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1 . N e h e m i a h J a m e s
T h e c o n n e c t i o n b e t w e e n
g o s p e l a n d e a r l y b l u e s h a s
a l w a y s b e e n c l e a r t o m e .
T h e f a c t t h a t t h e p e o p l e w h o
c r e a t e d t h e m u s i c m o s t l i k e l y
g r e w u p i n a c h u r c h w a s a
f e a t u r e o f t h e t i m e s t h e l a t e
1 8 0 0 s a n d e a r l y 1 9 0 0 s . T h i s
p o w e r f u l s p i r i t u a l i t y t r a n s l a t e d
d i r e c t l y i n t o b l u e s , a n d m o s t o f
t h e f o u n d i n g a r t i s t s i n c l u d e d
g o s p e l i n t h e i r r e p e r t o i r e .
A l t h o u g h t h i s p o i n t o f v i e w m a y
b e o u t - o f - s t e p w i t h c u r r e n t
t r e n d s , i t i s e n t i r e l y i n - s t e p
w i t h t h e t r a d i t i o n w h i c h f o r g e d
o n e o f t h e m o s t p o w e r f u l
m u s i c a l f o r m s e v e r t o b e b o r n
i n t h i s c o u n t r y . I t i s i m p o s s i b l e
t o r e m o v e t h e g o s p e l r o o t s
f r o m b l u e s , a n d f r o m e a r l y
c o u n t r y a s w e l l . T h i s H o l y
G h o s t c o n n e c t i o n i s f a r m o r e
f u n d a m e n t a l t o t h e s o u n d t h a n
m a n y p e o p l e r e a l i z e t o d a y .
T h u s i n r e a d i n g a b o u t S k i p
J a m e s s e a r l y l i f e , I w a s n o t
s u r p r i s e d t o n d h i s h i s t o r y
f e a t u r e d a p r e a c h i n g f a t h e r a n d
t i m e s p e n t t o u r i n g i n a g o s p e l
c h o i r . T h u s u n f o l d s t h e s t o r y
2 . S p e c i a l R i d e r B l u e s
P e o p l e o f t e n a s k m e h o w I
g e t c e r t a i n s o u n d s o n t h e
r e c o r d i n g s W h o s p l a y i n g
b a s s ? e t c . I e x p l a i n t h a t I l o v e
t o l a y e r p a r t s , a n d i n m a n y
c a s e s a d d s o m e t h i n g w i t h t h e
g u i t a r t u n e d w e l l b e l o w p i t c h . I
l i k e t h e i d e a o f s h o w c a s i n g t h e
v e r s a t i l i t y o f a g u i t a r t o c r e a t e
t h e s o u n d o f a f u l l b a n d , a n d
t h a t s w h a t I w a s l o o k i n g f o r i n
t h i s s o n g . I t s e a s y t o a d d a f e w
e l e m e n t s t o t h e a p p r o a c h t o
d e m o n s t r a t e h o w e a r l y b l u e s
e v o l v e d s m o o t h l y i n t o e l e c t r i c
s t y l e s a n d u l t i m a t e l y , r o c k n
r o l l . T h e s e a r e t h e s o n g s t h a t
r o l l e d o u t t h e r e d c a r p e t .
3 . C y p r e s s G r o v e B l u e s
T h i s o n e p l a y e d o u t k i n d a
s m o o t h a n d s p o o k y i t h a d t o
w i t h c h i l l i n g w o r d s l i k e W h e n
y o u r k n e e b o n e s a r e a c h i n ,
a n d y o u r b o d y s c o l d , t h a t s
c a u s e y o u r e j u s t g e t t i n r e a d y ,
f o r t h e C y p r e s s G r o v e ! S k i p s
v e r s i o n o f t h i s s o n g e m b o d i e d
t h e d e e p m e l a n c h o l y t h a t h e
w a s k n o w n f o r . S o m e t i m e s
i n t h e p r o c e s s o f r e c o r d i n g
I s u d d e n l y h e a r t h e f u l l
m e s s a g e o f t h e s o n g a s i f f o r
t h e r s t t i m e t h i s o n e c a m e
o n m e l i k e a s l o w m o v i n g
f r e i g h t t r a i n .
4 . I f Y o u H a v e n t A n y
H a y , G e t O n D o w n T h e
R o a d
N o b o d y p l a y e d p i a n o q u i t e l i k e
S k i p J a m e s , a n d o n l y a f e w
p l a y e r s I v e e v e r h e a r d h a v e
t r i e d t o t a c k l e h i s u n i q u e ,
a r t i s t i c a l l y e c c e n t r i c a n d
b r i l l i a n t s t y l e . O f c o u r s e t h e r e
w a s n o c h a n c e o f m a k i n g
t h e s c h e d u l i n g w o r k , s o o n e
d a y I d e c i d e d t o t r y t h e p i a n o
p a r t o n g u i t a r . W i t h o u t h a v i n g
a n y i d e a w h e r e t h i s w o u l d
l e a d , I f o u n d a j a u n t y , j a z z y
a t t i t u d e u n f o l d i n g . S k i p h a d
a p h e n o m e n a l b o u n c e i n h i s
p l a y i n g , a n d a t i m e s i g n a t u r e I
c h a l l e n g e y o u t o f o l l o w . W h e n
y o u h e a r S k i p o n p i a n o a n d
f e e l l i k e y o u r h e a d i s s p i n n i n g
b u t y o u l o v e w h a t y o u r e
h e a r i n g , t h a t s p r o b a b l y t h e
j a z z e l e m e n t s d a z z l i n g y o u r
s e n s e s .
5 . L i t t l e C o w a n d C a l f
I s G o n n a D i e B l u e s
A s b e f o r e , I h a d l i s t e n e d t o
t h e s e w o r d s m a n y t i m e s , b u t
n e v e r h e a r d t h e m a s v i v i d l y a s
w h e n I b e g a n r e c o r d i n g t h e
s o n g . T h e s e a r e s a d w o r d s !
N o n e t h e l e s s t h e a p p r o a c h
s e e m e d t o c a l l f o r a l i g h t e r
t o u c h . A i n t i t s a d , a i n t i t a
s h a m e m a n i f e s t e d a s r a t h e r
o b v i o u s a l o n g s i d e t h e s t o r y .
A j a z z y a t t i t u d e u n f o l d e d f o r
t h e m u s i c , o n c e a g a i n i n s p i r e d
b y S k i p s a m a z i n g , i n n o v a t i v e
p i a n o s t y l e .
6 . D e v i l G o t M y W o m a n
I n m y v i e w t h i s i s S k i p
J a m e s s m o s t i c o n i c s o n g . I
h a v e r e c o r d e d i t b e f o r e , b u t
i t s t i l l f e l t c o m p l e t e l y n e w .
T h a t s p a r t o f t h e b e a u t y o f
h i s m u l t i f a c e t e d m u s i c i t s
a b i l i t y t o r e c r e a t e i t s e l f w i t h
s u b t l e m e a n i n g c h a n g e s e a c h
t i m e i t s p l a y e d . T h e h a u n t i n g
m o o d o f t h e s o n g c r e a t e d t h e
d i r e c t i o n , a n d i t s e e m e d t o m e
t h a t s l i d e w a s w e l l s u i t e d f o r
t h i s t a s k .
7 . J e s u s I s A M i g h t y
G o o d L e a d e r
T h i s i s p a r t o f t h e g o s p e l
r e p e r t o i r e I m e n t i o n e d a b o v e .
I a p p r o a c h e d i t w i t h a s l i g h t l y
m o r e m o d e r n f e e l , b u t i t s t i l l
h a s o n e f o o t r m l y p l a n t e d i n
t h e e a r l y t r a d i t i o n .
8 . H a r d T i m e K i l l i n g
F l o o r B l u e s
T h i s i s a n o t h e r u n d e n i a b l y
m e l a n c h o l y S k i p J a m e s
t u n e . T h e t e m p o s h e u s e d
w e r e s o m e t i m e s s i m i l a r ,
a n d s o m e o f t h e t u n i n g s
m i g h t e v e n h a v e b e e n t h e
s a m e . B u t e a c h o f S k i p s
s o n g s u n v e i l e d a w o r l d o f
n u a n c e s a n d a k a l e i d o s c o p e
o f s c e n e c h a n g e s . I r e a l l y
b e c a m e s o m e o n e e l s e
t e l l i n g t h i s s t o r y . I b e l i e v e
t h e s p i r i t i n t h e m u s i c i s a b l e
t o c o n v e y a u n i v e r s a l s t o r y
i f y o u f o l l o w i t s l e a d , a n d
t h e t a k e - o n e t h i n g o f t e n
S P C D 1 3 2 9
B l u e s W a l k i n L i k e A M a n :
A T r i b u t e T o S o n H o u s e
S P C D 1 3 5 9
I B e l o n g t o T h e B a n d :
A T r i b u t e T o R e v . G a r y D a v i s
S P C D 1 3 6 9
A v a l o n : A T r i b u t e T o
M i s s i s s i p p i J o h n H u r t
S P C D 1 3 4 4
S h a k e E m O n D o w n : A T r i b u t e
T o M i s s i s s i p p i F r e d M c D o w e l l
A l s o a v a i l a b l e :c a p t u r e d s o m e t h i n g t h a t I
d e c i d e d n o t t o r e v i s i t . N o
