Sonny Boy Williamson II - Original (CD)

All Music Guide

Life is confusing for everyone, but for blues fans, it must really be worse. Where else can one find two artists playing the same instrument, using the same name? Part of being accepted into the elite echelon of blues scholars, is, of course, being able to recognize and explain the differences between the two Sonny Boy Williamson harp blowers, but the Blues Classics label must have decided things weren't complicated enough by issuing a set by the Sonny Boy most commonly known as the second of the bunch under the title of The Original. Blues listeners may become bewildered when they realize that the same label has issued a series of recordings by the other Sonny Boy, also known as John Lee Williamson, with very similar packaging. Another blues label has also issued a set by that Sonny Boy with the same title as this one, The Original. Looking closely at the photo on the front of this, one can clearly see the unmistakable sourpuss of Rice Miller, the so-called second Sonny Boy Williamson. Recording sound on these vintage tracks is just as muddy as all the confusion that has just been described, but, delightfully, this is a case where the sound quality augments the music wonderfully. This Sonny Boy was a master at getting bands to pump out stomping rhythms, the effect of which is intensified by the primitive recording sound in which only small parts of the drum set break through the band sound, sometimes the bass drum or a tom, sometimes a crisp snare. There is also pumping blues piano, and some very early electric guitar playing. One can strain one's eyes reading the liner notes by Paul Oliver, set in the same type used for the classified ads, but one will still not really know for sure if the circa 1951 recordings that were the first ones for this artist are the ones that are featured here. Presuming this is the case, perhaps "the original" is meant to refer to the recordings. At any case, these tracks predate the material this artist cut a bit later during a long period of action with the Chicago Chess label. The same excited spirit, drive, and lyrical cleverness are all there, however, especially on standout tracks such as the famous "Eyesight to the Blind" and the intense "Nine Below Zero." Those that believe the power of the blues was diluted by fancy recording studios and digital sound should really enjoy this.

- Eugene Chadbourne, All Music Guide