rory block - hard luck child: a tribute to skip james [cd liner notes]

7 72532 13732 4

SPCD1373

SPCD1373

SPCD1373 C & P 2014 Stony Plain Records. Stony Plain Recording Co. Ltd. PO Box 861 Edmonton, AB Canada T5J 2L8. For a free catalogue: tel: 780-468-6423 fax: 780-465-8941 email: [email protected] PRINTED IN CANADA

Please become a member of the Blues Foundation at www.blues.org

WWW.STONYPLAINRECORDS.COM

1. Nehemiah James 5:31

2. special RideR Blues 5:00

3. cypRess GRove Blues 4:29

4. if you haveNt aNy hay, Get oN dowN the Road 4:21

5. little cow aNd calf is GoNNa die Blues 5:18

6. devil Got my womaN 4:45

7. Jesus is a miGhty Good leadeR 4:06

8. haRd time KilliNG flooR Blues 4:15

9. im so Glad 3:30

10. haRd lucK child 4:30

1. Nehemiah James

The connection between

gospel and early blues has

always been clear to me.

The fact that the people who

created the music most likely

grew up in a church was a

feature of the timesthe late

1800s and early 1900s. This

powerful spirituality translated

directly into blues, and most of

the founding artists included

gospel in their repertoire.

Although this point of view may

be out-of-step with current

trends, it is entirely in-step

with the tradition which forged

one of the most powerful

musical forms ever to be born

in this country. It is impossible

to remove the gospel roots

from blues, and from early

country as well. This Holy

Ghost connection is far more

fundamental to the sound than

many people realize today.

Thus in reading about Skip

Jamess early life, I was not

surprised to find his history

featured a preaching father and

time spent touring in a gospel

choir. Thus unfolds the story

2. Special Rider Blues

People often ask me how I

get certain sounds on the

recordingsWhos playing

bass? etc. I explain that I love

to layer parts, and in many

cases add something with the

guitar tuned well below pitch. I

like the idea of showcasing the

versatility of a guitar to create

the sound of a full band, and

thats what I was looking for in

this song. Its easy to add a few

elements to the approach to

demonstrate how early blues

evolved smoothly into electric

styles and ultimately, rock n

roll. These are the songs that

rolled out the red carpet.

3. Cypress Grove Blues

This one played out kinda

smooth and spookyit had to

with chilling words like When

your knee bones are achin,

and your bodys cold, thats

cause youre just gettin ready,

for the Cypress Grove! Skips

version of this song embodied

the deep melancholy that he

was known for. Sometimes

in the process of recording

I suddenly hear the full

message of the song as if for

the first timethis one came

on me like a slow moving

freight train.

4. If You Havent Any

Hay, Get On Down The

Road

Nobody played piano quite like

Skip James, and only a few

players Ive ever heard have

tried to tackle his unique,

artistically eccentric and

brilliant style. Of course there

was no chance of making

the scheduling work, so one

day I decided to try the piano

part on guitar. Without having

any idea where this would

lead, I found a jaunty, jazzy

attitude unfolding. Skip had

a phenomenal bounce in his

playing, and a time signature I

challenge you to follow. When

you hear Skip on piano and

feel like your head is spinning

but you love what youre

hearing, thats probably the

jazz elements dazzling your

senses.

5. Little Cow and Calf

Is Gonna Die Blues

As before, I had listened to

these words many times, but

never heard them as vividly as

when I began recording the

song. These are sad words!

None the less the approach

seemed to call for a lighter

touch. Aint it sad, aint it a

shame manifested as rather

obvious alongside the story.

A jazzy attitude unfolded for

the music, once again inspired

by Skips amazing, innovative

piano style.

6. Devil Got My Woman

In my view this is Skip

Jamess most iconic song. I

have recorded it before, but

it still felt completely new.

Thats part of the beauty of

his multifaceted musicits

ability to recreate itself with

subtle meaning changes each

time its played. The haunting

mood of the song created the

direction, and it seemed to me

that slide was well suited for

this task.

7. Jesus Is A Mighty

Good Leader

This is part of the gospel

repertoire I mentioned above.

I approached it with a slightly

more modern feel, but it still

has one foot firmly planted in

the early tradition.

8. Hard Time Killing

Floor Blues

This is another undeniably

melancholy Skip James

tune. The tempos he used

were sometimes similar,

and some of the tunings

might even have been the

same. But each of Skips

songs unveiled a world of

nuances and a kaleidoscope

of scene changes. I really

became someone else

telling this story. I believe

the spirit in the music is able

to convey a universal story

if you follow its lead, and

the take-one thing often

SPCD 1329

Blues Walkin Like A Man:

A Tribute To Son House

SPCD 1359

I Belong to The Band:

A Tribute To Rev. Gary Davis

SPCD 1369

Avalon: A Tribute To

Mississippi John Hurt

SPCD 1344

Shake Em On Down: A Tribute

To Mississippi Fred McDowell

Also available: captured something that I

decided not to revisit. No

changing of slurred words,

no polishing anything, just

allowing the mood to rule.

