SKIP JAMES: Today, 1965

Nohemiah Curtis 'SKIP' JAMES.
Bentonia, Mississippi, 1902
Philadelphia, Pensilvania, 1969


Afinaciones:
D Menor: DADFAD (grandísimo)
E Menor: EBEGBE
Open G: DGDGBD



Today, 1965
Genial voz en falseto, maravilloso fingerpicking y un piano.


Skip James - Crow Jane

Crow Janie, Crow Janie, Crow Jane
Don't you hold your head high
Someday baby, you know
You got to die
You got to lay down an -
You got to die, you got to -

You know, I wanna buy me a pistol
Wants me forty rounds of ball
Shoot Crow Jane, just to see her fall
She got to fall, she got to -
She got to fall, she got to-

That's the reason I begged, Crow Jane
Not to hold her head, so high
Someday baby, you know
You got to die
You got to lay down an -

When I dug her grave
With a silver spade
Ain't nobody gon' take
My Crow Jane place
You can't take her place
No, you can't take her -

That's the reason I begged, Crow Jane
Not to hold her head, too high
Someday baby, you know
You got to die
You got to lay down an -

You know, I let her down
With a golden chain




Skip James - Devil Got My Woman

I'd rather be the devil, to be that woman man
I'd rather be the devil, to be that woman man
Aw, nothin' but the devil, changed my baby's mind
Was nothin' but the devil, changed my baby's mind

I laid down last night, laid down last night
I laid down last night, tried to take my rest
My mind got to ramblin', like a wild geese
From the west, from the west

The woman I love, woman that I loved
Woman I loved, took her from my best friend
But he got lucky, stoled her back again
And he got lucky, stoled her back again

Gibson J-185

4.021 $

Gibson J-45
3.000 $




Martin D-28
3.000 $




Martin D-18
2.600$
En los sesenta.







Stella de 12 cuerdas.
Grabaciones de 1931



Todo un acontecimiento: Grunewald, desde 1904. Nacieron las 12 cuerdas. Y Leadbelly.




Stella de 12 cuerdas.
Réplica por 2.700 $

MARTIN D-15: Al grano sin adornos

1.250 dólares

Un clásico caoba de Martin.

De cuerpo pequeño, el estilo del Delta.

Gran timbre.

Excelente ajuste.

Desnuda, sin trampa ni cartón.

Un 10.

Al grano.


Model Specifications
MODEL D-15
CONSTRUCTION: Mortise/Tenon Neck Joint
BODY SIZE: D-14 Fret
TOP: Solid Sapele or Solid Genuine Mahogany
ROSETTE: Herringbone Style - Gold & Black
TOP BRACING PATTERN: A-Frame ''X''
TOP BRACES: Solid Sitka Spruce 5/16''
BACK MATERIAL: Solid Sapele or Solid Genuine Mahogany
BACK PURFLING: none

SIDE MATERIAL: Solid Sapele or Solid Genuine Mahogany
ENDPIECE: none
ENDPIECE INLAY: none
BINDING: none
TOP INLAY STYLE: none
SIDE INLAY: none
BACK INLAY: none
NECK MATERIAL: Select Hardwood
NECK SHAPE: Modified Low Oval
NUT MATERIAL: White Corian

HEADSTOCK: Solid/Square Taper
HEADPLATE: Solid East Indian Rosewood
HEELCAP: none
FINGERBOARD MATERIAL: Solid Morado or Solid East Indian Rosewood
SCALE LENGTH: 25.4''
# OF FRETS CLEAR: 14
# OF FRETS TOTAL: 20
FINGERBOARD WIDTH AT NUT: 1-11/16''
FINGERBOARD WIDTH AT 12TH FRET: 2-1/8''
FINGERBOARD POSITION INLAYS: Style 28

FINGERBOARD BINDING: none
FINISH BACK & SIDES: Satin
FINISH TOP: Satin
FINISH NECK: Satin
BRIDGE MATERIAL: Solid Morado or Solid East Indian Rosewood
BRIDGE STYLE: Belly
BRIDGE STRING SPACING: 2-1/8''
SADDLE: 16'' Radius/Compensated/White Tusq
TUNING MACHINES: Chrome Enclosed w/ Small Buttons
RECOMMENDED STRINGS: Martin Studio Performance Medium Phosphor Bronze (MSP4200)
BRIDGE & END PINS: White w/ Black Dots
PICKGUARD: Tortoise Color
CASE: 345
INTERIOR LABEL: Paper Label
ELECTRONICS: Optional
OTHER OPTIONS: Available left-handed at no additional charge
OTHER COMMENTS: All prices & specifications are subject to change without notice.

