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Johnny Woods - So many Cold Mornings

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Harmonica player Johnny Woods was born in 1917 in Looxahoma, Mississippi. Woods' amazing musical skills, like his sometime partner Mississippi Fred McDowell began to receive notoriety in the late 1960s. A self-taught harmonica-player, Woods developed his technique, which relied upon rhythmic figures, by adapting the field hollers he heard people sing while working farmland near his home. Woods was at his best when performing solo on So Many Cold Mornings and Going Up The Country, or playing a typical one-chord traditional Mississippi piece such as Long-Haired Donkey (also known as My Jack Don't Need No Water), which he recorded with both McDowell and R.L. Burnside. Johnny Woods died in 1990 in Olive Branch, Mississippi.
( Centre For Southern Folklore)

Post: http://www78.zippyshare.com/v/BiUax88d/file.html

Various - Blues Is Here To Stay

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Collection of singles released on the Styletone label in the 60's to early 70's from Model T Slim, Ironing Board Sam and Little Boyd. Some interesting tracks from Ironing Board who is a bit of a cult blues musician, the usual from Model T.
Released in 1973.

Post: http://www67.zippyshare.com/v/79694471/file.html




Blues Is Here To Stay !!
Oldies But Goodies ..!
The Best Of Model T Slim, Little Boyd, Ironing Board Sam

Model T Slim
- Somebody Done Voodo That Hoodo Man
Little Boyd
- 13 Highway [Styletone 395] #
Ironing Board Sam
- I've Been Used
Model T Slim
- 15 Years My Love Was In Vain
Little Boyd
- Harmonica Crying In The Chappel [] [Styletone unissued] #

Ironing Board Sam
- Non Support That What The Judge Say
Model T Slim
- Flatfoot Sam Always In A Jam [tk. 1]
Little Boyd
- Bad Man [sic] Don't Live Too Long [Styletone 400] #
Model T Slim
- Oh Babe [faded early]

Thank you goes to Stefan Wirz.

Jimmy Dawkins - Transatlantic 770

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Though some reports have suggested he has been hard to work with, Dawkins'"Transatlantic 770" nevertheless is a blistering guitar driven Chicago blues affair. Yes, there are horns but they are definitely brushed to the site and do not overtake (as can usually happen) as Jimmy's sharp, stinging electric leads plow their way through effectively throughout this platter. Most tunes are given a slight 70's funk feeling and ballads such as "Think twice before you speak", "The mighty hawk"& "Love and understanding" either use strings or keys (instead of horns) to accompany them which really helps avoid such banal arrangement difficulties. It may seem as though there is not much extended improvisation (though Dawkins comes close on "All for business") but it is not as apparent as other such albums lacking in this department as Jimmy's guitar work is so impressive that one can enjoy the many short lead breaks here just as much as if they had been stretched out a little more. Catchy tunes abound as half the album surprisingly includes Dawkins originals, five to be exact. My favorite parts are the real upbeat numbers like the rocking "Stone dead" and the lightning speed of the closing "No more trouble" which has a very busy bass line job for Bob Brunning but he keeps up the pace tremendously here. This probably doesn't touch the best of it's genere but it sure can't be far off that level.

Post: http://www73.zippyshare.com/v/CdUDPhfm/file.html

Frits's Tapes Number 103 & 104

Dr. Ross - Call The Doctor

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Isaiah "Doc" Ross was a throwback to a bygone era; a true one-man band, he played harmonica, acoustic guitar, bass drum and high-hat simultaneously, creating a mighty racket harking back to the itinerant country-blues players wandering the Delta region during the earlier years of the 20th century. Born Charles Isaiah Ross on October 21, 1925 in Tunica, Mississippi, he took early inspiration from the music of Robert Johnson, Blind Boy Fuller and Sonny Boy Williamson I; primarily a harpist -- hence his nickname "The Harmonica Boss" -- he only added the other instruments in his arsenal in order to play a USO show while a member of the army during World War II. (The "Doc" moniker was acquired because he carried his harmonicas in a doctor's bag.) Upon his release from the military, Ross settled in Memphis, where he became a popular club fixture as well as the host of his own radio show on station WDIA; during his club residency he was witness to a number of brutal murders, however, and swore off appearances in such venues during the later years of his life. During the early 1950s, Ross recorded his first sides -- among them "Chicago Breakdown" -- for labels including Sun and Chess; in 1954 he settled in Flint, Michigan, where he went to work as a janitor for General Motors, a position he held until retiring. In 1965 he cut his first full-length LP, Call the Doctor, and that same year mounted his first European tour; as the years passed Ross performed live with decreasing frequency, however, and was infamous for backing out of shows to catch his beloved Detroit Tigers on television. Upon winning a Grammy for his 1981 album Rare Blues, he experienced a career resurgence, and played festival dates to great acclaim prior to his death on May 28, 1993.

