The tracks on this fascinating collection come from the early '50s when the blues was only a half step removed from its rural origins, and although most of the artists on The Devil Is a Busy Man lived and recorded in big cities, almost all of them began their blues careers in the Deep South, retaining that ragged, unhinged country juke joint sound when they moved to more urban surroundings. The electric blues was still a bit of a hybrid and hadn't yet been codified when these recordings were made, giving the loose, ...
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The tracks on this fascinating collection come from the early '50s when the blues was only a half step removed from its rural origins, and although most of the artists on The Devil Is a Busy Man lived and recorded in big cities, almost all of them began their blues careers in the Deep South, retaining that ragged, unhinged country juke joint sound when they moved to more urban surroundings. The electric blues was still a bit of a hybrid and hadn't yet been codified when these recordings were made, giving the loose, ramshackle feel of these pieces (none of which would feel out of place on a contemporary Fat Possum anthology) an intense, emotional wallop. Among the highlights in this strong set are Henry Gray's propulsive, piano-driven "Watch Yourself," Snooky Pryor's slow-stomping "Crosstown Blues," J.B. Lenoir's wry, saxophone-drenched "Mama Talk to Your Daughter," Earl Hooker's swampy instrumental "On the Hook," and Eddie Hope's churning "Lost Child," although there really isn't a lame cut to be found anywhere here. Listeners should be aware, though, that this is essentially the exact same set (although with a different sequence) as Crossroad Blues, which Empire Records released in 2003. Devil has a couple more tracks, but the feel (and even the liner notes) is virtually the same as the earlier release. The music is great either way, but Empire is stepping into the same river twice with this release, and that's a tiny bit bothersome. ~ Steve Leggett, Rovi
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