"Singin' The Blues" was issued as Crown 5020 in spring 1957 and featured some of B.B. King's best-loved songs up to that point. The LP included four #1 R&B hits: "3 O'Clock Blues" and "You Know I Love You" (1952), "Please Love Me" (1953) and "You Upset Me Baby" (1954); four other top ten hits; plus "Blind Love" from 1953 and covers of Tampa Red's "Crying Won't Help You" (1955) and Gatemouth Moore's "Did You Ever Love A Woman" from 1956. To fill out the album, a superior alternate take of "Sweet Little Angel" was included. As John Broven observes in his notes: "In 1957 "Singin' The Blues" gave the first real indication that B.B. King was destined to be a major star." Absolutely seminal material; his classic hits.
B. B. King (guitar, vocal)
The Maxwell Davis Orchestra
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
1. Please Love Me
2. You Upset Me Baby
3. Every Day I Have the Blues
4. Bad Luck
5. 3 O'clock Blues
6. Blind Love
7. Woke Up This Morning
8. You Know I Love You
9. Sweet Little Angel
10. Ten Long Hears
11. Did You Ever Love A Woman
12. Crying Won't Help You
From The Original Chess/Checker Masters In Glorious Mono
Faithful Reproduction Of The Original Artwork
It’s the beach party of your dreams. Not one of those with the squeaky-clean suburban kids doing the frug at Malibu like in the movies, oh no. This is Myrtle Beach, filled with dangerous bikers and gang members and hot mamas and escaped convicts and god knows who else (best not to ask), all cruising for kicks. It’s after midnight but the heat still lingers from a blistering day. Except for a small bonfire, the dark is all-enveloping; couples vanish into it and you’d best be looking elsewhere. At the fire, some guy’s carving his initials into his hand with a pen knife, and two babes are noodle-dancing to the waves, or maybe just the voices in their heads. They need music, dammit. Just then, a cloud of dust materializes at the far end of the boardwalk, heading your way, getting closer by the minute. As it approaches, you can just make out the silhouette of a rather large man atop a little motor scooter, some crazy looking guitar slung over his shoulder. Who IS this guy? The scooter chugs to a stop at your feet, and off steps the only musician in the known world who could play this party without having the shit kicked out of him. Bo Diddley.
He plugs in, kicks off a scorching guitar riff. The band falls in. And the place goes totally batshit. Miraculously, someone thought to bring along a tape recorder. The result: Bo Diddley’s Beach Party, the absolute pinnacle of vicarious musical thrills. Presented in its original, glorious, Distort-O-Phonic mono, this sweaty grungefest kicks ass from start to finish.
Lots of albums claim to be essential, groundbreaking, and all that crap, and pointyheaded rock crits fawn over cosmic lyrical brainfarts and diminished ninths and such. Bo Ddiddley’s Beach Party just kicks sand in their faces and dares you not to dance.
Sundazed earnestly believes that you have no business calling yourself a rock ‘n roll fan, an r&b maven, or even a sentient human being unless this album is in your collection, that’s how crucial it is. In fact, don’t even talk to us until it’s in your hands. We mean it.
3. Hey! Bo Diddley
4. Old Smokey
5. Bo Diddley's Dog
6. I'm All Right
7. Mr. Custer
8. Bo's Waltz
9. What's Buggin' You
10. Road Runner
From The Original Chess/Checker Masters In Glorious Mono
Faithful Reproduction Of The Original Artwork
Music historians have wasted so many perfectly good words trying to explain the significance of Bo Diddley. “Bo Diddley liberated the blues from the 12-bar form and melded it to an insistent, infectious rhumba beat,” they bleat. “Diddley was the progenitor of all that was to come in the evolution of rock and roll,” blah blah blah blah.
Listen: Why is eating a plateful of ribs and dripping all over your hands and clothes fun? BECAUSE IT JUST IS. Why is walking around with cotton candy in one hand and a blue, helium-filled balloon on a string in the other fun? BECAUSE IT JUST IS. Bo Diddley is fun BECAUSE HE JUST IS. Bo Diddley (the album) was rock and roll’s Big Bang, dripping with sinew and grease and humor and understated swagger. The simplest ingredients - a guitar, a drum, and some maracas - were packed in a gunny sack and slung over the shoulder of some smiling guy with a slick process and a wild plaid jacket, who took it and ran headfirst into oncoming traffic. Reckless, yet crazy cool. He made it sound easy. Geniuses can do that.