9. Im So Glad

Heres an example of

a gospel-based blues

song. As we recorded

it, it became clear that

spirituality was at the

heart of it. Even though

Skip was talking about

a human relationship,

the celestial energy and

meaning pretty much

took over. After all, our

interconnectedness is

really other-wordly in

its power.

10. Hard Luck Child

What can I say. I resonate

with this song. Blues is

not meant to be for one

human being alone, but

for the soul of humankind.

A quiet voice confiding, a

lonely heart telling a story,

a weeping cryIm a hard

luck child, I catch the devil

every where I go! I think

a lot of people can relate,

which is what made this

incredible musical style so

fascinating and beautiful to

me from the first moment

I heard it.

HARD LUCK CHILD

RO

RY

BL

OC

K

HARD LUCK CHILD

RO

RY

BL

OC

K

This is the fifth recording in my Mentor Seriesmusical

tributes that celebrate the rediscovered blues masters

that I met in person as a teenager. These five great

artists to whom these recordings are dedicatedSon

House, Mississippi Fred McDowell, Reverend Gary Davis,

Mississippi John Hurt, and now Skip Jamesare the blues

masters with whom I spent the most meaningful time, and

they have, as a result, affected me the most deeply. There

were others, such as Bukka White, who I sat next to, but

really never interacted with on a personal levelthus these

five are the true core of this series.

Skip James is often referred to as a man of mystery. Some

people have described him as melancholy, even unfriendly.

But in my 15 year old eyes he was deep, soulful, and

beautiful. I did not question his serious demeanor. After all,

I was aware of the history, the horrors and evil treatment he

had endured. I did not expect him or any other rediscovered

blues player to be anything but serious. Skip James also

had cancer when I met him, and very few people are

cheerful in a hospital.

To me, his music, with its intensity and haunting quality, was

central to the incredibly powerful style we called Country

Blues. After all, blues was often about sorrow, hard times,

and heartache. But it was also about joy, survival, and even

success in some cases. Skip James was the quintessential

blues player; he had it all: style, power, grace, depththe

ability to change your life and your way of experiencing the

world with a single song. This was the inspiration and the

example set by the mastersthe gauntlet that was thrown

down. I had to follow the sound and the passion. While the

rest of the world was busy with modern things, I wandered

down the dusty path towards the past in bare feet. I didnt

have a choice. This is what called to me.

The following is excerpted from my

autobiography When A Woman Gets

The Blues:

According to Stefan, we once sat in

a room with Skip James and played

music together. Apparently Steve Calt

wrote about Stefan and I walking in on

this occasion. Other than a recollected

vision of Skips wide brimmed hat and

melancholy expression, I dont really

remember this meeting.

What I do remember is the hospital.

Its sad that by this time Skip was

already dying of cancer, an unusual

disease in his day. I had been playing

Skip James songs and listening

to his haunting music for some

timehe was one of the best and

most powerful, certainly one of my

favorites. But surrounded by grief,

Skip had gone way inside. A hospital

is no place to see a man this great.

He wandered about in a bathrobe. I

think he smoked a cigarette. He never

met our eyes but gazed downwards. I

could feel his despair.

Produced by Rory Block and Rob Davis

for Aurora Productions

Executive producer: Holger Petersen

Recorded, mixed and mastered by Rob Davis in Aurora

Productions mobile studios, Kentucky and Upstate NY

All guitars and vocals: Rory Block

Rory uses her Signature model Martin Guitars,

Shubb Capos, and a 14 mm deep well socket for a slide

Photography: Sergio Kurhajec

Graphic Design: Mark Dutton at Halkier + Dutton Design

www.roryblock.com

Exclusive worldwide bookings: FLi Artists

contact: Matt Greenhill [email protected]

Background noises provided by Bella, Gibson, and ten

cats, who were in and out of the room repeatedly during

the recording, eating kibbles, gnawing on marrow

bones, leaping on and off the furniture, racing about and

wrestling. There comes a point when preventing all of

that in a household so full with animals would simply be

impossibleso let it be. If you think you hear a phone

ringing on a slide solo from time to time, chances are

you do. I never agree to do it again if I feel like I got it.

So there you have it, and thats what we do.

All tracks written by Nehemiah Curtis Skip James,

published by Wynwood Music Co Inc, except track 1

Nehemiah James, written by Rory Block, BMI.

