Blues

Alexis Korner - Kornerstoned: The Anthology 1955-83 (2CD)
Due for release on 30/01/2006

Disc 1
Midnight Special-The Ken Colyer Skiffle Group
Roundhouse Stomp-Alexis Korner's Breakdown Group
Ella Speed-Alexis Korner's Breakdown Group
Kid Man-Alexis Korner's Skiffle Group
County Jail-Alexis Korner's Skiffle Group
National Defence Blues-Alexis Korner's Skiffle Group
Blaydon Races-Blues Incorporated With Alexis Korner
3/4 A.D.-Alexis Korner & Davy Graham
She Fooled Me-Blues Incorporated
I Wanna Put A Tiger In Your Tank-Alexis Korner's Blues Incorporated
See See Rider-Alexis Korner
Blues A La King-Alexis Korner's All Stars
Sappho-Alexis Korner's Blues Incorporated
I'm Your Hoochie Coochie Man-Alexis Korner's Blues Incorporated
Herbie's Tune (Dooji Wooji)-Alexis Korner's Blues Incorporated
Woke Up This Morning-Alexis Korner's Blues Incorporated
Please, Please, Please-Alexis Korner's Blues Incorporated
I Need Your Loving-Alexis Korner's Blues Incorporated
Little Baby-Alexis Korner's Blues Incorporated
Roberta-Alexis Korner's Blues Incorporated
Big Road Blues-Alexis Korner's Blues Incorported
River's Invitation-Alexis Korner
Mary, Open The Door-Alexis Korner
Steal Away-Alexis Korner & Robert Plant
Might-Mighty Spade & Whitey-New Church

Disc 2
Whole Lotta Love-CCS
Tap Turns On Water-CCS
Hellhound On My Trail-Alexis Korner
Gospel Ship-Snape
Wee Baby Blues-Snape
Wild Women & Desperate Men-Alexis Korner
Captain America-Alexis Korner
Get Off My Cloud-Alexis Korner
Robert Johnson-Back Door
The Gambler-Alexis Korner
The Love You Save-Alexis Korner
Lend Me Some Time-Alexis Korner
Pinetop's Boogie Woogie-Alexis Korner & Bob Hall
Hey, Pretty Mama-Alexis Korner & Friends
Lining Track-Alexis Korner & Friends
Hammer & Nails-Alexis Korner
Key To The Highway-Alexis Korner With Colin Hodgkinson
Blood On The Saddle-Alexis Korner With Colin Hodgkinson
Juvenile Delinquent-Alexis Korner

The reigning
King of the blues

By GENE SANTORO
DAILY NEWS WRITER

At 80, B.B. King still likes to say, "If you're black and you're playing the blues, it's like being black twice."
The father of modern blues guitar, King remembers when his brand of music was considered lowbrow, unsophisticated, something that nice people avoided.

His Grammy-studded career - crossing over to millions of fans and shaping young blues guitarists from Eric Clapton to Stevie Ray Vaughan and pop stars like U2 - was one of the catalysts that gave the blues respect and broad popularity.

But few of King's disciples match the thrill of the master's rich gospel-blues vocals interacting with his famous crying guitar, Lucille.

Maybe that's because B.B. King lived the life the blues is all about.

Born in Mississippi, young Riley King worked as a sharecropper. Music was his escape route from the Delta.

He sang in gospel groups and listened to blues and jazz records, including Gypsy guitarist Django Reinhardt's. And he practiced guitar and became an important deejay in Memphis on a major radio station.

That's where he got his nickname (B.B. for "Blues Boy") and launched his half-century-plus career.

In the early days, King played to all-black audiences. In the 1960s, thanks to the civil rights movement and the widespread popularity of guitarists like Clapton, that changed. King began to play crossover venues like the Fillmores, then Vegas and supper clubs.

That didn't mean he eased up on his bluesman's pace. Until recently, he says, he was burning up the road 300 days a year.

Now this ambassador of the blues picks his spots. And he's performing at Lehman Center for the Arts on Sunday in honor of Martin Luther King Day.

That seems doubly appropriate. "Coming from the cotton fields," King explains, "I know that what this man did for civil rights was remarkable."

