Doc Watson Albums (38)
'Sittin' Here Pickin' the Blues'
Release Date 4/6/2004
Tracks 20
Label Rounder
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What The Critics Say
While many folk-country artists have long since severed their connections with the blues, guitarist Doc Watson has never forgotten his. Watson's commitment to the blues deepened as his son, the late Merle Watson, picked up the guitar and joined him on-stage and in the studio. Sittin' Here Pickin' the Blues reaches back to several Doc and Merle Watson albums recorded for Rounder in the early- to mid-'80s, including the classic Pickin' the Blues. All of the 20 cuts emphasize the bluesy side of country music, from founding father Jimmie Rodgers to the Piedmont picking style of John Hurt to favorite standards like "How Long Blues." As with most of Watson and son's efforts, they surround themselves with good musicians -- Sam Bush, Mark O'Connor, and T. Michael Coleman -- and rely on straightforward arrangements that allow everyone a chance to solo. Perhaps the greatest treat, though, is the guitar playing. On a number of cuts -- including "Freight Train Blues," "Hobo Bill's Last Ride," and "Mississippi Heavy Water Blues" -- Merle Watson plays slide, while Doc Watson brings his distinct fingerpicking style to each cut. Sittin' Here Pickin' the Blues also offers a few nice surprises, like versions of "Stormy Weather" and "St. Louis Blues." This is a superb collection, sure to please Watson fans, guitar players, and anyone who enjoys honest acoustic music. ~ Ronnie D. Lankford Jr., All Music Guide
What The Critics Say
This brief collection shows why, at any length and in any context, Doc Watson is a true American treasure. He brings a comfortable joy and ease to every tune he touches, and each of his albums makes one feel as if Doc himself was sitting on the back porch with a guitar and gently picking his way through the American songbook. Watson's version of "Tennessee Stud," written by Jimmie Driftwood and made famous originally by Eddy Arnold, has become one of his many signature songs, and his easy, sassy vocal makes this boastful tune feel like it has been around forever. A bright take on Kokomo Arnold's "Milk Cow Blues" and the bluegrass pace of "Darlin' Cory" show the tremendous versatility of this amazing musician, who makes everything feel like it is made from the same fine cloth. ~ Steve Leggett, All Music Guide
''Round the Table Again'
Release Date 4/2/2002
Tracks 17
Label Sugar Hill
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What The Critics Say
Performances by Doc Watson with Frosty Morn have become a high point at Merlefest, the annual gathering launched in memory of Doc's son and collaborator, Merle Watson. The band, formed by Merle shortly before his death in 1985, plays impeccably on this Merlefest recording, but Doc opens alone with two traditional performances, playing banjo behind his own vocals on "Lynchburg Town" and singing a cappella on the haunting ballad "Coo Coo Bird." Gradually, the rest of Frosty Morn takes the stage, one song at a time; as each member comes out, Watson steps back a little further until he is integrated fully into the group. Understandably though, he holds the spotlight more than anyone else, telling a few folksy preacher jokes, urging his colleagues to "play it, son," even yodeling in classic fashion on "Jimmie's Mean Mamma Blues." The younger guys on the gig seem eager too, but to a fault; they whoop and yelp a little excessively after "On a Monday" and turn "Show Bizness" into a somewhat silly exercise. Watson, in contrast, tempers his enthusiasm with an almost anachronistic dignity. He does overreach at times, most awkwardly on an uncomfortable rendition of the R&B chestnut "Sincerely." Though his voice has worn a bit, it still animates more congenial material with his combination of warmth and stoic detachment. This is evident especially in his reading of "Nights in White Satin," which raises spirits that would doubtless have startled the Moody Blues. In the end, all of these tracks only echo the introduction that opens the disc: "A national treasure...Doc Watson." ~ Robert L. Doerschuk, All Music Guide
'Sings Songs for Little Pickers'
Release Date 4/5/2000
Tracks 13
Label Alcazar
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What The Critics Say
Songs for Little Pickers is a wonderful live recording of Doc Watson performing family material that he remembers singing as a child in North Carolina. ~ Thom Owens, All Music Guide
'Third Generation Blues'
Release Date 4/20/1999
Tracks 14
Label Sugar Hill
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What The Critics Say