WHISTLER´S JUG BAND, 1928-1935

Desde Lousiville, Kentucky.
Buford Threlkeld, guitarrista y cantante, y sus amigos.
No había dinero para trompetas.



La botella de güisqui tenía que servir para algo.
WHISTLER´S JUG BAND

REVEREND GARY DAVIS, At Home and Church 2010

Reverend Gary Davis
Laurens, South Carolina, 1896
Hammonton, New Jersey, 1972

Ragtime de la coste este de EEUU.
Ciego de nacimiento.
Malgastó su vida en el Harlem de Nueva York.
Un gigante del blues rural.
Una religión en el folk y en la música tradicional.
Maestro de genios como Bob Dylan, Taj Mahal, Donovan o Ry Cooder.



Pure Religion and Bad Company
1957




Harlem Street Singer
1960




At Home and Church
2010
Tres fantásticos CDs.
Grabaciones de 1962 a 1967.
IMPRESCINDIBLE.


Similares: Lightnin´Hopkins, Ry Cooder, Brownie McGhee, Blind Willie Johnson, Doc Watson, Bert Jansch, Hot Tuna, The Wood Brothers.




Gibson SJ-200
6.330 dólares

The SJ-200 True Vintage acoustic guitar delivers the look, feel, and sound of Gibson’s original Super Jumbo as it first appeared in 1937. Gibson Acoustic’s master luthiers in Bozeman, Montana have recreated a legend. The SJ-200 was originally built to cut through the loudest acoustic ensembles, but ended up defining the new American music scene of the 1930s on its way to becoming the world’s most famous acoustic guitar. The SJ-200 True Vintage captures the deep, well-balanced tone and powerful sound of these celebrated guitars, and are almost identical in makeup and structure as the most popular 1950’s versions including an Adirondack red spruce top and VOS finish.




Gibson GB-1
Rare model and an incredible piece of American history. This is the banjo that was recorded and played by the Reverend Gary Davis. This is a non Mastertone banjo with thick, 11 inch rim and simple tonering. It has all the appropriate documentation. The original flange was broken and a replacement makes it playable once again.



Gibson B45-12


Gibson B-45-12 ( 1961-1979 )

The Gisbon b-45-12 was also in production during these years ( 1961-79 ) it was a 12 string acoustic guitar , flat top , mahogony wood . The 61-62 models had round shoulders and from late 62 and on gibson made them with square shoulders , and were made in sunburst colors .

In 1963 Gibson also introduced the B-45-12-N ( same guitars but in natural finish ) production ended in 1979 . Vintage Price values are more or less the same as the Gibson b-45-12 ( sunburst )


Gibson B-45-12 Limited Edition Reissue ( 1991 -1992 )

Because of the high demand gibson in 1991 made a limited edition reissue of the b-45-12 ,same guitar but was built with rosewood wood on the back and sides of the body .

Because of the limited number of gibson b-45 reissues produced , they are also considered somewhat collectible .

Vintage Guitar Price Value 2008 :
1967 - 1971 > $500 to $700 ( b-15 )
1962 - 1969 > $1000 to $1600 ( b-25 )
1970 - 1977 > $900 to $1000 ( b -25 )
1962 - 1969 > $950 to $1500 ( b-25n )
1970 - 1977 > $750 to $1000 ( b-25n )
1962 - 1968 > $700 to $1200 ( b-25 3/4 )
1962 - 1966 > $900 to $1600 ( b-25 / 12 )
1967 - 1977 > $800 to $1000 ( b-25 /12 )
1961 - 1962 > $1900 to $2300 ( b-45-12 round shoulders )
1962 - 1964 > $1700 to $2100 ( b-45-12 square shoulders )
1965 - 1969 > $1400 to 1700 ( b-45-12 )
1970 -1979 > $900 to $1100 ( b-45-12 )
1991 - 1992 > 950 to $1200 ( b-45-12 reissue )

JOHN LEE HOOKER, Plays and Sings the Blues 1961

BOOGIE BLUES, DETROIT BLUES
John Lee Hooker
Clarksdale, Mississippi, 1917
Los Altos, California, 2001



Plays and Sings the Blues
Caviar de 1951 y 1952.
Chess, 1961



Cantante, compositor y guitarrista de Mississippi (EEUU). Blues hipnótico sobre un mismo acorde que se mueve al ritmo de Boogie primitivo. Una voz poderosa, cruda e irrepetible. No mezclar con sustancias alucinógenas.
El trabajo incluye 'Mad Man Blues' y 'Baby Please Don´t Go'. Material propio, único e irrepetible.