Thank you: To Holger Petersen, Peter Chapman,

Richard Flohil and everyone at Stony Plain Records,

Mark Dutton, Mark Pucci and Jill Kettles at mpmedia,

Todd Glazer, all the radio and satellite programmers,

promoters, venues, music fans, writers, reviewers,

bloggers, media folks, Dick Boak and Chris Thomas at

Martin Guitars (the best guitar company in the universe),

Fred Bolden (Mississippi John Hurts grand nephew,

author and historian), and to so many other friends and

family who I cant thank enough. I always say Were in

this thing together!

Blues is not meant to be for one human being alone, but for the soul of humankind.

RORY BLOCK

Mixed media portrait of Skip James by Rory Block

a tribute to Skip James

roryhardluck

child block

772532137324

SPCD

1373

SPCD

1373

SPCD1373 C & P 2014 Stony Plain Records. Stony Plain Recording Co. Ltd. PO Box 861 Edmonton, AB Canada T5J 2L8.

For a free catalogue: tel: 780-468-6423 fax: 780-465-8941 email: [email protected] PRINTED IN CANADA






4. if you haveNt aNy hay,

Get oN dowN the Road 4:21

5. little cow aNd calf

is GoNNa die Blues 5:18




9. im so Glad 3:30


1. Nehemiah James

The connection between gospel and early blues has always been clear to me. The fact that the people who created the music most likely grew up in a church was a feature of the timesthe late 1800s and early 1900s. This powerful spirituality translated directly into blues, and most of the founding artists included gospel in their repertoire. Although this point of view may be out-of-step with current trends, it is entirely in-step with the tradition which forged one of the most powerful musical forms ever to be born in this country. It is impossible to remove the gospel roots from blues, and from early country as well. This Holy Ghost connection is far more fundamental to the sound than many people realize today. Thus in reading about Skip Jamess early life, I was not surprised to find his history featured a preaching father and time spent touring in a gospel choir. Thus unfolds the story


People often ask me how I get certain sounds on the recordingsWhos playing bass? etc. I explain that I love to layer parts, and in many

cases add something with the guitar tuned well below pitch. I like the idea of showcasing the versatility of a guitar to create the sound of a full band, and thats what I was looking for in this song. Its easy to add a few elements to the approach to demonstrate how early blues evolved smoothly into electric styles and ultimately, rock n roll. These are the songs that rolled out the red carpet.


This one played out kinda smooth and spookyit had to with chilling words like When your knee bones are achin, and your bodys cold, thats cause youre just gettin ready, for the Cypress Grove! Skips version of this song embodied the deep melancholy that he was known for. Sometimes in the process of recording I suddenly hear the full message of the song as if for the first timethis one came on me like a slow moving freight train.

4. If You Havent Any Hay, Get On Down The Road

Nobody played piano quite like Skip James, and only a few players Ive ever heard have tried to tackle his unique,

artistically eccentric and brilliant style. Of course there was no chance of making the scheduling work, so one day I decided to try the piano part on guitar. Without having any idea where this would lead, I found a jaunty, jazzy attitude unfolding. Skip had a phenomenal bounce in his playing, and a time signature I challenge you to follow. When you hear Skip on piano and feel like your head is spinning but you love what youre hearing, thats probably the jazz elements dazzling your senses.

5. Little Cow and Calf Is Gonna Die Blues

As before, I had listened to these words many times, but never heard them as vividly as when I began recording the song. These are sad words! None the less the approach seemed to call for a lighter touch. Aint it sad, aint it a shame manifested as rather obvious alongside the story. A jazzy attitude unfolded for the music, once again inspired by Skips amazing, innovative piano style.


In my view this is Skip Jamess most iconic song. I

have recorded it before, but it still felt completely new. Thats part of the beauty of his multifaceted musicits ability to recreate itself with subtle meaning changes each time its played. The haunting mood of the song created the direction, and it seemed to me that slide was well suited for this task.

7. Jesus Is A Mighty Good Leader

This is part of the gospel repertoire I mentioned above. I approached it with a slightly more modern feel, but it still has one foot firmly planted in the early tradition.

8. Hard Time Killing Floor Blues

This is another undeniably melancholy Skip James tune. The tempos he used were sometimes similar, and some of the tunings might even have been the same. But each of Skips songs unveiled a world of nuances and a kaleidoscope of scene changes. I really became someone else telling this story. I believe the spirit in the music is able to convey a universal story if you follow its lead, and the take-one thing often

SPCD 1329 Blues Walkin Like A Man: A Tribute To Son House

SPCD 1359 I Belong to The Band: A Tribute To Rev. Gary Davis

SPCD 1369 Avalon: A Tribute To Mississippi John Hurt

SPCD 1344 Shake Em On Down: A Tribute To Mississippi Fred McDowell

Also available:captured something that I decided not to revisit. No changing of slurred words, no polishing anything, just allowing the mood to rule.

