an influence on the young Robert Johnson. A musician can't get any nearer to the foundation of the blues. In 1965 Columbia Records, under the direction of the legendary producer John Hammond, Sr., brought Son House into the studio to record what would become his magnum opus, The Legendary Son House Father of the Delta Blues [Pure Pleasure/Columbia CS 9217], which spanned his blues and spiritual sides. You can hear the blues in such songs as "Death Letter," "Levee Camp Moan," and "Downhearted Blues," while the spiritual side shines forth on numbers like "John The Revelator," Motherless Child," and "Preachin Blues." While not quite as realistically recorded as Hurts Vanguard album, Father of the Delta Blues is still a well-recorded album -- as long as you can get past the early-stereo, left/right soundstage. Houses vocals and guitar -- though recorded in different channels -- sound authentic. But what will really get you is the music. Sometimes accompanied by his National Steel guitar, sometimes with Alan Wilsons guitar or harmonica, and sometimes a cappella, House always sings the blues, and nothing but the blues. Albums like Today and Father of the Delta Blues caused some of the electric bluesmen of Chicago to re-examine their roots and go acoustic. Muddy Waters tried it with some success on Folk Singer. Two others who tried this together are guitarist Buddy Guy and harmonica wizard Junior Wells. Both had played together in Waters electric band in Chicago, and both continued to record in the same style on their own. But a trip to Paris got them into the studio to do Going Back To Acoustic [Pure Pleasure/Isabel PPAN001] in 1981. Spurred on by the success of their inspirations on the folk circuit, Guy and Wells decided that they should show the world that they, too, could play the blues in an authentic manner. So well did Going Back turn out that once you hear the album itll be hard to recall that many of these songs began life electrified. Side one is mostly Buddy Guy and his guitar with occasional assistance from Junior Wells on vocals. Guy takes a crack at songs by John Lee Hooker as well as his own compositions. The sound is extremely three-dimensional and alive. Youll hear detail aplenty. Side two contains mostly Wells with help from Guy on guitar. Once again the sonics are top notch, allowing you to close your eyes and "see" Buddy and Junior playing the blues right in front of you. So if you are truly interested in hearing the real, honest-to-goodness blues played and sung as it has been for centuries, any or all of these albums will give you a dose of what ails you. Pure Pleasure Records sumptuously packaged and carefully pressed them all. Thanks go out to Pure Pleasures Tony Hickcott for reissuing these classic titles in such a pristine manner. Ironically, an Englishman has reminded us Americans what our own homegrown music is about.
4189	dbpedia	1	2	https://en.wikipedia.org/wiki/Mississippi_John_Hurt	en	Mississippi John Hurt	https://upload.wikimedia…/M_John_Hurt.jpg	https://upload.wikimedia…/M_John_Hurt.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/2e/M_John_Hurt.jpg/220px-M_John_Hurt.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/14/Mississippi_John_Hurt_-_grave_%28cropped%29.jpg/220px-Mississippi_John_Hurt_-_grave_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4e/50_Mississippi_John_Hurt_Museum%2C_Avalon%2C_MS.jpg/220px-50_Mississippi_John_Hurt_Museum%2C_Avalon%2C_MS.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2001-10-09T20:13:55+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Mississippi_John_Hurt	American country blues singer and guitarist Musical artist John Smith Hurt (March 8, 1893[1][nb 1] – November 2, 1966), known as Mississippi John Hurt, was an American country blues singer, songwriter, and guitarist.[3] Hurt was raised in Avalon, Mississippi and taught himself to play the guitar around the age of nine. He worked as a sharecropper and began playing at dances and parties, singing to a melodious fingerpicked accompaniment.[4] His first recordings, made for Okeh Records in 1928, were commercial failures, and he continued to work as a farmer. Dick Spottswood and Tom Hoskins, a blues enthusiast, located Hurt in 1963 and persuaded him to move to Washington, D.C.[5] He was recorded by the Library of Congress in 1964. This helped further the American folk music revival, which led to the rediscovery of many other bluesmen of Hurt's era. Hurt performed on the university and coffeehouse concert circuit with other Delta blues musicians who were brought out of retirement. He also recorded several albums for Vanguard Records. Hurt returned to Grenada, Mississippi, in 1966, where he died at the age of 73. Material recorded by Hurt has been re-released by several record labels. His songs have been recorded by Bob Dylan, Dave Van Ronk, Jerry Garcia, Beck, Doc Watson, John McCutcheon, Taj Mahal, Bruce Cockburn, David Johansen, Bill Morrissey, Gillian Welch, The Be Good Tanyas, Josh Ritter, Chris Smither, Guthrie Thomas, Parsonsfield, and Rory Block.[6] Biography [edit] Early years [edit] Hurt was born in Teoc,[7] Carroll County, Mississippi, and raised in Avalon, Mississippi. He taught himself to play guitar at the age of nine, stealthily playing the guitar of William Henry Carson, a friend of his mother, Mary Jane, who often stayed at the Hurt home while courting a woman who lived nearby.[8] As a youth, he played old-time music for friends and at dances. He worked as a farmhand and sharecropper into the 1920s.[9] Hurt's fast, highly syncopated style of playing was meant for dancing. On occasion, a medicine show came through the area. Hurt recalled that one wanted to hire him: "One of them wanted me, but I said no because I just never wanted to get away from home."[7] In 1923, he played with the fiddle player Willie Narmour as a substitute for Narmour's regular partner, Shell Smith.[9] First recordings [edit] When Narmour got a chance to record for Okeh Records as a prize for winning first place in a 1928 fiddle contest, he recommended Hurt to Okeh producer Tommy Rockwell.[10] After auditioning "Monday Morning Blues" at his home, Hurt took part in two recording sessions, in Memphis and New York City.[9] While in Memphis, he recalled seeing "many, many blues singers ... Lonnie Johnson, Blind Lemon Jefferson, Bessie Smith, and lots, lots more."[7] Hurt described his first recording session: ... a great big hall with only the three of us in it: me, the man [Rockwell], and the engineer. It was really something. I sat on a chair, and they pushed the microphone right up to my mouth and told me that I couldn't move after they had found the right position. I had to keep my head absolutely still. Oh, I was nervous, and my neck was sore for days after.[7] Hurt attempted further negotiations with Okeh to record again, but his records were commercial failures. Okeh went out of business during the Great Depression, and Hurt returned to Avalon and obscurity, working as a sharecropper and playing at local parties and dances.[4] Rediscovery and death [edit] Hurt's renditions of "Frankie" and "Spike Driver Blues" were included in The Anthology of American Folk Music in 1952 which generated considerable interest in locating him.[11] When a copy of "Avalon Blues" was discovered in 1963, it led musicologist Dick Spottswood to locate Avalon, Mississippi, in an atlas, and ask Tom Hoskins, who was traveling that way, to enquire after Hurt.[5][12] Avalon, my home town, always on my mind / Avalon, my home town. — Mississippi John Hurt, "Avalon Blues" Upon locating Hurt, Hoskins persuaded him to perform several songs, to ensure that he was genuine.[11] Hoskins was convinced and, seeing that Hurt's guitar playing skills were still intact, encouraged him to move to Washington, D.C., and perform for a broader audience. Early in 1963 Hurt recorded an album, Folk Songs And Blues, that was released in August 1963 through Piedmont Records.[13] His performance at the 1963 Newport Folk Festival caused his star to rise in the folk revival occurring at that time.[4] Soon after, in 1964, he recorded live for radio in Massachusetts with Skip James.[14][15] For a few short years, Hurt performed extensively at colleges, concert halls, and coffeehouses and appeared on The Tonight Show Starring Johnny Carson. He also recorded three albums for Vanguard Records.[4] Much of his repertoire was also recorded for the Library of Congress. His fans particularly liked the ragtime songs "Salty Dog" and "Candy Man" and the blues ballads "Spike Driver Blues" (a variant of "John Henry") and "Frankie".[4] Hurt's influence spanned several music genres, including blues, spirituals, country, bluegrass, folk, and contemporary rock and roll. A soft-spoken man, his nature was reflected in the work, which consisted of a mellow mix of country, blues, and old-time music.[9] Hurt died of a heart attack on November 2, 1966, at a hospital in Grenada, Mississippi.[1] His last recordings had been done at a hotel in New York City in February and July of that year but were not released until 1972 on the Vanguard LP Last Sessions.[16] Style [edit] Hurt used a fast, syncopated fingerpicking style of guitar playing that he taught himself. He was influenced by few other musicians, among whom was Rufus Hanks, an elderly, unrecorded blues singer from the area where he lived, who played twelve-string guitar and harmonica.[7] According to the music critic Robert Christgau, "the school of John Fahey proceeded from his finger-picking, and while he's not the only quietly conversational singer in the modern folk tradition, no one else has talked the blues with such delicacy or restraint."[17] Tributes [edit] There was a memorial and museum dedicated to Hurt in Avalon, Mississippi, parallel to RR2, the rural road on which he grew up. On February 20, 2024, it was destroyed in a fire the day after being made a National Landmark. Arson is not suspected. [18] The singer-songwriter Tom Paxton, who met Hurt and played on the same bill with him at the Gaslight in Greenwich Village around 1963, wrote and recorded a song about him in 1977, "Did You Hear John Hurt?".[19] The first track of John Fahey's 1968 solo acoustic guitar album Requia is "Requiem for John Hurt". Fahey's posthumous live album, The Great Santa Barbara Oil Slick, also features a version of the piece, entitled "Requiem for Mississippi John Hurt". Norman Greenbaum's eclectic minor hit, "Gondoliers, Shakespeares, Overseers, Playboys And Bums" refers to Mississippi John Hurt singing the blues.[20] The British folk and blues artist Wizz Jones recorded a tribute song, "Mississippi John", for his 1977 album Magical Flight. The Delta blues artist Rory Block recorded the album Avalon: A Tribute to Mississippi John Hurt, released in 2013 as part of her "Mentor Series".[6] The New England singer-songwriter Bill Morrissey released the Grammy-nominated album Songs of Mississippi John Hurt in 1999. In 2017, Hurt's life story was told in the documentary series American Epic.[21] The film featured footage of Hurt performing and being interviewed,[22][23] and improved restorations of his 1920s recordings.[24][25] Director Bernard MacMahon stated that Hurt "was the inspiration for American Epic".[23] Hurt's life was profiled in the accompanying book, American Epic: The First Time America Heard Itself.[26] In 2023, Rolling Stone ranked Hurt at number 159 on its list of the 200 Greatest Singers of All Time.[27] Discography [edit] This section was compiled from three sources.