mp3   320kbps

Released: 1996
Label: Yazoo
Styles: Delta blues, Regional blues, Blues gospel, Pre-war country blues
Art: Front

(3:12) 1. Blind Willie Johnson - If I Had My Way I'd Tear This Building Down
(3:18) 2. Luke Jordan - Cocaine Blues
(3:21) 3. Allen Brothers - Bow Wow Blues
(2:54) 4. Frankie 'Half-Pint' Jaxon - Jive Man Blues
(2:57) 5. Henry Thomas - Jonah In The Wilderness
(3:14) 6. Willie Walker - South Carolina Rag
(2:45) 7. Memphis Jug Band - Whitewash Station
(3:17) 8. Red Henderson - Automobile Ride Through
(2:59) 9. Speckled Red - The Dirty Dozen No.2
(3:21) 10. Butterbeans & Susie - Tain't None O' Your Business
(2:59) 11. Beale Street Sheiks - It's A Good Thing
(2:48) 12. Jimmie Davis - She's A Hum Dum Dinger
(2:57) 13. Leroy Carr - Papa's On The House Top
(2:37) 14. Rev. Edward W. Clayborn - Let That Liar Alone
(3:04) 15. Frank Hutchinson - Back In My Home
(2:48) 16. T.C.I. Section Crew - Track Linin'
(3:12) 17. Blind Willie McTell - Atlanta Strut
(2:43) 18. Lonnie Johnson - Arkansas Hard Luck Blues
(2:53) 19. Kansas City Kitty - How Can You Have The Blues?
(3:29) 20. Seven Foot Dilly & His Dill Pickles - Pickin' Off Peanuts
(2:47) 21. Pine Top Smith - Nobody Knows You When You're Down & Out
(3:25) 22. Dixieland Jug Blowers - When I Stopped Running I Was At Home
(2:52) 23. Memphis Minnie - Frankie Jean


This ambitious and thought-provoking project turns to early black-and-white, religious, and secular traditions for antecedents to modern rap styles.

Drawing from the commercial recordings of the 1920s and '30s, The Roots of Rap provides a broad sampling of rural voices straddling the lines of speech and song against the rhythms of piano, banjo, and guitar. The roots of rap, this collection argues, existed in early black work songs and in the Southern pulpit; in the performances of singing street evangelists; and in black vocal traditions such as the "dozens." Early forms of rap emerged in the vaudeville routines of minstrel and medicine shows, arising also in the country humor and talking blues of many rural white performers. To illustrate its thesis, the album draws from some of the greatest performers of the period, including Blind Willie Johnson, Seven Foot Dilly, Butterbeans and Susie, and Memphis Minnie, whose extraordinarily funky "Frankie Jean" closes the set. Like the best of Yazoo's projects, this effort is carefully and intelligently constructed, as well as consistently entertaining.