Post: http://www48.zippyshare.com/v/6qSr2ZgW/file.html

Willie J. Foster - At Home With The Blues

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Willie James Foster, known around his home of Greenville, Mississippi as the "Godfather of The Blues", says, I am the blues from the bottom of my foot to the hair on my head. I was born in the blues, raised in the blues and lived the blues.
Willie Foster was born Sept. 19, 1921 on a cotton sack four miles east of Leland while his mother was picking cotton. After that experience she was never able to have any more children. His family share cropped and made about $100 a year. He bought juice harps at age 5 or 6 and made a diddley bow on the side of the house. Bought his first harmonica for 25 cents he saved from carrying water to the fields for two weeks at age seven. With no sisters or brothers he helped his family farm and shared cropped from age 7 to 17 often with sacks tied on his feet for shoes. He only got to attend school until fourth grade and later years only when it rained and he couldn’t go to the field.

At age 17 Willie migrated north to Detroit where he worked in the auto industry. During WWII, he joined the army and was sent to Europe. There he played his harmonica for Joe Louis and Betty Grable at a show in London for the soldiers.

Willie had heard Muddy Waters in jukes in Mississippi but met him in Chicago. Willie and his three piece band from St.Louis often toured with Muddy's band.

He came back to Mississippi in 1963 to take care of his dad who was involved in a severe car accident. He worked around the Delta and started playing jukes around Holly Ridge, Indianola, and Greenville.

Midge Marsden , a New Zealander, heard Willie in 1991 while visiting the Mississippi Delta and invited him to play there for three months. Willie's career started to take off after his return home. Since then he has played over seas several times and all over the United States with his band "The Rhytmn and Blues Upsetters."

Willie Foster can be heard on Palindrome Records,"My Life" and RMD Music, Willie J. Foster, "At Home With The Blues". His latest CD with The Rhytmn and Blues Upsetters is "Live At Airport Grocery" on Mempho Records.
(taken from http://deltaboogie.com/deltamusicians/fosterw/)

Post: http://www48.zippyshare.com/v/B4f9yOT0/file.html

AFBF & Gospel Festival '69 Tour Programme

Lonesome Sundown - Been Gone Too Long

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The Louisiana blues vet's 1977 comeback album was a well-done affair, capturing some of the flavor of his '50s material (but with a modern edge). Producers Bruce Bromberg and Dennis Walker (who doubled on bass) recruited guitarist Phillip Walker, a longtime Sundown cohort, to handle some of the fret load, and the predominantly original songlist was worthy of Sundown's lowdown sound. (Allmusic, Bill Dahl)


Post: http://www48.zippyshare.com/v/V7C4MUdZ/file.html

Blind Joe Hill - First Chance

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A good one-man band performer in the tradition of Joe Hill Louis and Dr. Ross, Blind Joe Hill accompanied his craggy vocals with guitar, bass, and drums. He was among the last in the tradition, and that adds some value to his recordings, despite a derivative playing style and erratic compositional skills.
(Allmusic, Ron Wynn)

Blind Joe Hill's first Lp on Barrelhouse has been posted earlier on this blog.

Post: http://www48.zippyshare.com/v/Xx0mU8pq/file.html

Frits's Tapes Number 105 & 106

Willie Dixon & Johnny Winter - Crying The Blues

Visitors requests....maybe you can help out

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From now on I'll be using this post for your requests that I'll copy from the Chatbox. I'll do my best to keep it up te date.You may also leave requests, comments  and replies in the usual way and after moderation they will appear. As this posting will drop down the list with every new posting I will update it once a week to insure that it stays visible and near the top. Comments will be deleted regulary to keep them up to date.
Please do not request new or easy to find CD's as they will not be posted here. There are other excellent blogs that can help you out with your request.
That all been said we will have to start from scratch with the requests.

