Skip James: Im So Glad

Nehemiah Curtis James was born near Yazoo City, Mississippi, in 1902. James was raised just south of the Mississippi Delta near Bentonia, on the Whitehead plantation, where his mother was the plantation cook. James’s friends named him “Skippy” due to his peculiar style of dancing. Skip’s father, a guitar-playing bootlegger, abandoned his family when Skip was a young boy. 

In 1931, after years of work as a labourer, bootlegger, and sometimes musician, James entered a singing competition at a store in Jackson, Mississippi. James had just begun to play his song, “Devil Got My Woman,” when he was awarded the prize—a train ticket to Grafton, Wisconsin, and a recording session with Paramount Records. 

Paramount was famous for the poor quality of its recordings, and sadly, many fine performances were poorly recorded by the label, including those by James. James recorded several songs with guitar during his first session, and eight piano songs during the second session. James recalls recording 26 sides in all, though only 18 have been found. Among the classic recordings he made at those sessions were “Devil Got My Woman,” “I’m So Glad,” “Hard Time Killing Floor Blues,” “22-20 Blues,” and “Special Rider Blues.” 

James was only paid 40 dollars for his efforts, and as the recordings were made during the height of the depression, only a few sides were ever released. Disillusioned with the music business, James quit and turned to religion. Little is known about his life during the 33 years between his Paramount recordings and his rediscovery in the mid-Sixties. 

James played his first show in 33 years at the 1964 Newport Folk Festival. His performance was a brilliant one and it seemed that his powers were still completely intact despite his long layoff. Many believed that James' performance at the festival topped all others. 

Despite his huge popularity at Newport, James did not have a recording deal. When Cream recorded “I'm So Glad” on their Fresh Cream album, James, now ailing, used his royalties to get into a good hospital in Washington, DC, where he could have the surgery that extended his life by three years. 

Essential Album Review: Today! (1966)

Released two years after his triumphant rediscovery, "Today!" remains a towering achievement in the 1960s folk-blues revival era. Recorded under crystal-clear studio conditions, this LP allowed modern high-fidelity equipment to fully capture the haunting, ethereal beauty of James's complex D-minor cross-tuning guitar style and his chilling, piercing falsetto vocals. The record features definitive, mature reinterpretations of his bleak 1931 catalog alongside sweeping, spiritual performances. It stands as a vital masterpiece, showcasing an uncompromised master delivering rural acoustic blues with absolute authority to a new generation of listeners. 

• Released: 1966 
• Label: Vanguard Records 
• Producer: Maynard Solomon 
• Core Layout: Skip James (Vocals, Acoustic Guitar, Piano) 
• Key Tracks: "Hard Time Killing Floor Blues", "Cherry Ball Blues", "Special Rider Blues" 

Essential Album Review: Devil Got My Woman (1968)

Serving as his final complete studio album statement before his passing, the 1968 release "Devil Got My Woman" cements his legacy as an irreplaceable titan of the Bentonia blues tradition. This tracking captures James exploring an intense, intensely somber emotional space, backed by his masterful, intricate fingerpicking patterns and precise, rhythmic piano work. The title track, beautifully re-recorded here, possesses a stark, spine-chilling power that remains unmatched in acoustic media. It is an essential, deeply reverent document of an artist looking back across decades of hardship with stark, poetic clarity. 

• Released: 1968 
• Label: Vanguard Records 
• Producer: Vanguard Studios 
• Core Layout: Skip James (Solo Acoustic Performance) 
• Key Tracks: "Devil Got My Woman", "Sickbed Blues", "Lorenzo Blues" 

Essential Archural Collection: Complete 1931 Paramount Recordings

To fully comprehend how radically advanced James's style was compared to his contemporaries, his historic 1931 Paramount sessions are essential audio textbook items. While the original shellac pressings suffered heavily from the label's notoriously cheap, scratchy surface textures, modern digital restorations reveal a hauntingly brilliant architectural blueprint of acoustic blues. His technical speed on "I'm So Glad" and the distinct boogie-woogie structural foundation of "22-20 Blues" (which later inspired Robert Johnson's "32-20 Blues") remain foundational pillars of 20th-century American music theory. 

• Recording Era: February 1931 
• Label: Paramount Records (Grafton, WI) 
• Producer: Arthur Laibly 
• Key Historical Tracks: "Devil Got My Woman", "I'm So Glad", "22-20 Blues" 

James died in 1969 in Philadelphia, leaving behind an immortal musical legacy. 

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Tommy Johnson: Canned Heat Blues

Tommy Johnson was a country blues singer and guitarist from Terry, Mississippi. Johnson was born in 1896, and by the twenties, he was an established figure in Mississippi blues. The sixties blues rock band, Canned Heat, took their name from the Johnson song, “Canned Heat Blues.”

 

As a foundational titan of the early Mississippi Delta blues tradition, Johnson possessed a haunting, highly expressive vocal delivery that regularly shifted from an intense growl into a beautiful, eerie falsetto. His rhythmic acoustic guitar style—characterized by driving bass figures and crisp, snapping accents—became the essential technical blueprint for regional contemporaries and successive generations of blues musicians. Despite a tragic life dominated by extreme poverty and substance dependency, his compositional genius left an indelible imprint on American roots music, permanently anchoring the architecture of early twentieth-century folk media.

 

Johnson was a dissolute figure who actively cultivated a sinister image through excessive drinking and stories that he had sold his soul to the devil in exchange for his musical mastery. A similar mythology would later be attached to Robert Johnson.

 

Johnson made his first recordings for the Victor label in 1928 with the sides “Canned Heat Blues” and “Big Road Blues.” Johnson also recorded for Paramount Records in two sessions, one in 1928 and another in the following year. These recordings proved Johnson to be a vocalist of great depth and a fine guitarist. Unfortunately, his recordings for Paramount are of low fidelity.

 

Johnson’s classic sides can be found on the compilation "Complete Recorded Work in Chronological Order" (1994).

 

Essential Archival Collection: Complete Recorded Works in Chronological Order (1928–1929) 

This invaluable 1994 archival audio document preserves the complete, compact legacy of Johnson’s legendary recording career. The tracking brings together his pristine, relatively high-fidelity February 1928 Victor sessions alongside the highly expressive yet notoriously scratchy Paramount dates from late 1928 and 1929. Listening to these tracks in historical sequence reveals the staggering emotional depth of his signature vocal style and provides a vital audio textbook for the birth of acoustic country blues. 

• Released: 1994 (Recording Era: 1928–1929) 
• Label: Document Records 
• Producer: Johnny Parth 
• Core Personnel: Tommy Johnson (Vocals, Guitar), Bracey Jackson (Guitar on Victor tracks) 
• Key Historical Tracks: "Canned Heat Blues", "Big Road Blues", "Cool Drink of Water Blues" 

Essential Compilation Review: Canned Heat Blues - Masters of the Delta Blues (1991) 

For listeners seeking a beautifully remastered look at the architectural roots of the Mississippi Delta sound, this historical retrospective compilation is unmatched. The album masterfully highlights Johnson’s defining tracks, setting them alongside rare recordings by his immediate peers. The tracking vividly highlights his legendary, driving rhythm work on the acoustic guitar, serving as a flawless entry point for evaluating how his raw musical folklore directly inspired the mid-century rock and roll boom. 

• Released: 1991 (Archival Compilation) 
• Label: Yazoo Records 
• Producer: Nick Perls 
• Core Contributors: Tommy Johnson, Ishman Bracey 
• Key Tracks: "Maggie Campbell Blues", "Big Fat Mama Blues", "Lonesome Home Blues" 

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