Привет Серега.
Попал в пятницу в аварию. Сам жив здоров, но стресс конечно был.
По чистой случайности включил первую песню с нового альбома Бадди Гая -
и такой драйв пошел. Весь день слушал - в результате пришел в форму.
По мойму в этой песне он как раз оплакивает машину, которую его жена у
него отсудила. Я это почувствовал на собственном опыте. Очень похожие
ощущения.
Я обожаю Бадди. Без него ни Клэптон ни
Хэндрикс не были теми, кто они сейчас есть. (https://www.beatles.ru/postman/images/icon_i.gif)

2Simen:
Ё-мое! Ты что!!! Так нельзя!

Muddy Waters - Blues Legend

Rock music has always drawn inspiration from a multitude of genres, but the “father” of rock would have to be rhythm & blues. And one of the most influential musicians would have to be the legendary guitarist, Muddy Waters.

Born McKinley Morganfield in rural Mississippi on April 4, 1915, he was raised by his maternal grandmother, who nicknamed him Muddy when he was a toddler. He began playing the harmonica at about age 13, and took up the guitar a few years later. He also sang with a regional string band, the Son Sims Four.

Waters’ first recordings were made in 1941, thanks to John Work III of Fisk University and Alan Lomax of the Library of Congress. The two men were researching the role of music in African-American life, and had traveled to the area looking for Robert Johnson, unaware that he had died several years earlier. When they asked about other musicians in the area, they were repeatedly referred to Waters. He recorded at least two songs for them, “Can’t Be Satisfied” and “Feel Like Going Home,” which were issued by the Library of Congress as part of a folk music collection.

In 1943, Waters had had enough of a sharecropper’s existence, and after a fight with an overseer, he left for Chicago, where he had family. Although he quickly landed a factory job, he was far more interested in his music. He adopted a “new technology,” the electric guitar, and continued to expand his reputation. By 1946, he had come to the attention of record producers, and recorded “Mean Red Spider” for J. Mayo Williams, an independent producer, but it was released without his name on the label. He also recorded several sides for Lester Melrose, with Columbia Records, but they languished, unreleased, for years.

Still struggling, Waters had become acquainted with some of the biggest names in blues in Chicago – Memphis Slim, Sunnyland Slim, and Sonny Boy Williamson among them. His association with Sunnyland Slim led him to Aristocrat Records, which recorded and released his first hit in 1947, a new recording of “Can’t Be Satisfied.” When Aristocrat became Chess Records in 1950, one of its first releases was another Waters tune, “Rollin’ Stone.”

Waters’ incomparable band was rounded out in 1951, when Elgin Evans joined him on the drums, and Otis Spann was added on the piano. With Jimmy Rogers on guitar and Little Walter on harmonica, they defined not only the blues, but created what became the rock ‘n’ roll template, creating many of the licks that still appear in music recorded around the world. They didn’t get to actually record together until 1953, since Chess was having great success with smaller combos, and the label was reluctant to change a good thing. In the years between 1951 and 1956, Waters had fourteen songs on the national charts.

Waters can be credited with the birth of rock and roll in other ways as well. In 1955, a little known musician named Chuck Berry came to Chicago. Waters directed him to Leonard Chess, and after hearing Berry’s recording of “Maybellene,” encouraged the hesitant Chess to release it.

The birth of rock decreased the popularity of the blues, but Waters continued to record and tour, experimenting with different sounds. In 1976, he experienced a comeback with “Hard Again,” an album on the Blue Sky label produced by the blues/rock star Johnny Winter. The album won a Grammy, and Waters found himself opening shows for the likes of Eric Clapton, and jamming with the Rolling Stones (named for his long-ago song). He recorded three more albums, two of which won Grammies, before his death in Chicago on April 30, 1984, and his genius has continued to be recognized. He was inducted in to the Rock and Roll Hall of Fame in 1987, and given the Record Academy’s Lifetime Achievement Award in 1992.