9. Im So Glad

Heres an example of a gospel-based blues song. As we recorded it, it became clear that spirituality was at the heart of it. Even though Skip was talking about a human relationship, the celestial energy and meaning pretty much took over. After all, our interconnectedness is really other-wordly in its power.

10. Hard Luck Child

What can I say. I resonate with this song. Blues is not meant to be for one human being alone, but for the soul of humankind. A quiet voice confiding, a lonely heart telling a story, a weeping cryIm a hard luck child, I catch the devil every where I go! I think a lot of people can relate, which is what made this incredible musical style so fascinating and beautiful to me from the first moment I heard it.

HARD LUCK CHILD

RO

RY

BL

OC

K

HARD LUCK CHILD

RO

RY

BL

OC

K

This is the fifth recording in my Mentor Seriesmusical tributes that celebrate the rediscovered blues masters that I met in person as a teenager. These five great artists to whom these recordings are dedicatedSon House, Mississippi Fred McDowell, Reverend Gary Davis, Mississippi John Hurt, and now Skip Jamesare the blues masters with whom I spent the most meaningful time, and they have, as a result, affected me the most deeply. There were others, such as Bukka White, who I sat next to, but really never interacted with on a personal levelthus these five are the true core of this series.

Skip James is often referred to as a man of mystery. Some people have described him as melancholy, even unfriendly. But in my 15 year old eyes he was deep, soulful, and beautiful. I did not question his serious demeanor. After all, I was aware of the history, the horrors and evil treatment he had endured. I did not expect him or any other rediscovered blues player to be anything but serious. Skip James also had cancer when I met him, and very few people are cheerful in a hospital.

To me, his music, with its intensity and haunting quality, was central to the incredibly powerful style we called Country Blues. After all, blues was often about sorrow, hard times, and heartache. But it was also about joy, survival, and even success in some cases. Skip James was the quintessential blues player; he had it all: style, power, grace, depththe ability to change your life and your way of experiencing the world with a single song. This was the inspiration and the example set by the mastersthe gauntlet that was thrown down. I had to follow the sound and the passion. While the rest of the world was busy with modern things, I wandered down the dusty path towards the past in bare feet. I didnt have a choice. This is what called to me.

The following is excerpted from my autobiography When A Woman Gets The Blues:

According to Stefan, we once sat in a room with Skip James and played music together. Apparently Steve Calt wrote about Stefan and I walking in on this occasion. Other than a recollected vision of Skips wide brimmed hat and melancholy expression, I dont really remember this meeting.

What I do remember is the hospital. Its sad that by this time Skip was already dying of cancer, an unusual disease in his day. I had been playing Skip James songs and listening to his haunting music for some timehe was one of the best and most powerful, certainly one of my favorites. But surrounded by grief, Skip had gone way inside. A hospital is no place to see a man this great. He wandered about in a bathrobe. I think he smoked a cigarette. He never met our eyes but gazed downwards. I could feel his despair.

Produced by Rory Block and Rob Davis for Aurora Productions


Recorded, mixed and mastered by Rob Davis in Aurora Productions mobile studios, Kentucky and Upstate NY


Rory uses her Signature model Martin Guitars, Shubb Capos, and a 14 mm deep well socket for a slide



www.roryblock.com

Exclusive worldwide bookings: FLi Artists contact: Matt Greenhill [email protected] noises provided by Bella, Gibson, and ten cats, who were in and out of the room repeatedly during the recording, eating kibbles, gnawing on marrow bones, leaping on and off the furniture, racing about and wrestling. There comes a point when preventing all of that in a household so full with animals would simply be impossibleso let it be. If you think you hear a phone ringing on a slide solo from time to time, chances are you do. I never agree to do it again if I feel like I got it. So there you have it, and thats what we do.

All tracks written by Nehemiah Curtis Skip James, published by Wynwood Music Co Inc, except track 1 Nehemiah James, written by Rory Block, BMI.

Thank you: To Holger Petersen, Peter Chapman, Richard Flohil and everyone at Stony Plain Records, Mark Dutton, Mark Pucci and Jill Kettles at mpmedia, Todd Glazer, all the radio and satellite programmers, promoters, venues, music fans, writers, reviewers, bloggers, media folks, Dick Boak and Chris Thomas at Martin Guitars (the best guitar company in the universe), Fred Bolden (Mississippi John Hurts grand nephew, author and historian), and to so many other friends and family who I cant thank enough. I always say Were in this thing together!

