Skip James Albums (8)
'Skip James Live, Vol. 3: Bloomington 1968, Pt. 2'
Release Date 3/22/2005
Tracks 14
Label Document
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'Hard Time Killing Floor Blues'
Release Date 7/15/2003
Tracks 12
Label Sony
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What The Critics Say
Hard Time Killing Floor Blues was the first session Skip James recorded following his rediscovery by John Fahey and Henry Vestine in the mid-'60s. Though he had not played the blues for more than 20 years, his skills were largely undiminished, and he turns in a fantastic set here. James was the pinnacle of the Bentonia (Mississippi) sound, which combines complex fingerpicking with falsetto vocals, resulting in somewhat spooky-sounding strain of blues. James reprises several of his 1931 Paramount sides on this session, as well as a couple new tunes that chronicle the illnesses of James' latter days. Anyone with a passing interest in acoustic blues should own some James. This set would make a great starting point, especially for those who don't take well to the surface noise that can accompany his '30s sessions. The new mastering here sounds rich and warm. Highly recommended. [This set was previously released as Biograph 122, with a different running order.] ~ Sean Westergaard, All Music Guide
What The Critics Say
Skip James displays his four tool skills on piano, organ, guitar, and vocals on 12 traditional Delta Blues numbers, and employs his whining, age weakened falsetto on every cut. There's nothing fancy -- just James accompanying himself and emoting his heart out on a myriad of earthy tales like "Black Gal," "Lazy Bones," "Vicksburg Blues," and "Special Rider Blues." The release is a true reflection of the leading purveyor of the Bentonia Blues style named after James' birthplace, Bentonia Mississippi. ~ Andrew Hamilton, All Music Guide
'Live: Boston, 1964 & Philadelphia 1966'
Release Date 6/2/1994
Tracks 15
Label Document
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What The Critics Say
These recordings, made in coffee houses during the folk boom and James' comeback after 30 years of obscurity, find him still in remarkable control of his talents. His guitar and piano playing are agile and sensitive and his high tenor still sends a shiver down the spine. The sound is very good (save for the occasional drop out), but more importantly the performances are first rate, and with a little imagination you can put yourself right there in the room with this enormous talent. ~ Tim Sheridan, All Music Guide
'Tribute to Skip James, Vol. 1 (1964)'
Release Date 1/1/1970
Tracks 7
Label Biograph
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What The Critics Say
Skip James made his original reputation with 17 recordings that he cut during February 1931, when he was 28. Although fluent on both the guitar and (to a lesser extent) the piano, James was most notable for his storytelling lyrics, his haunting high-pitched voice, and his distinctive interpretations of the Delta blues. James was rediscovered 33 years after his early recordings, in time to appear at the 1964 Newport Folk Festival. He was quite active during 1964-1966, making the music on this solo CD (his last record) three years before his death in 1969. One can easily hear the influence that Skip James' music had on the then flourishing folk music movement, and he still sang his country blues with great intensity. ~ Scott Yanow, All Music Guide
What The Critics Say
As quiet as it was kept then, Skip James might have made the best music of anyone who resurfaced during the mid-'60s "rediscovery" era for Mississippi country blues types. Certainly, there weren't many albums made during that time as good as this one; wonderful vocals, superb guitar and a couple of tunes with tasty piano make this essential. ~ Ron Wynn, All Music Guide
What The Critics Say
By the time James had been rediscovered in the 1960s, he was still capable of playing entrancing, dynamic music, but was much less consistent and not as striking a vocalist. It was a testimony to his greatness that he still managed to make compelling records, and he was among the best storytellers and dramatic singers in the traditional realm. This mid-'60s CD features songs James recorded for the Adelphi label in 1964 that were never issued. It's hard to understand why this wasn't issued at the time it was recorded; it's just as solid as the albums James recorded for Columbia during the same period. ~ Ron Wynn, All Music Guide
