Ramblin’ / Happy Woman Blues
Retroworld

Recorded in 1979 and 1980 respectively, her Folkways Smithsonian recordings Ramblin’ and Happy Woman Blues were limited budget recordings but, for roots content they were perfect vehicles for Williams. As a child she had lived not only in Louisiana, but Mississippi, Georgia, Arkansas, Mexico and in Chile before she relocated as a struggling musician to Austin, Texas. Lucinda’s voice even then had an addictive huskiness as she dipped into a back catalogue of material from blues greats Robert Johnson, Memphis Minnie and country legend Hank Williams. Though she struggles to reach the notes a little she still does a creditable version of Williams’ ‘Jambalaya (On The Bayou)’ to go with A.P Carter’s ‘Little Darling Pal Of Mine’ that she does in a style befitting the famed Carter Family. Of the traditional material that ranges from ‘Make Me Down A Pallet On Your Floor’ and likewise mid-tempo ramble ‘You’re Gonna Need That Pure Religion’ they are an easy listen and the kind of songs you want to hear again and again. While Williams may not be noted as a great guitarist her work on 12-string acoustic guitar alongside John Grimaudo’s six-string is genuinely creditable.

Ramblin’ has a distinctive spare, self-financed feel to it óthe next step up from a demo, Happy Woman Blues credits Lucinda as having written all the songs though again self-financed it has her make her first real impact as recording act. Her vocals are sharp, crystal clear and engaging. How could you resist the likes of the sublime ‘I Lost It’? A song she still rates, and rightly so, it's good enough to be included in her live gigs it has lost none of its appeal. While the Cajun steeped ‘Lafayette’ is a nod to her upbringing and like the striped back vintage country gem ‘One Night Stand’, the traditional blues styled ‘Howlin’ At Midnight’, ‘Rolling Along’ (a neat trucking song awash in the kind of pivotal lyrics her material would later gain much critical acclaim) and ‘Hard Road’ they have Williams sing with great freedom and an air of confidence. The wistfulness of ‘Sharp Cutting Wings’ runs way deeper than her recording experience of the time; likewise ‘Maria’ has her pour out her heart as she speaks of how it is to be associated with someone with an addiction to ramble and roam like the wind. On reflection, the record deserves greater recognition than it has ever been handed.

File under essential undiluted folk, blues country. Filled with innocence set to lift the hearts of even those uncertain of the authenticity of Williams’ musical roots. She may not have been dirt poor and lived in a cotton shack but there is a bounce and joy to the Cajun, fiddle plied ‘Louisiana Man’, not to be confused with the Doug Kershaw song of the same title. Title track ‘Happy Woman Blues’ heaped in slide guitar (Andre Matthews) brings out the influences of Memphis Minnie, Rev. Pearly Brown and Mississippi Fred McDowell to go with those of Bob Dylan and Hank Williams óof whom she was exposed as a child from her mother’s record collection. God bless you Mrs Williams.

www.floatingworldrecords.co.uk
www.lucindawilliams.com