Blues is not meant to be for

one human being alone, but for

the soul of humankind.

RORY BLOCK

Mixed media portrait of

Skip James by Rory Block

a tribute to

Skip James

rory

hard

luck

child

block

7 72532 13732 4

SPCD1373

SPCD1373

SPCD1373 C & P 2014 Stony Plain Records. Stony Plain Recording Co. Ltd. PO Box 861 Edmonton, AB Canada T5J 2L8. For a free catalogue: tel: 780-468-6423 fax: 780-465-8941 email: [email protected] PRINTED IN CANADA






4. if you haveNt aNy hay, Get oN dowN the Road 4:21

5. little cow aNd calf is GoNNa die Blues 5:18




9. im so Glad 3:30


1. Nehemiah James

The connection between

gospel and early blues has

always been clear to me.

The fact that the people who

created the music most likely

grew up in a church was a

feature of the timesthe late

1800s and early 1900s. This

powerful spirituality translated

directly into blues, and most of

the founding artists included

gospel in their repertoire.

Although this point of view may

be out-of-step with current

trends, it is entirely in-step

with the tradition which forged

one of the most powerful

musical forms ever to be born

in this country. It is impossible

to remove the gospel roots

from blues, and from early

country as well. This Holy

Ghost connection is far more

fundamental to the sound than

many people realize today.

Thus in reading about Skip

Jamess early life, I was not

surprised to find his history

featured a preaching father and

time spent touring in a gospel

choir. Thus unfolds the story


People often ask me how I

get certain sounds on the

recordingsWhos playing

bass? etc. I explain that I love

to layer parts, and in many

cases add something with the

guitar tuned well below pitch. I

like the idea of showcasing the

versatility of a guitar to create

the sound of a full band, and

thats what I was looking for in

this song. Its easy to add a few

elements to the approach to

demonstrate how early blues

evolved smoothly into electric

styles and ultimately, rock n

roll. These are the songs that

rolled out the red carpet.


This one played out kinda

smooth and spookyit had to

with chilling words like When

your knee bones are achin,

and your bodys cold, thats

cause youre just gettin ready,

for the Cypress Grove! Skips

version of this song embodied

the deep melancholy that he

was known for. Sometimes

in the process of recording

I suddenly hear the full

message of the song as if for

the first timethis one came

on me like a slow moving

freight train.

4. If You Havent Any

Hay, Get On Down The

Road

Nobody played piano quite like

Skip James, and only a few

players Ive ever heard have

tried to tackle his unique,

artistically eccentric and

brilliant style. Of course there

was no chance of making

the scheduling work, so one

day I decided to try the piano

part on guitar. Without having

any idea where this would

lead, I found a jaunty, jazzy

attitude unfolding. Skip had

a phenomenal bounce in his

playing, and a time signature I

challenge you to follow. When

you hear Skip on piano and

feel like your head is spinning

but you love what youre

hearing, thats probably the

jazz elements dazzling your

senses.

5. Little Cow and Calf

Is Gonna Die Blues

As before, I had listened to

these words many times, but

never heard them as vividly as

when I began recording the

song. These are sad words!

None the less the approach

seemed to call for a lighter

touch. Aint it sad, aint it a

shame manifested as rather

obvious alongside the story.

A jazzy attitude unfolded for

the music, once again inspired

by Skips amazing, innovative

piano style.


In my view this is Skip

Jamess most iconic song. I

have recorded it before, but

it still felt completely new.

Thats part of the beauty of

his multifaceted musicits

ability to recreate itself with

subtle meaning changes each

time its played. The haunting

mood of the song created the

direction, and it seemed to me

that slide was well suited for

this task.

7. Jesus Is A Mighty

Good Leader

This is part of the gospel

repertoire I mentioned above.

I approached it with a slightly

more modern feel, but it still

has one foot firmly planted in

the early tradition.

8. Hard Time Killing

Floor Blues

This is another undeniably

melancholy Skip James

tune. The tempos he used

were sometimes similar,

and some of the tunings

might even have been the

same. But each of Skips

songs unveiled a world of

nuances and a kaleidoscope

of scene changes. I really

became someone else

telling this story. I believe

the spirit in the music is able

to convey a universal story

if you follow its lead, and

the take-one thing often

SPCD 1329

Blues Walkin Like A Man:

A Tribute To Son House

SPCD 1359

I Belong to The Band:

A Tribute To Rev. Gary Davis

SPCD 1369

Avalon: A Tribute To

Mississippi John Hurt

SPCD 1344

Shake Em On Down: A Tribute

To Mississippi Fred McDowell

Also available: captured something that I

decided not to revisit. No

changing of slurred words,

no polishing anything, just

allowing the mood to rule.