[28][29][30] 78-rpm releases [edit] "Frankie" / "Nobody's Dirty Business" (Okeh Records, Okeh 8560), 1928 "Stack O' Lee" / "Candy Man Blues" (Okeh Records, OKeh 8654), 1928 "Blessed Be the Name" / "Praying on the Old Camp Ground" (Okeh Records, OKeh 8666), 1928 "Blue Harvest Blues" / "Spike Driver Blues" (Okeh Records, OKeh 8692), 1928 "Louis Collins" / "Got the Blues (Can't Be Satisfied)" (Okeh Records, OKeh 8724), 1928 "Ain't No Tellin'" / "Avalon Blues" (Okeh Records, OKeh 8759), 1928 Albums [edit] Folk Songs and Blues (Piedmont Records, PLP 13157), 1963 Worried Blues, live recordings (Piedmont Records, PLP 13161), 1964 Today! (Vanguard Records, VSD-79220), 1966 The Immortal Mississippi John Hurt (Vanguard Records, VSD-79248), 1967 The Best of Mississippi John Hurt, live recording from Oberlin College, April 15, 1965 (Vanguard Records, VSD-19/20), 1970 Last Sessions (Vanguard Records, VSD-79327), 1972 Volume One of a Legacy, live recordings (Piedmont Records, CLPS 1068), 1975 Monday Morning Blues: The Library of Congress Recordings, vol. 1 (Flyright Records, FLYLP 553), 1980 Avalon Blues: The Library of Congress Recordings, vol. 2 (Heritage Records, HT-301), 1982 Satisfied, live recordings (Quicksilver Intermedia, QS 5007), 1982 The Candy Man, live recordings (Quicksilver Intermedia, QS 5042), 1982 Sacred and Secular: The Library of Congress Recordings, vol. 3 (Heritage Records, HT-320), 1988 Avalon Blues (Flyright Records, FLYCD 06), 1989 Memorial Anthology, live recordings (Genes Records, GCD 9906/7), 1993 Selected compilation albums [edit] The Original 1928 Recordings (Spokane Records, SPL 1001), 1971 1928: Stack O' Lee Blues – His First Recordings (Biograph Records, BLP C4), 1972 1928 Sessions (Yazoo Records, L 1065), 1979 Satisfying Blues (Collectables Records, VCL 5529), 1995 Avalon Blues: The Complete 1928 Okeh Recordings (Columbia Records, CK64986), 1996 Rediscovered (Vanguard Records, CD 79519), 1998 The Complete Recordings (Vanguard Records, CD 70181–2), 1998 Candy Man Blues: The Complete 1928 Sessions (Snapper Music, SBLUECD 010), 2004 American Epic: The Best of Mississippi John Hurt (Lo-Max / Sony Legacy / Third Man, TMR-459), 2017 Notes [edit] Further reading [edit] Ratcliffe, Philip R. (2011). Mississippi John Hurt: His Life, His Times, His Blues. Jackson: University Press of Mississippi. James, Steve (July 2018). "Gaslight Memories: Mississippi John Hurt's Influence on the 1960s Folk Scene and Beyond". Acoustic Guitar . References [edit]
4189	dbpedia	1	57	https://www.oldies.com/artist-songs/Mississippi-John-Hurt.html	en	Mississippi John Hurt ~ Songs List			[ "https://www.facebook.com/tr?id=1860278107532286&ev=PageView&noscript=1", "https://d1wj8oqehjepyy.cloudfront.net/img/ui/oldies_logo80_2x.png?v=2", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/33/87/089353338725.jpg?v=9", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/34/02/089353340223.jpg?v=7", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/60/10/799582601025.jpg?v=5", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/10/81/011661108127.jpg?v=5", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/01/65/016351016522.jpg?v=5", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/33/43/894232334329.jpg?v=3", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/33/42/894232334220.jpg?v=3", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/33/14/886972331423.jpg?v=2", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/55/29/090431552926.jpg?v=4", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/13/19/805520131940.jpg?v=3", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/19/20/015707192026.jpg?v=9", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/94/61/8436559461825.jpg?v=3", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/99/17/090204991754.jpg?v=3", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/00/10/752211001023.jpg?v=5", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/98/66/090204986606.jpg", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/66/75/090204667529.jpg?v=3", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/79/18/708535791829.jpg", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/71/17/5032427117202.jpg", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/13/00/725543130013.jpg", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/00/20/725543002013.jpg", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/20/21/5060342021304.jpg?v=3", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/a-z/z/zvrf61717.jpg?v=5", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/a-z/z/ztl19716.jpg?v=3", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/60/03/4053796003782.jpg", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/34/90/5060143490873.jpg?v=3", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/34/94/5060143494697.jpg", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/01/94/5022810194224.jpg?v=3", "https://d1wj8oqehjepyy.cloudfront.net/i/boxart/w170/66/32/090204663262.jpg", "https://d1wj8oqehjepyy.cloudfront.net/img/ui/reviewsio_star_100_64.png?v=2", "https://d1wj8oqehjepyy.cloudfront.net/img/ui/reviewsio_star_100_64.png?v=2", "https://d1wj8oqehjepyy.cloudfront.net/img/ui/reviewsio_star_100_64.png?v=2", "https://d1wj8oqehjepyy.cloudfront.net/img/ui/reviewsio_star_100_64.png?v=2", "https://d1wj8oqehjepyy.cloudfront.net/img/ui/reviewsio_star_50_64.png?v=2", "https://d1wj8oqehjepyy.cloudfront.net/img/ui/reviewsio_125_2x.png?v=4", "https://d1wj8oqehjepyy.cloudfront.net/img/fb_likeus_175_2x.png?v=1", "https://d1wj8oqehjepyy.cloudfront.net/img/as_powered_black.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://d1wj8oqehjepyy.cloudfront.net/img/favicon.ico	OLDIES.com	https://www.oldies.com/artist-songs/Mississippi-John-Hurt.html	Tracks of Disc 1 12.Rich Woman Blues 13.Trouble I Had All My Days 14.C.H.I.C.K.E.N. Blues 15.Coffee Blues 16.Monday Mornin' Blues 17.Frankie and Albert 18.Talkin' Casey 19.Here I Am, Oh Lord, Send Me 20.Hard Times In the Old Town Tonight 21.Spike Driver Blues 1.Candy Man 2.My Creole Belle 3.Make Me A Pallet On the Floor 4.Shake That Thing 5.I'm Satisfied 6.Salty Dog Blues 7.Nobody's Business (But Mine) 8.The Angels Laid Him Away 9.Casey Jones (Talkin' Casey) 10.Baby What's Wrong With You 11.Lonesome Blues Tracks of Disc 1 1.Frankie 2.Nobody's Dirty Business 3.Stack O'lee Blues 4.Candy Man Blues 5.Blessed Be the Name 6.Praying On the Old Camp Ground 7.Blue Harvest Blues 8.Spike Driver Blues 9.Louis Collins 10.Got the Blues (Can't Be Satisfied) 11.Ain't No Tellin' 12.Avalon Blues 13.Big Leg Blues Tracks of Disc 1 6.Big Leg Blues 7.Stack O'Lee Blues 8.Candy Man Blues 9.Got the Blues Can't Be Satisfied 10.Blessed Be the Name 11.Praying On the Old Camp Ground 12.Blue Harvest Blues 13.Spike Driver Blues 14.She Could Toodle-Oo 15.Nobody Knows (What the Good Deacon Does) 16.Shelby County Workhouse Blues 17.Way Down In Arkansas 18.Hambone Willie's Dreamy-Eyed Woman'S Blues 19.Roll and Tumble Blues 1.Frankie 2.Nobody's Dirty Business 3.Ain't No Tellin' 4.Louis Collins 5.Avalon Blues 20.James Alley Blues 21.Never Let the Same Bee Sting You Twice 22.I'm Not Jealous 23.Mystery of the Dunbar's Child 24.Sinking of the Titanic Option: "..Hurt may have faced the same demons as other bluesmen, but he simply chose a path of joy and acceptance to transcend his blues, and it's reflected in his gentle style.." Tracks of Disc 1 1.Avalon Blues 2.Richland Woman Blues 3.Spike Driver Blues 4.Salty Dog 5.Cow Hooking Blues 6.Spanish Fandango 7.Casey Jones 8.Louis Collins 9.Candy Man Blues 10.My Creole Belle 11.Liza Jane (God's Unchanging Hand) 12.Joe Turner Blues Tracks of Disc 1 1.Ain't No Tellin' 2.Stack O' Lee Blues 3.Candy Man Blues 4.Spike Driver Blues 5.Avalon Blues 6.Louis Collins 7.Frankie 8.Big Leg Blues 9.Nobody's Dirty Business 10.Got The Blues, Can't Be Satisfied 11.Blessed Be The Name 12.Blue Harvest Blues 13.Praying On The Old Camp Ground Tracks of Disc 1 1.Lonesome Blues 2.Salty Dog 3.Nobody's Business But Mine 4.The Angels Laid Him Away 5.Casey Jones (Talkin' Casey) 6.Baby, What's Wrong with You? 7.Candy Man 8.My Creole Belle 9.Make Me a Pallet on Your Floor 10.Shake That Thing 11.I'm Satisfied Tracks of Disc 1 1.Candy Man 2.My Creole Belle 3.Make Me a Pallet on Your Floor 4.Shake That Thing 5.I'm Satisfied 6.Salty Dog 7.Nobody's Business But Mine 8.The Angels Laid Him Away 9.Casey Jones (Talkin' Casey) 10.Baby, What's Wrong with You? 11.Lonesome Blues Tracks of Disc 1 1.Frankie 2.Nobody's Dirty Business 3.Ain't No Tellin' 4.Louis Collins 5.Avalon Blues 6.Big Leg Blues 7.Stack O' Lee 8.Candy Man Blues 9.Got The Blues (Can't Be Satisfied) 10.Blessed Be The Name 11.Praying On The Old Camp Ground 12.Blue Harvest Blues 13.Spike Driver Blues Tracks of Disc 1 15.Coffee Blues 1.C-H-I-C-K-E-N Blues 2.Monday Morning Blues 3.Candy Man 4.Lonesome Blues 5.Nobody's Business But Mine 6.Angels Laid Him Away 7.Baby What's Wrong With You 8.Richland Women Blues 9.Frankie And Albert 10.Salty Dog 11.Spike Driver's Blues 12.Hot Time In The Old Town Tonight 13.My Creole Belle 14.Make Me A Pallet On Your Floor Mississippi John Hurt also appears in this compilation Tracks of Disc 1 13. Little Boy Blue 14. My Pencil Won't Write No More 15. Bullfrog Blues 16. Highway No. 51 17. Mississippi River Blues 18. Stomp Down Rider 19. Hobo Jungle Blues 20. Bertha Lee Blues Tracks of Disc 2 1. Baby Please Don't Go 2. Love In Vain 3. Roll And Tumble Blues 4. Big Road Blues 5. Hard Time Killin' Floor Blues 6. Catfish Blues 7. I Be's Troubled 8. Frankie 9. Black Pony Blues 10. Low Down Dirty Dog Blues 11. Trouble Hearted Blues 12. Cottonfield Blues (Part 1) 13. Dirty Mistreater 14. When The Levee Breaks 15. Bukka's Jitterbug Swing 16. Rowdy Blues 17. Last Kind Words 18. Motherless And Fatherless Blues 19. Two Time Blues 20. Mr. Freddie's Kokomo Blues Tracks of Disc 3 1. Spoonful Blues 2. Sitting On Top Of The World 3. Parchman Farm Blues 4. Take A Little Walk With Me 5. Hellhound On My Tail 6. Devil Got My Woman 7. You're Gonna Miss Me (When I'm Dead And Gone) 8. Nobody's Dirty Business 9. Special Rider Blues 10. Cool Drink Of Water Blues 11. Down The Dirt Road Blues 12. Fare Thee Well Blues 13. I'm A Guitar King 14. Last Time Blues 15. Ragged And Dirty 16. Jailhouse Groan 17. Rootin' Ground Hog 18. Leavin' Town Blues 19. Nehi Mamma Blues 20. Whoopee Blues Tracks of Disc 1 1. Cross Road Blues 2. I'm So Glad 3. That's No Way To Get Along 4. Crawlin' King Snake 5. Country Blues 6. Fixin' To Die Blues 7. Canned Heat Blues 8. Stack O'Lee Blues 9. Death Valley Blues 10. My Black Mama (Part 1) 11. Mississippi Bo Weevil Blues 12. The Yellow Dog Blues Tracks of Disc 1 1.Here Am I, Oh Lord, Send Me 2.I Shall Not Be Moved 3.Nearer My God to Thee 4.Baby What's Wrong With You 5.It Ain't Nobody's Business 6.Salty Dog Blues 7.Coffee Blues 8.Avalon, My Home Town 9.Make Me a Pallet on Your Floor 10.Since I've Laid This Burden Down 11.Sliding Delta 12.Monday Morning Blues 13.Richland Women Blues 14.Candy Man 15.Stagolee 16.My Creole Belle 17.C.C. Rider 18.Spanish Fandango 19.Talking Casey 20.Chicken 21.You Are My Sunshine Tracks of Disc 1 1.Frankie 2.Nobody's Dirty Business 3.Stack O' Lee 4.Candy Man Blues 5.Blessed Be The Name 6.Praying On The Old Camp Ground 7.Blue Harvest Blues 8.Spike Driver Blues 9.Louis Collins (Aka The Angels Laid Him Away) 10.Got The Blues (Can't Be Satisfied) 11.Ain't No Tellin' 12.Avalon Blues 13.Big Leg Blues 14.Salty Dog 15.Shake That Thing 16.Talking Casey 17.Lonesome Blues 18.Trouble, I've Had It All My Days 19.Hot Time In The Old Town Tonight Tracks of Disc 1 1.Pay Day 2.I'm Satisfied 3.Candy Man 4.Make Me A Pallet On Your Floor 5.Talking Casey 6.Corrina Corrina 7.Coffee Blues 8.Louis Collins 9.There'll Be A Hot Time In The Old Town Tonight 10.If You Don't Want Me Baby 11.Spike Driver Blues 12.Beulah Land 13.Since I've Laid My Burden Down 14.Moaning The Blues 15.Stocktime (Buck Dance) 16.Lazy Blues 17.Richland Woman Blues 18.Wise And Foolish Virgins 19.Hop Joint 20.Monday Morning Blues 21.I've Got The Blues And I Can't Be Satisfied 22.Keep On Knocking 23.Chicken 24.Stagolee 25.Nearer My God To Thee 26.Poor Boy Losing Ways From Home 27.Boys You're Welcome 28.Joe Turner Blues 29.First Shot Missed Him 30.Farther Along 31.Funky Butt 