OTIS RUSH featuring ERIC CLAPTON & LUTHER ALLISON Live At Montreux 1986
(2006 DVD featuring a live performance from one of the chief architects of the "West Side" style of Chicago blues in the 1950/60's at the 1986 Montreux Festival where he was joined on stage by fellow blues stars Eric Clapton and Luther Allison for a truly special performance!).
** released 30 January 2006 **

1. Tops
2. Will My Man Be Home Tonight
3. Lonely Man
4. Gambler’s Blues
5. Natural Ball
6. Right Place, Wrong Time
7. Mean Old World
8. You Don’t Love Me
9. Crosscut Saw - featuring Eric Clapton
10. Double Trouble - featuring Eric Clapton
11. All Your Love (I Miss Loving) - featuring Eric Clapton
12. Every Day I Have The Blues - featuring Luther Allison & Eric Clapton
13. If I Had Any Sense

Site of bluesman's recordings confirmed
By Thor Christensen The Dallas Morning News

DALLAS — Blues legend Robert Johnson's whole life is shrouded in mystery, from his alleged pact with the devil, to how he died, to where his body is buried. But at least one riddle — the Dallas site of his landmark 1937 recordings — has finally been solved.

For years, historians guessed Johnson cut "Hellhound on My Trail" and other blues classics at 508 Park Ave., a three-story art deco building that still stands two blocks east of Dallas City Hall.

Yet nobody knew for sure. The only person who recorded Johnson, producer Don Law, died 23 years ago without ever writing down the location of the Dallas session — or so the experts thought.

But now, San Diego blues fanatic Tom Jacobson has tracked down a long-lost 1961 letter that says 508 Park is indeed the spot where Johnson recorded 13 songs that changed the course of the blues and influenced the likes of Bob Dylan, the Rolling Stones and Led Zeppelin.

That one small address turns out to be one giant leap for music historians.

"It's a big deal for us," says Michael Taft, head of folk culture archives at the Library of Congress, which acquired the letter in December.

"I'm not going to say the building should be a shrine. But it's a very important site because we know so little about Robert Johnson. To finally be able to say this is the building he recorded in, that's a way of bringing Robert Johnson back to life."

Johnson was a young, unknown Mississippi singer-guitarist when he came to Dallas on June 19, 1937. Law, an Englishman who moved to Dallas to work at Brunswick Records, had first recorded him eight months earlier at the Gunter Hotel in San Antonio.

And when "Terraplane Blues" became a minor hit, Law got him to come to Dallas to cut another batch of songs, including "Love in Vain" (later recorded by the Stones), "Traveling Riverside Blues" (redone by Led Zeppelin) and two tunes that fueled the legend that he sold his soul to Satan in exchange for his talent: "Me and the Devil Blues" and "Hellhound on My Trail."

But 18 months after the Dallas sessions, the singer was dead at age 27, reportedly poisoned by the jealous husband of a woman he'd tried to seduce at the Three Forks juke joint in rural Mississippi. To this day, no one's sure where he's buried.


For decades, the 29 songs he recorded in Texas — the only recordings he ever made — drifted into obscurity. Finally, they re-emerged in 1961 when Columbia Records issued them as "King of the Delta Blues Singers," an LP that became the Rosetta Stone of the '60s blues revival.

"Johnson's words made my nerves quiver like piano wires," Dylan wrote in his 2004 autobiography, "Chronicles." "The stabbing sounds from the guitar could almost break a window. The record ... left me numb, like I'd been hit by a tranquilizer bullet."

Eric Clapton called Johnson his single greatest influence — as well as the most intimidating.

"I used to think, 'If Robert is looking down, what would he think of this?' " he told The Dallas Morning News in 2004.

But while blues experts knew exactly where Johnson recorded in San Antonio, the Dallas location was a long-running mystery.

Some theorized the site was 508 Park Ave., since that was where Don Law and Brunswick Records were based in 1937. Legend has it that everyone from Charlie Parker to Bob Wills recorded in the building, which was originally a Warner Bros. film distribution center for the movie theaters on Elm Street.

So, in 1998, Jacobson — a 57-year-old San Diego blues freak and photography expert — traveled to Dallas to see the old building where Johnson probably recorded. Later, he went to New York City to meet Frank Driggs, who produced and wrote the liner notes for "King of the Delta Blues Singers."