9. Im So Glad

Heres an example of

a gospel-based blues

song. As we recorded

it, it became clear that

spirituality was at the

heart of it. Even though

Skip was talking about

a human relationship,

the celestial energy and

meaning pretty much

took over. After all, our

interconnectedness is

really other-wordly in

its power.

10. Hard Luck Child

What can I say. I resonate

with this song. Blues is

not meant to be for one

human being alone, but

for the soul of humankind.

A quiet voice confiding, a

lonely heart telling a story,

a weeping cryIm a hard

luck child, I catch the devil

every where I go! I think

a lot of people can relate,

which is what made this

incredible musical style so

fascinating and beautiful to

me from the first moment

I heard it.

HARD LUCK CHILD

RO

RY

BL

OC

K

HARD LUCK CHILD

RO

RY

BL

OC

K

This is the fifth recording in my Mentor Seriesmusical

tributes that celebrate the rediscovered blues masters

that I met in person as a teenager. These five great

artists to whom these recordings are dedicatedSon

House, Mississippi Fred McDowell, Reverend Gary Davis,

Mississippi John Hurt, and now Skip Jamesare the blues

masters with whom I spent the most meaningful time, and

they have, as a result, affected me the most deeply. There

were others, such as Bukka White, who I sat next to, but

really never interacted with on a personal levelthus these

five are the true core of this series.

Skip James is often referred to as a man of mystery. Some

people have described him as melancholy, even unfriendly.

But in my 15 year old eyes he was deep, soulful, and

beautiful. I did not question his serious demeanor. After all,

I was aware of the history, the horrors and evil treatment he

had endured. I did not expect him or any other rediscovered

blues player to be anything but serious. Skip James also

had cancer when I met him, and very few people are

cheerful in a hospital.

To me, his music, with its intensity and haunting quality, was

central to the incredibly powerful style we called Country

Blues. After all, blues was often about sorrow, hard times,

and heartache. But it was also about joy, survival, and even

success in some cases. Skip James was the quintessential

blues player; he had it all: style, power, grace, depththe

ability to change your life and your way of experiencing the

world with a single song. This was the inspiration and the

example set by the mastersthe gauntlet that was thrown

down. I had to follow the sound and the passion. While the

rest of the world was busy with modern things, I wandered

down the dusty path towards the past in bare feet. I didnt

have a choice. This is what called to me.

The following is excerpted from my

autobiography When A Woman Gets

The Blues:

According to Stefan, we once sat in

a room with Skip James and played

music together. Apparently Steve Calt

wrote about Stefan and I walking in on

this occasion. Other than a recollected

vision of Skips wide brimmed hat and

melancholy expression, I dont really

remember this meeting.

What I do remember is the hospital.

Its sad that by this time Skip was

already dying of cancer, an unusual

disease in his day. I had been playing

Skip James songs and listening

to his haunting music for some

timehe was one of the best and

most powerful, certainly one of my

favorites. But surrounded by grief,

Skip had gone way inside. A hospital

is no place to see a man this great.

He wandered about in a bathrobe. I

think he smoked a cigarette. He never

met our eyes but gazed downwards. I

could feel his despair.

Produced by Rory Block and Rob Davis

for Aurora Productions


Recorded, mixed and mastered by Rob Davis in Aurora

Productions mobile studios, Kentucky and Upstate NY


Rory uses her Signature model Martin Guitars,

Shubb Capos, and a 14 mm deep well socket for a slide



www.roryblock.com

Exclusive worldwide bookings: FLi Artists

contact: Matt Greenhill [email protected]

Background noises provided by Bella, Gibson, and ten

cats, who were in and out of the room repeatedly during

the recording, eating kibbles, gnawing on marrow

bones, leaping on and off the furniture, racing about and

wrestling. There comes a point when preventing all of

that in a household so full with animals would simply be

impossibleso let it be. If you think you hear a phone

ringing on a slide solo from time to time, chances are

you do. I never agree to do it again if I feel like I got it.

So there you have it, and thats what we do.

All tracks written by Nehemiah Curtis Skip James,

published by Wynwood Music Co Inc, except track 1

Nehemiah James, written by Rory Block, BMI.

Thank you: To Holger Petersen, Peter Chapman,

Richard Flohil and everyone at Stony Plain Records,

Mark Dutton, Mark Pucci and Jill Kettles at mpmedia,

Todd Glazer, all the radio and satellite programmers,

promoters, venues, music fans, writers, reviewers,

bloggers, media folks, Dick Boak and Chris Thomas at

Martin Guitars (the best guitar company in the universe),

Fred Bolden (Mississippi John Hurts grand nephew,

author and historian), and to so many other friends and

family who I cant thank enough. I always say Were in

this thing together!

