| 1. DEEP
RIVER BLUES |
9. LITTLE
HILL, BIG HILL |
|
|
(Trad.
Delmore Brothers, Doc Watson)
I first met Doc in Boulder, Colorado with son Merle when I was travelling
with Bluegrass maestro Pete Rowan. We spent a week there, and I still
carry memories of this song and of these three incredible musicians
|
|
(Trad.
O'Carolan)
Turlough O'Carolan, the 17th Century blind, roving harpist left behind
many beautiful tunes. People everywhere I go seem to love this piece.
|
| 2. TELL
ME TELL ME BABY |
10.
GOING WHERE THE SUN SHINES |
|
|
(Gareth
Hedges)
A simple bluesy rhythm reminiscent of the guitar style of Sylvester Weaver |
|
(Gareth
Hedges)
An influence from Fred McDowell who I travelled with in his later years.
A gentle man who played raw Delta blues with great sensitivity. He built
fantastic rhythms with hypnotic riffs that to me are like a train gathering
momentum. |
| 3. BELL
BUCKLE RAG |
11.
SPITTING ON THE SIDEWALK |
|
|
(Gareth
Hedges)
In central Tennessee in the 19th Century cows wore a bell buckle, a ring
(collar) that cowbells could be attached to. That's the story I got when
living in Bell Buckle south of Nashville. |
|
(Miller
- Calt)
John Miller is in a class of his own as a fingerpicker. I met him in Boston
in 1978 and his uncanny ability to revamp a Gershwin classic or a Bo Carter
blues is amazing. |
| 4. GOT
THE MORNING BLUES |
12.
GOOD LITTLE THING |
|
|
(Trad.)
The Jim Kweskin Jug Band recorded this song in the 70s and left behind a
wealth of great songs. Maria Maldaur was with them and all the band members
were a classy act. |
|
(Trad.
Blind Willie McTell)
My adaptation from the great 12 string guitarist Blind Willie McTell, who
recorded in the 1930's and 40's. |
| 5.
ANGI / THANK YOU DAVEY |
13.
GABRIELLA |
|
|
(Davey
Graham / Gareth Hedges)
On seeing and hearing the magical beauty that Davey portrayed in his performances,
I became hooked on guitar playing. I never learnt his famous Angi correctly,
so called my creation 'Thank You Davey'. The 'A' part is similar to the
original 'B' and 'C' parts I added on. |
|
(Gareth Hedges)
Gabrielle and George ran folk festivals in the Halle Germany area in the
1980's and 90's. After dinner one evening Gabrielle asked me to play guitar,
so I did. A short while later they disappeared. I played music all night,
and when Gabrielle came to the kitchen for breakfast I had written this
piece for her. She liked it.
|
| 6. BLOOD
RED RIVER |
14.
YOU GOTTA MOVE |
|
|
(Trad.
Big Bill Broonzy)
Broonzy recorded prolifically from 1928 - 58. His influence was huge. A
powerful voice and a superb guitarist. |
|
(Mississippi
Fred McDowell)
McDowell's influence reached far and wide. The Rolling Stones, Bonnie Raitt
and many others recorded his songs and my thanks go to Chris Stratwich of
Arhoolie Records who recorded Fred in 1964. This led to recognition and
tours in the U.S.A. and Europe. |
| 7. COTTON
PICKING |
15.
SWEETEST THAT I KNOW |
|
|
(Gareth
Hedges)
An influence from Elizabeth Cotton who I met in New York in the 1970's when
she was almost 80 and still touring. A beautiful gentle singer and fingerpicking
guitarist, but with a difference. She held the guitar upside down and picked
the melody notes with her thumb and the bass notes with her fingers. FREIGHT
TRAIN is her most famous song. |
|
(Gareth
Hedges)
I wrote this song early in my career in 1925. Just kidding. It's in the
Delta style of Charlie Patton (1891 - 1934) and son House (1902 -1988) who
I stayed with in the summer of 1980. Their influence was indelibly felt,
and acknowledged by many of the great Chicago Blues artists. |
| 8. LADY
LUCK |
|
Gareth
Hedges
© 2001 Gareth Hedges |
|
|
(Gareth
Hedges)
This song arrived sometime after I had been listening to a stunning duo
of the 1920's/30's. Eddie Lang and Lonnie Johnson both played an important
part in raising the profile of the acoustic guitar. |
|
