The last time that I used this above-titled headline was in a commentary related to Senator Hillary Clinton's late presidential campaign and I caught hell from my feminist friends for it. So I add here blues singer/songwriter Rory Block's translation on her cover version for "political correctness". Okay? "I'd Rather Be The Devil, Than Be A Woman To That Man." I would add, that when one is dealing with the blues we are not talking about any kind of sense of political correctness but the primordial longings unvarnished by the political niceties of that day or this. But enough of that. Let's talk about the legendary Skip James' work.

For those who saw Martin Scorcese's six part blues series on PBS you know that one of the segments was directed by Wim Wenders who chose the work of Skip James as a subject for presentation. There Skip's very short recording career (as it turns out early recording career) was highlighted. As others have mentioned Skip James was a Baptist preacher, not a professional musician, so aside from the incredible recording he made for Paramount Records in 1931, he wasn't widely sought after as a performer until the blues revival of the late '50s and early '60s. At that time he came front and center with fellow "discovered" artists like Mississippi John Hurt, Bukka White and Son House. That is the company he properly belongs in and should be compared to.

The contents of this CD only confirm that. His great falsetto voice accompanied by guitar or piano (as a nice change up) hold forth here. Interestingly, the CD features newer arrangements of several songs from James' 1931 Paramount recording, like the well-known title track "Devil Got My Woman" that got me into political trouble. There are also some moodier songs for piano like the "22-20 Blues" and "Careless Love". Here, though, is the "skinny" on James. Like a number of blues artists you have to be in the mood and be patience. Then you don't want to turn the damn thing off. Enough said.

Skip James was a Baptist preacher, not a professional musician, so aside from an incredible recording he made for Paramount Records in 1931, he wasn't widely sought out as a performer until the blues revival of the late '50s and early '60s. By that time, his voice and style had mellowed and aged (like most good musicians and all good wine) and while for some unkwown reason several Amazon.com reviewers think this is a fault, James made a very impressive appearance at the 1964 Newport Folk Festival, which is recorded on this disc. The CD features newer arrangements of several songs from James' 1931 Paramount recording, like the well-known title track "Devil Got My Woman". There are also some jazzier songs for piano here like the "22-20 Blues" and "Careless Love".

While I know this is "the blues" and there's a certain amount of mellowness going on, after listening to about five tracks of Skip James accompanying himself on the guitar, you'll probably be in the mood for something more upbeat -- which is exactly why the tracks of Skip James accompanying himself on the piano come in like a slippery kiss from your cute girlfriend. Great disc! Recommended. Five stars.

Other Amazon reviews of this disc and "Skip James Today" suggest some kind of strongly held private agenda in favor of his early recordings reissued on Yazoo. While the rediscovered Skip was more contemplative, less fierce and more limited to falsetto singing than the young Skip, these recordings are still astonishing, among the few real glories of the blues rediscovery era, and indispensable. The Vanguard recordings are much more satisfying than most of the other rediscovery sessions, and some of them achieve real greatness. It's an eerie, otherworldly music, and definitely an acquired taste, but don't be swayed by those who would tell you to avoid these "rediscovery" recordings. Many of them will reward you for years to come. I've been listening to this disc and "Today" since they were issued as lps in the '60s.

Sadly, Skip James was "rediscovered" in the 1960s by white blues scholars and coaxed out of a dark Mississippi life. His energy sapped over 30+ years, the man is a mere shadow of the brilliance featured on his incredible early 78s. Get that Yazoo compilation for a taste of the most haunting, unique and brilliant blues recordings of all time.

First time listeners might be a little thrown by James's vocals and low-key styling. In some ways it's closer to John Hurt. But he is well worth listening to. This album has distinctive jazz feeling not normally associated with acoustic blues. I defy anyone to find a creepier song than the title track.