32.Spider Spider 33.Waiting For You 34.Shortnin' Bread 35.Trouble I've Had It All My Days 36.Let The Mermaids Flirt With Me 37.Good Morning Carrie 38.Nobody Cares For Me 39.All Night Long 40.Hey Honey Right Away 41.You've Got To Die 42.Goodnight Irene Tracks of Disc 1 1.Richland Woman Blues 2.Trouble I Had All My Days 3.Chicken 4.Coffee Blues 5.Monday Morning Blues 6.Frankie and Albert 7.Talking Casey 8.Here Am I, Oh Lord, Send Me 9.Hot Time in the Old Town Tonight 10.Spike Driver Blues 11.Candy Man 12.My Creole Belle 13.Make Me a Pallet on the Floor 14.Shake That Thing 15.I'm Satisfied 16.Salty Dog 17.Nobody's Business But Mine 18.The Angels Laid Him Away 19.Casey Jones 20.Baby, What's Wrong With You? 21.Lonesome Blues Tracks of Disc 1 1.Here Am I, Oh Lord, Send Me 2.I Shall Not Be Moved 3.Nearer My God to Thee 4.Baby, What's Wrong With You? 5.Ain't Nobody's Business 6.Salty Dog 7.Coffee Blues 8.Avalon My Home Town 9.Make Me a Pallet on the Floor 10.Since I've Laid My Burden Down 11.Sliding Delta 12.Monday Morning Blues 13.Richland Woman Blues 14.Candy Man 15.Stagolee 16.My Creole Belle 17.C. C. Rider 18.Spanish Fandango 19.Talking Casey 20.Chicken 21.You Are My Sunshine 22.Hop Joint 23.Trouble I Had All My Days 24.Spike Driver Blues Tracks of Disc 2 1.Record Label: Vanguard 2.Catalog#: Vcd 79702 3.Country of Release: Nld 4.Year of Release: 2002 5.Notes: 20Bit Remastered, Incl. 3 Prev. Unreleased Tracks Tracks of Disc 1 1.Poor Boy, Long Ways from Home 2.Boys, You're Welcome 3.Joe Turner Blues 4.First Shot Missed Him 5.Farther Along 6.Funky Butt 7.Spider, Spider 8.Waiting for You 9.Shortnin' Bread 10.Trouble I Had All My Days 11.Let the Mermaids Flirt with Me 12.Good Morning, Carrie 13.Nobody Cares for Me 14.All Night Long 15.Hey, Honey, Right Away 16.You've Got to Die 17.Goodnight Irene Tracks of Disc 1 1.Candy Man 2.Avalon Blues 3.Frankie and Albert 4.Richland Women Blues 5.Stack O Lee 6.Louis Collins 7.Monday Morning Blues 8.Nobodys Dirty Business 9.Slidin Delta 10.Got the Blues Cant Be Satisfied 11.My Creole Belle 12.Spike Driver Blues 13.Coffee Blues 14.Let the Mermaids Flirt With Me 15.Talkin Casey Jones 16.Funky Butt 17.Joe Turner 18.Im Satisfied 19.Blessed Be the Name 20.Camp Meeting on the Old Camp Ground Tracks of Disc 2 1.Trouble Ive Had All My Day 2.Pera Lee 3.Pay Day 4.Corrina, Corrina 5.Hey Baby Right Away 6.Pallet on the Floor 7.Waiting for a Train 8.Oh Mary Dont You Weep 9.Weeping and Wailing 10.Keep On Knocking 11.If You Dont Want Me 12.Salty Dog 13.Walking the Floor Over You 14.Cow Hooking Blues 15.Four OClock Blues 16.See See Rider 17.Poor Boy a Long Way From Home 18.Good Morning Miss Carrie 19.I Got Mine 20.Hot Time in the Old Town Tonight Tracks of Disc 1 1.Frankie 2.Nobody's Dirty Business 3.Ain't No Tellin' 4.Louis Collins 5.Avalon Blues 6.Big Leg Blues 7.Stack O' Lee 8.Candy Man Blues 9.Got The Blues (Can't Be Satisfied) 10.Blessed Be The Name 11.Praying On The Old Camp Ground 12.Blue Harvest Blues 13.Spike Driver Blues 14.Nobody's Business But Mine 15.The Angels Laid Him Away 16.Baby What's Wrong With You 17.Casey Jones 18.Candy Man 19.Lonesome Blues 20.My Creole Belle 21.Make Me A Pallet On Your Floor 22.Trouble I Had All My Days 23.C - H - I - C - K - E - N Blues 24.Coffee Blues 25.Shake That Thing 26.Monday Morning Blues 27.Frankie & Albert 28.Salty Dog 29.Spike Drivers Blues 30.Here Am I, Lord, Send Me 31.Talking Casey 32.Hot Time In The Old Town Tonight 33.I'm Satisfied 34.Richland Women Blues Tracks of Disc 1 1.Avalon Blues 2.Richland Women Blues 3.Spike Driver Blues 4.Salty Dog 5.Cow Hooking Blues 6.Spanish Fandang 7.Casey Jones 8.Louis Collins 9.Candy Man Blues 10.My Creole Belle 11.Liza Jane - Gods Unchanging Hand 12.Joe Turner Blues Tracks of Disc 1 1.Lazy Blues 2.Farther Along 3.Sliding Delta 4.Nobody Cares for Me 5.Cow Hooking Blues No. 2 6.Talkin' Casey 7.Weeping and Wailing 8.Worried Blues 9.Oh Mary Don't You Weep 10.I Been Cryin' Since You Been Gone Mississippi John Hurt also appears in this compilation Tracks of Disc 1 1. Ramblin' On My Mind 2. Guitar Blues 3. Death Letter Blues 4. Baby, Let Me Follow You Down 5. Parchman Farm Blues 6. Duvida 7. Minor Swing 8. Frankie And Albert 9. Statesboro Blues 10. Key To The Highway Tracks of Disc 3 19. Amor Flamengo 20. Hard Road Blues 21. Topsy 22. Black Pony Blues 23. Rock Island Line 24. Catfish Blues 25. Antaño Tracks of Disc 1 11. Moonlight In Vermont 12. How You Want It Done 13. Logan County Blues 14. The Mexican Blues 15. T.B. Blues 16. Hittin' On All Six 17. Big Rock Candy Mountain 18. Guitar Rag 19. Deux Guitares 20. Goin' Up Country 21. Chicken A La Swing 22. Bottle It Up And Go 23. Blue Grass Twist 24. Dark Was The Night 25. I Be's Troubled Tracks of Disc 2 1. Tupelo (Backwater Blues) 2. Main Street Breakdown 3. Back To New Orleans 4. Black Snake Moan 5. Nocturne 6. Coal Miner's Blues 7. E Blues 8. John Henry 9. St. James Infirmary 10. No No Blues 11. Lonesome Weary Blues 12. Trouble Hearted Blues 13. Augusta Rag 14. You Can Go Home 15. Pallet On The Floor 16. So Happy I'll Be 17. Buck Dancer's Choice 18. Little Boy Blue 19. Special Agent Blues 20. Runaway Man Blues 21. Old Original Kokomo Blues 22. Misery Blues 23. Dirty Mistreater 24. Concierto de Aranjuez: I. Allegro con Spirito 25. Canned Heat Blues Tracks of Disc 3 1. Stack O' Lee 2. Shake 'Em On Down 3. Way Down Town 4. Mississippi Boweavil Blues 5. Opihi Moemoe 6. Alberta 7. Angi 8. Jeepers Creepers 9. Cypress Grove Blues Blues 10. Guitarese 11. Spanish Fandango 12. Hoodoo Lady 13. Insonia 14. When You Are Gone 15. Melody Man's Dream 16. I Am The Black Ace 17. The Storm Is Passing Over 18. You Scolded And Drove Me From Your Door Mississippi John Hurt also appears in this compilation Tracks of Disc 1 1.Diddie Wa Diddie 2.I'm So Glad 3.Crawlin' King Snake 4.Key To The Highway 5.I'm A Tearing Little Daddy 6.C.C. Rider 7.I'm A Stranger Here 8.Monday Morning Blues 9.Bad Luck Blues 10.Statesboro Blues 11.That's No Way To Get Along 12.You Got To Move 13.Chocolate To The Bone 14.Death Letter Mississippi John Hurt also appears in this compilation Tracks of Disc 1 1.Turn Your Radio On 2.Polly Wolly Doodle 3.Any Old Time 4.I Never Will Marry 5.I Am A Pilgrim 6.Down In The Valley To Pray 7.Gandy Man 8.Will The Circle Be Unbroken 9.Were You There (When They Crucified My Lord) 10.Wings Of A Dove 11.Mom And Dad's Waltz 12.Wildwood Flower 13.Kentucky 14.Down In The Willow Garden 15.Are You From Dixie Tracks of Disc 2 1.Shady Grove 2.More Pretty Girls Than One 3.Dark As A Dungeon 4.Fair And Tender Ladies 5.Beulah Land 6.Hot Time In The Old Town Tonight 7.I'm Satisfied 8.Jackson 9.Farther Along 10.Soul Of Constant Sorrow 11.Wayfaring Stranger 12.My Tennessee Mountain Home 13.Miner's Prayer 14.Paradise 15.Goodnight Irene Mississippi John Hurt also appears in this compilation Tracks of Disc 1 23.My Baby Don´t Love Me Tracks of Disc 2 1.Down The Dirt Road Blues 2.It Won't Be Long 3.High Water Everywhere - Part 1 4.High Sheriff Blues 5.Mississippi Bo Weavil Blues 6.Lord I'm Discouraged 7.Shake It And Break It 8.Rattlesnake Blues 9.Screamin' And Hollerin' The Blues 10.A Spoonful Of Blues 11.Pony Blues 12.Magnolia Blues 13.Moon Going Down 14.I'm Goin' Home 15.Elder Green Blues 16.Jim Lee Blues - Part 1 17.Banty Rooster Blues 18.Jersey Bull Blues 19.I Shall Not Be Moved 20.Going To Move To Alabama 21.Pea Vine Blues 22.Green River Blues 23.Bird Nest Bound Tracks of Disc 3 1.Levee Camp Blues 2.Government Fleet Blues 3.Walking Blues 4.Shetland Pony Blues 5.Fo' Clock Blues 6.Camp Hollers 7.Delta Blues 8.Special Rider Blues (Test) 9.Special Rider Blues 10.Low Down Dirty Dog Blues 11.Depot Blues 12.Alan Lomax Talking 13.American Defense 14.Am I Right Or Wrong? 15.Walking Blues 16.County Farm Blues 17.The Pony Blues 18.The Jinx Blues - Part 1 19.The Jinx Blues - Part 2 Tracks of Disc 4 1.I Believe I'll Dust My Broom 2.Phonograph Blues 3.Ramblin' On My Mind 4.Kindhearted Woman Blues 5.Terraplane Blues 6.I'm A Steady Rollin' Man 7.Walking Blues 8.Last Fair Deal Gone Down 9.Dead Shrimp Blues 10.Sweet Home Chicago 11.32-20 Blues 12.Come On In My Kitchen 13.If I Had Possession Over Judgement Day 14.Me And The Devil Blues 15.Preaching Blues (Up Jumped The Devil) 16.Stones In My Passway 17.Cross Road Blues 18.Travelling Riverside Blues 19.When You Got A Good Friend 20.Milkcow's Calf Blues 21.Hellhound On My Trail 22.From Four 'Til Late 23.Honeymoon Blues 24.Stop Breakin' Down Blues 25.Malted Milk 26.Little Queen Of Spades 27.They're Red Hot 28.Drunken Hearted Man 29.Love In Vain Tracks of Disc 5 1.District Attorney Blues 2.Bukka's Jitterbug Swing 3.Special Streamline 4.Shake 'Em On Down 5.When Can I Change My Clothes? 6.Promise True And Grand 7.Po' Boy 8.The New Frisco Train 9.Sic 'Em Dogs On 10.High Fever Blues 11.Pinebluff, Arkansas 12.Strange Place Blues 13.Parchman Farm Blues 14.Sleepy Man Blues 15.I Am In The Heavenly Way 16.Black Train Blues 17.Aberdeen, Mississippi Blues 18.Good Gin Blues 19.The Panama Limited 20.Fixin' To Die Tracks of Disc 6 1.Baby Please Don't Go 2.Crawlin' King Snake 3.Long Tall Woman, Skinny Mama Too 4.Highway 49 5.That Thing's In Town 6.King Biscuit Stomp 7.Sloppy Drunk Blues 8.Peach Orchard Mama 9.Jump, Baby, Jump! 10.Delta Blues 11.Stack Of Dollars 12.Throw A Boogie Woogie 13.Drop Down Blues 14.Somebody's Been Worryin' 15.Don't Leave Me Here 16.Banta Rooster Blues 17.Blues Left Texas 18.I'm Getting Wild About Her 19.Walk On, Little Girl 20.Mellow Peaches 21.P Vine Blues 22.No.13 Highway 23.I Got A Bad Mind 24.Arkansas Woman 25.I Done Stop Hollering Tracks of Disc 7 1.Midnight Special 2.John Hardy 3.Where Did You Sleep Last Night? 4.T.B. Blues 5.Easy Rider 6.Alberta 7.Rock Island Line 8.Alabama Bound 9.You Can't Lose-A Me Cholly 10.New York City 11.Roberta 12.Leaving Blues 13.When The Boys Were Out On The Western Plains 14.I'm On My Last Go Round 15.Mother's Blues 16.Pretty Flowers In My Back Yard 17.Pick A Bale Of Cotton 18.Sail On Little Girl 19.Fannin Street 20.Packing Trunk Blues 21.The Bourgeois Blues 22.Good Morning Blues 23.The Boll Weevil 24.Shorty George 25.Goodnight Irene Tracks of Disc 8 1.Devil Got My Woman 2.Cypress Grove Blues 3.Little Cow And Calf Is Gonna Die Blues 4.Hard Time Killin' Floor Blues 5.Drunken Spree 6.Cherry Ball Blues 7.Jesus Is A Mighty Good Leader Tracks of Disc 1 1.High Sheriff Blues 2.Mississippie Country Blues 3.Clarksdale Moan 4.God Don´t Never Change 5.Packin´Trunk Blues 6.I Believe I´ll Make A Change 7.When The War Was On 8.Black Snake Moan 9.The Prodigal Son 10.Away Down In The Alley Blues 11.My Black Mama Part One 12.My Black Mama Part Two 13.Touch It Up And Go 14.Hittin´ The Bottom Stomp 15.Somebody´s Been Borrowing That Stuff 16.Greystone Blues 17.Bukka´s Jitterbug Swing 18.Homesick & Lonesme Blues 19.Dry Spell Blues Part 1 20.Dry Spell Blues Part 2 21.Broke Down Engine 22.Shake ´Em Down Tracks of Disc 9 21.Let Your Light Shine On Me 22.It's Nobody's Fault But Mine 23.The Soul Of A Man 24.If I Had My Way I'd Tear The Building Down Tracks of Disc 10 1.Country Blues 2.I Be's Troubled 3.Burr Clover Farm Blues 4.Ramblin' Kid Blues (Partial) 5.Ramblin' Kid Blues 6.Rosalie 7.Joe Turner 8.Pearlie May Blues 9.Take A Walk With Me 10.Burr Clover Blues 11.I Be Bound To Write To You (First Version) 12.I Be Bound To Write To You (Second Version) 13.You're Gonna Miss Me When I'm Gone (Number One) 14.You Got To Take Sick And Die Some Of These Days 15.Why Don't You Live So God Can Use You 16.Country Blues (Number Two) 17.You're Gonna Miss Me When I'm Gone (Number Two) 18.32-20 Blues Tracks of Disc 8 8.Illinois Blues 9.How Long "Buck" 10.Four O'Clock Blues 11.22-20 Blues 12.Hard Luck Child 13.If You Haven't Any Hay Get On Down The Road 14.Be Ready When He Comes 15.Yola My Blues Away 16.I'm So Glad 17.What Am I Gonna Do Blues 18.Special Rider Blues Tracks of Disc 9 1.Frankie 2.Nobody's Dirty Business 3.Ain't No Tellin' 4.Louis Collins 5.Avalon Blues 6.Big Leg Blues 7.Stack O' Lee 8.Candy Man Blues 9.Got The Blues (Can't Be Satisfied) 10.Blessed Be The Name 11.Praying On The Old Camp Ground 12.Blue Harvest Blues 13.Spike Driver Blues 14.Keep Your Lamp Trimmed And Burning 15.You're Gonna Need Somebody On Your Bond 16.God Moves On The Water 17.Jesus Is Coming Soon 18.John The Revelator 19.Dark Was The Night - Cold Was The Ground 20.Trouble Will Soon Be Over Mississippi John Hurt also appears in this compilation Tracks of Disc 1 1. Standing At The Crossroads 2. Fixin' To Die 3. I Believe I'll Dust My Broom 4. Baby Please Don't Go 5. Spoonful Blues 6. Who May Your Regular Be 7. Mississippi River Blues 8. Miss Sadie Mae 9. Bottle It Up And Go 10. I Be's Troubled 11. Stomp Down Rider 12. Blue Harvest Blues 13. Dirty Mistreater 14. Little Boy Sue 15. Ragged And Dirty 16. Devil Got My Woman 17. Catfish Blues 18. Black Pony Blues 19. Lonesome Highway Blues 20. Special Rider Blues 21. 