New Orleans Street Singer [Bonus Tracks]

Editorial Reviews

All Music Guide - Steve Leggett
Ford "Snooks" Eaglin's first released recordings, the ones collected here, suggested to the world that Eaglin 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 Harry Oster heard Eaglin 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 Eaglin was a folk artist, or possibly even asking him to portray one for the sake of the recording. Either way, New Orleans Street Singer was a revelation when it was released ...
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Editorial Reviews

All Music Guide - Steve Leggett
Ford "Snooks" Eaglin's first released recordings, the ones collected here, suggested to the world that Eaglin 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 Harry Oster heard Eaglin 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 Eaglin was a folk artist, or possibly even asking him to portray one for the sake of the recording. Either way, 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 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 in this expanded edition from Smithsonian Folkways, although hindsight allows us to realize that the folk stance was probably more Oster's preference than Eaglin's. The guitar work is quick and fluid, with lead bursts that surprise and delight, continually settling on unexpected but highly effective chordal resolves the original instrumental "Sophisticated Blues" is a case in point, and the singing throughout is steady and informed, sounding a bit like Ray Charles, with tinges of both gospel and jazz phrasing. In Eaglin's hands traditional fare like "Saint James Infirmary," the near-ragtime "High Society," and the familiar "Mama, Don't You Tear My Clothes" a variant of "Baby, Let Me Follow You Down" all become reborn and re-formed into definitive versions. The seven additional tracks expand the original album to around 70 minutes in length, and the alternate takes included of "Careless Love," "Driftin' Blues," and "The Lonesome Road" show that Eaglin didn't necessarily approach a song the same way twice in a row.
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Product Details

  • Release Date: 8/30/2005
  • Label: Smithsonian Folkways
  • UPC: 093074016527
  • Catalog Number: 40165
  • Sales rank: 70,367

Album Credits

Performance Credits
Snooks Eaglin Primary Artist, Guitar, Vocals
Technical Credits
Charles Brown Composer
Walter Davis Composer
Snooks Eaglin Composer
Jimmy McCracklin Composer
Memphis Slim Composer
Dave Bartholomew Composer
Sam Hopkins Composer
Richard M. Jones Composer
Mercy Dee Walton Composer
Armand Piron Composer
Gene Austin Composer
Richard Burgess Marketing, Marketing Coordinator
Arthur "Big Boy" Crudup Composer
Fats Domino Composer
Shifty Henry Composer
Harry Oster Producer, Engineer
Rudy Toombs Composer
Elijah Wald Liner Notes, Annotation
Aaron Walker Composer
Clarence Williams Composer
Pete Reiniger Mastering
Lee Michael Demsey Contributor
John "BJ John" Smith Marketing
Eddie Williams Composer
Mark Gustafson Marketing
Helen Lindsay Public Relations
Joe Parisi Cover Illustration
Betty Derbyshire Financial Director
Todd Dodds Management
Nathaniel Shilkret Composer
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