c h a n g i n g o f s l u r r e d w o r d s ,
n o p o l i s h i n g a n y t h i n g , j u s t
a l l o w i n g t h e m o o d t o r u l e .
9 . I m S o G l a d
H e r e s a n e x a m p l e o f
a g o s p e l - b a s e d b l u e s
s o n g . A s w e r e c o r d e d
i t , i t b e c a m e c l e a r t h a t
s p i r i t u a l i t y w a s a t t h e
h e a r t o f i t . E v e n t h o u g h
S k i p w a s t a l k i n g a b o u t
a h u m a n r e l a t i o n s h i p ,
t h e c e l e s t i a l e n e r g y a n d
m e a n i n g p r e t t y m u c h
t o o k o v e r . A f t e r a l l , o u r
i n t e r c o n n e c t e d n e s s i s
r e a l l y o t h e r - w o r d l y i n
i t s p o w e r .
1 0 . H a r d L u c k C h i l d
W h a t c a n I s a y . I r e s o n a t e
w i t h t h i s s o n g . B l u e s i s
n o t m e a n t t o b e f o r o n e
h u m a n b e i n g a l o n e , b u t
f o r t h e s o u l o f h u m a n k i n d .
A q u i e t v o i c e c o n d i n g , a
l o n e l y h e a r t t e l l i n g a s t o r y ,
a w e e p i n g c r y I m a h a r d
l u c k c h i l d , I c a t c h t h e d e v i l
e v e r y w h e r e I g o ! I t h i n k
a l o t o f p e o p l e c a n r e l a t e ,
w h i c h i s w h a t m a d e t h i s
i n c r e d i b l e m u s i c a l s t y l e s o
f a s c i n a t i n g a n d b e a u t i f u l t o
m e f r o m t h e r s t m o m e n t
I h e a r d i t .
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T h i s i s t h e f t h r e c o r d i n g i n m y M e n t o r S e r i e s m u s i c a l
t r i b u t e s t h a t c e l e b r a t e t h e r e d i s c o v e r e d b l u e s m a s t e r s
t h a t I m e t i n p e r s o n a s a t e e n a g e r . T h e s e v e g r e a t
a r t i s t s t o w h o m t h e s e r e c o r d i n g s a r e d e d i c a t e d S o n
H o u s e , M i s s i s s i p p i F r e d M c D o w e l l , R e v e r e n d G a r y D a v i s ,
M i s s i s s i p p i J o h n H u r t , a n d n o w S k i p J a m e s a r e t h e b l u e s
m a s t e r s w i t h w h o m I s p e n t t h e m o s t m e a n i n g f u l t i m e , a n d
t h e y h a v e , a s a r e s u l t , a f f e c t e d m e t h e m o s t d e e p l y . T h e r e
w e r e o t h e r s , s u c h a s B u k k a W h i t e , w h o I s a t n e x t t o , b u t
r e a l l y n e v e r i n t e r a c t e d w i t h o n a p e r s o n a l l e v e l t h u s t h e s e
v e a r e t h e t r u e c o r e o f t h i s s e r i e s .
S k i p J a m e s i s o f t e n r e f e r r e d t o a s a m a n o f m y s t e r y . S o m e
p e o p l e h a v e d e s c r i b e d h i m a s m e l a n c h o l y , e v e n u n f r i e n d l y .
B u t i n m y 1 5 y e a r o l d e y e s h e w a s d e e p , s o u l f u l , a n d
b e a u t i f u l . I d i d n o t q u e s t i o n h i s s e r i o u s d e m e a n o r . A f t e r a l l ,
I w a s a w a r e o f t h e h i s t o r y , t h e h o r r o r s a n d e v i l t r e a t m e n t h e
h a d e n d u r e d . I d i d n o t e x p e c t h i m o r a n y o t h e r r e d i s c o v e r e d
b l u e s p l a y e r t o b e a n y t h i n g b u t s e r i o u s . S k i p J a m e s a l s o
h a d c a n c e r w h e n I m e t h i m , a n d v e r y f e w p e o p l e a r e
c h e e r f u l i n a h o s p i t a l .
T o m e , h i s m u s i c , w i t h i t s i n t e n s i t y a n d h a u n t i n g q u a l i t y , w a s
c e n t r a l t o t h e i n c r e d i b l y p o w e r f u l s t y l e w e c a l l e d C o u n t r y
B l u e s . A f t e r a l l , b l u e s w a s o f t e n a b o u t s o r r o w , h a r d t i m e s ,
a n d h e a r t a c h e . B u t i t w a s a l s o a b o u t j o y , s u r v i v a l , a n d e v e n
s u c c e s s i n s o m e c a s e s . S k i p J a m e s w a s t h e q u i n t e s s e n t i a l
b l u e s p l a y e r ; h e h a d i t a l l : s t y l e , p o w e r , g r a c e , d e p t h t h e
a b i l i t y t o c h a n g e y o u r l i f e a n d y o u r w a y o f e x p e r i e n c i n g t h e
w o r l d w i t h a s i n g l e s o n g . T h i s w a s t h e i n s p i r a t i o n a n d t h e
e x a m p l e s e t b y t h e m a s t e r s t h e g a u n t l e t t h a t w a s t h r o w n
d o w n . I h a d t o f o l l o w t h e s o u n d a n d t h e p a s s i o n . W h i l e t h e
r e s t o f t h e w o r l d w a s b u s y w i t h m o d e r n t h i n g s , I w a n d e r e d
d o w n t h e d u s t y p a t h t o w a r d s t h e p a s t i n b a r e f e e t . I d i d n t
h a v e a c h o i c e . T h i s i s w h a t c a l l e d t o m e .
T h e f o l l o w i n g i s e x c e r p t e d f r o m m y
a u t o b i o g r a p h y W h e n A W o m a n G e t s
T h e B l u e s :
A c c o r d i n g t o S t e f a n , w e o n c e s a t i n
a r o o m w i t h S k i p J a m e s a n d p l a y e d
m u s i c t o g e t h e r . A p p a r e n t l y S t e v e C a l t
w r o t e a b o u t S t e f a n a n d I w a l k i n g i n o n
t h i s o c c a s i o n . O t h e r t h a n a r e c o l l e c t e d
v i s i o n o f S k i p s w i d e b r i m m e d h a t a n d
m e l a n c h o l y e x p r e s s i o n , I d o n t r e a l l y
r e m e m b e r t h i s m e e t i n g .
W h a t I d o r e m e m b e r i s t h e h o s p i t a l .
I t s s a d t h a t b y t h i s t i m e S k i p w a s
a l r e a d y d y i n g o f c a n c e r , a n u n u s u a l
d i s e a s e i n h i s d a y . I h a d b e e n p l a y i n g
S k i p J a m e s s o n g s a n d l i s t e n i n g
t o h i s h a u n t i n g m u s i c f o r s o m e
t i m e h e w a s o n e o f t h e b e s t a n d
m o s t p o w e r f u l , c e r t a i n l y o n e o f m y
f a v o r i t e s . B u t s u r r o u n d e d b y g r i e f ,
S k i p h a d g o n e w a y i n s i d e . A h o s p i t a l
i s n o p l a c e t o s e e a m a n t h i s g r e a t .
H e w a n d e r e d a b o u t i n a b a t h r o b e . I
t h i n k h e s m o k e d a c i g a r e t t e . H e n e v e r
m e t o u r e y e s b u t g a z e d d o w n w a r d s . I
c o u l d f e e l h i s d e s p a i r .
P r o d u c e d b y R o r y B l o c k a n d R o b D a v i s
f o r A u r o r a P r o d u c t i o n s
E x e c u t i v e p r o d u c e r : H o l g e r P e t e r s e n
R e c o r d e d , m i x e d a n d m a s t e r e d b y R o b D a v i s i n A u r o r a
P r o d u c t i o n s m o b i l e s t u d i o s , K e n t u c k y a n d U p s t a t e N Y
A l l g u i t a r s a n d v o c a l s : R o r y B l o c k
R o r y u s e s h e r S i g n a t u r e m o d e l M a r t i n G u i t a r s ,
S h u b b C a p o s , a n d a 1 4 m m d e e p w e l l s o c k e t f o r a s l i d e
P h o t o g r a p h y : S e r g i o K u r h a j e c
G r a p h i c D e s i g n : M a r k D u t t o n a t H a l k i e r + D u t t o n D e s i g n
w w w . r o r y b l o c k . c o m
E x c l u s i v e w o r l d w i d e b o o k i n g s : F L i A r t i s t s
c o n t a c t : M a t t G r e e n h i l l m a t t g @ F L i A r t i s t s . c o m
B a c k g r o u n d n o i s e s p r o v i d e d b y B e l l a , G i b s o n , a n d t e n
c a t s , w h o w e r e i n a n d o u t o f t h e r o o m r e p e a t e d l y d u r i n g
t h e r e c o r d i n g , e a t i n g k i b b l e s , g n a w i n g o n m a r r o w
b o n e s , l e a p i n g o n a n d o f f t h e f u r n i t u r e , r a c i n g a b o u t a n d