Blues is not meant to be for one human being alone, but for the soul of humankind.

RORY BLOCK

Mixed media portrait of Skip James by Rory Block

a tribute to Skip James

roryhardluck

child block

772532137324

SPCD

1373

SPCD

1373

SPCD1373 C & P 2014 Stony Plain Records. Stony Plain Recording Co. Ltd. PO Box 861 Edmonton, AB Canada T5J 2L8.

For a free catalogue: tel: 780-468-6423 fax: 780-465-8941 email: [email protected] PRINTED IN CANADA






4. if you haveNt aNy hay,

Get oN dowN the Road 4:21

5. little cow aNd calf

is GoNNa die Blues 5:18




9. im so Glad 3:30


1. Nehemiah James

The connection between gospel and early blues has always been clear to me. The fact that the people who created the music most likely grew up in a church was a feature of the timesthe late 1800s and early 1900s. This powerful spirituality translated directly into blues, and most of the founding artists included gospel in their repertoire. Although this point of view may be out-of-step with current trends, it is entirely in-step with the tradition which forged one of the most powerful musical forms ever to be born in this country. It is impossible to remove the gospel roots from blues, and from early country as well. This Holy Ghost connection is far more fundamental to the sound than many people realize today. Thus in reading about Skip Jamess early life, I was not surprised to find his history featured a preaching father and time spent touring in a gospel choir. Thus unfolds the story


People often ask me how I get certain sounds on the recordingsWhos playing bass? etc. I explain that I love to layer parts, and in many

cases add something with the guitar tuned well below pitch. I like the idea of showcasing the versatility of a guitar to create the sound of a full band, and thats what I was looking for in this song. Its easy to add a few elements to the approach to demonstrate how early blues evolved smoothly into electric styles and ultimately, rock n roll. These are the songs that rolled out the red carpet.


This one played out kinda smooth and spookyit had to with chilling words like When your knee bones are achin, and your bodys cold, thats cause youre just gettin ready, for the Cypress Grove! Skips version of this song embodied the deep melancholy that he was known for. Sometimes in the process of recording I suddenly hear the full message of the song as if for the first timethis one came on me like a slow moving freight train.

4. If You Havent Any Hay, Get On Down The Road

Nobody played piano quite like Skip James, and only a few players Ive ever heard have tried to tackle his unique,

artistically eccentric and brilliant style. Of course there was no chance of making the scheduling work, so one day I decided to try the piano part on guitar. Without having any idea where this would lead, I found a jaunty, jazzy attitude unfolding. Skip had a phenomenal bounce in his playing, and a time signature I challenge you to follow. When you hear Skip on piano and feel like your head is spinning but you love what youre hearing, thats probably the jazz elements dazzling your senses.

5. Little Cow and Calf Is Gonna Die Blues

As before, I had listened to these words many times, but never heard them as vividly as when I began recording the song. These are sad words! None the less the approach seemed to call for a lighter touch. Aint it sad, aint it a shame manifested as rather obvious alongside the story. A jazzy attitude unfolded for the music, once again inspired by Skips amazing, innovative piano style.


In my view this is Skip Jamess most iconic song. I

have recorded it before, but it still felt completely new. Thats part of the beauty of his multifaceted musicits ability to recreate itself with subtle meaning changes each time its played. The haunting mood of the song created the direction, and it seemed to me that slide was well suited for this task.

7. Jesus Is A Mighty Good Leader

This is part of the gospel repertoire I mentioned above. I approached it with a slightly more modern feel, but it still has one foot firmly planted in the early tradition.

8. Hard Time Killing Floor Blues

This is another undeniably melancholy Skip James tune. The tempos he used were sometimes similar, and some of the tunings might even have been the same. But each of Skips songs unveiled a world of nuances and a kaleidoscope of scene changes. I really became someone else telling this story. I believe the spirit in the music is able to convey a universal story if you follow its lead, and the take-one thing often

SPCD 1329 Blues Walkin Like A Man: A Tribute To Son House

SPCD 1359 I Belong to The Band: A Tribute To Rev. Gary Davis

SPCD 1369 Avalon: A Tribute To Mississippi John Hurt

SPCD 1344 Shake Em On Down: A Tribute To Mississippi Fred McDowell

Also available:captured something that I decided not to revisit. No changing of slurred words, no polishing anything, just allowing the mood to rule.

9. Im So Glad

Heres an example of a gospel-based blues song. As we recorded it, it became clear that spirituality was at the heart of it. Even though Skip was talking about a human relationship, the celestial energy and meaning pretty much took over. After all, our interconnectedness is really other-wordly in its power.