There, in Driggs' basement, sat piles of rare recordings and documents he'd taken from Columbia Records because he said his bosses didn't care about blues history.

"Every time they changed management, the new management had that much less interest. So I just took the stuff home with me and kept it in the cellar," says Driggs, 75.

The two men spent three days digging through the cellar before literally tripping over a stack of rare test pressings of the Robert Johnson sessions. Jacobson bought the recordings from Driggs — as well as the 1961 letter in which Driggs asks Law to describe Robert Johnson, and Law scribbles his answers in the margins.

The old yellow document confirms some of the few stories that exist about Robert Johnson — like the night in San Antonio he asked Law for money to pay a prostitute ("She wants 50 cents and I lacks a nickel") and how he was so secretive about his guitar technique that when other musicians watched, he played facing the wall in a corner of the room. The letter says the blues legend was paid all of $25 per song.

But for Dallas music buffs, the key passage is when Driggs asks "Where were the Dallas masters cut?" and Law replies "In a makeshift studio in our own branch office" — the first and only confirmation that 508 Park Ave. is indeed the site.

"It finally seals it up," says Dallas Blues Society founder Chuck Nevitt.

"It's just an incredible document," says Jacobson, who donated the letter to the Library of Congress. "It's an important piece of Americana about a musical genius."

It could also play an important role in the future of 508 Park, which has sat vacant for years in a part of downtown that's yet to see urban renewal. Glazer's, a Dallas beverage distribution firm, has owned 508 Park Ave. since the 1950s. The company has been trying to sell it for years.

In 2004, Eric Clapton shot part of his "Sessions for Robert J" DVD inside, but nobody seems quite sure what to do with the building: There's not even a plaque marking it as a historic site.

The building's facade is protected as part of the Harwood Street Historic District. But the rest of 508 Park — including the room where Robert Johnson made his last pivotal recordings — could eventually be turned into condos, or even demolished.

As Nevitt puts it, "The way they tear stuff down in this town, it's remarkable the building's still there."

Eric Gales' "Crystal Vision"

2006 brings a new state of mind for guitar great, Eric Gales with his new release Crystal Vision on Blues Bureau Records. "Crystal Vision" takes the next logical step in Gales career, further establishing him as one of the rare musical talents of his generation. This left-handed guitarist of extraordinary ability and expressive vocals is a natural for people to compare to Hendrix. Gales has developed a unique hybrid blues/rock sound that also draws upon influences as diverse as Albert King and Eric Johnson. A unique amalgam of styles, Eric Gales stands head and shoulders among other guitarists in his genre. Eric Gales grew up in a musical family with four brothers, two of them who learned to play the guitar upside down and left handed in the same fashion that Eric does.

Eric's brother Eugene Gales played bass in the Eric Gales Band and his brother Jimmy King had a thriving career as a blues artist before his untimely death. Eric released his first record at Age 16 for Elektra records to an amazing response from the media and music fans around the globe. Guitar World Magazine's Reader's Poll named Eric as "Best New Talent, " in 1991. After recording a second record for Elektra, all three brothers teamed up for "The Gales Bros. Left Hand Brand" which was recorded for the House of Blues label in 1996. Through the years, it would not be unusual to look out in the audience and see artists like Carlos Santana, Mick Jagger, Keith Richards, B. B. King, and Eric Clapton, looking on with interest as Eric took his God-given talent and worked crowd after crowd into a frenzy.

The new Millennium presented new opportunities for Eric and he was signed to a deal with Nightbird Records which was affiliated with Jimi Hendrix's sister Janie Hendrix and Experience Hendrix, L. L. C. and distributed through MCA/Universal. Under this deal, Eric recorded the critically acclaimed record "That's What I Am" in 1991 and hit the road, mesmerizing fans around the world with his uncanny connection to his guitar. In 2004 Eric Gales made headline music news when he was chosen to perform with Carlos Santana, Joe Satriani, Jerry Cantrell and others on the Experience Hendrix tour to honor the late, great, Jimi Hendrix.

Eric's masterful guitar and vocal performances on "Crystal Vision" portend a great response from these loyal music lovers as guitarists of this quality and intensity are few and far between.