w r e s t l i n g . T h e r e c o m e s a p o i n t w h e n p r e v e n t i n g a l l o f
t h a t i n a h o u s e h o l d s o f u l l w i t h a n i m a l s w o u l d s i m p l y b e
i m p o s s i b l e s o l e t i t b e . I f y o u t h i n k y o u h e a r a p h o n e
r i n g i n g o n a s l i d e s o l o f r o m t i m e t o t i m e , c h a n c e s a r e
y o u d o . I n e v e r a g r e e t o d o i t a g a i n i f I f e e l l i k e I g o t i t .
S o t h e r e y o u h a v e i t , a n d t h a t s w h a t w e d o .
A l l t r a c k s w r i t t e n b y N e h e m i a h C u r t i s S k i p J a m e s ,
p u b l i s h e d b y W y n w o o d M u s i c C o I n c , e x c e p t t r a c k 1
N e h e m i a h J a m e s , w r i t t e n b y R o r y B l o c k , B M I .
T h a n k y o u : T o H o l g e r P e t e r s e n , P e t e r C h a p m a n ,
R i c h a r d F l o h i l a n d e v e r y o n e a t S t o n y P l a i n R e c o r d s ,
M a r k D u t t o n , M a r k P u c c i a n d J i l l K e t t l e s a t m p m e d i a ,
T o d d G l a z e r , a l l t h e r a d i o a n d s a t e l l i t e p r o g r a m m e r s ,
p r o m o t e r s , v e n u e s , m u s i c f a n s , w r i t e r s , r e v i e w e r s ,
b l o g g e r s , m e d i a f o l k s , D i c k B o a k a n d C h r i s T h o m a s a t
M a r t i n G u i t a r s ( t h e b e s t g u i t a r c o m p a n y i n t h e u n i v e r s e ) ,
F r e d B o l d e n ( M i s s i s s i p p i J o h n H u r t s g r a n d n e p h e w ,
a u t h o r a n d h i s t o r i a n ) , a n d t o s o m a n y o t h e r f r i e n d s a n d
f a m i l y w h o I c a n t t h a n k e n o u g h . I a l w a y s s a y W e r e i n
t h i s t h i n g t o g e t h e r !
Blues is not meant to be for
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RORY BLOCK
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SPCD1373 C & P 2014 Stony Plain Records. Stony Plain Recording Co. Ltd. PO Box 861 Edmonton, AB Canada T5J 2L8.
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1. NEHEMIAH JAMES 5:31
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4. IF YOU HAVENT ANY HAY,
GET ON DOWN THE ROAD 4:21
5. LITTLE COW AND CALF
IS GONNA DIE BLUES 5:18
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10. HARD LUCK CHILD 4:30
1 . N e h e m i a h J a m e s
T h e c o n n e c t i o n b e t w e e n
g o s p e l a n d e a r l y b l u e s h a s
a l w a y s b e e n c l e a r t o m e .
T h e f a c t t h a t t h e p e o p l e w h o
c r e a t e d t h e m u s i c m o s t l i k e l y
g r e w u p i n a c h u r c h w a s a
f e a t u r e o f t h e t i m e s t h e l a t e
1 8 0 0 s a n d e a r l y 1 9 0 0 s . T h i s
p o w e r f u l s p i r i t u a l i t y t r a n s l a t e d
d i r e c t l y i n t o b l u e s , a n d m o s t o f
t h e f o u n d i n g a r t i s t s i n c l u d e d
g o s p e l i n t h e i r r e p e r t o i r e .
A l t h o u g h t h i s p o i n t o f v i e w m a y
b e o u t - o f - s t e p w i t h c u r r e n t
t r e n d s , i t i s e n t i r e l y i n - s t e p
w i t h t h e t r a d i t i o n w h i c h f o r g e d
o n e o f t h e m o s t p o w e r f u l
m u s i c a l f o r m s e v e r t o b e b o r n
i n t h i s c o u n t r y . I t i s i m p o s s i b l e
t o r e m o v e t h e g o s p e l r o o t s
f r o m b l u e s , a n d f r o m e a r l y
c o u n t r y a s w e l l . T h i s H o l y
G h o s t c o n n e c t i o n i s f a r m o r e
f u n d a m e n t a l t o t h e s o u n d t h a n
m a n y p e o p l e r e a l i z e t o d a y .
T h u s i n r e a d i n g a b o u t S k i p
J a m e s s e a r l y l i f e , I w a s n o t
s u r p r i s e d t o n d h i s h i s t o r y
f e a t u r e d a p r e a c h i n g f a t h e r a n d
t i m e s p e n t t o u r i n g i n a g o s p e l
c h o i r . T h u s u n f o l d s t h e s t o r y
2 . S p e c i a l R i d e r B l u e s
P e o p l e o f t e n a s k m e h o w I
g e t c e r t a i n s o u n d s o n t h e
r e c o r d i n g s W h o s p l a y i n g
b a s s ? e t c . I e x p l a i n t h a t I l o v e
t o l a y e r p a r t s , a n d i n m a n y
c a s e s a d d s o m e t h i n g w i t h t h e
g u i t a r t u n e d w e l l b e l o w p i t c h . I
l i k e t h e i d e a o f s h o w c a s i n g t h e
v e r s a t i l i t y o f a g u i t a r t o c r e a t e
t h e s o u n d o f a f u l l b a n d , a n d
t h a t s w h a t I w a s l o o k i n g f o r i n
t h i s s o n g . I t s e a s y t o a d d a f e w
e l e m e n t s t o t h e a p p r o a c h t o
d e m o n s t r a t e h o w e a r l y b l u e s
e v o l v e d s m o o t h l y i n t o e l e c t r i c
s t y l e s a n d u l t i m a t e l y , r o c k n
r o l l . T h e s e a r e t h e s o n g s t h a t
r o l l e d o u t t h e r e d c a r p e t .
3 . C y p r e s s G r o v e B l u e s
T h i s o n e p l a y e d o u t k i n d a
s m o o t h a n d s p o o k y i t h a d t o
w i t h c h i l l i n g w o r d s l i k e W h e n
y o u r k n e e b o n e s a r e a c h i n ,
a n d y o u r b o d y s c o l d , t h a t s
c a u s e y o u r e j u s t g e t t i n r e a d y ,
f o r t h e C y p r e s s G r o v e ! S k i p s
v e r s i o n o f t h i s s o n g e m b o d i e d
t h e d e e p m e l a n c h o l y t h a t h e
w a s k n o w n f o r . S o m e t i m e s
i n t h e p r o c e s s o f r e c o r d i n g
I s u d d e n l y h e a r t h e f u l l
m e s s a g e o f t h e s o n g a s i f f o r
t h e r s t t i m e t h i s o n e c a m e
o n m e l i k e a s l o w m o v i n g
f r e i g h t t r a i n .
4 . I f Y o u H a v e n t A n y
H a y , G e t O n D o w n T h e
R o a d
N o b o d y p l a y e d p i a n o q u i t e l i k e
S k i p J a m e s , a n d o n l y a f e w
p l a y e r s I v e e v e r h e a r d h a v e
t r i e d t o t a c k l e h i s u n i q u e ,
a r t i s t i c a l l y e c c e n t r i c a n d
b r i l l i a n t s t y l e . O f c o u r s e t h e r e
w a s n o c h a n c e o f m a k i n g
t h e s c h e d u l i n g w o r k , s o o n e
d a y I d e c i d e d t o t r y t h e p i a n o
p a r t o n g u i t a r . W i t h o u t h a v i n g
a n y i d e a w h e r e t h i s w o u l d
l e a d , I f o u n d a j a u n t y , j a z z y
a t t i t u d e u n f o l d i n g . S k i p h a d
a p h e n o m e n a l b o u n c e i n h i s
p l a y i n g , a n d a t i m e s i g n a t u r e I
c h a l l e n g e y o u t o f o l l o w . W h e n
y o u h e a r S k i p o n p i a n o a n d
f e e l l i k e y o u r h e a d i s s p i n n i n g
b u t y o u l o v e w h a t y o u r e
h e a r i n g , t h a t s p r o b a b l y t h e
j a z z e l e m e n t s d a z z l i n g y o u r
s e n s e s .
5 . L i t t l e C o w a n d C a l f
I s G o n n a D i e B l u e s
A s b e f o r e , I h a d l i s t e n e d t o
t h e s e w o r d s m a n y t i m e s , b u t
n e v e r h e a r d t h e m a s v i v i d l y a s
w h e n I b e g a n r e c o r d i n g t h e
s o n g . T h e s e a r e s a d w o r d s !
N o n e t h e l e s s t h e a p p r o a c h
s e e m e d t o c a l l f o r a l i g h t e r
t o u c h . A i n t i t s a d , a i n t i t a
s h a m e m a n i f e s t e d a s r a t h e r
o b v i o u s a l o n g s i d e t h e s t o r y .
A j a z z y a t t i t u d e u n f o l d e d f o r
t h e m u s i c , o n c e a g a i n i n s p i r e d
b y S k i p s a m a z i n g , i n n o v a t i v e
p i a n o s t y l e .