Requested:
01-09-2014 Steve626: Big Joe Turner - The Real Boss of The Blues on Bluestime
07-09-2014 Leroy Slim: VA - Savannah Syncopators (CBS [UK]
12-09-2014: Riley: VA - Orange County Special (Flyright)
15-09-2014: Kempen: Snooks Eaglin: Message From New Orleans (Heritage vinyl)
03-10-2014 Anonymous: Herwin 405 "Cannonball: Piano Ragtime Of The Teens, Twenties & Thirties Vol. 2" and Wolf WSE106/WBCD-006: James "Yank" Rachel: Complete recordings in chronological order Vol. 1 (1934-38)
03-10-2014: Aunt Fin: New Orleans Willie Jackson ‎– 1926-1928, Old Tramp ‎– OT-1215
03-10-2014 Fabio: CC Richardson - Blues Of The City (Blue Jay) & I Ain't Got Nothing But The Blues
10-10-2014 Anonymous: Down Home Slide – Testament record
14-10-2014 Anonymous: Memphis Slim - 'If The Rabbit Had a Gun LP
17-10-2014 Sanma Bluesandroll:  Wade Walton: Shake Em On Down" Bluesville LP BV 1060
19-10-2014 Anonymous: Screamin' Joe Neal - Rock & Roll Deacon
26-10-2014 Anonymous: Big Bill Broonzy – Lonesome Road Blues LP
27-01-2015 Sam Blues: Big George Brock LP call "Should Have been there".
Litlte mack simmons religious works (70' lp's)
22-02-2015: Pablow: Harmonica Frank Floyd: Blues That Made The Roosters Dance (Barrelhouse)
03-03-2015: Anonymous: Cash McCall's - Omega Man (Paula)
03-03-2015 Marineband: San Francisco Blues Festival [1976]
Jefferson Records BL-602 (1977).
04-04-2015: Gerard Herzhaft: Bob Starr/ Stop the energy crisis (Blue Power Records)

Sonny Rhodes - I Don't want My Blues Colored Bright

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Blues guitarist, singer, and songwriter Sonny Rhodes is such a talented songwriter, so full of musical ideas, that he's destined to inherit the to seats left open by the untimely passing of blues greats like Albert King and Albert Collins.

Born November 3, 1940 in Smithville, TX, he was the sixth and last child of Le Roy and Julia Smith, who were sharecroppers. Rhodes began playing seriously when he was 12, although he got his first guitar when he was eight as a Christmas present. Rhodes began performing around Smithville and nearby Austin in the late '50s, while still in his teens. Rhodes listened to a lot of T-Bone Walker when he was young, and it shows in his playing today. Other guitarists he credits as being influences include Pee Wee Crayton and B.B. King. Rhodes' first band, Clarence Smith & the Daylighters, played the Austin area blues clubs before Rhodes decided to join the Navy after graduating from high school.

In the Navy, he moved west to California, where he worked for a while as a radio man and closed-circuit Navy ship disc jockey, telling off-color jokes in between the country and blues records he would spin for the entertainment of the sailors.

Rhodes recorded a single for Domino Records in Austin, "I'll Never Let You Go When Something Is Wrong," in 1958, and also learned to play bass. He played bass behind Freddie King and his friend Albert Collins. After his stint in the Navy, Rhodes returned to California while in his mid-twenties, and lived in Fresno for a few years before hooking up a deal with Galaxy Records in Oakland. In 1966, he recorded a single, "I Don't Love You No More" b/w "All Night Long I Play the Blues." He recorded another single for Galaxy in 1967 and then in 1978, out of total frustration with the San Francisco Bay Area record companies, he recorded "Cigarette Blues" b/w "Bloodstone Beat" on his own label. Rhodes toured Europe in 1976, and that opened a whole new European market to him, and he was recorded by several European labels, but without much success. His European recordings include I Don't Want My Blues Colored Bright and a live album, In Europe. In desperation again, Rhodes went into the studio again to record an album in 1985, Just Blues, on his own Rhodesway label.