34 Blues 22. Crawlin' King Snake 23. When The Leevee Breaks 24. Canned Heat Blues 25. Delta Blues Tracks of Disc 2 1. Country Blues 2. Stagolee 3. Death Valley Blues 4. Black Spider Blues 5. Highway No.51 6. Candy Man Blues 7. Hellhound On My Trail 8. Early In The Morning 9. Early In The Morning 10. Hobo Jungle Blues 11. Motherless And Fatherless Blues 12. Blue Harvest Blues 13. Aberdeen Mississippi Blues 14. Banana Your Fruit Basket 15. My Black Mama (Part 1) 16. Left Alone Blues 17. Nobody's Fault But Mine 18. 1951 Blues 19. Hard Time Killin' Floor Blues 20. Rockin' Chair Blues 21. Something Gonna Happen To You 22. Joe's Jump 23. Cool Drink Water Of Blues 24. Rootin' Ground Hog 25. Cross Road Blues Tracks of Disc 3 1. Preaching Blues (Up Jumped The Devil) 2. Am I Right Or Am I Wrong? 3. You're Gonna Miss Me When I'm Gone 4. Frankie 5. Build A Cave 6. Parchman Farm Blues 7. Take A Little Walk With Me 8. Trouble Hearted Blues 9. She's A Married Woman 10. I'm So Glad 11. I Love My Baby 12. Landing Blues 13. Last Time Blues 14. I'm Getting Wild About Her 15. Special Agent Blues 16. Shake Them Down 17. Shake It And Break It 18. Milk Cow Blues 19. Little School Girl 20. Ain't No Telling 21. Dark Was The Night - Cold Was The Ground 22. Love In Vain 23. Moon Going Down 24. Special Steam Lines 25. My Pencil Won't Write No More Mississippi John Hurt also appears in this compilation Tracks of Disc 1 22. Runaway Woman 23. Why Should I Worry? 24. Taylor Mae 25. I Believe I'll Dust My Broom Tracks of Disc 2 1. Death Valley Blues 2. Better Day 3. Catfish Blues 4. Little School Girl 5. I Don't Want Your Money 6. Call Me Before You Go Home 7. Key To The Highway 8. Sad News From Korea 9. Spoon's Blues 10. Pistol Slapper Blues 11. Little Boy Sue 12. Canned Heat Blues 13. Stomp Down Rider 14. Dirty Mother For You 15. Highway No.51 16. Dark Night Blues 17. Joe's Jump 18. I'm Getting Wild About Her 19. Misery Blues 20. Oh Lawdy Mama 21. Old Battle Ax 22. It Must Be Love 23. Frankie And Johnny 24. Black Spider Blues 25. Trouble In Mind Tracks of Disc 1 1. Baby Please Don't Go 2. I Need Some Money 3. Give Me Central 209 4. Black Pony Blues 5. Bottle It Up And Go 6. Walking Alone 7. Rats In My Kitchen 8. Ain't Nobody's Business 9. Mississippi River Blues 10. Careless Love 11. She Don't Treat Me Good No More 12. Shake A Leg 13. Something's Wrong With My Little Machine 14. I Love My Baby 15. Blue Harvest Blues 16. All My Money Gone 17. Barbecue Blues 18. Runaway Man Blues 19. Notoriety Woman 20. Thousand Woman Blues 21. Take A Little Chance Mississippi John Hurt also appears in this compilation Tracks of Disc 2 19.Dupree Blues 20.Cool Drink Of Water Blues 21.Little Boy Blue 22.Left Alone Blues 23.Broke & Hungry Blues 24.Ramrod 25.Kansas City Blues Tracks of Disc 1 1.Crossroads Blues 2.Mississippi Boweavil Blues 3.Match Box Blues 4.Good Morning Blues 5.Statesboro' Blues 6.Careless Love Blues 7.Homesick & Lonesome Blues 8.Dark Was The Night, Cold Was The Ground 9.Bull Doze Blues 10.Sportin' Life 11.So Long 12.Diddie Wa Diddie 13.Judge Harsh Blues 14.I Belong To The Band 15.Baby Please Don't Go 16.Motherless Child Blues 17.Lazy Black Snake Blues 18.Going To Germany 19.I'm A Prowling Groundhog 20.I Can't Make You Satisfied 21.Candy Man Blues 22.Good Morning, School Girl 23.That's No Way To Get Along 24.I'll Be Rested 25.Walking Blues Tracks of Disc 2 1.I'm So Glad 2.Kingfish Blues 3.Aberdeen Mississippi Blues 4.Divin' Duck Blues 5.Cold Iron Bed 6.Midnight Hour Blues 7.Special Delivery Man 8.Married Man Blues 9.Sorry Feeling Blues 10.Dead & Gone Mother 11.The Twelves (Dirty Dozen) 12.Down South Blues 13.'Taint Nobody's Business If I Do Pt. 2 14.Country Blues 15.Good Whiskey Blues 16.Lock And Key Blues 17.Travelin Mama Blues 18.No More Women Blues
4189	dbpedia	1	41	https://blues.fandom.com/wiki/Mississippi_John_Hurt	en	Mississippi John Hurt	https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711	https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711	[ "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Blues Wiki" ]	2024-07-29T22:27:06+00:00	John Smith Hurt, better known as Mississippi John Hurt (July 3, 1893 or March 8, 1892 — November 2, 1966) was an American country blues singer and guitarist.[1] Raised in Avalon, Mississippi, Hurt taught himself how to play the guitar around age nine. Singing to a melodious finger-picked...	en	/skins-ucp/mw139/common/favicon.ico	Blues Wiki	https://blues.fandom.com/wiki/Mississippi_John_Hurt	John Smith Hurt, better known as Mississippi John Hurt (July 3, 1893 or March 8, 1892 — November 2, 1966) was an American country blues singer and guitarist.[1] Raised in Avalon, Mississippi, Hurt taught himself how to play the guitar around age nine. Singing to a melodious finger-picked accompaniment,[2] he began to play local dances and parties while working as a sharecropper. He first recorded for Okeh Records in 1928, but these recordings were commercial failures. Hurt then drifted out of the recording scene and continued to work as a farmer. Tom Hoskins, a blues enthusiast, located Hurt in 1963 and convinced him to relocate to Washington, D.C. where he was recorded by the Library of Congress in 1964. This helped further the American folk music revival, which had led to the rediscovery of many other bluesmen of Hurt's era. Hurt entered the university and coffeehouse concert circuit with other Delta blues musicians brought out of retirement. As well as playing concerts, he recorded several albums for Vanguard Records. Hurt died in Grenada, Mississippi. Material recorded by him has been re-released by many record labels over the years and his songs have been recorded by Bob Dylan, Jerry Garcia, Beck, Doc Watson, John McCutcheon, Taj Mahal, Bruce Cockburn, David Johansen, Bill Morrissey, Gillian Welch, Guthrie Thomas and Rory Block. Genre[] Early Country Blues Songs[]
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"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vf510uQk0cY9IZHPrmFbvaMpe4XKEtNuY8JOATGBJjKQTz80j2if4E8HttmFUWR8Yr1JaKo82tUyOuwXiwx26De1MEEYIPvV4ZHIYX0y8KgXA=s16-w16-h16", "https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uQzgUt5M9dxriC8AO8OE0oKHDzG5Tjc7wxmPKBOiJEcHle4hU-SuVJG4bdOtTammA1i5u7NFwhDf63ElwPP4m0Lx0SDJVStLZipg=s16-w16-h16" ]	[]	[]	[ "" ]	null	[ "View my complete profile" ]	null	For the past six or eight months, I have been listening to a lot of country blues, pre-war and post-war. I always come and go with it, pick...	en	http://fridaybluesfix.blogspot.com/favicon.ico		http://fridaybluesfix.blogspot.com/2021/02/avalon-blues.html	Read This!! Unless stated otherwise, when FBF reviews a CD or DVD, please be advised that I received a free copy of that CD or DVD via mail or free download to facilitate the review. All opinions stated are my own. Translate
4189	dbpedia	0	37	http://deadessays.blogspot.com/2020/02/mississippi-john-hurt.html	en	Grateful Dead Guide: Mississippi John Hurt	https://blogger.googleus…o-nu/Frankie.jpg	https://blogger.googleus…o-nu/Frankie.jpg	[ "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGgA6JwjXb1SPgKHref5Lyk3NLUMGKYLq5mFxsnTQypcM3yUx8iI4DRPDR7ugsizgMdCg55bx4UB2vg0a4kD0GQRvbLZFCzUXiLtvhCZln3qF-mNJfGg2E4cM1pyW3oEkQNxxY7tRvpsM/s320/Frankie.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiM3-iSNOqbrV1c8qo_AO9qlEfn1vvuL0orlWFzIsluDCHghtScfomQTNoOwHioRRbuKs9LPn6jhkqvcKByMIBNBVLvIMQ0Qr1DJZAmHvwUzLDc31bjCY3qihEyhTo-Yo-i-oLfKbAx5M/s400/Race+Record+Dream.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwXTGR93edtOqiB837JsBesIIgshBraTtycl7WRnuVTlsyoSyc6d5gp8w5Iz47NSSpbPSbqKnMvffWniyNoFGJ8SyzpekrOc8D-M6DzNNsoiius9aHZ26ltHdpyMEH1s42DTBkr_mXdAY/s400/Berkeley+Folk+1964-2+crop.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg5naETwC0Vwja6P11Ay_xRr5I71qyVteHoT8vcEBNUlNRZo2hD2HaA-cfFFTuiN5IK-ldkRlFsl8rFupQ-LuK9BLRBklmnlZ6k0qzBO_UaVUJjnWPWvHvuKoB2pK57HMaK8SMvA42JuA/s400/inu-brkflk-16-3-45-3-1-Mississippi-John-Hurt-from-backstage-Greek-Theater-Cal-1964-Berkeley-Folk-Music-Festival.jpg", "https://resources.blogblog.com/img/icon18_email.gif", "https://resources.blogblog.com/img/icon18_edit_allbkg.gif", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/subscribe-netvibes.png", "https://resources.blogblog.com/img/widgets/subscribe-yahoo.png", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/subscribe-netvibes.png", "https://resources.blogblog.com/img/widgets/subscribe-yahoo.png", "https://resources.blogblog.com/img/icon_feed12.png", "https://resources.blogblog.com/img/widgets/arrow_dropdown.gif", "https://resources.blogblog.com/img/icon_feed12.png" ]	[]	[]	[ "" ]	null	[ "Light Into Ashes" ]	null	This is just a short post on one of the musicians Jerry Garcia admired. While Mississippi John Hurt had only a small influence on the Gr...	en	http://deadessays.blogspot.com/favicon.ico		http://deadessays.blogspot.com/2020/02/mississippi-john-hurt.html
4189	dbpedia	1	94	https://eng.richardaseguin.com/%3Fm%3D202107	en		http://richardaseguin.com/fra/wp-content/uploads/2024/01/Presley-e1706013204170.jpg		[ "http://richardaseguin.com/fra/wp-content/uploads/2024/07/Wolf-scaled-e1721391544981.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/07/Charley_Patton_1929_photo_portrait-e1721391608762.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/07/Memphis_Minnie-e1721391673916.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/06/Willie-e1719574364759.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/05/Taj_Mahal-e1716559689929.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/05/Le-Hibou-1965-1-e1716559603142.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/05/Martin_Carthy-e1716559756384.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/04/1200px-The-Twa-Corbies-e1713708559105.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/04/Penholm_-_G._Howell-Baker_-_1901_-_74126fB167_20_cropped-e1713708681474.png", "http://richardaseguin.com/fra/wp-content/uploads/2024/03/Gary-Davis-e1711542379758.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/03/Stephan-Grossman-e1711542549229.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/02/Muddy-1950-e1708799252319.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/02/Sims-Muddy-Stovall-e1708799456308.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/02/Hammie-Nixon-Yank-Rachell-Sleepy-John-Estes-e1708867904656.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/01/Presley-e1706013204170.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/01/The_Blue_Moon_Boys2-e1706013227802.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2024/01/Elvis_and_Scotty_Moore_cropped-e1706013144936.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2023/12/Welch-Rawlings-e1702403966891.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2023/12/Rick-on-Dobro--scaled-e1702561851501.