Cashman | Snake Feast

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Blues: Juke Joint Blues Blues: Delta Style Moods: Featuring Guitar
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Snake Feast

by Cashman

Not for the faint of heart is Cashman, purveyor of full-frontal downhome blues, Read more: http://www.myspace.com/raycashman#ixzz10Cbl0E96
Genre: Blues: Juke Joint Blues
Release Date: 

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1. Love Stands Time
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3:48 $0.99
2. Snake Feast
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3:43 $0.99
3. Come On Girl
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3:00 $0.99
4. Oxford Blues
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3:48 $0.99
5. Bullet
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2:36 $0.99
6. I Want Back
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4:58 $0.99
7. Miss Maybelle
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3:10 $0.99
8. Sweet Southern Sister
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3:25 $0.99
9. Motherless Child
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3:36 $0.99
10. Whiskey, Weed And Women
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4:57 $0.99
11. Pickle Juice
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12. Don't Tread On Me
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ABOUT THIS ALBUM


Album Notes
Not for the faint of heart is Cashman, purveyor of full-frontal downhome blues, as subtle as a tornado funnel or an artillery blast. On Texassippi Stomp, the music arrives courtesy of two guys, Ray Cashman (electric and acoustic guitars, dobro, percussion) and Grant A. Brown (harmonica), with the periodic assistance of the ubiquitous but unfailingly worthy Jimbo Mathus (bass, guitar, snare drum), who also produces. This is rude, raucous Mississippi juke-joint music, much less delta than hill country -- the sort of raw approach whose then-surviving (and some since-deceased) native practitioners (including T Model Ford, R.L. Burnside, Paul "Wine" Jones and Robert Belfour) the Oxford, Mississippi, label Fat Possum famously recorded and promoted. Among our many debts to Fat Possum (in whose Money Spot studio Cashman cut this album), we may thank it -- snark alert -- for encouraging talented young white guitarists to stop trying to sound like Eric Clapton trying to sound like Albert King. Or, to the more knowledgeable, giving them some idea of a living, as opposed to an archival, country blues. Cashman's uncompromising approach renders trivial, even absurd, conventional notions of "authenticity." Who Cashman and Brown are in prosaic fact -- you could call them, technically, folk musicians in the revival sense -- is detail, and, worse, misleading detail, because in the post-traditional early 21st century anybody who decides to carry a tradition has become a tradition carrier. If the music is so felt and true that it rises above rote impersonation, that's as close to a working definition of "authentic" as you're going to get. Cashman is as authentic as all hell. Jerome Clark Rambles.net




Reviews


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Diard

Erick
Vlà une rondelle qui fleure bon l’authentique, le rugueux, le brutal…. Le retour aux bases, celles du Texassippi stomp des Juke-joint crasseux qui fleurent bon la sueur et le whisky frelaté. Celles d’illustres maîtres, « des gars, que rien que quand t’entends leurs blazes tu te découvres » (cherchez dans quel film j’ai pompé et vous gagnerez mon estime), comme T Model Ford, RL Burnside, Robert Belfour, Paul « Wine » Jones, sans oublier ceux qu’on connaît pas….. Gaffe quand même c’est du burné, du trivial, car on est plus dans le Hill country que dans le Delta, même si parfois….
Aux manettes Ray Cahsman aux guitares, dobro et percussions, qui de sa voix rugueuse l’envoie pas dire ce qu’il a exprimé, même si on peut lui reprocher de rester souvent dans la même tonalité vocale…. Mais bon, c’est pas de l’opéra ou de la bluette guimauvante, alors…. Son pote Grant A. Brown, histoire de pas laisser Ray tout seul, vient buffer dans l’harmo de ci de là et de fort belle manière et cerise sur le gâteau, le sorcier de Clarksdale, monsieur Jimbo Mathus, se colle quant à lui à la basse, aux guitares et à la caisse claire, sans oublier les manettes et, tant qu’à faire, la production.
C’est une belle séance de transe, de divagation ripatonnante, que procure ce superbe opus, du vrai, du furieux certes mais maîtrisé, du génial !!!!
Tonton Erick