Snooks Eaglin New Orleans Street Singer Rar
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New Orleans Street Singer was a revelation when it was released by Folkways Records a year later in 1959, presenting to the world a gifted guitar player and a. New Orleans Street Singer, an Album by Snooks Eaglin. Released in 1959 on Folkways (catalog no. FA 2476; Vinyl LP). I've never heard anyone quite like Snooks.
Folkways Records released New Orleans Street Singer in 1959 and the album set the world of folk and acoustic blues fans on fire. Snooks Eaglin was in the early stages of his long R&B career when folklorist Harry Oster heard him playing solo on the streets of the French Quarter.
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EMD offers a premium experience that includes unlimited access to CD quality music. Download Saint James Infirmary by Snooks Eaglin Snooks Eaglin Saint James Infirmary lyrics St. James Infirmary I went down to St.
James Infirmary To see my baby there, She was lyin' on a long white table, So sweet, so cool, so fair. Went up to see the doctor, 'She's very low,' he said; Went back to see my baby Good God! She's lying there dead. I went down to old Joe's barroom, On the corner by the square They were serving the drinks as usual, And the usual crowd was there.
On my left stood old Joe McKennedy, And his eyes were bloodshot red; He turned to the crowd around him, These are the words he said: Let her go, let her go, God bless her; Wherever she may be She may search the wide world over And never find a better man than me Oh, when I die, please bury me In my ten dollar Stetson hat; Put a twenty-dollar gold piece on my watch chain So my friends'll know I died standin' pat. Get six gamblers to carry my coffin Six chorus girls to sing me a song Put a twenty-piece jazz band on my tail gate To raise Hell as we go along Now that's the end of my story Let's have another round of booze And if anyone should ask you just tell them I've got the St. James Infirmary blues.
Snooks Eaglin New Orleans
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's first released recordings, the ones collected here, suggested to the world that was a great lost country blues player when he was, in fact, an excellent electric guitar player and a gospel-influenced singer who much preferred playing R&B with a band. When folklorist heard busking with his guitar on a street in the French Quarter in 1958, he whisked him over to Louisiana State University and recorded the tracks collected here, either assuming that was a folk artist or possibly even asking him to portray one for the sake of the recording. Either way, was a revelation when it was released by Folkways Records a year later in 1959, presenting to the world a gifted guitar player and a naturally soulful singer who brought a kind of jazzy New Orleans feel and groove to the folk-blues standards he was covering. The album is no less a revelation in the 21st century, although hindsight allows listeners to realize that the folk stance was probably more 's preference than 's. The guitar work is quick and fluid, with lead bursts that surprise and delight, continually settling on unexpected but highly effective chordal resolves, and the singing throughout is steady and informed, sounding a bit like, with tinges of both gospel and jazz phrasing. In 's hands traditional fare like 'Mama, Don't You Tear My Clothes' (a variant of 'Baby, Let Me Follow You Down') become reborn and re-formed into definitive versions.
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