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2023/11/BIABH.jpg", "http://richardaseguin.com/fra/wp-content/uploads/2019/06/Alrick-2-1-e1700916902290.png", "http://richardaseguin.com/fra/wp-content/uploads/2019/06/Roch-e1688769652762.png", "http://richardaseguin.com/fra/wp-content/uploads/2023/10/Dylan-1-300x230.webp", "http://eng.richardaseguin.com/wp-content/uploads/2018/07/guitares-670-1.jpg" ]	[]	[]	[ "" ]	null	[]	null			https://eng.richardasegu…ages/favicon.png		null	Willie Dixon (1915-1992) was born in Vicksburg, Mississippi and he was born to a life in music. He sang in the Baptist Church from the age of four. As a teenager, he sang in a gospel quintet called The Union Jubilee Singers. His playful mother often rhymed things she said, a habit which young Willie soon imitated. Ever the businessman, he started adapting his rhymes into songs that he sold to local musicians. Dixon moved to Chicago in 1936 and, thanks to his 6’6”, 250 lb frame, became the Illinois State Heavyweight Boxing Champion (Novice Division). He was even Joe Louis’ sparring partner for a while! Dixon played and sang in various Chicago groups, perfecting his technique on the upright bass, until the advent of World War II. He refused conscription into military service as a conscientious objector, saying he would not fight for a nation in which institutionalized racism and racist laws were prevalent. Dixon was jailed 10 months for these beliefs. Dixon signed with Chess Records as a recording artist but he performed less as he got more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician, and staff songwriter. He was also a producer for Checker Records, a subsidiary of Chess. From late 1956 to 1959, he worked in a similar capacity for Cobra Records, producing early singles by Otis Rush, Magic Sam and Buddy Guy. He later recorded for Bluesville Records and ran his own record label, Yambo Records, and its two subsidiaries, Supreme and Spoonful. Dixon is considered one of the key figures in the creation of the Chicago blues idiom. He helped far too many artists with way too many great compositions to list here, songs that have lifted these artists to the highest echelons of the blues. Some of the biggest stars of the blues supplemented their careers with songs written by Dixon – Howlin’ Wolf’s “Spoonful”, “Evil”, “Back Door Man”, and “Little Red Rooster” were all Willie Dixon compositions. “Hoochie Coochie Man” and the two songs in this post, “The Same Thing” and “I Am The Blues”, were all recorded by Muddy Waters but all were written by Willie Dixon. In 1977, unhappy with the small royalties paid by Arc Music, Chess’ publishing company, Dixon and Muddy Waters sued Arc and, with the proceeds from the generous out-of-court settlement, founded their own publishing company, Hoochie Coochie Music. In 1987, Dixon reached an out-of-court settlement with the rock band Led Zeppelin after suing for plagiarism in the band’s use of his music in “Bring It On Home” and lyrics from his composition “You Need Love”, used in the band’s recording of “Whole Lotta Love.” In his later years, Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation, which works to preserve the legacy of the blues and to secure copyrights and royalties for blues musicians who were exploited in the past. Willie Dixon won a Grammy Award (1989) and was inducted into the Blues Hall of Fame (1980), the Rock and Roll Hall of Fame (1994) and the Songwriters Hall Of Fame (2015). Richard Séguin – voice, dobro, MIDI programming (piano, upright bass, drums) To hear the song, click on the link below. The Same Thing – I Am The Blues Copyright Disclaimer under Section 107 of the Copyright Act 1976 : allowance is made for « fair use » for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Henry St. Claire Fredericks Jr. (b.1942) is universally known by his stage name of Taj Mahal. He is an American blues musician who plays guitar, piano, banjo, harmonica, and many other instruments, often incorporating elements of world music into his work. Mahal has reshaped the definition and scope of blues music over the course of his more than 50-year career by fusing it with nontraditional forms, including sounds from the Caribbean, Africa, India, Hawaii, and the South Pacific. Mahal’s career started in 1964 with the formation of the group Rising Sons, which featured Ry Cooder, one of the best guitarists of the period. Taj next joined up with Jesse Ed Davis, a Kiowa native from Oklahoma and a tremendous guitarist in his own right. With the addition of Gary Gilmore (bass) and Chuck Blackwell (drums), the group performed under Taj Mahal’s name and was one of the first interracial bands of the period. This is the group I saw in 1968 at Le Hibou coffee house on Sussex Drive in Ottawa. It was one of the best performances I have seen in my life. They tore the roof off the place. Jesse Ed Davis went on to play with the likes of Eric Clapton, John Lennon, George Harrison and Bob Dylan, to name but a few. It is difficult to overstate the importance of Taj Mahal’s eponymous first album (1968), which took traditional material by Blind Willie McTell (1898-1959), Sonny Boy Williamson (date of birth unknown – 1965), Robert Johson (1911-1938) and Sleepy John Estes (1899-1977), turning everything on its head with some of the most raucous and satisfying electric blues recordings ever made. In less than 24 months, Taj Mahal issued three more albums – Natch’l Blues (1968), the electric Giant Step and the decidedly rural De Ole Folks at Home (1969) The genesis of my arrangement for “Light Rain Blues” follows the revival of folk music in the U.S. and of folk and Celtic music in Britain in the mid-20th century. It was at this time that I was teaching myself to play the guitar. The most prominent British guitarists involved in this revival were Davey Graham (1940-2008), Bert Jansch (1943-2011), John Renbourn (1944-2015) and Martin Carthy (b. 1941). When American singer Bob Dylan arrived in London for the first time in 1962 he visited Martin Carthy and heard him perform in public. Dylan learned the traditional song “Scarborough Fair” from Carthy, which he later developed into his own song “Girl From the North Country”. At this time, many British guitarists experimented with different ways of tuning the guitar, creating “alternate tunings” by voluntarily detuning the strings to obtain tones not otherwise available. Martin Carthy, for example, created the alternate tuning EADEAE to better reach the tonalities of bagpipe music. Carthy called it his “pipe tuning”. About 15 years ago, I was trying out Carthy’s tuning and found an interesting melody which I recorded so as not to forget it. While recently rumaging through old recordings to inspire new projects, I came across that old file, entitled “EADEAE”. It consisted of 25 seconds of an interesting guitar melody, circular, repetitive and sedate, like a long rainy day, played in Carthy’s “pipe tuning”. That melody forms the basis of my arrangement of “Light Rain Blues”. Richard Séguin – voice, acoustic guitar, mandolin, samples To hear the song, click on the link below. Light Rain Blues Copyright Disclaimer under Section 107 of the Copyright Act 1976 : allowance is made for « fair use » for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Sometime between the 16th and 19th century, the English ballad “The Three Ravens” evolved into the Scottish ballad “Twa Corbies” (Two Ravens). “The Three Ravens” was first printed in a song book compiled by Thomas Ravenscroft in 1611 but it is perhaps much older than that. Written in the Scots language, the ballad “Twa Corbies” first appeared in correspondence dated 1802, which indicates that it came from the recitation of an old woman at Alva, a small town in Clackmannanshire in the Central Lowlands of Scotland. “Twa Corbies” is invariably sung in the Scots parlance of the time. The use of an “a” in many words would later be replaced by an “o” : “twa” became “two”, “alane” became “alone” and so on. The word “corbies” obviously comes from the French “corbeaux” (ravens). Here is a modern English translation of the lyrics to “Twa Corbies” : As I was walking all alone / I heard two ravens making noise And one unto the other said / Where shall we go and dine today? Where shall we go and dine today? In behind that old sod wall / I know there lies a newly slain knight And nobody knows that he lies there / But his hawk and his hound and his lady fair His hawk and his hound and his lady fair His hawk is gone to join the hunt / His hound to fetch a wildfowl home His lady has taken another mate / So we may make our dinner sweet So we may make our dinner sweet You’ll sit on his white neckbone / And I’ll peck out his pretty blue eyes With many a lock of his golden hair / We’ll line our nest when it grows bare We’ll line our nest when it grows bare Many a one for him do mourn / But none will know where he is gone Over his white bones when they are bare / The wind shall blow for ever more The wind shall blow for ever more The ballad is brutally harsh and macabre and reflects its time very well. Violence was considered a necessary part of life in the Middle Ages and people were surrounded by violence in many forms, including wars, bloody tournaments, and deadly rivalries for power and land. Graphic depictions of violent events were also common. Violence played a major role in family disputes, in the justice system, and even in education and entertainment. Nations clashed over land, vassals revolted against lords, and crusaders waged holy wars in the name of religion. Medieval politicians often pointed to warlike behavior in biblical and ancient history to justify their own violent schemes. Men were indeed barbarians, descendant from a long line of barbarians. The knight in Medieval Times was granted a position of honour, especially in a military capacity. Knights were expert horsemen skilled in battle and enjoyed all the latest technological advantages such as armour, maille, lances and crossbows. And yet, the knight was surpassed in the mid-15th century by advancements in the weapons of war, such as the introduction of the culverin as an anti-personnel, gunpowder-fired cannon. Thus, in “Twa Corbies”, two scavenger ravens searching for their next meal come upon a dead knight fallen behind a wall. The knight has been totally abandoned, his hawk gone to join a hunt, his hound fetching a wildfowl home and his lady already taken with another mate. Seeing no opposition, the ravens descend upon the knight’s carcass, pecking out his eyes and pulling out his hair to thicken their nest. The knight’s sun-bleached bones lie forgotten, the wind blowing over them for ever more. Richard Séguin – voice, MIDI instruments (dulcimer, fiddle, viola, drums), audio samples To hear the song, click on the title below Twa Corbies Copyright Disclaimer under Section 107 of the Copyright Act 1976 : allowance is made for « fair use » for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. “Death Don’t Have No Mercy” is a song by the American gospel and blues singer-guitarist Reverend Gary Davis (1896-1972). It was first recorded in 1960 during a career rebirth for Davis, thanks to the American folk music revival of that period. Gary Davis was born in Laurens County in the Piedmont region of South Carolina. Of the eight children his mother bore, he was one of only two who survived to adulthood. He became blind as an infant after improper treatment of an eye condition. He recalled being poorly treated by his mother and that his father placed him in the care of his paternal grandmother. His father left during Gary’s childhood and was gunned down by authorities in Alabama after an alleged murder incident. Davis had exhibited an interest in music at an early age and built a guitar from a pie pan around the age of seven. He taught himself to play guitar, banjo, and harmonica and began playing local dances for the white folk while still a child. In 1937 Davis married Annie Bell Wright, a woman as deeply spiritual as himself, and she looked after him devotedly until his death. In 1940, when the