6 . D e v i l G o t M y W o m a n
I n m y v i e w t h i s i s S k i p
J a m e s s m o s t i c o n i c s o n g . I
h a v e r e c o r d e d i t b e f o r e , b u t
i t s t i l l f e l t c o m p l e t e l y n e w .
T h a t s p a r t o f t h e b e a u t y o f
h i s m u l t i f a c e t e d m u s i c i t s
a b i l i t y t o r e c r e a t e i t s e l f w i t h
s u b t l e m e a n i n g c h a n g e s e a c h
t i m e i t s p l a y e d . T h e h a u n t i n g
m o o d o f t h e s o n g c r e a t e d t h e
d i r e c t i o n , a n d i t s e e m e d t o m e
t h a t s l i d e w a s w e l l s u i t e d f o r
t h i s t a s k .
7 . J e s u s I s A M i g h t y
G o o d L e a d e r
T h i s i s p a r t o f t h e g o s p e l
r e p e r t o i r e I m e n t i o n e d a b o v e .
I a p p r o a c h e d i t w i t h a s l i g h t l y
m o r e m o d e r n f e e l , b u t i t s t i l l
h a s o n e f o o t r m l y p l a n t e d i n
t h e e a r l y t r a d i t i o n .
8 . H a r d T i m e K i l l i n g
F l o o r B l u e s
T h i s i s a n o t h e r u n d e n i a b l y
m e l a n c h o l y S k i p J a m e s
t u n e . T h e t e m p o s h e u s e d
w e r e s o m e t i m e s s i m i l a r ,
a n d s o m e o f t h e t u n i n g s
m i g h t e v e n h a v e b e e n t h e
s a m e . B u t e a c h o f S k i p s
s o n g s u n v e i l e d a w o r l d o f
n u a n c e s a n d a k a l e i d o s c o p e
o f s c e n e c h a n g e s . I r e a l l y
b e c a m e s o m e o n e e l s e
t e l l i n g t h i s s t o r y . I b e l i e v e
t h e s p i r i t i n t h e m u s i c i s a b l e
t o c o n v e y a u n i v e r s a l s t o r y
i f y o u f o l l o w i t s l e a d , a n d
t h e t a k e - o n e t h i n g o f t e n
S P C D 1 3 2 9
B l u e s W a l k i n L i k e A M a n :
A T r i b u t e T o S o n H o u s e
S P C D 1 3 5 9
I B e l o n g t o T h e B a n d :
A T r i b u t e T o R e v . G a r y D a v i s
S P C D 1 3 6 9
A v a l o n : A T r i b u t e T o
M i s s i s s i p p i J o h n H u r t
S P C D 1 3 4 4
S h a k e E m O n D o w n : A T r i b u t e
T o M i s s i s s i p p i F r e d M c D o w e l l
A l s o a v a i l a b l e :c a p t u r e d s o m e t h i n g t h a t I
d e c i d e d n o t t o r e v i s i t . N o
c h a n g i n g o f s l u r r e d w o r d s ,
n o p o l i s h i n g a n y t h i n g , j u s t
a l l o w i n g t h e m o o d t o r u l e .
9 . I m S o G l a d
H e r e s a n e x a m p l e o f
a g o s p e l - b a s e d b l u e s
s o n g . A s w e r e c o r d e d
i t , i t b e c a m e c l e a r t h a t
s p i r i t u a l i t y w a s a t t h e
h e a r t o f i t . E v e n t h o u g h
S k i p w a s t a l k i n g a b o u t
a h u m a n r e l a t i o n s h i p ,
t h e c e l e s t i a l e n e r g y a n d
m e a n i n g p r e t t y m u c h
t o o k o v e r . A f t e r a l l , o u r
i n t e r c o n n e c t e d n e s s i s
r e a l l y o t h e r - w o r d l y i n
i t s p o w e r .
1 0 . H a r d L u c k C h i l d
W h a t c a n I s a y . I r e s o n a t e
w i t h t h i s s o n g . B l u e s i s
n o t m e a n t t o b e f o r o n e
h u m a n b e i n g a l o n e , b u t
f o r t h e s o u l o f h u m a n k i n d .
A q u i e t v o i c e c o n d i n g , a
l o n e l y h e a r t t e l l i n g a s t o r y ,
a w e e p i n g c r y I m a h a r d
l u c k c h i l d , I c a t c h t h e d e v i l
e v e r y w h e r e I g o ! I t h i n k
a l o t o f p e o p l e c a n r e l a t e ,
w h i c h i s w h a t m a d e t h i s
i n c r e d i b l e m u s i c a l s t y l e s o
f a s c i n a t i n g a n d b e a u t i f u l t o
m e f r o m t h e r s t m o m e n t
I h e a r d i t .
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T h i s i s t h e f t h r e c o r d i n g i n m y M e n t o r S e r i e s m u s i c a l
t r i b u t e s t h a t c e l e b r a t e t h e r e d i s c o v e r e d b l u e s m a s t e r s
t h a t I m e t i n p e r s o n a s a t e e n a g e r . T h e s e v e g r e a t
a r t i s t s t o w h o m t h e s e r e c o r d i n g s a r e d e d i c a t e d S o n
H o u s e , M i s s i s s i p p i F r e d M c D o w e l l , R e v e r e n d G a r y D a v i s ,
M i s s i s s i p p i J o h n H u r t , a n d n o w S k i p J a m e s a r e t h e b l u e s
m a s t e r s w i t h w h o m I s p e n t t h e m o s t m e a n i n g f u l t i m e , a n d
t h e y h a v e , a s a r e s u l t , a f f e c t e d m e t h e m o s t d e e p l y . T h e r e
w e r e o t h e r s , s u c h a s B u k k a W h i t e , w h o I s a t n e x t t o , b u t
r e a l l y n e v e r i n t e r a c t e d w i t h o n a p e r s o n a l l e v e l t h u s t h e s e
v e a r e t h e t r u e c o r e o f t h i s s e r i e s .
S k i p J a m e s i s o f t e n r e f e r r e d t o a s a m a n o f m y s t e r y . S o m e
p e o p l e h a v e d e s c r i b e d h i m a s m e l a n c h o l y , e v e n u n f r i e n d l y .
B u t i n m y 1 5 y e a r o l d e y e s h e w a s d e e p , s o u l f u l , a n d
b e a u t i f u l . I d i d n o t q u e s t i o n h i s s e r i o u s d e m e a n o r . A f t e r a l l ,
I w a s a w a r e o f t h e h i s t o r y , t h e h o r r o r s a n d e v i l t r e a t m e n t h e
h a d e n d u r e d . I d i d n o t e x p e c t h i m o r a n y o t h e r r e d i s c o v e r e d
b l u e s p l a y e r t o b e a n y t h i n g b u t s e r i o u s . S k i p J a m e s a l s o
h a d c a n c e r w h e n I m e t h i m , a n d v e r y f e w p e o p l e a r e
c h e e r f u l i n a h o s p i t a l .
T o m e , h i s m u s i c , w i t h i t s i n t e n s i t y a n d h a u n t i n g q u a l i t y , w a s
c e n t r a l t o t h e i n c r e d i b l y p o w e r f u l s t y l e w e c a l l e d C o u n t r y
B l u e s . A f t e r a l l , b l u e s w a s o f t e n a b o u t s o r r o w , h a r d t i m e s ,
a n d h e a r t a c h e . B u t i t w a s a l s o a b o u t j o y , s u r v i v a l , a n d e v e n
s u c c e s s i n s o m e c a s e s . S k i p J a m e s w a s t h e q u i n t e s s e n t i a l
b l u e s p l a y e r ; h e h a d i t a l l : s t y l e , p o w e r , g r a c e , d e p t h t h e
a b i l i t y t o c h a n g e y o u r l i f e a n d y o u r w a y o f e x p e r i e n c i n g t h e
w o r l d w i t h a s i n g l e s o n g . T h i s w a s t h e i n s p i r a t i o n a n d t h e
e x a m p l e s e t b y t h e m a s t e r s t h e g a u n t l e t t h a t w a s t h r o w n
d o w n . I h a d t o f o l l o w t h e s o u n d a n d t h e p a s s i o n . W h i l e t h e
r e s t o f t h e w o r l d w a s b u s y w i t h m o d e r n t h i n g s , I w a n d e r e d
d o w n t h e d u s t y p a t h t o w a r d s t h e p a s t i n b a r e f e e t . I d i d n t
h a v e a c h o i c e . T h i s i s w h a t c a l l e d t o m e .
T h e f o l l o w i n g i s e x c e r p t e d f r o m m y
a u t o b i o g r a p h y W h e n A W o m a n G e t s
T h e B l u e s :
A c c o r d i n g t o S t e f a n , w e o n c e s a t i n
a r o o m w i t h S k i p J a m e s a n d p l a y e d
m u s i c t o g e t h e r . A p p a r e n t l y S t e v e C a l t
w r o t e a b o u t S t e f a n a n d I w a l k i n g i n o n
t h i s o c c a s i o n . O t h e r t h a n a r e c o l l e c t e d
v i s i o n o f S k i p s w i d e b r i m m e d h a t a n d
m e l a n c h o l y e x p r e s s i o n , I d o n t r e a l l y
