Skip James

Hard Time Killin' Floor

  • MOG Editorial Review

    Editors_picks_badge
    To listen to the recordings of Skip James on Hard Time Killin' Floor is, in many ways, to hear the sound of the Delta blues taking shape in the early '30s. Though not technically from the Mississippi Delta, James nonetheless embodied its early spirit, mastering the genre's intricate finger-picking on classics like "22-20 Blues" and "Yola My Blues Away." While James eventually revisited some of these songs during the last years of his life, the early 78s here capture an important era and beginning for one of the masters, even on these (very) lo-fi recordings, the raspy soul in James voice is on full display for all hoping to learn the history of the blues.
  • AMG Review of Hard Time Killin' Floor

    Amg
    Ronnie D. Lankford
    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.

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