Similares: Ray Charles, Lightnin´Hopkins, JB Lonoir, Cannet Heat, The Animals, Nick Cave, Jon Spencer, Seasick Steve.

Música:
THE DETROIT YEARS (recordings 1948-1955)
THE CHICAGO YEARS (recordings 1955-1964)
THE FOLK YEARS (recordings 1959-1963)
THE ABC YEARS (recordings 1965-1974)
THE ROSEBUD YEARS (recordings 1975-2001)




EPHIPHONE 64' John Lee Hooker Sheraton
$3,194.

The Epiphone Sheraton: An Upscale Version of a Gibson Classic

In 1957, Gibson purchased the Epiphone Company, which up until that time had been one of its fiercest rivals – particularly in the area of hollowbody archtop guitars. Prompted by a stern memo from Ted McCarty to hurry up and introduce some new Epiphone models at the upcoming NAMM show in 1958, Gibson introduced a completely new line of Epiphones, highlighted by the now-legendary Sheraton.

While some of the new Epis had familiar names, such as the Emperor and Deluxe, the Sheraton represented a first for Epi – not just in name but in its semi-hollowbody construction as well. Although Gibson’s ES-335 garnered more publicity from its 1958 debut, the Sheraton offered the same revolutionary body style but with a more stylish look, highlighted by its Emperor-style V-block fingerboard inlays and vine inlay on the peghead.

The Sheraton was an immediate hit, the unique voice of its mini-humbuckers soon made it the instrument of choice for many professional artists of the time, including blues legend John Lee Hooker. Today Epiphone continues the Sheraton legacy by offering three versions of this classic guitar icon.

ROBERT JOHNSON, padre del blues 1938

Robert Johnson
Greenwood, Mississippi




Complete Recordings
1938

Una figura mítica en la historia del blues del Mississippi y de la guitarra. Sus misteriosas afinaciones todavía están por descifrar. Un catálogo de composiciones muy corto pero con una influencia masiva en el rock y el blues de todos los tiempos.


Similares: Mississippi John Hurt, Louisiana Red, Willie Dixon, Nick Drake, BBKing, Angus Young, Jimmy Page.



Robert Johnson L-1
Gibson
2.793 dólares.





Gibson Acoustic’s Robert Johnson L-1 guitar captures the haunting, timeless sound of the man whose legacy and contributions to the blues are unmatched. Though he died tragically in 1938 at the age of 27, Johnson’s historic blues recordings have inspired countless generations of blues artists and guitarists. The Robert Johnson L-1 guitar is tribute to his instrument of choice. It features Gibson’s traditional L-1 body design, exactly as it was on the first L-1 in 1926.



Gibson L-1’s will forever be associated with bluesman Robert Johnson, who was holding a circa 1929 L-1 in his famed Hooks Brothers studio portrait. The 1928 L-1 pictured here is identical to Johnson’s guitar, except that by 1929, Gibson moved the guitar slightly down market by eliminating the binding on the fingerboard and soundhole.



In several ways, this guitar sits at a Gibson guitar-development crossroads. Gibson’s earliest flattops were built with ladder bracing, and the company didn’t fully embrace X-bracing until around 1930. This L-1 has what Gibson connoisseurs call “A-bracing”—just the lower half of the X (see X-ray photo). The result produces the bark of a ladder-braced guitar tempered with some of the warmth of an X-braced guitar. The flattop L-1 was built with the same body molds that Gibson used in its small L-1, L-2, and L-3 archtops of the 1920s. These early Gibson flattops also have dramatically radiused tops and backs, making them resemble their archtop cousins. This L-1 is constructed with an Adirondack spruce top, Honduras mahogany back and sides, and Brazilian rosewood fingerboard and bridge. Like many Gibsons of this era, it bears tiny, mandolin-size frets. With its comfortable 13.5-inch-wide body, this guitar is the perfect blues box. Bending strings is a breeze due to the very short 24.25-inch scale, and the 13/4-inch nut width and 23/8-inch string spacing make it a fingerpicking delight.

This Gibson is the sort of guitar you’ll want to take to the intersection of highways 61 and 49 in the Mississippi Delta when you follow in the footsteps of Johnson. You’ll attain instant blues prowess, but the price, of course, will be your soul

KEB 'MO', country blues 94

Para un super noche acústica.
Tu sabes.
LA, California.
Keb' Mo´ 1994.
KEB`MO¨.2001.