r e m e m b e r t h i s m e e t i n g .
W h a t I d o r e m e m b e r i s t h e h o s p i t a l .
I t s s a d t h a t b y t h i s t i m e S k i p w a s
a l r e a d y d y i n g o f c a n c e r , a n u n u s u a l
d i s e a s e i n h i s d a y . I h a d b e e n p l a y i n g
S k i p J a m e s s o n g s a n d l i s t e n i n g
t o h i s h a u n t i n g m u s i c f o r s o m e
t i m e h e w a s o n e o f t h e b e s t a n d
m o s t p o w e r f u l , c e r t a i n l y o n e o f m y
f a v o r i t e s . B u t s u r r o u n d e d b y g r i e f ,
S k i p h a d g o n e w a y i n s i d e . A h o s p i t a l
i s n o p l a c e t o s e e a m a n t h i s g r e a t .
H e w a n d e r e d a b o u t i n a b a t h r o b e . I
t h i n k h e s m o k e d a c i g a r e t t e . H e n e v e r
m e t o u r e y e s b u t g a z e d d o w n w a r d s . I
c o u l d f e e l h i s d e s p a i r .
P r o d u c e d b y R o r y B l o c k a n d R o b D a v i s
f o r A u r o r a P r o d u c t i o n s
E x e c u t i v e p r o d u c e r : H o l g e r P e t e r s e n
R e c o r d e d , m i x e d a n d m a s t e r e d b y R o b D a v i s i n A u r o r a
P r o d u c t i o n s m o b i l e s t u d i o s , K e n t u c k y a n d U p s t a t e N Y
A l l g u i t a r s a n d v o c a l s : R o r y B l o c k
R o r y u s e s h e r S i g n a t u r e m o d e l M a r t i n G u i t a r s ,
S h u b b C a p o s , a n d a 1 4 m m d e e p w e l l s o c k e t f o r a s l i d e
P h o t o g r a p h y : S e r g i o K u r h a j e c
G r a p h i c D e s i g n : M a r k D u t t o n a t H a l k i e r + D u t t o n D e s i g n
w w w . r o r y b l o c k . c o m
E x c l u s i v e w o r l d w i d e b o o k i n g s : F L i A r t i s t s
c o n t a c t : M a t t G r e e n h i l l m a t t g @ F L i A r t i s t s . c o m
B a c k g r o u n d n o i s e s p r o v i d e d b y B e l l a , G i b s o n , a n d t e n
c a t s , w h o w e r e i n a n d o u t o f t h e r o o m r e p e a t e d l y d u r i n g
t h e r e c o r d i n g , e a t i n g k i b b l e s , g n a w i n g o n m a r r o w
b o n e s , l e a p i n g o n a n d o f f t h e f u r n i t u r e , r a c i n g a b o u t a n d
w r e s t l i n g . T h e r e c o m e s a p o i n t w h e n p r e v e n t i n g a l l o f
t h a t i n a h o u s e h o l d s o f u l l w i t h a n i m a l s w o u l d s i m p l y b e
i m p o s s i b l e s o l e t i t b e . I f y o u t h i n k y o u h e a r a p h o n e
r i n g i n g o n a s l i d e s o l o f r o m t i m e t o t i m e , c h a n c e s a r e
y o u d o . I n e v e r a g r e e t o d o i t a g a i n i f I f e e l l i k e I g o t i t .
S o t h e r e y o u h a v e i t , a n d t h a t s w h a t w e d o .
A l l t r a c k s w r i t t e n b y N e h e m i a h C u r t i s S k i p J a m e s ,
p u b l i s h e d b y W y n w o o d M u s i c C o I n c , e x c e p t t r a c k 1
N e h e m i a h J a m e s , w r i t t e n b y R o r y B l o c k , B M I .
T h a n k y o u : T o H o l g e r P e t e r s e n , P e t e r C h a p m a n ,
R i c h a r d F l o h i l a n d e v e r y o n e a t S t o n y P l a i n R e c o r d s ,
M a r k D u t t o n , M a r k P u c c i a n d J i l l K e t t l e s a t m p m e d i a ,
T o d d G l a z e r , a l l t h e r a d i o a n d s a t e l l i t e p r o g r a m m e r s ,
p r o m o t e r s , v e n u e s , m u s i c f a n s , w r i t e r s , r e v i e w e r s ,
b l o g g e r s , m e d i a f o l k s , D i c k B o a k a n d C h r i s T h o m a s a t
M a r t i n G u i t a r s ( t h e b e s t g u i t a r c o m p a n y i n t h e u n i v e r s e ) ,
F r e d B o l d e n ( M i s s i s s i p p i J o h n H u r t s g r a n d n e p h e w ,
a u t h o r a n d h i s t o r i a n ) , a n d t o s o m a n y o t h e r f r i e n d s a n d
f a m i l y w h o I c a n t t h a n k e n o u g h . I a l w a y s s a y W e r e i n
t h i s t h i n g t o g e t h e r !
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
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F o r a f r e e c a t a l o g u e : t e l : 7 8 0 - 4 6 8 - 6 4 2 3 f a x : 7 8 0 - 4 6 5 - 8 9 4 1 e m a i l : i n f o @ s t o n y p l a i n r e c o r d s . c o m P R I N T E D I N C A N A D A
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3 . C Y P R E S S G R O V E B L U E S 4 : 2 9
4 . I F Y O U H A V E N T A N Y H A Y ,
G E T O N D O W N T H E R O A D 4 : 2 1
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I S G O N N A D I E B L U E S 5 : 1 8
6 . D E V I L G O T M Y W O M A N 4 : 4 5
7 . J E S U S I S A M I G H T Y G O O D L E A D E R 4 : 0 6
8 . H A R D T I M E K I L L I N G F L O O R B L U E S 4 : 1 5
9 . I M S O G L A D 3 : 3 0
1 0 . H A R D L U C K C H I L D 4 : 3 0
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 nd 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 rst 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 rmly 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 conding, 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 rst moment
I heard it.
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This is the fth recording in my Mentor Seriesmusical
tributes that celebrate the rediscovered blues masters
that I met in person as a teenager. These ve 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
ve 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 mattg@FLiArtists.com
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!
B l u e s i s n o t m e a n t t o b e f o r
o n e h u m a n b e i n g a l o n e , b u t f o r
t h e s o u l o f h u m a n k i n d .
R O R Y B L O C K
M i x e d m e d i a p o r t r a i t o f
S k i p J a m e s b y R o r y B l o c k
a t r i b u t e t o
S k i p J a m e s
r o r y
h a r d
l u c k
c h i l d
b l o c k
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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: info@stonyplainrecords.com 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 . N e h e m i a h J a m e s
T h e c o n n e c t i o n b e t w e e n
g o s p e l a n d e a r l y b l u e s h a s
a l w a y s b e e n c l e a r t o m e .
T h e f a c t t h a t t h e p e o p l e w h o
c r e a t e d t h e m u s i c m o s t l i k e l y
g r e w u p i n a c h u r c h w a s a
f e a t u r e o f t h e t i m e s t h e l a t e
1 8 0 0 s a n d e a r l y 1 9 0 0 s . T h i s
p o w e r f u l s p i r i t u a l i t y t r a n s l a t e d
d i r e c t l y i n t o b l u e s , a n d m o s t o f
t h e f o u n d i n g a r t i s t s i n c l u d e d
g o s p e l i n t h e i r r e p e r t o i r e .
A l t h o u g h t h i s p o i n t o f v i e w m a y
b e o u t - o f - s t e p w i t h c u r r e n t
t r e n d s , i t i s e n t i r e l y i n - s t e p
w i t h t h e t r a d i t i o n w h i c h f o r g e d
o n e o f t h e m o s t p o w e r f u l
m u s i c a l f o r m s e v e r t o b e b o r n
i n t h i s c o u n t r y . I t i s i m p o s s i b l e
t o r e m o v e t h e g o s p e l r o o t s
f r o m b l u e s , a n d f r o m e a r l y
c o u n t r y a s w e l l . T h i s H o l y
G h o s t c o n n e c t i o n i s f a r m o r e
f u n d a m e n t a l t o t h e s o u n d t h a n
m a n y p e o p l e r e a l i z e t o d a y .
T h u s i n r e a d i n g a b o u t S k i p
J a m e s s e a r l y l i f e , I w a s n o t