blues was losing popularity, they moved to Mamaroneck, New York, where Annie had found work as a housekeeper. Later that same year they moved to Harlem, where they lived for the next 18 years and where Davis became a minister of the Missionary Baptist Connection Church. He continued busking and preaching in New York, often referred to as the “Harlem Street Singer.” For a time he stopped playing blues music altogether in favour of gospel and old time songs. He also taught guitar, charging $5 for lessons that could last all day and into the night. As he became better known among folk aficionados, he made recordings for various companies, consenting little by little to revive some of his secular repertoire for the benefit of his white admirers. Among some of his students were Stefan Grossman (founder of the Guitar Workshop), Steve Katz (of Blood, Sweat and Tears), Bob Weir (of The Grateful Dead) and Dave Van Ronk. In a performance at the Gaslight Cafe in Manhattan, Davis famously referred to his disciples by saying “I have no children, but I have sons.” In particular, the work of Stephan Grossman must be singled out. He met Gary Davis when he was only 15 years old, his dad driving him to the Bronx to take guitar lessons. Grossman led Davis to coffee shops, bar mitzvahs, dances and churches, where his wide range of styles suited any audience. Grossman often acted as Davis’ aide when deaing with municipal requirements, filling out forms and other paperwork impeded by his blindness. As a teenager, learning was for me a process of hearing the song and trying to find the right notes on my guitar. At that time, there were a few recordings of masters like Gary Davis or Mississippi John Hurt but only on vinyl. Tape machines were rare, bulky, awkward and expensive. I remember being frustrated trying to learn to play from vinyl recordings – since my guitar was only tuned “by ear,” I struggled finding the right pitch and the notes played by those great guitarists of the time flew at me from everywhere. Then there were innovative guitarists like Bert Jansch who played the guitar in exotic tunings and I couldn’t find his notes on my guitar! I was saved when I saw an ad at the back of a comic book, telling me to write in to the Stefan Grossman Guitar Workshop in New York City for a free catalog of guitar instruction lessons. For me, New York City might as well have been Mars but I wrote in and it worked! I started collecting Grossman’s instruction books, everything written out in tablature, a pictorial representation of the six guitar strings complete with numbers on the string lines to indicate at which fret to play each string. For a kid like me, who could never afford real music lessons, tablature was a godsend. Stefan Grossman’s Guitar Workshop, and Grossman himself, are responsible for nurturing the aspirations of countless guitarists who wanted to learn the fingerpicking style. The Workshop is still active and now features many priceless video recordings of the great masters from the past. My rendition of “Death Don’t Have No Mercy” is dedicated to the memory of my sister Marielle, who passed away last year, and of my brother Bob, who left us just this month. Richard Séguin – voice and acoustic guitar To hear the song, click on the title below Death Don’t Have No Mercy Copyright Disclaimer under Section 107 of the Copyright Act 1976 : allowance is made for « fair use » for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. When I was a teenager, I read some of the pop music magazines that were available at St-Jacques, the local pool hall and general store in Rockland. Other than the radio, there were no other media to inform you about what was happening in Britain and America, the vanguards of contemporary music at that time. When I started working at the age of 19, all the music from my youth was being replaced by new directions that I had very little faith in. At that time, I could finally afford my first instruments : a used Gibson acoustic guitar, a second-hand Gibson electric guitar and a cheap Fender banjo. Thanks to the influence of artists like Doc Watson and Mississippi John Hurt, I loved acoustic music and the more I delved into its past, the more I understood the migration of music from the rural southern United States to the industrial northern states. The music of the American post-war era became my bible. Many black people from all walks of life migrated to the north for jobs and many of them settled in Chicago. One of these travellers was McKinley Morganfield (1913-1983), born in a Mississippi county that is not conclusively known. His grandmother, Della Grant, raised him after his mother died shortly after his birth. Grant gave him the nickname “Muddy” at an early age because he loved to play in the muddy water of nearby Deer Creek. Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi where the remains of the cabin where he lived in his youth are now preserved as the Delta Blues Museum. In August 1941, Alan Lomax, Assistant in Charge of the Archive of Folk Song of the Library of Congress, went to Stovall Plantation to record various country blues musicians including Muddy Waters, who played at that time with a fiddler named Henry “Son” Sims (1890-1958). Lomax came back in July 1942 to record them again. Both sessions were eventually released by Testament Records as an album entitled “Down on Stovall’s Plantation.” In 1943, Muddy headed to Chicago with the hope of becoming a full-time professional musician. He lived with a relative while driving a truck, working in a factory by day and performing at night. In 1944, he bought his first electric guitar and then formed his first electric combo out of necessity. Electrifying his sound was the only way to be heard above the shouts, arguments, fights and flying beer bottles in the boisterous Chicago clubs of the era. The beer bottles in particular forced many musicians to play behind a protective fence of chicken wire. In studying the evolution of blues music, you readily see that the modern concept of 12-bar blues was more and more incidental the further back you go. Artists like Mississippi Fred McDowell and John Lee Hooker played their music without being constrained by a rigid tempo. The music simply flowed organically. Being one of Muddy’s earliest recordings on Chess Records, “Louisiana Blues” follows along those lines. Muddy sings and plays guitar with Little Walter Jacobs on harmonica, Ernest “Big” Crawford on upright bass, and drummer Elgin Evans tapping on a piece of wood. It is blues at its very core, primal and unadorned. “Louisiana Blues” makes mention of a “mojo hand.” In African-American spiritualism, a mojo is a spell that can be carried with or on the host’s body, consisting of a bag containing one or more magical items. Alternative American names for the mojo include gris-gris and mojo hand. I add a mandolin on my version of “Louisiana Blues.” Although the mandolin has been associated with blues music since the days of W.C. Handy (1873-1958), I first heard it played in blues songs by the great James “Yank” Rachell (1910-1997) on some of the very influential recordings of Sleepy John Estes (1899-1977). Richard Séguin – voice, slide guitar, Dobro resonator guitar, mandolin, sampled percussion. Louisiana Blues Copyright Disclaimer under Section 107 of the Copyright Act 1976 : allowance is made for « fair use » for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. I was lucky. Thanks to my older brother Gabriel, I got to know Elvis Presley in his prime. My brother, 14 years my senior and a keyboard player in a small local band, had a record collection that featured the best of black (Chuck Berry, Little Richard, Ivory Joe Hunter, LaVern Baker) and white (Jerry Lee Lewis, Elvis, Duane Eddy, Eddie Cochran). My brother loved rock ‘n roll music, no matter what the colour of the artists and I grew up in the same way. Racism is a disease reserved for adults. Such racial equality was a rare thing in the United States at that time. When I was a boy, the United States was a place of segregation in everything – human rights, public institutions, popular music, the record industry. In Canada, it was never an issue. I suspect that my parents were way too busy keeping a household of 9 people clothed and fed to bother with such things. My brother didn’t care and I never even once heard about the existence of different races as I grew up. I loved the music of Chuck Berry and Jerry Lee Lewis equally. I saw a picture of singer LaVern Baker at the age of 8 and she was the most beautiful woman I had ever seen. It never occurred to me that she was black. In the early part of the 20th century, phonographs and phonograph records were most commonly distributed to white clients through furniture stores while blacks who could afford them bought phonograph records from Pullman porters working on the railroads that criss-crossed America. By the mid-1920s, all the major record companies in the U.S. were selling records made exclusively by and for African Americans, “race” records, as they were called. Things remained the same until 1950, when a former disc jockey named Sam Phillips founded the Memphis Recording Service. Raised along side black people, working with them in the fields, Phillips recorded black amateur musicians and helped launch the careers of artists like B.B. King, Junior Parker, James Cotton, Rufus Thomas, Little Milton, Bobby Blue Bland and Howlin’ Wolf. The Memphis Recording Service also served as the studio for Phillips’s own label, Sun Record Company launched in 1952. When he first heard Howlin’ Wolf, Phillips famously said “This is where the soul of man never dies.” What Phillips was searching for was a white man who could sing like a black man. As history would have it, that man was Elvis Presley (1935-1977). On July 18, 1953, Presley dropped into Sun studio to record a song for his mother’s birthday. Presley was what Sam Phillips had been searching for all along. Presley’s association with Phillips was a perfect storm. Phillips gave him the leeway and encouragement to go all out. They found the best songs for Presley’s exuberant style, some of them already recorded by then unknown black R&B artists like Arthur “Big Boy” Crudup (1905-1974) (That’s Alright Mama) and Junior Parker (1932-1971) (Mystery Train). Black songwriter Otis Blackwell (1931-2002) was also a major contributor with his compositions “Don’t Be Cruel” and “All Shook Up.” To accompany Presley, Phillips used one of the best bands of the rock ‘n roll era, The Blue Moon Boys, with Bill Black (1926-1965) on upright bass, D.J. Fontana (1931-2018) on drums and Scotty Moore (1931-2016), one of the best guitarists in the history of rock ‘n roll. Elvis’ love of black R&B was apparent from the start – his first album in 1956 featured “Money Honey,” a song by Clyde McPhatter and The Drifters, and Ray Charles’ “I Got a Woman.” His electrifying live shows showcased his wild gyrations that no one had ever seen before. In short order, Elvis was featured on television shows hosted by the Dorsey Brothers, Milton Berle, Steve Allen and Ed Sullivan. In particular, 60 million people, or 82.6 percent of the viewing population, tuned in to watch the Steve Allen show.. Certainly, black artists like Chuck Berry had magnificent moves but they were slick while Elvis was raw. His gyrations certainly created a storm of controversy. The Catholic diocese in Wisconsin notified the FBI that Elvis was a threat to national security by arousing the sexual passions of teenaged youth. Many renowned music critics toed the line and one wrote that “popular music has reached its lowest depths in the ‘grunt and groin’ antics of one Elvis Presley – an exhibition that was suggestive and vulgar, tinged with the kind of animalism that should be confined to dives and bordellos.” Ed Sullivan, whose TV show was the nation’s most popular, declared