Хммммммммммммммммм...

http://www.cbsnews.com/stories/2005/12/19/earlyshow/leisure/music/main1135609.shtml

Вот здесь, можно послушать, когда белый мальчик, играющий в СРВ, нанимает отличных музыкантов...
...и никуда не попадает - ОХинея полная!!!

Привет тебе, Джон Майер! ;)))

Edwards, 90, gives a lesson in the blues

The story goes that in exchange for obtaining his prodigious talent, Robert Johnson sold his soul to the devil at a crossroads at midnight. More certain is that the masterful blues singer, guitarist and composer died a painful death in August 1938 at age 27.

Johnson's song "Crossroads Blues," one that people often point to along with "Hellhound on My Trail" as evidence of Johnson's Satanic pact, tells the listener to "run tell my friend Willie Brown. I believe I'm sinking down."

Eric Clapton made millions singing that.

David "Honeyboy" Edwards didn't get millions, but he knew Johnson, he knew Brown (not San Francisco's recent hizzoner) and he was there the night Johnson was poisoned by a lover's jealous husband.

Monday night, Edwards was singing "Crossroads" at San Francisco's Biscuits and Blues nightclub, a stop in the middle of a two-week tour of one-nighters up and down the West Coast.

On his next birthday, Edwards will be 91.

A full house greeted him as he took the stage, sat down and tuned his black reissue model Silvertone electric guitar -- no stickler for vintage instruments he -- and, with sidekick and manager Michael Frank at his left with a collection of harmonicas, began his impressionistic, improvised set with "Catfish Blues," a song covered by artists as diverse as Ian & Sylvia, Jimi Hendrix and B.B. King.

Edwards sings his own compositions and standards in a reedy, rough-edged voice. His rendition of Johnson's "Sweet Home Chicago" and his fluid guitar riffs in "Little Boy Blue" and "You're the One" alerted audience members who'd come simply out of respect for the man's career that Edwards is no mere relic. The classic "Going Down Slow"; a funky original, "Apron Strings," reminiscent of Ernie K-Doe's "Mother-in-Law"; and "Who's Loving You Tonight" concluded the first set.

"He's playing better than he was 10 years ago," said former Muddy Waters sideman Francis Clay, who was in the audience. Edwards generally used a thumb pick and fingerpicks, and when playing slide, maintained standard tuning.

After a break spent posing for photos and selling and signing CDs and a recent DVD, "Hard Times" (Earwig), Edwards returned to the stage, this time with a Taylor acoustic guitar, and dived into "Crossroads" and "Rollin' and Tumblin'."

The acoustic guitar wasn't suiting him, though, so it was quickly back to the Silvertone for "West Helena Blues."

At this point, Frank suggested that Edwards tell the crowd some of the stories behind the songs. "Helena (Ark.) was a wild old town," Edwards said, and went on to describe how roustabouts shoring up Mississippi River levees, and other unfortunates, would blow all their earnings gambling and carrying on there, and how the town was hurt when the gambling was restricted to casinos. "They're still having fun, but it's not like it used to be. Memphis was the same way."

Edwards also recalled how Helena was the home of radio station KFFA, where many delta musicians got their careers under way in the postwar years and where the DJ then, Sonny "Sunshine" Payne, still works.

"I've been playing a long time; it's starting to pay off," Edwards said afterward, seated at a table in the now-empty basement club as Frank negotiated for their paycheck. Indeed, on this swing through the Bay Area, Edwards picked up royalty checks from two local labels, Hightone and Arhoolie, for recordings made decades ago. From the stage, Frank warned anyone who might be associated with the Savoy label in Los Angeles to expect them later in the week.

Edwards has been living in Chicago since the '50s, recording and touring as opportunity allowed. But, in some respects, his greatest claim to fame is that he was a friend of Johnson's, and one of a very few witnesses of events in that enigmatic artist's life.

Edwards became friendly with Johnson when it turned out the latter was dating Willie Mae Powell, Edwards' cousin. (Powell, who's mentioned in Johnson's recording "Love in Vain," is living with kin in Memphis now, Edwards says.) The two musicians worked together for the last year or so of Johnson's life, during which time Johnson stayed pretty much in the Mississippi Delta town of Greenwood, where he had a steady gig.