s u r p r i s e d t o n d h i s h i s t o r y
f e a t u r e d a p r e a c h i n g f a t h e r a n d
t i m e s p e n t t o u r i n g i n a g o s p e l
c h o i r . T h u s u n f o l d s t h e s t o r y
2 . S p e c i a l R i d e r B l u e s
P e o p l e o f t e n a s k m e h o w I
g e t c e r t a i n s o u n d s o n t h e
r e c o r d i n g s W h o s p l a y i n g
b a s s ? e t c . I e x p l a i n t h a t I l o v e
t o l a y e r p a r t s , a n d i n m a n y
c a s e s a d d s o m e t h i n g w i t h t h e
g u i t a r t u n e d w e l l b e l o w p i t c h . I
l i k e t h e i d e a o f s h o w c a s i n g t h e
v e r s a t i l i t y o f a g u i t a r t o c r e a t e
t h e s o u n d o f a f u l l b a n d , a n d
t h a t s w h a t I w a s l o o k i n g f o r i n
t h i s s o n g . I t s e a s y t o a d d a f e w
e l e m e n t s t o t h e a p p r o a c h t o
d e m o n s t r a t e h o w e a r l y b l u e s
e v o l v e d s m o o t h l y i n t o e l e c t r i c
s t y l e s a n d u l t i m a t e l y , r o c k n
r o l l . T h e s e a r e t h e s o n g s t h a t
r o l l e d o u t t h e r e d c a r p e t .
3 . C y p r e s s G r o v e B l u e s
T h i s o n e p l a y e d o u t k i n d a
s m o o t h a n d s p o o k y i t h a d t o
w i t h c h i l l i n g w o r d s l i k e W h e n
y o u r k n e e b o n e s a r e a c h i n ,
a n d y o u r b o d y s c o l d , t h a t s
c a u s e y o u r e j u s t g e t t i n r e a d y ,
f o r t h e C y p r e s s G r o v e ! S k i p s
v e r s i o n o f t h i s s o n g e m b o d i e d
t h e d e e p m e l a n c h o l y t h a t h e
w a s k n o w n f o r . S o m e t i m e s
i n t h e p r o c e s s o f r e c o r d i n g
I s u d d e n l y h e a r t h e f u l l
m e s s a g e o f t h e s o n g a s i f f o r
t h e r s t t i m e t h i s o n e c a m e
o n m e l i k e a s l o w m o v i n g
f r e i g h t t r a i n .
4 . I f Y o u H a v e n t A n y
H a y , G e t O n D o w n T h e
R o a d
N o b o d y p l a y e d p i a n o q u i t e l i k e
S k i p J a m e s , a n d o n l y a f e w
p l a y e r s I v e e v e r h e a r d h a v e
t r i e d t o t a c k l e h i s u n i q u e ,
a r t i s t i c a l l y e c c e n t r i c a n d
b r i l l i a n t s t y l e . O f c o u r s e t h e r e
w a s n o c h a n c e o f m a k i n g
t h e s c h e d u l i n g w o r k , s o o n e
d a y I d e c i d e d t o t r y t h e p i a n o
p a r t o n g u i t a r . W i t h o u t h a v i n g
a n y i d e a w h e r e t h i s w o u l d
l e a d , I f o u n d a j a u n t y , j a z z y
a t t i t u d e u n f o l d i n g . S k i p h a d
a p h e n o m e n a l b o u n c e i n h i s
p l a y i n g , a n d a t i m e s i g n a t u r e I
c h a l l e n g e y o u t o f o l l o w . W h e n
y o u h e a r S k i p o n p i a n o a n d
f e e l l i k e y o u r h e a d i s s p i n n i n g
b u t y o u l o v e w h a t y o u r e
h e a r i n g , t h a t s p r o b a b l y t h e
j a z z e l e m e n t s d a z z l i n g y o u r
s e n s e s .
5 . L i t t l e C o w a n d C a l f
I s G o n n a D i e B l u e s
A s b e f o r e , I h a d l i s t e n e d t o
t h e s e w o r d s m a n y t i m e s , b u t
n e v e r h e a r d t h e m a s v i v i d l y a s
w h e n I b e g a n r e c o r d i n g t h e
s o n g . T h e s e a r e s a d w o r d s !
N o n e t h e l e s s t h e a p p r o a c h
s e e m e d t o c a l l f o r a l i g h t e r
t o u c h . A i n t i t s a d , a i n t i t a
s h a m e m a n i f e s t e d a s r a t h e r
o b v i o u s a l o n g s i d e t h e s t o r y .
A j a z z y a t t i t u d e u n f o l d e d f o r
t h e m u s i c , o n c e a g a i n i n s p i r e d
b y S k i p s a m a z i n g , i n n o v a t i v e
p i a n o s t y l e .
6 . D e v i l G o t M y W o m a n
I n m y v i e w t h i s i s S k i p
J a m e s s m o s t i c o n i c s o n g . I
h a v e r e c o r d e d i t b e f o r e , b u t
i t s t i l l f e l t c o m p l e t e l y n e w .
T h a t s p a r t o f t h e b e a u t y o f
h i s m u l t i f a c e t e d m u s i c i t s
a b i l i t y t o r e c r e a t e i t s e l f w i t h
s u b t l e m e a n i n g c h a n g e s e a c h
t i m e i t s p l a y e d . T h e h a u n t i n g
m o o d o f t h e s o n g c r e a t e d t h e
d i r e c t i o n , a n d i t s e e m e d t o m e
t h a t s l i d e w a s w e l l s u i t e d f o r
t h i s t a s k .
7 . J e s u s I s A M i g h t y
G o o d L e a d e r
T h i s i s p a r t o f t h e g o s p e l
r e p e r t o i r e I m e n t i o n e d a b o v e .
I a p p r o a c h e d i t w i t h a s l i g h t l y
m o r e m o d e r n f e e l , b u t i t s t i l l
h a s o n e f o o t r m l y p l a n t e d i n
t h e e a r l y t r a d i t i o n .
8 . H a r d T i m e K i l l i n g
F l o o r B l u e s
T h i s i s a n o t h e r u n d e n i a b l y
m e l a n c h o l y S k i p J a m e s
t u n e . T h e t e m p o s h e u s e d
w e r e s o m e t i m e s s i m i l a r ,
a n d s o m e o f t h e t u n i n g s
m i g h t e v e n h a v e b e e n t h e
s a m e . B u t e a c h o f S k i p s
s o n g s u n v e i l e d a w o r l d o f
n u a n c e s a n d a k a l e i d o s c o p e
o f s c e n e c h a n g e s . I r e a l l y
b e c a m e s o m e o n e e l s e
t e l l i n g t h i s s t o r y . I b e l i e v e
t h e s p i r i t i n t h e m u s i c i s a b l e
t o c o n v e y a u n i v e r s a l s t o r y
i f y o u f o l l o w i t s l e a d , a n d
t h e t a k e - o n e t h i n g o f t e n
S P C D 1 3 2 9
B l u e s W a l k i n L i k e A M a n :
A T r i b u t e T o S o n H o u s e
S P C D 1 3 5 9
I B e l o n g t o T h e B a n d :
A T r i b u t e T o R e v . G a r y D a v i s
S P C D 1 3 6 9
A v a l o n : A T r i b u t e T o
M i s s i s s i p p i J o h n H u r t
S P C D 1 3 4 4
S h a k e E m O n D o w n : A T r i b u t e
T o M i s s i s s i p p i F r e d M c D o w e l l
A l s o a v a i l a b l e :c a p t u r e d s o m e t h i n g t h a t I
d e c i d e d n o t t o r e v i s i t . N o
c h a n g i n g o f s l u r r e d w o r d s ,
n o p o l i s h i n g a n y t h i n g , j u s t
a l l o w i n g t h e m o o d t o r u l e .
9 . I m S o G l a d
H e r e s a n e x a m p l e o f
a g o s p e l - b a s e d b l u e s
s o n g . A s w e r e c o r d e d
i t , i t b e c a m e c l e a r t h a t
s p i r i t u a l i t y w a s a t t h e
h e a r t o f i t . E v e n t h o u g h
S k i p w a s t a l k i n g a b o u t
a h u m a n r e l a t i o n s h i p ,
t h e c e l e s t i a l e n e r g y a n d
m e a n i n g p r e t t y m u c h
t o o k o v e r . A f t e r a l l , o u r
i n t e r c o n n e c t e d n e s s i s
r e a l l y o t h e r - w o r d l y i n
i t s p o w e r .
1 0 . H a r d L u c k C h i l d
W h a t c a n I s a y . I r e s o n a t e
w i t h t h i s s o n g . B l u e s i s
n o t m e a n t t o b e f o r o n e
h u m a n b e i n g a l o n e , b u t
f o r t h e s o u l o f h u m a n k i n d .
A q u i e t v o i c e c o n d i n g , a
l o n e l y h e a r t t e l l i n g a s t o r y ,
a w e e p i n g c r y I m a h a r d
l u c k c h i l d , I c a t c h t h e d e v i l
e v e r y w h e r e I g o ! I t h i n k
a l o t o f p e o p l e c a n r e l a t e ,
w h i c h i s w h a t m a d e t h i s
i n c r e d i b l e m u s i c a l s t y l e s o
f a s c i n a t i n g a n d b e a u t i f u l t o
m e f r o m t h e r s t m o m e n t
I h e a r d i t .
H
A
R
D