Presley “unfit for family viewing.” To Presley’s displeasure, he soon found himself being referred to as “Elvis the Pelvis”, which he called “childish.” The Steve Allen show, in particular, introduced a “new Elvis” in a white bowtie and black tails. Presley sang “Hound Dog” for less than a minute to a basset hound wearing a top hat and bowtie. Presley would refer back to the Allen show as the most ridiculous performance of his career. Accompanying Presley’s rise to fame, a cultural shift was taking place that he both helped inspire and came to symbolize. The historian Martin Jezer wrote : “As Presley set the artistic pace, other artists followed. Presley, more than anyone else, gave the young a belief in themselves as a distinct and somehow unified generation—the first in America ever to feel the power of an integrated youth culture.” After being drafted into the U.S. Army in late 1957, Presley reported to Fort Chaffee in Arkansas on March 24, 1958. They cut off his hair like they did for all recruits. He dressed like everyone else and was trained to obey. He went in the greatest Rock n’ Roll artist of his generation and came out looking like everybody else. Elvis Presley may have died in 1977 but to me and others, he died in 1958 at the hands of conformity. He returned to his career in 1960 but was never close to the artist he was in the 1950s. Gillian Welch released “Elvis Presley Blues” in 2001 as part of her “Time (The Revelator)” CD. Her decision to insert into her song some of the lyrics from Presley’s 1956 hit “All Shook Up” is a stroke of genius. Richard Séguin – voice, acoustic guitar, mandolin, sampled percussion To hear the song, click on the title below. Elvis Presley Blues Copyright Disclaimer under Section 107 of the Copyright Act 1976 : allowance is made for « fair use » for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. “It’s All Over Now, Baby Blue” is a song written by Bob Dylan and featured on his “Bringing It All Back Home” album released on March 22, 1965. The song closes out the album, which marked the start of things to come for Dylan and for popular music in general. “Bringing It All Back Home” is generally regarded as one of the greatest and most important albums in the history of popular music. It was inducted into the Grammy Hall of Fame in 2006. On the first half of the album, Dylan is backed by an electric band – a move that alienated him from some of his peers in the folk music community, as well as many fans. The second half of the album contains songs played with his more familiar folk instrumentation. Lyrically, the album is a sharp deviation from his early days and brings to the forefront Dylan’s exploding consciousness at that time, often associated to the use of hallucinogenic drugs. Much speculation has surrounded who or what is the “Baby Blue” that the song bids farewell to. Coming as it does on the very last track of the album, Dylan’s farewell is so unapologetic and brutally final that it felt, at that time, like he was bidding farewell to an era. And perhaps he was. In a mesmerizing sequence of how the creative process sometimes works, Willie Dixon (1915-1992), who acted as producer, talent scout, session musician and staff songwriter for Chess Records, started things off with his magnificent composition “Hoochie Coochie Man”, first recorded by Muddy Waters (1913-1983) in 1954. This recording in turn inspired Bo Diddley (1928-2008) to write and record his blues standard “I’m A Man” in 1955. The same year, Muddy answered Bo with his recording of “Mannish Boy.” All three of these very similar blues songs and their magnificent beat inspired rock ‘n roller Gene Vincent (1935-1971) to write and record his song “Baby Blue” in 1958, which in turn inspired Dylan as he was writing “It’s All Over Now, Baby Blue” in 1964. What a journey! Dylan later described the writing of his song by saying “I had carried that song around in my head for a long time and I remember that when I was writing it, I’d remembered a Gene Vincent song. It had always been one of my favorites, Baby Blue… ‘When first I met my baby/She said how do you do/She looked into my eyes and said/My name is Baby Blue.’ It was one of the songs I used to sing back in high school. Of course, I was singing about a different Baby Blue.” Here is a priceless live clip of Gene Vincent and his band The Blue Caps playing “Baby Blue” in 1958. The Blue Caps featured guitarist Cliff Gallup, one of the more influential instrumentalists of the 1950s. https://www.youtube.com/watch?v=YOJrvMN0VK0 After the release of “Bringing It All Back Home”, many artists followed Dylan’s path by fusing folk music with rock instrumentation, most notably The Byrds, Simon and Garfunkel and Gordon Lightfoot. In the process, they created a genre that would later be labeled as “folk-rock” music. I’m lucky to be able to rely on the talent and professionalism of Roch Tassé and Alrick Huebener when recording several of my projects. I’ve known Roch since we were teenagers and he even played on my first recordings in the 1970s. Alrick has contributed his wonderful upright bass on several of my recordings for over six years. Richard Séguin – voice, MIDI programming (electric piano) Alrick Huebener – upright bass Roch Tassé – drums To hear the song, click on the title below. It’s All Over Now, Baby Blue Copyright Disclaimer under Section 107 of the Copyright Act 1976 : allowance is made for « fair use » for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research.
4189	dbpedia	0	60	https://www.pastemagazine.com/crawdaddy/the-moody-blues/what-goes-on-the-moody-blues-the-troggs-mississppi-john-hurt	en	What Goes On: The Moody Blues, The Troggs, Mississppi John Hurt	https://image-pastemagaz…-logo-main-m.png	https://image-pastemagaz…-logo-main-m.png	[]	[]	[]	[ "" ]	null	[ "Paul Williams" ]	1966-12-01T16:00:00+00:00	There's a group you have to hear. They're called the DOORS, and they're the best new band I've heard this year.	en	https://www.pastemagazin…ile-icon-196.png	Paste Magazine	https://www.pastemagazine.com/crawdaddy/the-moody-blues/what-goes-on-the-moody-blues-the-troggs-mississppi-john-hurt	This article originally appeared in Issue 7 of Crawdaddy in December, 1966. There’s a group you have to hear. They’re called the DOORS, and they’re the best new band I’ve heard this year. They’ve been playing at Ondine in New York, and may still be there as you read this. They have a single on Elektra (“Break on Through to the Other Side”) and an album which should be out in February. The album is a great experience: from “Break on Through” (“l found a country in your arms, island in your eyes arms are gone, eyes just lied—break on through to the other side!”) to “She’s a 20th Century Fox” to a perfect rock recording of “Alabama Song“ from Weill’s Mahagonny to (unbelievably) “The End,” a song which represents rock performing and audience-reaching and communication as it must be and never has been before. I kid you not: the Doors. They come from Los Angeles. Jim Morrison sings lead and writes most of their material; Ray Manzarek plays organ, piano, and celeste; Robbie Krieger plays guitar and occasional bass; John Densmore plays drums. I recommend their music unreservedly. The MOODY BLUES have broken up. This is very bad news for all who appreciate good rock, particularly the many Americans who never heard the Moodies live. Consolation: Denny Laine is recording as a solo act. His first single is “Why Did You Come?” on the Deram label. DONOVAN tours America tor two weeks in February, and is scheduled for The Ed Sullivan Show in April. Quite rightly. (And yes, that’s PAUL MCCARTNEY doing the whisper on “Mellow Yellow.”) The BEAGLES now exist and have a CBS TV show and a Columbia recording contract. Don’t say we didn’t warn you. “Good Vibrations” is the fastest-selling Beach Boys single ever. No matter what you’ve heard, all the BEACH BOYS sing on “GV”; the instrumental work, however, is done by studio musicians. Some of the stranger sounds are from a theramin; now Brian wants a cathedral organ for the next album. The TROGGS seem to be the victims of censorship; “I Can’t Control Myself,” an earthy but perfectly “clean” song, has reportedly been taken off the air in parts of America. My suspicion is that this quiet censorship has been more widespread than has been reported: the song made #2 in England, and made the Top 5 in numerous markets in America where it was given airplay The Troggs are an established group. But the song only went to #43 on the national charts. Apparently, radio stations all over the country never played it, or quietly dropped it, not because they found it objectionable but because they feared it might possibly be controversial. And once again, the consumer is forced out of the picture. Mississippi John Hurt is dead at seventy-tour. Performers in the rock/blues field should note that “I’m Satisfied” is the only song of John’s on which he held the copyright. It was John‘s wish that his grandchildren have the opportunity to go to college; if anyone is interested in recording “I’m Satisfied”—say, as the B side of a single—John’s publisher has agreed to give his share of the royalties, as well as John’s share, to the Hurt family. The YARDBIRDS play themselves in Blow Up, Michelangelo Antonioni’s first English language film. The director of La Notte saw the group at the Albert Hall in London, and asked them to appear, with Vanessa Redgrave, in his new movie. They perform an original number, “Strolling On.” The rush is on to record TIM HARDIN songs. Tim’s “Reason to Believe” and “Hang On to a Dream” are being recorded by everyone in sight; “It‘ll Never Happen Again,” “Don’t Make Promises,” “Misty Roses,” and of course “Carpenter” are also well covered. Meanwhile, Verve-Folkways has re-released Tim’s own recording of “Hang On to a Dream”; with “If I Were a Carpenter“ on the flip side. “Popcorn Radio” is the latest thing in exotic Georgia: deejays play a rock record, then a c&w tune, then another rock number. Response has been enthusiastic. DION & the BELMONTS have reunited and have a single, “Berimbau,” on ABC. A group called “The Hopeful” recorded a steal of Simon & Garfunkel’s “7 O’Clock News/Silent Night” called “6 O’Clock News/Silent Night,” and, just in case, the flip was “6 O’Clock News/America the Beautiful.” The record was never released. JOHN SEBASTIAN is composing the score for You’re a Big Boy Now, a Seven Arts movie. FOUR TOPS on The Ed Sullivan Show February 19. The SPENCER, DAVIS GROUP have signed with United Artists in the U.S. Their current British hit, “Gimme Some Loving,” has just been released here. Go thou and buy. Bootlegging is the latest evil to hit the record industry. A bootleg 45 is exactly the same as the real thing except that the company that legally pressed the song gets no return from it, the group gets no money, the songwriter gets no royalties. The profit goes to the storekeeper—or distributor or one-stopper—who bought the record for thirty cents instead of the forty-five to sixty cents he would usually pay, and to the bootlegger who paid ten to fifteen cents to have the record pressed illegally and who retains 100 percent of the profits. Centers of bootlegging seem to be New Jersey and the West Coast; the records bootlegged are largely r&b. In New York, a storekeeper was accused of buying bootlegs when a distributor found a record he hadn’t distributed yet on the shelves in this man’s store. In Boston, counterfeit copies of “Devil with a Blue Dress” and “I’m Your Puppet” abound—Bell Records indent the centers on their 45s, and the bootlegs can be identified by their lack of this indentation. Most counterfeits are not so easily identifiable, however; and we can expect things to get worse long before they get better. The Boston rock scene is undergoing major upheavals: the REMAINS no longer exist, the LOST have lost their drummer