The man who poisoned Johnson, Edwards says, "had a very good-looking woman he didn't want to lose. He didn't want to shoot him (Johnson); he didn't want to go to Parchman Farm; he wanted to get him out of the way easy."

The lethal dose of poison, Edwards says, wasn't enough to kill Johnson quickly. Instead, when Edwards found him a day or two after the Saturday night party where the crime occurred, Johnson was "crawling around and crying, slobbering. ... He died suffering ... on Wednesday, Aug. 17," Edwards said.

Marin's Chris Cotton, the opening act at the Biscuits and Blues show, offered some impressive originals, although he did allow that his song about getting stranded on Highway 85 through Cupertino doesn't have quite the romance of some of the predicaments Edwards' generation experienced.

And Willie Brown? "He was a good musician," Edwards said. "Used to play with Son House, but he was better."

блин, придется английский подучить

Сегодня взял B.B. King: “The Blues” / “Singin’ The Blues”!!!
Отменная тема. На душе хорошо и приятно, и хочеться еще.

March 14, 2006

January 31, 2006
Label: Blind Pig

1. Mercury Blues
2. Trouble Man
3. Detroit Iron
4. Sinner Street
5. Cool Guitars
6. It's My Own Fault
7. Empty Arms Motel
8. Drive To Survive
9. Jump For Jerry
10. Dancing On Broken Glass
11. I'll Come Running Back
12. Wild Night Out
13. Jimmy's Detroit Boogie

Shortly after departing the popular Washington DC area blues band The Nighthawks, of which he was a founding member, Jimmy Thackery re-emerged with the power trio Jimmy Thackery & The Drivers in order to put the spotlight firmly on his aggressive and distinctive blues rock guitar style. These selections from Thackery's Blind Pig years represent what many fans and critics alike consider to be his most vibrant and creative period to date. Special guests include Lonnie Brooks, Duke Robillard, John Mooney and Reba Russell.

Да,у Джимми кажись творческий застой,второй сборник за недолгий период.

2 papan
Нет застоя, просто Blind Pig хочет на Джимми заработать. Он ведь уже давно на Теларке. Это как Аллен Кляйн выпускает альбомы Роллингов, то на СD, to na SACD, а теперь ремастированные, а самим Роллтнгам от этого гулькин нос.

Alex Red***
И всё-таки последний альбом у Такери был не то чтобы очень.Блюза совсем мало,рокенроллит усреднённо как-то.

Всю неделю слушал альбом Роберта Крэя TWENTY,блюзевич конкретный.Роберт как всегда на высоте.

1. 1.Poor Johnny
2. 2. That Ain’t Love
3. 3.Does It Really Matter
4. 4.Fadin’ Away
5. 5.My Last Regret
6. 6.It Doesn’t Show
7. 7.I’m Walkin’
8. 8.Twenty
9. 9.I Know You Will
10. 10.I Forgot To Be Your Lover
11. 11.Two Steps From The End
Twenty
By ROBERT CRAY
"The song is about an innocent young guy, who, after the events of 9/11, wants to do his part for his country. He doesn't know he's going to end up in Iraq, watching the horror that's going on thereand he ends up losing his life. It's a subject that needs to be spoken about and is in some ways, a continuation of one of the songs we did on the last album." RC


When you're used up, where do you go Soldier
Mother dry your eyes, there's no need to cry
I'm not a boy, it's what I signed up for
When you're used up, where do you go Soldier
I can't take the heat, and I hardly sleep anymore
What'd we come here for
Standing out here in the desert
Trying to protect an oil line
I'd really like to do my job but
This ain't the country that I had in mind
They call this a war on terror
I see a lot of civilians dying
Mothers, sons, fathers and daughters
Not to mention some friends of mine
Some friends of mine
Was supposed to leave last week
Promises they don't keep anymore
Got to fight the rich man's war
When you're used up, where do you go Soldier
Late in 2004
Comes a knock at the door
It's no surprise
Mother dry your eyes