L
U
C
K

C
H
I
L
D
R
O
R
Y

B
L
O
C
K
H
A
R
D

L
U
C
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C
H
I
L
D
R
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R
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B
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K
T h i s i s t h e f t h r e c o r d i n g i n m y M e n t o r S e r i e s m u s i c a l
t r i b u t e s t h a t c e l e b r a t e t h e r e d i s c o v e r e d b l u e s m a s t e r s
t h a t I m e t i n p e r s o n a s a t e e n a g e r . T h e s e v e g r e a t
a r t i s t s t o w h o m t h e s e r e c o r d i n g s a r e d e d i c a t e d S o n
H o u s e , M i s s i s s i p p i F r e d M c D o w e l l , R e v e r e n d G a r y D a v i s ,
M i s s i s s i p p i J o h n H u r t , a n d n o w S k i p J a m e s a r e t h e b l u e s
m a s t e r s w i t h w h o m I s p e n t t h e m o s t m e a n i n g f u l t i m e , a n d
t h e y h a v e , a s a r e s u l t , a f f e c t e d m e t h e m o s t d e e p l y . T h e r e
w e r e o t h e r s , s u c h a s B u k k a W h i t e , w h o I s a t n e x t t o , b u t
r e a l l y n e v e r i n t e r a c t e d w i t h o n a p e r s o n a l l e v e l t h u s t h e s e
v e a r e t h e t r u e c o r e o f t h i s s e r i e s .
S k i p J a m e s i s o f t e n r e f e r r e d t o a s a m a n o f m y s t e r y . S o m e
p e o p l e h a v e d e s c r i b e d h i m a s m e l a n c h o l y , e v e n u n f r i e n d l y .
B u t i n m y 1 5 y e a r o l d e y e s h e w a s d e e p , s o u l f u l , a n d
b e a u t i f u l . I d i d n o t q u e s t i o n h i s s e r i o u s d e m e a n o r . A f t e r a l l ,
I w a s a w a r e o f t h e h i s t o r y , t h e h o r r o r s a n d e v i l t r e a t m e n t h e
h a d e n d u r e d . I d i d n o t e x p e c t h i m o r a n y o t h e r r e d i s c o v e r e d
b l u e s p l a y e r t o b e a n y t h i n g b u t s e r i o u s . S k i p J a m e s a l s o
h a d c a n c e r w h e n I m e t h i m , a n d v e r y f e w p e o p l e a r e
c h e e r f u l i n a h o s p i t a l .
T o m e , h i s m u s i c , w i t h i t s i n t e n s i t y a n d h a u n t i n g q u a l i t y , w a s
c e n t r a l t o t h e i n c r e d i b l y p o w e r f u l s t y l e w e c a l l e d C o u n t r y
B l u e s . A f t e r a l l , b l u e s w a s o f t e n a b o u t s o r r o w , h a r d t i m e s ,
a n d h e a r t a c h e . B u t i t w a s a l s o a b o u t j o y , s u r v i v a l , a n d e v e n
s u c c e s s i n s o m e c a s e s . S k i p J a m e s w a s t h e q u i n t e s s e n t i a l
b l u e s p l a y e r ; h e h a d i t a l l : s t y l e , p o w e r , g r a c e , d e p t h t h e
a b i l i t y t o c h a n g e y o u r l i f e a n d y o u r w a y o f e x p e r i e n c i n g t h e
w o r l d w i t h a s i n g l e s o n g . T h i s w a s t h e i n s p i r a t i o n a n d t h e
e x a m p l e s e t b y t h e m a s t e r s t h e g a u n t l e t t h a t w a s t h r o w n
d o w n . I h a d t o f o l l o w t h e s o u n d a n d t h e p a s s i o n . W h i l e t h e
r e s t o f t h e w o r l d w a s b u s y w i t h m o d e r n t h i n g s , I w a n d e r e d
d o w n t h e d u s t y p a t h t o w a r d s t h e p a s t i n b a r e f e e t . I d i d n t
h a v e a c h o i c e . T h i s i s w h a t c a l l e d t o m e .
T h e f o l l o w i n g i s e x c e r p t e d f r o m m y
a u t o b i o g r a p h y W h e n A W o m a n G e t s
T h e B l u e s :
A c c o r d i n g t o S t e f a n , w e o n c e s a t i n
a r o o m w i t h S k i p J a m e s a n d p l a y e d
m u s i c t o g e t h e r . A p p a r e n t l y S t e v e C a l t
w r o t e a b o u t S t e f a n a n d I w a l k i n g i n o n
t h i s o c c a s i o n . O t h e r t h a n a r e c o l l e c t e d
v i s i o n o f S k i p s w i d e b r i m m e d h a t a n d
m e l a n c h o l y e x p r e s s i o n , I d o n t r e a l l y
r e m e m b e r t h i s m e e t i n g .
W h a t I d o r e m e m b e r i s t h e h o s p i t a l .
I t s s a d t h a t b y t h i s t i m e S k i p w a s
a l r e a d y d y i n g o f c a n c e r , a n u n u s u a l
d i s e a s e i n h i s d a y . I h a d b e e n p l a y i n g
S k i p J a m e s s o n g s a n d l i s t e n i n g
t o h i s h a u n t i n g m u s i c f o r s o m e
t i m e h e w a s o n e o f t h e b e s t a n d
m o s t p o w e r f u l , c e r t a i n l y o n e o f m y
f a v o r i t e s . B u t s u r r o u n d e d b y g r i e f ,
S k i p h a d g o n e w a y i n s i d e . A h o s p i t a l
i s n o p l a c e t o s e e a m a n t h i s g r e a t .
H e w a n d e r e d a b o u t i n a b a t h r o b e . I
t h i n k h e s m o k e d a c i g a r e t t e . H e n e v e r
m e t o u r e y e s b u t g a z e d d o w n w a r d s . I
c o u l d f e e l h i s d e s p a i r .
P r o d u c e d b y R o r y B l o c k a n d R o b D a v i s
f o r A u r o r a P r o d u c t i o n s
E x e c u t i v e p r o d u c e r : H o l g e r P e t e r s e n
R e c o r d e d , m i x e d a n d m a s t e r e d b y R o b D a v i s i n A u r o r a
P r o d u c t i o n s m o b i l e s t u d i o s , K e n t u c k y a n d U p s t a t e N Y
A l l g u i t a r s a n d v o c a l s : R o r y B l o c k
R o r y u s e s h e r S i g n a t u r e m o d e l M a r t i n G u i t a r s ,
S h u b b C a p o s , a n d a 1 4 m m d e e p w e l l s o c k e t f o r a s l i d e
P h o t o g r a p h y : S e r g i o K u r h a j e c
G r a p h i c D e s i g n : M a r k D u t t o n a t H a l k i e r + D u t t o n D e s i g n
w w w . r o r y b l o c k . c o m
E x c l u s i v e w o r l d w i d e b o o k i n g s : F L i A r t i s t s
c o n t a c t : M a t t G r e e n h i l l m a t t g @ F L i A r t i s t s . c o m
B a c k g r o u n d n o i s e s p r o v i d e d b y B e l l a , G i b s o n , a n d t e n
c a t s , w h o w e r e i n a n d o u t o f t h e r o o m r e p e a t e d l y d u r i n g
t h e r e c o r d i n g , e a t i n g k i b b l e s , g n a w i n g o n m a r r o w
b o n e s , l e a p i n g o n a n d o f f t h e f u r n i t u r e , r a c i n g a b o u t a n d
w r e s t l i n g . T h e r e c o m e s a p o i n t w h e n p r e v e n t i n g a l l o f
t h a t i n a h o u s e h o l d s o f u l l w i t h a n i m a l s w o u l d s i m p l y b e
i m p o s s i b l e s o l e t i t b e . I f y o u t h i n k y o u h e a r a p h o n e
r i n g i n g o n a s l i d e s o l o f r o m t i m e t o t i m e , c h a n c e s a r e
y o u d o . I n e v e r a g r e e t o d o i t a g a i n i f I f e e l l i k e I g o t i t .
S o t h e r e y o u h a v e i t , a n d t h a t s w h a t w e d o .
A l l t r a c k s w r i t t e n b y N e h e m i a h C u r t i s S k i p J a m e s ,
p u b l i s h e d b y W y n w o o d M u s i c C o I n c , e x c e p t t r a c k 1
N e h e m i a h J a m e s , w r i t t e n b y R o r y B l o c k , B M I .
T h a n k y o u : T o H o l g e r P e t e r s e n , P e t e r C h a p m a n ,
R i c h a r d F l o h i l a n d e v e r y o n e a t S t o n y P l a i n R e c o r d s ,
M a r k D u t t o n , M a r k P u c c i a n d J i l l K e t t l e s a t m p m e d i a ,
T o d d G l a z e r , a l l t h e r a d i o a n d s a t e l l i t e p r o g r a m m e r s ,
p r o m o t e r s , v e n u e s , m u s i c f a n s , w r i t e r s , r e v i e w e r s ,
b l o g g e r s , m e d i a f o l k s , D i c k B o a k a n d C h r i s T h o m a s a t
M a r t i n G u i t a r s ( t h e b e s t g u i t a r c o m p a n y i n t h e u n i v e r s e ) ,
F r e d B o l d e n ( M i s s i s s i p p i J o h n H u r t s g r a n d n e p h e w ,
a u t h o r a n d h i s t o r i a n ) , a n d t o s o m a n y o t h e r f r i e n d s a n d
f a m i l y w h o I c a n t t h a n k e n o u g h . I a l w a y s s a y W e r e i n
t h i s t h i n g t o g e t h e r !
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 7 2 5 3 2 1 3 7 3 2 4
S
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D
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S P C D 1 3 7 3 C & P 2 0 1 4 S t o n y P l a i n R e c o r d s . S t o n y P l a i n R e c o r d i n g C o . L t d . P O B o x 8 6 1 E d m o n t o n , A B C a n a d a T 5 J 2 L 8 .
F o r a f r e e c a t a l o g u e : t e l : 7 8 0 - 4 6 8 - 6 4 2 3 f a x : 7 8 0 - 4 6 5 - 8 9 4 1 e m a i l : i n f o @ s t o n y p l a i n r e c o r d s . c o m P R I N T E D I N C A N A D A
P l e a s e b e c o m e a m e m b e r o f t h e B l u e s F o u n d a t i o n a t w w w . b l u e s . o r g
W W W . S T O N Y P L A I N R E C O R D S . C O M
1 . N E H E M I A H J A M E S 5 : 3 1
2 . S P E C I A L R I D E R B L U E S 5 : 0 0
3 . C Y P R E S S G R O V E B L U E S 4 : 2 9
4 . I F Y O U H A V E N T A N Y H A Y ,
G E T O N D O W N T H E R O A D 4 : 2 1
5 . L I T T L E C O W A N D C A L F
I S G O N N A D I E B L U E S 5 : 1 8
6 . D E V I L G O T M Y W O M A N 4 : 4 5
7 . J E S U S I S A M I G H T Y G O O D L E A D E R 4 : 0 6
8 . H A R D T I M E K I L L I N G F L O O R B L U E S 4 : 1 5
9 . I M S O G L A D 3 : 3 0
1 0 . H A R D L U C K C H I L D 4 : 3 0
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 nd 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 rst 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 rmly 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 conding, 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 rst moment
I heard it.
H
A
R
D