Fortunately, things have been on track for Rhodes since the late '80s, when he began recording first for the Ichiban label and later for Kingsnake. His albums for Ichiban include Disciple of the Blues (1991) and Living Too Close to the Edge (1992).

More recently, Rhodes has gotten better distribution of his albums with the Sanford, Florida-based Kingsnake label. Aside from his self-produced 1985 release Just Blues (now available on compact disc through Evidence Music), his best albums include the ones he's recorded for Kingsnake, for these are the records that have gotten Rhodes and his various backup bands out on the road together throughout the U.S., Canada, and Europe. They include The Blues Is My Best Friend, and his 1995 release, Out of Control. On these albums we hear Rhodes, the fully developed songwriter, and not surprisingly, both releases drew high marks from blues critics. (Itunes)

Post: http://www34.zippyshare.com/v/aBHsFupl/file.html

Little Joe Blue - Don't Tax Me In

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Little Joe Blue, born Joseph Valery, Jr., was a relatively late starter as a blues artist. Born in Mississippi in 1934, his musical sensibilities were heavily influenced by the work of Louis Jordan, Joe Liggins, and B.B. King, which he encountered from his teens into his 20s. He didn't turn to music as a profession until the late '50s, when he was well into his 20s, forming his band the Midnighters in Detroit at the end of the decade. By the early '60s, Valery had moved to Reno, Nevada, where he began recording as an adjunct to his performances in local clubs, before moving on to Los Angeles. He recorded for various labels, including Kent and Chess's Checker Records division during the early to mid-'60s, and never entirely escaped the criticism that he was a B.B. King imitator, which dogged him right into the '80s. The style that King popularized also happened to suit Valery, however, and he gained some credibility in 1966 when he racked up a modest hit in 1966 with the song "Dirty Work Is Going On," which has since become a blues standard. He had extended stints with Jewel Records and Chess from the late '60s into the early '70s, and recorded until the end of the 1980s. Valery performed throughout the south, and later Texas and California, during that decade, and later toured Europe, including performances as part of the International Jazz Fest during the 1980s. There is current one CD of his work in print, the Evejim disc Little Joe Blue's Greatest Hits, a reissue of two LPs, I'm Doing Alright and Dirty Work Going On, that he cut in the 1980s. His "Standing on the Threshold," featuring a powerful vocal performance and some beautifully soaring horns behind some lean, mean guitar and piano, also appears on Jewel Spotlights the Blues, Vol. 1.
This lp is a collection of sides from the late 60's released on the Jewel, Kris labels.

Post: http://www34.zippyshare.com/v/agiM9WqJ/file.html

Frits's Tapes Number 107 &108


Smokey Wilson - 88th. St. Blues

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When Los Angeles-based guitarist Smokey Wilson really got serious about setting a full-fledged career as a bluesman in motion, it didn't take him long to astound the aficionados with an incendiary 1993 set for Bullseye Blues, Smoke n' Fire, that conjured up echoes of the Mississippi Delta of his youth.

Robert Lee Wilson lived and played the blues with Roosevelt "Booba" Barnes, Big Jack Johnson, Frank Frost, and other Mississippi stalwarts before relocating to L.A. in 1970 when he was 35 years old. But instead of grabbing for the gold as a touring entity, he opened the Pioneer Club in Watts, leading the house band and nobly booking the very best in blues talent (all-star attractions at the fabled joint included Joe Turner, Percy Mayfield, Pee Wee Crayton, Albert Collins, and plenty more).
Wilson recorded sparingly at first, his LPs for Big Town not doing the man justice. A 1983 set for Murray Brothers (recently reissued on Blind Pig) with harpist Rod Piazza and Hollywood Fats on rhythm guitar may have been the turning point; clearly, he was gearing up to leave his Mississippi mark on Southern California blues.
Smoke n' Fire and its 1995 encore, The Real Deal (a title now used for three contemporary blues albums in a year's time: John Primer and Buddy Guy have also claimed it), nominate Smokey Wilson as one of the hottest late-bloomers in the blues business.
Re-release some time ago on cd with 3 extra tracks.

