She Ain't None of Your'n

Pee-Wee Get My Gun T-Model Ford didn't learn to play guitar until he was 58, and even then the Mississippi lumber-truck driver didn't play the way most people do. In his thick, throbbing amplifier buzz, he lengthens and shortens measures at will and allows the beat to fall wherever he feels it at t...	Bad Man Legendary Memphis producer Jim Dickinson has nailed the vibe of this octogenarian Delta bluesman's rag-tag club and juke-joint gigs. That's good for purists, but not necessarily for fans of Ford's previous Fat Possum albums. The foot-stomping irrationality and whimsical violence ...	Burnside on Burnside Mississippi hill country patriarch R.L. Burnside's two previous albums dabbled in remixes and trip-hop experimentation geared to the college-rock market. This is a restorative: pure slide 'n' drone blues caught live in January 2001 at Portland, Oregon's Crystal Ballroom. The 73-y...	Remember Me	You Better Run: The Essential Junior Kimbrough When Junior Kimbrough died in January 1998, part of the spirit of Mississippi hill-country blues went with him. He was a proud musician, aware of his African roots and his artistic singularity--perhaps the last unique voice in the genre. The sound of his bawling singing and unpre...
You Better Keep Still Mississippi blues guitarist Ford's debut recording, Pee Wee Get My Gun, was warmly embraced by fans of blues and indie rock, and he has toured internationally with popular "hot jazz" revivalists the Squirrel Nut Zippers. What's caught everyone's interest, brought T-Model fame of ...	One Kind Favor B.B. King returns to his blues roots with the help of producer T Bone Burnett on "One Kind Favor,". The legendary artist is backed on the effort by pianist Dr. John, drummer Jim Keltner and bassist Nathan East. The track list includes such blues chestnuts as Big Bill Broonzy's "...	Skin Deep It’s erroneous to characterize this 2008 Buddy Guy release, his first in three years, as a comeback, since he’s never been gone. But between a spotlight stealing performance in Martin Scorsese’s Rolling Stones concert flick Shine a Light in the same year an...	First Recordings Today, at age 77, this popular North Mississippi singer-guitarist is a master of dirty juke-joint blues. But Burnside was a farm hand when these late '60s recordings captured him developing his staples "Goin' Down South," "Jumper On the Line," "Poor Black Mattie," and "Long Haire...	American Folk-Blues Festival: The British Tours 1963-1966 [DVD] Recorded live for TV broadcast throughout Britain these historic performances have been unseen for nearly 40 years. Filmed with superb camera work and pristine sound 14 complete performances and 4 bonus performances are included by Sonny Boy Williamson Muddy Waters Lonnie Johnson...

Excellent!
OK, call me old and hard to please, but I prefer this stuff to some of the glam blues-rock that is being released today. T-Model Ford was between 78 and 80 years old at the time of this release and if not for the late Robert Palmer and Fat Possum, probably would not ever have been recorded. Like his "contemporary" peers, Cedell Davis, Paul "Wine" Jones and the incomparable RL Burnside, Ford represents one of the last authentic Mississippi Hills bluesmen whose music was often overlooked and underappreciated. As such, many of them never recorded, were poor, hungry and plenty angry. Oddly, it is these very traits that set these individual apart from the better known Texas or Chicago bluesmen.The music is harsh and primitive and yet tells a story that needs to be heard. Ford nails Howlin' Wolf's "How Many More Years" and presents it in a manner never before heard. While "Leave My Heart Alone" carries a beat not unlike John Lee Hooker's "Boom Boom". Ford raises the dead on "Chicken Head Man" and draws attention from punksters with the heart stopping beat on "Take A Ride With Me". T-Model Ford hits you with plenty of down and dirty guitar and thumping drums and presents an attitude befitting of a teen. Grab this one before it's too late.

John Lee Hooker, Call Your Office: Your Successor's Here
Let the world pine away awaiting the new Stevie Ray Vaughan (while imbibing yet plenty more freshly unearthed product from the old Stevie Ray Vaughan), or decide whether Jonny Wayne Duarte are the real deal or a trio of rock and roll poseurs using the blues as their costumery; let it still wonder when Eric Clapton is going to make up his mind between the blues he loves and the pop he's made a devil's bargain with. Here is the most unapologetically elemental and rooted of today's bluesmen (Junior Kimbrough, after all, has gone to his reward). And, here is the proof that, if anyone holds claim to John Lee Hooker's mantle as the blues boogie king, it is he. T-Model Ford is a shamelessly raw, exuberantly menacing blues presence, even when he nicks a line or three from an older blues and strangles it into his own. And if you think you'll be able to sit still through this (or any of his albums), you're either a quadriplegic or an android. Not a single lick of technically brilliant but aesthetically boring shred-rock-style soloing; not a single whelp of ersatz anguished hormonal screaming masquerading as real soul. Just round after round of stripped-to-the-trunk, contemporary north Delta blues with a husky, edgily fried menace underwriting the hit-the-roof-and-dance exuberance. And, it's no huge aggregation cranking out this huge and deep sound - just Ford and his slash-and-burn guitar with a drummer, though an organist slips in for a couple of rounds and rather engagingly. Very well, maybe we'll never really replace John Lee Hooker, but T-Model Ford makes the best case for picking up where the Hook leaves off - and then some. Keep all Jonny Wayne Duarte albums back about five thousand feet...