and are on the verge of splitting, and the Essential Noise have broken up. Watch for a group being started by ex-Remain Vern Miller and Crawdaddy’s Jon Landau; watch for another group called The Bagatelle. Boston will rise again! The BLUES PROJECT and SIMON & GARFUNKEL at Brandeis University December 10; S&G at Orchestra Hall Chicago February 10. ABC Records has signed JIMMY REED and will record a new Reed LP on their Impulse label. Contrary to persistent rumor, SANDY BULL is quite alive (and has been appearing at NYC’s Balloon Farm on St. Marks Place). Somebody should inform Vanguard Records of this fact. Spain, where girls can marry at fourteen and boys at sixteen, has banned public dancing for all under eighteen. LOVE increases. Michael Stuart has been acquired to play drums, etc.; Snoopy, formerly a concert pianist, has been moved over to the harpsichord/organ aspects of Love. And while Arthur Lee remains leader, his position as virtuoso is being threatened by another new member, Tjay Cantrelli, a woodwinds man with a strong jazz background. The second Love album, Da Capo, will be out in January. JOHNNY RAY has a single out on Reprise, “Step Aside”; meanwhile, Ronnie Dove has recorded “Cry.” Look for the HOLLIES on a U.S. tour with Herman’s Hermits starting December 23. Their next LP is out in England as of Dec. 2; watch for it here. JOHN LENNON & PAUL MCCARTNEY are writing the score for the new Boulting Brothers film, All in Good Time (starring Hayley Mills). And Paul has just produced a single by the Escorts, “From Head to Toe.” C@ WARD and the Gospel Singers are currently touring U.S. bases in Vietnam. WHO’s “I’m a Boy” finally available here on Decca Records. The BYRDS are without a producer. Allen Stanton has gone to A&M. Because of this, the group hasn’t recorded for months, and has no immediate plans to do so. The KING BEES—world’s oldest underground group—have a new single on RCA: “Hardly, Part Three.” Pete Quaife has rejoined the KINKS! Meanwhile, the group’s endless legal hassles about production contracts, etc., may have held up their latest U.S. single, “Dead End Street.” They have a new LP out in Britain, Face to Face, which by all rights should be fantastic. People are just beginning to realize how good the Kinks really are. Next SPOONFUL single: “Nashville Cats,“ featuring ex-MFQ member Pat Diltz on banjo. Flip is “Full Measure,” a TigerLily song with words added. Partial guest list at Brian Epstein’s party for the Four Tops November 13: John Lennon, George Harrison, Mick Jagger, Keith Richard, Charlie Watts, Georgie Fame, Donovan, Hilton Valentine, Eric Burdon. ELVIS PRESLEY sings a Dylan song—”Tomorrow ls a Long Time”—on his latest movie album. By the way, anyone who thinks Presley has seen his day might note that Elvis‘s record sales reached an all-time high in the year 1965, and may be still higher in 1966! Frank Sinatra forgot the words to “Strangers in the Night” opening night at the Sands. Capitol Records has formed a folk music label, Folk World, and has signed Fred Neil as well as several new “folk-rock” acts. Folk World is intended as competition for Elektra, Vanguard, and Verve-Folkways, and is a strong indication that “folk music” is now regarded as an established facet of the music industry, one that will last as a strong market, boom or no boom. JEFF BECK and JIMMY PAGE may leave the Yardbirds. The group’s latest single, “Happenings etc.,” almost failed to make the charts in both England and the U.S. And every day the individual members of the group seem further apart musically. Their live sound has degenerated. Fans of Dreja, Beck et al. should be happy to see them go their separate ways—it may well mean their return to creativity and professionalism. GENE VINCENT is back with a wild single on Challenge Records. CHUCK BERRY’s first Mercury album, expected in January, will be new recordings of his old hits, recorded with his old sidemen. Chuck is his own producer now, with studios in Berry Park. Variety describes the crowd at an Indianapolis Beach Boys concert: “The young animals began to stir.” Tell it like it is, Variety, baby. The flip of Bobby Darin’s follow-up to “If I Were a Carpenter’ is TIM HARDlN‘s “Reason to Believe.” The A side is not by Hardin, however. The BEATLES are not splitting up. Look for a new single about January 6. Don’t look for a new album, though; if there’s any Beatles LP at all in the near future, it will be a greatest hits thing. Such an LP is planned for Britain, but there’s some doubt about how well it would sell here. As for this story about the BEATLES never appearing onstage again, it may turn out to be true, but it‘s by no means decided. Everything is in the rumor stage; the Beatles don’t have to tell people now what they may or may not do a year from now. FRANKIE VALLI is the only original member of the 4 SEASONS left. JERRY LEIBER & MIKE STOLLER have produced a Broadway comedy, Hail Scrawdyke! The CHAMBERS BROTHERS, who will be in New England till February, then in NYC thereafter, have a single on Columbia: “Time Has Come Today”/“Dinah.” The latter is much better than the A side. The Brothers’ first hit is going to be “All Strung Out,” no relation to the Nino Tempo song, which Columbia should release in January. Brace yourself: RAVI SHANKAR is recording the theme for BBC-TV’s “Alice in Wonderland” (which Jonathan Miller is producing). BUTTERFIELD BLUES BAND have a very nice, very commercial single called “Come On In,” written by Paul, Elvin, and Mike. Their managers, Albert Grossman and John Court, produced the record in Chicago in a very unpremeditated session just before the group went to England. The band will be in concert with Otis Rush at Boston’s Jordan Hall January 15, under the auspices of Club 47. Could be a historic event. Rush will then be at the club for a week; this is a rare chance for those on the East Coast to hear him. SONNY & CHER’s “Little Man,“ which barely made Top 20 here, has been #1 in Norway, Belgium, and Finland, and very close to it in Germany, Denmark, Britain, and Australia. GENE CLARK, ex-Byrd, is recording as a solo act for Columbia. His first single, “Echoes,” is now out; backing is by numerous strings, etc., but it is reported that most of the backup on Clark’s records will be done by the Byrds. “l Found You,” the flip of “Echoes,” is a considerably better song. BIG BROTHER & the HOLDING CO. have a single on Mainstream, “All ls Loneliness”/“Blindman.” Top 10 in England: “Good Vibrations” (Beach Boys); “Gimme Some Loving” (Spencer Davis Group); “Semi-Detached Suburban Mr. James” (Manfred Mann); “Reach Out, I’ll Be There“ (Four Tops); “Stop Stop Stop” (The Hollies); “High Time” (Paul Jones); “Green Grass of Home” (Tom Jones); “Holy Cow” (Lee Dorsey); “Distant Drums“ (Jim Reeves); “A Fool Am I” (Cilia Black). Note that neither Paul Jones nor Manfred Mann was hurt by their breakup. Billboard magazine recently took note of the fact that “rock ‘n’ roll is now the major form of entertainment on college campuses.” One agent reported that the colleges account for 80 percent of the total concert market. This is very significant: for one thing it was sudden and unexpected (demand for rock acts at colleges has grown 400 percent in the last year!) and therefore the repercussions should just start occurring over the next year. It should mean a considerable increase in the quality of live rock: at college concerts, one expects less screaming, more concern about quality of performance, more appreciation of good performing. And the groups will probably have to play considerably more than the ridiculous twenty minutes that is standard at big teen concerts. Further, managers will have to start thinking of rock acts in terms of performing talent and not just in terms of record sales. One thing Billboard didn’t notice: rock ‘n’ roll is slowly but surely conquering the college radio stations—and, concurrently, sales of rock LPs to college students are skyrocketing. The record industry is just beginning to realize this; when the fact sinks in, there’ll be some changes made. The new ANIMALS are Johnny Weider, lead guitar; Danny McCulloch, bass; and—at least temporarily—Tom Parker on organ. Barry Jenkins remains on drums (“Hey Gyp” is the most brilliant white blues drumming on record) .The new Animals will be touring in the U.S.—playing college concerts—in February and March. Eric Burdon, who handpicked his new men, has an excellent article on America, race, and r&b in the December Ebony. BRIAN WILSON calls his next single, “Heroes and Villains,” “a three-minute musical comedy, with some new production techniques that I think will surprise everyone.“ The next Beach Boys LP is now named Smile; nearly all the songs were written by Brian in collaboration with Van Dyke Parks, organist on many Beach Boys and Byrds tracks. BERRY GORDY is trying to sign Welsh singer Tom Jones for Motown Records. “Hello, Hello”/“Treadin’” is the first Kama Sutra single for Frisco’s SOPWITH CAMEL. THE ASSOCIATION is currently on a cross-country tour; Renaissance, the group’s second album, is due shortly. The MONKEES have received gold records for a million sales of “their” “Last Train to Clarksville” and their first LP, which is #1 nationally. They played a concert in Honolulu Dec. 3 for a five-figure guarantee. Money, money, money. Los Angeles County supervisors have repealed the permit that allowed Sunset Strip clubs to admit eighteen to twenty-one-year olds who wished to listen or dance (as opposed to drink). This is a serious blow to the L.A. rock scene (currently turning out the best rock recording groups in the country); The Trip, Whisky A Go-Go, It’s Boss, Pandora’s Box, etc., have not been doing so well as it is. This new move will take away a third of their business. The ALAN PRICE SET’s LP is out in England: The Price to Play. The MAMAS & PAPAS failed to make the Top 20 with “Look Through My Window,” surprising almost everybody. They’re currently recording a new LP. Sinatra’s “That’s Life” is getting airplay on r&b stations! It’s already a fantastic pop hit. The song was originally recorded by an unknown r&b singer, O.V. Smith, on Columbia; Smith’s version makes Sinatra sound like a pre-puberty teeny-bop. TAJ MAHAL & the RISING SONS have a new single, “2:10 Train.” If the record doesn’t make it, they become Taj Mahal & Co., with somewhat different personnel from the original group, and continue to record for Columbia. Taj is too great not to make it sooner or later. B. B. KING’s “Don’t Answer the Door” is #4 on the r&b charts. Bravo. New Small Faces: “My Mind’s Eye.” Ask for it. The DRIFTERS are getting quite a bit of airplay on “Baby What I Mean”; meanwhile, Clyde McPhatter has a new one on Amy: “A Shot of Rhythm & Blues.“ BOB DYLAN is most certainly not dead; he has three broken vertebrae, and will do no concerts (or anything else) for at least the next few months. There are no sessions scheduled, because he has no label at the moment. Negotiations are still going on for his re-contracting to Columbia Records, and he still might sign with someone else. Signe Anderson is pregnant with her second child, and has disembarked from JEFFERSON AIRPLANE. Her replacement is Grace Slick (see the cover), formerly with the Great Society (the rest of the Great Society is in India). HOMESICK JAMES and BILLY BOY ARNOLD have new albums out on Prestige, Blues on the South Side and More Blues on etc. The Conn Corp in Elkhart, Indiana has announced that it is now prepared to amplify any instrument made. DONOVAN’s “Mellow Yellow” LP has been recorded and should be out soon. “Creators of Rain,” by Smokey & His Sister, may be one of ‘67’s more interesting singles. JUNIOR WELLS’ “Up in Heah” is a smash in Chicago. RCA has gone all out on the YOUNGBLOODS, whose “Grizzly Bear’ single is lovely. New Albert King: “Crosscut Saw.” All the above is necessarily the opinion of Paul Williams.