I'm Pretty Good at It: Country Blues Guitar/ Var - I'm Pretty Good At It: Country Blues Guitar (1937-1953) (Various Artists)

This album begins with Papa Charlie's two previously unavailable takes of "Papa Charlie Hill Blues" and they certainly make for very worthwhile listening. Hill finds his woman so sweet that he doesn't even need his morning tea! Roosevelt Antrim performed in the Piedmont style popularized by Blind Boy Fuller. James 'Sonny' Jones attended a lengthy session organised by J.B. Long for Vocalion in Memphis with Blind Boy Fuller, Sonny Terry and Bull City Red. The propulsive 'Pretty Good At It' with Sonny Terry on harmonica, is irresistible while 'Pacify My Mind' exemplifies the loping, mellow blues approach of the region. In 'Love Me With A Feeling' (with slide guitar) Jones enjoins his woman to love him with feeling or he will "let another woman move in"! 'Dough Roller' is another strong performance. Dan Pickett was a true musical chameleon, switching from one style to another with ease and surprising adeptness. Both his singing and guitar playing were of a very high standard. He modeled his slide guitar playing on that of Tampa Red. 'That's Grieving Me' revives Georgia Tom and Tampa Red's first hit in 1928. 'Ride To A Funeral In A V-8' comes from a 1935 Buddy Moss recording. A forceful performance of 'Early One Morning' was probably modeled on the classic 1928 recording of 'Prison Bound Blues' by Leroy Carr and Scrapper Blackwell, and 'How Long' was also a huge Carr hit. 'Lemon Man' clearly derives from records by Blind Boy Fuller and Charlie Pickett, both titled 'Let Me Squeeze Your Lemon'. The Fuller-ish 'You Got To Do Better' and 'Number Writer', about the Policy game, maintain the standard. Rarely is an imitator so innovative. Doug Quattlebaum, is also held in high regard by blues aficionados. He grew up listening to Blind Boy Fuller and other bluesmen on the radio and record. 'Don't Be Funny Baby' is a dark, brooding, very intense original blues, while the lighter, swinging 'Lizzie Lou' seems to have been inspired by a 1950 Calvin Boze Aladdin recording.