Music Millennium

4 disc set. During the 1930s and onto the 1950s, street musicians were common. In rural areas they followed a seasonal path - they were around just as the crops came in and workers had money. In cities they would play anywhere they could find a generous audience. Many of them restricted themselves to religious material. Most of these singers accompanied themselves on the guitar and had any combination of three reasons for singing for tips: they might blind; they might be escaping more arduous work; they might be true evangelists. Which combination applied to Blind Joe Taggart remains in doubt. Josh White said that Taggart wasn't totally blind. He also precludes any idea that Taggart was concerned for the souls of others. And it seems certain that he was not above singing blues if there was money in it. Gary Davis' main fame came later in life when he was catering to a mainly white blues audience. He was another complex character - probably the greatest working class African American guitarist who became the mentor and guitar guide to at least two generations of musicians, the first made up from his black contemporaries, and a later one composed of almost every young white guitarist who heard him play and managed to attend the 'school' that Davis set up in his house. Although intransigent, Davis was never the ogre that Taggart was and his many students remember him with much affection. Similarly, he was not averse to playing the blues. For all his mastery and skill Davis never made anything like the impact on the black record buying public that his acolyte Fuller achieved. This could be because after July of 1935, when he recorded two blues, he restricted his output to religious numbers. He was dissatisfied with his treatment by J. B. Long of ARC, the company involved, and after this extended session refused to make further recordings for them. Also featured here are singers like Gussie Nesbit, Willie Eason and Mother McCollum - less well-known, but no less compelling.
4 disc set. During the 1930s and onto the 1950s, street musicians were common. In rural areas they followed a seasonal path - they were around just as the crops came in and workers had money. In cities they would play anywhere they could find a generous audience. Many of them restricted themselves to religious material. Most of these singers accompanied themselves on the guitar and had any combination of three reasons for singing for tips: they might blind; they might be escaping more arduous work; they might be true evangelists. Which combination applied to Blind Joe Taggart remains in doubt. Josh White said that Taggart wasn't totally blind. He also precludes any idea that Taggart was concerned for the souls of others. And it seems certain that he was not above singing blues if there was money in it. Gary Davis' main fame came later in life when he was catering to a mainly white blues audience. He was another complex character - probably the greatest working class African American guitarist who became the mentor and guitar guide to at least two generations of musicians, the first made up from his black contemporaries, and a later one composed of almost every young white guitarist who heard him play and managed to attend the 'school' that Davis set up in his house. Although intransigent, Davis was never the ogre that Taggart was and his many students remember him with much affection. Similarly, he was not averse to playing the blues. For all his mastery and skill Davis never made anything like the impact on the black record buying public that his acolyte Fuller achieved. This could be because after July of 1935, when he recorded two blues, he restricted his output to religious numbers. He was dissatisfied with his treatment by J. B. Long of ARC, the company involved, and after this extended session refused to make further recordings for them. Also featured here are singers like Gussie Nesbit, Willie Eason and Mother McCollum - less well-known, but no less compelling.
788065775926

Details

Format: CD
Label: JSP
Catalog: 7759
Rel. Date: 06/06/2006
UPC: 788065775926

Guitar Evangelists, Vol. 2
Artist: Rev Davis Gary
Format: CD
New: In Stock $28.99
Wish

Formats and Editions

DISC: 1

1. I Will Not Be Removed
2. Everybody's Got to Be Tried
3. I'll Be Satisfied
4. Take Your Burden to the Lord
5. I Wish My Mother Was on That Train
6. Just Beyond Jordan
7. Half Ain't Never Been Told, The
8. C&O Blues
9. Storm Is Passing Over, The
10. God's Gonna Separate the Wheat From the Tares
11. Been Listening All the Day
12. Goin' to Rest Where Jesus Is
13. There's a Hand Writing on the Wall
14. Scandalous and a Shame
15. I've Crossed the Separation Line
16. Lord Don't Drive Me Away
17. Religion Is Something Within You
18. Mother's Love
19. Wonder Will My Troubles Then Be Over
20. Strange Things Happening in the Land
21. Waded in the Water Trying to Get Home
22. He Done What the World Couldn't Do
23. Satan Your Kingdom Must Come Down
24. I Ain't No Sinner Now
25. Pressin' up That Shiny Way
26. In That Pearly White City Above
27. In That Pearly White City Above