Broadcasting The Blues: Black Blues In The Segregation Era
release on 20/02/2006

Disc 1
Intro - The Development Of The Blues
Baby, Please Don't Go - Joe Williams
Match Box Blues - Blind Lemon Jefferson
Moonshine Blues - Ma Rainey
Yellow Dog Blues - Bessie Smith
Walkin' Blues - Robert Johnson
Ring Dance - Mamprusi Tribesmen
My Soul As Witness - Austin Coleman
Long Hot Summer Days - Clyde Hill and Group
Lucky Holler - Ed Lewis
Penitentiary Moan - Texas Alexander
Old Country Stomp - Henry Thomas
Dry Bone Shuffle - Blind Blake
Mysterious Coon - Alec Johnson
Ragtime Millionaire - William Moore
You Shall - Beale Street Sheiks
Gus Cannon or Speckled Red Interview
I Heard The Voice Of A Porkchop - Jim Jackson
Spider Driver Blues - Mississippi John Hurt
Kassie Jones - Furry Lewis
Fare Thee Well Blues - Joe Calicott
Poor Boy, Long Ways From Home - Gus Cannon
Travelin' Blues - Blind Willie McTell

Disc 2
Chocolate To The Bone - Barbecue Bob
Sad Blues - Norfolk Jazz Quartette
Tennessee Dog - Jimmy Strothers
Country Blues - McKinley Morganfield (Muddy Waters)
Washboard Cut-out - Bobbie Leecan's Need-More Band 78
Flying Crows Blues - Washboard Sam
Rules and Regulations 'Signed Razor Jim' - Edith Wilson
Ground Hog Blues - Gladys Bentley
Broke and Hungry Blues - Peg Leg Howell
Wednesday Evening - John Lee Hooker
Lonesome Day Blues - Jesse James Blues
Win the War Blues - Sonny Boy Williamson
Fox Hunt - Sonny Terry and Brownie McGhee
Black, Brown And White - Big Bill Broonze
Pratt City Blues - Betha 'Chippie' Hill
Blues Before Sunrise - Leroy Carr
Blues Trip Me This Morning - Tommy McClennan
Poor Man Blues - Henry Townsend
Henry Townsend Interview: "It gives you relief..."
My Black Mamma Part 1 - Son House
Cotton Pickin' Blues - Robert Petway
Wade Walton Interview: "When final settlement comes..."
Number 29 - Wesley Wallace
Jim Crow Blues - Cow Cow Davenport

Disc 3
Aunt Caroline Dyer Blues - Memphis Jug Band
Willie Shade Interview: "Aunt Caroline dyer..."
Policy Dream Blues - Bumble Bee Slim
North Memphis Blues - Kansas Joe and Memphis Minnie
Stump Johnson Interview: "The Levee at St. Louis..."
They Ain't Walkin' No More - Lucille Bogan
Ice Pick Blues - Whistlin' Alex Moore
Lonnie Johnson Interview: "They ganged him" (death of Sonny Boy Williamson)
Parchman Farm Blues - Bukka White
Shelby County Workhouse Blues - Hambone Willie Newbern
Working On The Project - Peetie Wheatstraw
Black Ace Interview: "Depression time...I would play house parties".
Let's Have A New Deal - Carl Martin
Tallahatchie River Blues - Mattie Delaney
St. Louis Cyclone Blues - Lonnie Johnson
John Lee Hooker Interview: "That's what makes the blues..."
Fire Department Blues - Sleepy John Estes
Give Me A 32-20 - Big Boy Crudup
Prof. Rayford Logan Interview: "When we arrived in France..."
Build A Cave - Mr. Honey Honey
Crying Mother Blues - Red Nelson
Speckled Red Interview: "They was real bad words..."
The Dirty Dozen - Speckled Red
Three Ball Blues - Blind Boy Fuller
Milk Cow Blues - Kokomo Arnold
Cool Drink Of Water Blues - Tommy Johnson
Some Summer Day - Charley Patton
Make Me A Pallet On The Floor - Mama Yancey
Long Gone Lost John - Charlie Jackson
Spirit Of Boogie Woogie - Meade Lux Lewis
Fifty Miles Of Elbow Room - Rev. F.W. McGee