L
U
C
K

C
H
I
L
D
R
O
R
Y

B
L
O
C
K
H
A
R
D

L
U
C
K

C
H
I
L
D
R
O
R
Y

B
L
O
C
K
This is the fth recording in my Mentor Seriesmusical
tributes that celebrate the rediscovered blues masters
that I met in person as a teenager. These ve 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
ve 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 mattg@FLiArtists.com
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!
B l u e s i s n o t m e a n t t o b e f o r
o n e h u m a n b e i n g a l o n e , b u t f o r
t h e s o u l o f h u m a n k i n d .
R O R Y B L O C K
M i x e d m e d i a p o r t r a i t o f
S k i p J a m e s b y R o r y B l o c k
a t r i b u t e t o
S k i p J a m e s
r o r y
h a r d
l u c k
c h i l d
b l o c k
7 7 2 5 3 2 1 3 7 3 2 4
S
P
C
D
1
3
7
3
S
P
C
D
1
3
7
3
S P C D 1 3 7 3 C & P 2 0 1 4 S t o n y P l a i n R e c o r d s . S t o n y P l a i n R e c o r d i n g C o . L t d . P O B o x 8 6 1 E d m o n t o n , A B C a n a d a T 5 J 2 L 8 .
F o r a f r e e c a t a l o g u e : t e l : 7 8 0 - 4 6 8 - 6 4 2 3 f a x : 7 8 0 - 4 6 5 - 8 9 4 1 e m a i l : i n f o @ s t o n y p l a i n r e c o r d s . c o m P R I N T E D I N C A N A D A
P l e a s e b e c o m e a m e m b e r o f t h e B l u e s F o u n d a t i o n a t w w w . b l u e s . o r g
W W W . S T O N Y P L A I N R E C O R D S . C O M
1 . N E H E M I A H J A M E S 5 : 3 1
2 . S P E C I A L R I D E R B L U E S 5 : 0 0
3 . C Y P R E S S G R O V E B L U E S 4 : 2 9
4 . I F Y O U H A V E N T A N Y H A Y ,
G E T O N D O W N T H E R O A D 4 : 2 1
5 . L I T T L E C O W A N D C A L F
I S G O N N A D I E B L U E S 5 : 1 8
6 . D E V I L G O T M Y W O M A N 4 : 4 5
7 . J E S U S I S A M I G H T Y G O O D L E A D E R 4 : 0 6
8 . H A R D T I M E K I L L I N G F L O O R B L U E S 4 : 1 5
9 . I M S O G L A D 3 : 3 0
1 0 . H A R D L U C K C H I L D 4 : 3 0
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 nd 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 rst 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 rmly 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 conding, 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 rst moment
I heard it.
H
A
R
D

L
U
C
K

C
H
I
L
D
R
O
R
Y

B
L
O
C
K
H
A
R
D

L
U
C
K

C
H
I
L
D
R
O
R
Y

B
L
O
C
K
This is the fth recording in my Mentor Seriesmusical
tributes that celebrate the rediscovered blues masters
that I met in person as a teenager. These ve 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
ve 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 mattg@FLiArtists.com
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!
B l u e s i s n o t m e a n t t o b e f o r
o n e h u m a n b e i n g a l o n e , b u t f o r
t h e s o u l o f h u m a n k i n d .
R O R Y B L O C K
M i x e d m e d i a p o r t r a i t o f
S k i p J a m e s b y R o r y B l o c k
a t r i b u t e t o
S k i p J a m e s
r o r y
h a r d
l u c k
c h i l d
b l o c k