Cashman | Texassippi Stomp

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Blues: Juke Joint Blues Blues: Delta Style Moods: Featuring Guitar
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Texassippi Stomp

by Cashman

Lonesome back-porch acoustic delta blues and wicked, wang-dang, floorboard-shakin' electric roar from this duo.
Genre: Blues: Juke Joint Blues
Release Date: 

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1. Black cashman
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3:47 $0.99
2. Whatcha Doing? cashman
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3:19 $0.99
3. Reefer Headed Woman cashman
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3:27 $0.99
4. Pistol Blues cashman
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3:14 $0.99
5. Footlights cashman
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3:12 $0.99
6. Baby cashman
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3:27 $0.99
7. Como,ms cashman
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4:35 $0.99
8. Down Slow cashman
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4:13 $0.99
9. Out of Your Life cashman
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3:15 $0.99
10. Troubles On the Way cashman
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4:24 $0.99
11. Long Road cashman
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ABOUT THIS ALBUM


Album Notes
Not for the faint of heart is Cashman, purveyor of full-frontal down-home 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.

The tight-lipped sleeve notes cannot be troubled to provide such basic information as who wrote the 11 songs. While I suspect Ray Cashman is the author, they feel about as composed as field hollers. The voice -- more deep-throated rasp than singing instrument -- seems to be snatching words out of the air, some found floating by, others invented and disposed of on the spot. "Music" in the conventional sense is second, in effect a framework in which to set complaints, irritations, threats and laments. The electrified cuts, which is to say most of the cuts, rush at the listener in a mile-high tsunami of sound, sweeping away all in its path. There is, you might say, no room for argument.
Rather amazingly, then, the penultimate cut, the acoustic "Trouble's on the Way," is tender and melodic (albeit in no sense sentimental), in the fashion of the pre-blues African-American songsters who performed a wider range of folk, popular and religious music than interested the commercial music industry when it started recording downhome performers in the 1920s, convinced -- falsely -- that rural and small-town black Americans wanted to hear something called "blues" to the exclusion of all else. Songsters such as Mississippi John Hurt, Mance Lipscomb and John Jackson would have to wait to be "rediscovered" (by white folklorists and folk fans) nearly four decades later. "Trouble's," which could easily pass as a turn-of-the-last-century piece, is an unexpectedly beautiful song, with a melancholy refrain that at once saddens and comforts.

I suppose 2007 may produce a handful of blues albums as good as this one -- I hope so, because if that's the case this will be a memorable year indeed -- but when the roll is called and 2007 marches off into lost time, Cashman can boast that it delivered it, in Mississippi Fred McDowell's phrase, straight 'n' natural. Cashman will surely have the awards to prove it. In the meantime, if your blues diet has left you feeling anemic of late, here is every one of your basic nutritional requirements.

-Jerome Clark


Reviews


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Erick Diard

« La grande adorade du Tonton »
Tirez vous adeptes du brushing choux-crouté, du moumoutage compliqué, adeptes de la pantouflade feutrée et roucoulante, cette musique n’est pas pour vous ou alors c’est que vous êtes prêt à faire dans le téméraire, le Koh-lantophile irresponsable pour télochards du dimanche, parce que là c’est de la bombe atomique, du qui gratte au sang, du qui te bouscule la viande au-delà des clôtures… C’est dantesque et j’exagère pas, vous me connaissez !!!
Bon, c’est pas du Delta Hill Country Burnssisant, zique qui question champouinade fait pas dans la dentelle, ce serait plutôt du Delta Juke Joint Blues, son voisin, mais un Juke Blues qu’est monté sur gros calibre, un qu’est total original sans pour cela s’éloigner du trad, un qui nous est offert par deux gaillards qu’en ont….. à dire et qui le disent fort sur une musique puissante, hypnotique… Un son énorme qui te débarbouille toute la cire que tu conserves précieusement dans tes oreilles.
Mais tention jeune fougueux, c’est pas du bruit, que nenni mon ami, c’est de la musique, de l’excellente musique même, une qui te rétabliet vite fait les songsters oubliés que sont Mississippi John Hurt, Mance Lipscomb et John Jackson, des gars qu’on a tardé à inviter dans le monde du blues, mais qui sont pas des inconnus pour Ray Cashman (guitare, dobro, bootbox, percus et vocals) et son pote Grant A Brown (harmonica), qui s’offrent pour l’occase l’aide de l’excellentissime Jimbo Mathus (basse et guitare) sur 4 tunes, un Jimbo qui produit également l’objet sur son label 219 Records (retenez ce nom). Des gars qui nous avalanchisent leur musique en pleine tronche, sans prendre les gants d’usage, qui, si ils ont l’occase de nous visiter, sont à conseiller aux ceux-ce qui veulent amener les jeunots pubères au blues, au vrai, le pas chiant, le sans sirop.
11 tunes ripatonantes, bien plombées, de Country Blues qui bousculent les canons du traditionnel tel que l’entend l’intégriste moyen, 11 tunes régalantes, suite de plaintes, de menaces ou de lamentations délivrées avec intensité par un Cashman à la voix profonde, dure et rugueuse sur un nappage d’harmonica qui renforce la sensation de lourdeur.
Un album à rapprocher de celui que nous ont offert les Deltamatics en plus rude…
D’la balle et du grand blues…. Encore du labellisé Jimbo Mathus le sorcier
Tonton Erick