Compiled and edited by Paul Oliver A 3-CD Box Set compiled and edited by Paul Oliver which documents the history of blues during the segregation era in America. Paul Oliver has been one of, if not the most prolific writers and commentators on the subject of blues music in our time. With his first articles on the subject being published in 1952, Paul had embarked upon a remarkable journey of discovery and as one of the first blues historians produced many ground breaking books including; ‘Blues Fell This Morning’, ‘Screening The Blues’, ‘Conversation With The Blues’ and ‘The Story Of The Blues’. At the same time he began to broadcast on the BBC home and world services and over the next 45 years became a familiar and welcome voice for blues and jazz enthusiasts around the world. During that time he has won several awards including the first Sony Radio Award for ‘the Best Specialist Music Programme’ with his series entitled Before The Blues made for BBC Radio 3 in 1988. Broadcasting The Blues compliments the book of the same name published by Routledge, Taylor & Francis Group, (isbn 0415971764). Using commercial and field recordings made during the era, including some rare and wonderful interviews made in the field of the artists by Paul this three CD compilation entwines references to many of Paul’s broadcasts whilst at the same time commenting on the history of recorded blues during the era of racial segregation in America. The result is a fascinating documentation on a pioneer of blues writing and broadcasting which inspired countless writers, musicians and music fans. The CD includes full discographical details and extensive booklet notes by Paul Oliver.

Sonny Boy Williamson - Cool, Cool Blues: The Classic Sides 1951-1954
release on 20/02/2006

Disc 1
Eyesight To The Blind
Crazy About You Baby
Stop Crying
Do It If You Wanna
Cool, Cool Blues
Come On Back Home
I Cross My Heart
West Memphis Blues
Sonny Boy's Christmas Blues
Pontiac Blues
Mighty Long Time
Nine Below Zero
She Brought Life Back To The Dead (45)
She Brought Life Back To The Dead (78)
Too Close Together
Stop Now Baby
Mr Down Child
Cat Hop
Gettin' Out Of Town
Red Hot Kisses
Going In Your Direction
Empty Bedroom
Boppin' With Sonny
From The Bottom
No Nights By Myself

Disc 2
Mama Don't Allow Me
Delta Blues
Overhauling Blues
Whistling Pines
Friends And Pals
Juanita
She Left Me A Mule
Bad Heart Blues
Dirty Disposition
1951 Blues
Bull Dog Blues
Rosalee
My Baby Boogies All The Time
I Wonder
Gotta Find My Baby
Make A Little Love
Catfish Blues
Dust My Broom
East Of The Sun
Wine-O-Wine
Stay Out Of Automobiles
Middle Of The Night
Love To Make Up
Crazy 'Bout That Mess
Fall Guy

Disc 3
Take It Easy Baby
Little Car Blues
Everybody's Fishing
My Own Boogie
Feed My Body To The Fishes
Falling Rain
Vanity Dresser Boogie
Seventy Four Blues
21 Minutes To Nine
Shady Lane Blues
Nelson Street Blues
V-8 Ford
Shout Brother, Shout
Way Back
Pretty Baby Blues
Sugar Mama
Hot Fish
Lost In Korea
Early In The Morning Baby
Strange Kind Of Feeling
Blues Disease
Don't Lay This Job On Me
Have You Heard About The Farmer's Daughter
Too Old To Get Married
If You Don't Mean Business
Hey, Miss Lula

Disc 4
She's Crazy: Take 1
309
Sonny's Rhythm: Take 1
City Of New Orleans
Keep It To Yourself: Take 1
Going In Your Direction: Take 4
Clowning With The World: Take 1
I Ain't Beggin' Nobody: Take 2
Shuckin' Mama
From The Bottom: Take 1
She's Crazy: Take 2
Sonny's Rhythm: Take 2
Keep It To Yourself: Take 2
Going In Your Direction: Take 5
From The Bottom: Take 3
I Ain't Beggin' Nobody: Take 3
From The Bottom: Take 6
Gotta Find My Baby: Alt tk
Gotta Find My Baby: Alt tk
Worried Blues: Alt tk
Lonesome World Blues
Wonderful Baby
Willie Mae
Worried Blues:Take 2
Shout Brother, Shout: Alt tk
Willie Mae: Alt tk