Hard Time Killin' Floor

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Hard Time Killin' Floor album cover
Album Information

Total Tracks: 22   Total Length: 65:51

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Devastating

StayHungry

After listening to Skip James, everything else seems dry and tasteless. This has all of his 1930 sides, which, while not as clean and scratch-free as his later recordings, have that ethereal quality that makes you feel as though you tapped into the phone line to the universal consciousness. And as an added bonus, if you download in the next fifteen minutes, the last four songs are early Son House!

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Where Did the Blues Begin?

By John Morthland, eMusic Contributor

The biggest debate in blues circles these days is, "where did the blues begin?" Ever since the blues revival of the 50s and 60s, the answer has been "the Mississippi Delta." But in recent years, more than a few blues buffs have argued, that while the Delta is where the harshest form of blues indeed gelled, there is very little evidence to suggest that blues started there. Further, Delta blues in its heyday was almost… more »

They Say All Music Guide

Hard Time Killin’ Floor isn’t the first Skip James collection, and one could bet it will not be the last. But Hard Time Killin’ Floor makes a pretty good argument for itself: the hour-and-six-minute album holds all of James’ early work, and it’s been remastered. James’ soulful vocal style, like Robert Johnson’s, has often been noted, but his quick picking style is also distinctive. “I’m So Glad” is performed at an up-tempo, breakneck pace, and the finger work will leave the listener dizzy. The title cut, on the other hand, has a slow, lazy quality, with the blue notes of the guitar matching the singer’s mournful cry. James was somewhat unique among blues guitarists in that he also played piano. His spunky gospel style is on full display on songs like “How Long Buck” and the bizarrely titled “Little Cow and Calf Is Gonna Die Blues.” Of course Hard Time Killin’ Floor wouldn’t be complete without “Devil Got My Woman,” the same song that would bring down the house at the Newport Folk Festival some 30 years later. The sound quality of these recordings, it should be noted, is a bit rough. This isn’t a criticism; just something that should be noted for blues fans unfamiliar with the minefield of re-recording old songs from rare 78s. Yazoo and its engineers have made the best of a difficult situation, and for that, blues fans will be grateful. Interestingly, Yazoo, having extra room at the end of the CD, added four songs by another blues great, Son House. While the pairing might seem a bit odd, who’d complain about having four early Son House songs for free? Not this reviewer. – Ronnie D. Lankford, Jr.

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