Nobody plays a flat-top guitar quite like the versatile Doc Watson, and with Third Generation Blues, Watson teams with his grandson Richard to present a collection of 14 exquisite blues, country-folk, and gospel covers, each one as unique as a fingerprint. They perform the tunes on guitar, accompanied only by T. Michael Coleman on bass. From the down-home blues of Bubba White's "Honey Please Don't Go" and the country blues of Jimmie Rodgers' "Train Whistle Blues," to the up-tempo rendering of the classic "House of the Rising Sun," the Watsons again provide the smooth vocals and seamless guitar work for which both men have become known and respected. "If I Were a Carpenter" and "Milk Cow Blues" are both incredible, and the duet dishes up the gospel music with a huge dose of spirit, from "Uncloudy Day" to "Precious Lord Take My Hand," and the folk music fires burn brightly on "Gypsy Davey" and "Moody River." The blues make their way around again with "Columbus Stockade Blues" and "Walk on Boy," and the Watsons' reading of "Summertime (And the Living Is Easy)" is simply intense. There has always been something just plain enjoyable about Doc -- perhaps it is his easygoing demeanor or his undeniably easy-to-digest vocal style, or maybe it's the fact that he's one of the hottest flatpickers this side of Chet Atkins. Third Generation Blues offers prime examples of all of these traits, accompanied by the astounding picking of Richard to create an album that sets itself apart from the rest as a diamond in the rough. This is a collection of some of the most loved blues, gospel, and folk tunes of the 20th century, performed by some of the best minstrels of the century. ~ Michael B. Smith, All Music Guide
What The Critics Say
Doc does the country blues as well as anything else he does and this record is filled with some fine performances. From "Stone Wall" (on which Doc sings harmony with himself) to the hot picking on songs like "Minglewood Blues" and "I Ain't Going Honky Tonkin' Anymore" this is quite a good record. ~ Jim Worbois, All Music Guide
What The Critics Say
Originally recorded in 1967 with additional material recorded in 1998, this is a tribute to the vast talent of Merle Watson, whose life was cut short in a tractor accident in 1985. These recordings are even more impressive when it is understood that they were made just five months after Watson started playing banjo. Expert even then, he was a delight to his father, Doc. With this release, Merle Watson's place in traditional American music is defined and assured. Along with Marty Stuart, Sam Bush, Alan O'Bryant and T. Michael Coleman, Doc Watson gives these early recordings of his son's mastery a new life. Songs like "Girl in the Blue Velvet Band," "Old Joe Clark" and "Little Maggie" carry the listener away. Ending with "I Wonder How the Old Folks Are at Home" and "Home Sweet Home" gives this release a poignant twist. Highly recommended. ~ Jana Pendragon, All Music Guide
What The Critics Say
Flatpicking legend Doc Watson and mandolin virtuoso David Grisman have been playing together periodically for more than 30 years. In 1997, Grisman compiled some of the gems from these informal sessions and released them on his Acoustic Disc label. The 14 cuts were recorded mostly at Grisman's home in California between 1987 and 1991. The tracks are mainly traditional country and bluegrass tunes played lovingly and often with great restraint. On songs like the George Gershwin classic "Summertime," Grisman in particular makes every note count. Watson's voice is still strong and soulful. But, it is the instrumental duets that really shine, especially the two Bill Monroe tunes "Bluegrass Stomp" and "Kentucky Waltz" and the title track, "Doc and Dawg." This is an intimate collaboration between two men at the top of their craft who share a passion for acoustic music. It is a pleasure to listen in. ~ S. Colby Miller, All Music Guide
What The Critics Say
This collection is drawn from the albums Watson recorded for Flying Fish between 1980-1984. As the title implies, it features a selection of traditional country tunes and newer songs done in a country style. It has the smooth Nashville production characteristic of his albums of the time, but that's not really a flaw -- even if it takes some of the leather out of his playing, having a full backing band extends his appeal beyond the hillbilly curtain, and to many ears, that's a good thing. Everyone sounds comfortable and plays great, with Mark O'Connor and Sam Bush being a few of the musicians contributing. A nice range of writers are covered here too, including Jimmie Rodgers, Merle Travis, Tom Paxton, the Delmore Brothers, and Dan Fogelberg. Doc recorded many albums in this style, but for newcomers this is a nice sampler of his middle years. ~ Jim Smith, All Music Guide
What The Critics Say
Watson's arrival on the folk scene of the '60s was a major event in American music, due mostly to his appearance at the 1963 Newport Folk Festival and the release of this self-titled album the following year. Not only did it revolutionize folk guitar picking, but it set the standard for the rest of his career with its mix of old-timey numbers, blues, gospel, and adapted fiddle tunes. The album is incredibly varied, from the stark, banjo-driven "Country Blues" to the humorous "Intoxicated Rat," and many of these songs became Watson standards, especially his signature song "Black Mountain Rag." His incredible flat-picking skills may have been what initially wowed his audiences, but it was Watson's complete mastery of the folk idiom that assured his lasting popularity. ~ Jim Smith, All Music Guide
