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Kokomo Arnold, the essential DOUBLE CD
Classic Blues is devoted to re-issuing the classic recordings of America's greatist blues artists.



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Kokomo Arnold Vol 1 1930 - 1935

Kokomo Arnold, bottleneck-slide guitar, vocal.

 

Genres; “Country” Blues, Georgia Blues, Early Chicago Blues, Bottlenck-slide Guitar.

Informative booklet notes by Keith Briggs.

Detailed discography.

 

Putting a bottleneck onto the little finger of the fretting hand and ‘sliding’ it up and down the strings of a guitar to produce a spine-chilling and almost vocal sound is a trick employed by many blues players. From Bukka White to Joe Louis Walker, many blues players have made startling use of the style, two of the most famous being Elmore James and James Kokomo Arnold. Kokomo, often placing his guitar in his lap Hawaiian-style and ran a glass across the strings. He was left-handed and had a somewhat erratic sense of time - but he was probably the fastest bottleneck guitarist ever to record. Continued...




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Kokomo Arnold Vol 2 1935 - 1936

Kokomo Arnold Vol 2 1935 - 1936

Kokomo Arnold, vocal, bottleneck-slide guitar.

Genres: Country Blues, Country Blues guitar, bottleneck-slide-guitar, Georgia blues, Chicago blues.

Informative booklet notes by Keith Briggs.

Detailed discography

By 1935 Kokomo Arnold was firmly ensconced in Chicago. He was still a country boy to many of his associates but, never an unworldly man; he was quickly getting wise to the big city and its ways. Despite his dedication to his basement bootlegging business and a strong desire to "go fishing instead" he had become a fixture on the local entertainment scene, working beside most of the big names in the blues at that time.




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Kokomo Arnold Vol 3 1936 - 1937

Kokomo Arnold Vol 3: 22nd May 1936 to March 12th 1937

Kokomo Arnold, vocal steel, bottleneck-slide guitar’

 

With contributions by; Alice Moore vocal, Signifying Mary Johnson, vocal; Lovin’ Sam Theard, vocal; Roosevelt Sykes, piano; Albert Ammons, piano, Peetie Wheatstraw, piano and others...

 

Georgia blues , Chicago blues, Bottleneck-slide guitar.

Informative booklet notes by Keith Briggs

Detailed Discography

 

James “Kokomo” Arnold was born in Georgia on September 15, 1901, and began his musical career in Buffalo, New York in the early '20s. During prohibition, he worked primarily as a bootlegger, and performing music was a only sideline to him. Nonetheless, he worked out a distinctive style of bottleneck slide guitar and blues singing that set him apart from his contemporaries. Continued...

 




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Kokomo Arnold Vol 4 1937 - 1938

Kokomo Arnold, vocal, slide guitar.

With contributions by Peetie Wheatstraw, piano, and others...

Genres: Country Blues, Country Blues guitar, bottleneck-slide-guitar, Georgia blues, Chicago blues.
Informative booklet notes by Keith Briggs.
Detailed discography

At the time that the first records appearing on this CD were made, March 1937, Kokomo Arnold had been with Decca for two and a half years and his relationship with Mayo Williams was deteriorating. It was all to end in the following year when Kokomo decided that Williams was not dealing fairly with him and broke away from recording altogether. He had never been a committed bluesman anyway, having he felt, many other rows to hoe. Not that you would have guessed that from the quality of the recordings that he made during his last sessions; from the contemporary blues reportage of Mean Old Twister through to his final, aptly named, display piece Something’s Hot he maintained an enviable level of excellence enlivened here and there by the odd flash of brilliance. Maybe it was a reflection of his clash with Williams that many of his recordings from this period remained unissued - or maybe it was part of its cause.




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Too Late Too Late Blues 1926 - 1944
DOCD-5150 Too Late Too Late Blues 1926 - 1944 Alternative takes and rare, late, discoveries. Various. The first Document CD appeared in 1990 with DOCD-5001 “Tommy Johnson”. Three years and 150 releases later the first volume of the “Too Late, Too Late” albums appeared. The unprecedented unleashing of such a fast growing bulk of blues and gospel recordings in such a “completist” fashion inspired both fans of the music and collectors alike. Once that the great river of releases had been flowing for a while collectors began to think again about what might be hidden in the corners of their collections or had until then been regarded of no real significance. In addition there were recent and continue to be, rare finds. A Big Bill Broonzy 78 had just recently been found, having been picked up in a lot that was saved from the street where it had been left for disposal. Then there was the box of Paramount tests that had been found several years ago which were made available. Collectors also began to revisit their records with more attention being paid to the recordings themselves and on many occasions found that takes that appeared on their records were not the takes that had thus far been re-issued.



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Too Late Too Late Vol 2 1897 - 1935



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Too Late Too Late Vol 13 1921 - 1940



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