Post: http://www38.zippyshare.com/v/p5GOwM3u/file.html

Lazy Lester - True Blues

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Contrary to his colorful sobriquet, (supplied by prolific south Louisiana producer J.D. Miller), harpist Lazy Lester swears he never was all that lethargic. But he seldom was in much of a hurry either, although the relentless pace of his Excello Records swamp blues classics "I'm a Lover Not a Fighter" and "I Hear You Knockin'" might contradict that statement, too.
While growing up outside of Baton Rouge, Leslie Johnson was influenced by Jimmy Reed and Little Walter. But his entree into playing professionally arrived quite by accident: while riding on a bus sometime in the mid-'50s, he met guitarist Lightnin' Slim, who was searching fruitlessly for an AWOL harpist. The two's styles meshed seamlessly, and Lester became Slim's harpist of choice.
In 1956, Lester stepped out front at Miller's Crowley, Louisiana studios for the first time. During an extended stint at Excello that stretched into 1965, he waxed such gems as "Sugar Coated Love,""If You Think I've Lost You," and "The Same Thing Could Happen to You." Lester proved invaluable as an imaginative sideman for Miller, utilizing everything from cardboard boxes and claves to whacking on newspapers in order to locate the correct percussive sound for the producer's output.
Lester gave up playing for almost two decades (and didn't particularly miss it, either), settling in Pontiac MI in 1975. But Fred Reif (Lester's manager, booking agent, and rub board player) convinced the harpist that a return to action was in order, inaugurating a comeback that included a nice 1988 album for Alligator, Harp & Soul. His swamp blues sound remained as atmospheric (and, dare one say, energetic) as ever on subsequent releases including 1998's All Over You and 2001's Blues Stop Knockin', featuring Jimmie Vaughan.

Post: http://www38.zippyshare.com/v/3gn1cOIC/file.html

Andrew McMahon - Blueblood

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Chicago bassist who worked extensively with Howlin' Wolf's band before stepping out front as a vocalist with an album for the local Dharma label, Blueblood.
Not much to find on Andrew McMahon on internet. On this lp he's backed by Homesick James, Hubert Sumlin, Sunnyland Slim and more. Not a great lp by any means but still listenable.
I've also added the non-lp B side from his single and scan of a press photo as a bonus.

Post: http://www38.zippyshare.com/v/B0RLgQF4/file.html

Frits's Tapes Number 109, 110, 111, 112, 113

Various - Genesis: The Beginnings Of Rock Vol. 3 - Sweet Home Chicago

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"Genesis" was a legendary series of albums compiled by British Blues experts Mike Leadbitter and Mike Rowe between 1972 and 1975. They were a lengthy celebration of the Chess catalog -- each volume was a box set that held four different LPs, complete with lavish illustrations and extensive notes about the music and the performers.
Over the last 40 years, the Chess catalog has been extensively reissued, but some of the cuts off of "Genesis" remain rare and hard to find even today. Although "Genesis" volume one stuck largely to material that had previously been issued on 78, volumes two and three opened up the gates with rare unissued cuts and alternate takes that had not seen the light of day since they were first recorded.
Although 12 volumes were originally slated for the "Genesis" anthology, it was sadly not to be. Critically acclaimed at the time they came out, it was either due to lack of sales, or perhaps due to co-compiler Mike Leadbitter’s untimely death in 1974 that saw the series grind to a halt after just three installments. The third and final volume, compiled by Mike Rowe, was dedicated to Mike Leadbitter when it came out in 1975. Today, they’re prized collectors items, holding a special place of honor among those who are lucky enough to have them in their collection.

 The text above has been "borrowed" from their site. Click on the link under "Blogs well worth visiting"

Disc 1: http://www45.zippyshare.com/v/7541617/file.html
Disc 2: http://www50.zippyshare.com/v/20271618/file.html
Disc 3: http://www50.zippyshare.com/v/75788957/file.html
Disc 4: http://www23.zippyshare.com/v/TfaLSJ9h/file.html

25/4/15 - Disc 4  now has the correct tracks.
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