DISC: 2

1. Will My Mother Be on That Train?
2. Separate the Wheat From the Tares
3. When I Stand Before the King
4. I Ain't No Sinner Now
5. Charity
6. I Love Travelling
7. I Want My Crown
8. We're Gonna Have a Good Time
9. Precious Lord
10. You've Got to Move
11. I Don't Feel at Home in This World Anymore
12. Got to Move (When the Lord Gets Ready)
13. Can't No Grave Hold My Body Down
14. Jesus Met the Woman at the Well
15. Precious Lord
16. I Don't Want to Go Down There Part 1
17. I Don't Want to Go Down There Part 2
18. This Heart of Mine
19. Every Man Got to Lay Down and Die
20. I Can't Tarry
21. Little Old Fashioned, A
22. There Is Nothing Like the Holy Spirit
23. Storm Thru Mississippi
24. Strange Things

DISC: 3

1. When the Saints Go Marching In
2. Rock of Ages Chicago
3. Your Enemy Cannot Harm You
4. I've Got a Key to the Kingdom
5. Trust in God and Do the Right
6. I Believe I'll Go Back Home
7. Down on Me
8. Lord, L'm the True Vine
9. Trying to Get Home
10. Within My Mind
11. There'll Be No Grumblers There
12. I Want to Live (So God Can Use Me)
13. How Long
14. Life Is a Problem
15. How Long
16. God's Little Birds
17. Bible's Right, The
18. Gambling Man, The
19. I'm Going to That City
20. Swing Low Sweet Chariot
21. Lord I Want You to Lead Me
22. Pure Religion
23. Canaan Land New York
24. Motherless Children
25. I'll Just Stand and Wring My Hands and Cry

DISC: 4

1. I'm Throwin' up My Hands
2. Cross and Evil Woman Blues
3. I Am the True Vine
4. I Am the Light of the World
5. O Lord Search My Heart
6. I Saw the Light
7. You Can Go Home
8. Twelve Gates to the City
9. Have More Faith in Jesus
10. You Got to Go Down
11. I Belong to the Band - Hallelujah!
12. Great Change in Me, The
13. Lord, I Wish I Could See
14. Lord Stand by Me
15. Angel's Message to Me New York, The
16. Civil War March
17. I Cannot Bear My Burden by Myself
18. I'm Gonna Meet You at the Station
19. I Want to See Him
20. When I Take My Vacation in Heaven
21. You Can't Hide
22. Jesus Is My Air-O-Plane
23. Oh Lord I'm Your Child
24. Glory! Glory! Hallelujah!
25. Stand by Me

Details:

Boxed Set

More Info:

4 disc set. During the 1930s and onto the 1950s, street musicians were common. In rural areas they followed a seasonal path - they were around just as the crops came in and workers had money. In cities they would play anywhere they could find a generous audience. Many of them restricted themselves to religious material. Most of these singers accompanied themselves on the guitar and had any combination of three reasons for singing for tips: they might blind; they might be escaping more arduous work; they might be true evangelists. Which combination applied to Blind Joe Taggart remains in doubt. Josh White said that Taggart wasn't totally blind. He also precludes any idea that Taggart was concerned for the souls of others. And it seems certain that he was not above singing blues if there was money in it. Gary Davis' main fame came later in life when he was catering to a mainly white blues audience. He was another complex character - probably the greatest working class African American guitarist who became the mentor and guitar guide to at least two generations of musicians, the first made up from his black contemporaries, and a later one composed of almost every young white guitarist who heard him play and managed to attend the 'school' that Davis set up in his house. Although intransigent, Davis was never the ogre that Taggart was and his many students remember him with much affection. Similarly, he was not averse to playing the blues. For all his mastery and skill Davis never made anything like the impact on the black record buying public that his acolyte Fuller achieved. This could be because after July of 1935, when he recorded two blues, he restricted his output to religious numbers. He was dissatisfied with his treatment by J. B. Long of ARC, the company involved, and after this extended session refused to make further recordings for them. Also featured here are singers like Gussie Nesbit, Willie Eason and Mother McCollum - less well-known, but no less compelling.
        
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