10. Hard Luck Child

What can I say. I resonate with this song. Blues is not meant to be for one human being alone, but for the soul of humankind. A quiet voice confiding, a lonely heart telling a story, a weeping cryIm a hard luck child, I catch the devil every where I go! I think a lot of people can relate, which is what made this incredible musical style so fascinating and beautiful to me from the first moment I heard it.

HARD LUCK CHILD

RO

RY

BL

OC

K

HARD LUCK CHILD

RO

RY

BL

OC

K

This is the fifth recording in my Mentor Seriesmusical tributes that celebrate the rediscovered blues masters that I met in person as a teenager. These five great artists to whom these recordings are dedicatedSon House, Mississippi Fred McDowell, Reverend Gary Davis, Mississippi John Hurt, and now Skip Jamesare the blues masters with whom I spent the most meaningful time, and they have, as a result, affected me the most deeply. There were others, such as Bukka White, who I sat next to, but really never interacted with on a personal levelthus these five are the true core of this series.

Skip James is often referred to as a man of mystery. Some people have described him as melancholy, even unfriendly. But in my 15 year old eyes he was deep, soulful, and beautiful. I did not question his serious demeanor. After all, I was aware of the history, the horrors and evil treatment he had endured. I did not expect him or any other rediscovered blues player to be anything but serious. Skip James also had cancer when I met him, and very few people are cheerful in a hospital.

To me, his music, with its intensity and haunting quality, was central to the incredibly powerful style we called Country Blues. After all, blues was often about sorrow, hard times, and heartache. But it was also about joy, survival, and even success in some cases. Skip James was the quintessential blues player; he had it all: style, power, grace, depththe ability to change your life and your way of experiencing the world with a single song. This was the inspiration and the example set by the mastersthe gauntlet that was thrown down. I had to follow the sound and the passion. While the rest of the world was busy with modern things, I wandered down the dusty path towards the past in bare feet. I didnt have a choice. This is what called to me.

The following is excerpted from my autobiography When A Woman Gets The Blues:

According to Stefan, we once sat in a room with Skip James and played music together. Apparently Steve Calt wrote about Stefan and I walking in on this occasion. Other than a recollected vision of Skips wide brimmed hat and melancholy expression, I dont really remember this meeting.

What I do remember is the hospital. Its sad that by this time Skip was already dying of cancer, an unusual disease in his day. I had been playing Skip James songs and listening to his haunting music for some timehe was one of the best and most powerful, certainly one of my favorites. But surrounded by grief, Skip had gone way inside. A hospital is no place to see a man this great. He wandered about in a bathrobe. I think he smoked a cigarette. He never met our eyes but gazed downwards. I could feel his despair.

Produced by Rory Block and Rob Davis for Aurora Productions


Recorded, mixed and mastered by Rob Davis in Aurora Productions mobile studios, Kentucky and Upstate NY


Rory uses her Signature model Martin Guitars, Shubb Capos, and a 14 mm deep well socket for a slide



www.roryblock.com

Exclusive worldwide bookings: FLi Artists contact: Matt Greenhill [email protected] noises provided by Bella, Gibson, and ten cats, who were in and out of the room repeatedly during the recording, eating kibbles, gnawing on marrow bones, leaping on and off the furniture, racing about and wrestling. There comes a point when preventing all of that in a household so full with animals would simply be impossibleso let it be. If you think you hear a phone ringing on a slide solo from time to time, chances are you do. I never agree to do it again if I feel like I got it. So there you have it, and thats what we do.

All tracks written by Nehemiah Curtis Skip James, published by Wynwood Music Co Inc, except track 1 Nehemiah James, written by Rory Block, BMI.

Thank you: To Holger Petersen, Peter Chapman, Richard Flohil and everyone at Stony Plain Records, Mark Dutton, Mark Pucci and Jill Kettles at mpmedia, Todd Glazer, all the radio and satellite programmers, promoters, venues, music fans, writers, reviewers, bloggers, media folks, Dick Boak and Chris Thomas at Martin Guitars (the best guitar company in the universe), Fred Bolden (Mississippi John Hurts grand nephew, author and historian), and to so many other friends and family who I cant thank enough. I always say Were in this thing together!

Blues is not meant to be for

one human being alone, but for

the soul of humankind.

RORY BLOCK

Mixed media portrait of

Skip James by Rory Block

a tribute to

Skip James

rory

hard

luck

child

block

rory block - hard luck child: a tribute to skip james [cd liner notes]

Documents

early blues

floor blues

blues foundation

early country

skip jamess early life

gospel choir

gospel roots

hard time