No doctoral thesis will explain Bo Diddley, the man or “Bo Diddley,” the album. You won’t find the answer in some scholarly article called “The Epistomological Roots of ‘Diddy Wah Diddy’ or something like that, in your dog-eared copy of the Journal of the American Institute of Ethnomusicology.
Bo Diddley just is.
Bo Diddley. (the album) is not an option, it’s mandatory. We’ll be imposing fines on anyone who thinks otherwise, so best to pick up a copy if for no other reason than to avoid a big hassle later on. We’re not kidding.
1. Bo Diddley
2. I'm A Man
3. Bring It To Jerome
4. Before You Accuse Me
5. Hey! Bo Diddley
6. Dearest Darlin'
7. Hush Your Mouth
8. Say Bossman
9. Diddley Daddy
10. Diddy Wah Diddy
11. Who Do You Love
12. Pretty Thing
The Muddy Waters/Friday Music 180 Gram Audiophile Series Continues!
Muddy Waters Masterwork Live Album! In Stereo!
First Time Official Audiophile Vinyl – Stunning First Time Gatefold Cover
Mastered From The Authorized Chess Records Stereo Tapes By Joe Reagoso
Muddy Waters (McKinley Morganfield) will always be known as one of the founding fathers of modern day blues. His legendary style of playing guitar, his unique vocal prowess and of course his stellar list of classic Chicago and Mississippi Delta blues tunes
have all gone on to influence generations upon generations of rock and blues performers worldwide.
With almost six decades in the music business, this Mississippi native began his career cutting early sides for defunct labels
before landing in Chicago in the early forties, where he began a long climb to the top of the blues world, later cutting a series of
hit sessions for Aristocrat which became Chess Records. Phil and Leonard Chess knew they had a kingpin on their hands when
Muddy started his endless stream of blues smashes. The label honored the man with his first live album simply titled Muddy Waters
At Newport 1960. Recorded at the Newport Jazz Festival, Muddy drove the crowd into a frenzy with his famous guitar licks and his
Delta growl, truly a thrilling presence on the stage.
Featuring an all-star band with the likes of the legendary James Cotton on harp and the masterful Otis Spann on piano, Muddy
Waters At Newport 1960 would go on to become one of the most revered albums in modern day Chicago blues history.
Kicking things off with one of his finest smash hits I Got My Brand On You, Muddy continues to rock the crowd through a
treasure trove of 8 more blues champions which made this one of the most important live recordings of all time. The album features
classic gems like his classics Got My Mojo Working, Baby Please Don’t Go, and I’m Your Hoochie Coochie Man. Noted for his stellar
guitar work, pretty much introducing his Chicago laden blues style to a whole new generation of guitar players, Muddy Waters At
Newport 1960 became truly a primer for a ton of rock and blues guitarists for years like Eric Clapton, Johnny Winter, Canned Heat
and The Rolling Stones. Muddy broke down barriers for millions of music fans worldwide to enjoy rock and blues, making him along
with John Lee Hooker, Elmore James and Robert Johnson one of the first pioneers of the blues and rock genre.
Friday Music is no stranger to the music of the legendary Chess Records arsenal of fine recordings. That is why we are so
very proud to announce another installment in The Muddy Waters/Friday Music 180 Gram Audiophile Vinyl Series with his legendary
masterpiece Muddy Waters At Newport 1960.
Mastered impeccably by Joe Reagoso (Muddy Waters, John Lee Hooker, Chuck Berry) for the first time on audiophile vinyl from
the Chess stereophonic tapes, Muddy Waters At Newport 1960 will truly become one of the most important and historical 180 Gram
Audiophile Vinyl titles to be released in quite some time.
To further celebrate this first time authorized stereophonic audiophile vinyl LP, we enhance this limited edition masterwork
with a stunning gatefold cover featuring the original artwork elements as well as a rare inside gatefold photo of the man who helped
fuse blues and rock music for millions of music lovers across the globe.
Muddy Waters…Muddy Waters At Newport 1960…Impeccable stereophonic sound from the AUTHORIZED Chess Records
tapes! Baby, Please Don’t Go…
1. I Got My Brand On You
2. I’m Your Hoochie Coochie Man
3. Baby, Please Don’t Go
4. Soon Forgotten
5. Tiger In Your Tank
6. I Feel So Good
7. Got My Mojo Working
8. Got My Mojo Working, Part 2
9. Goodbye Newport Blues
The anticipated first live release from Guitar sensation Gary Clark Jr.
To sum up Gary Clark Jr. is more challenging every day. He’s a musical universe unto himself, expanding at a nearly immeasurable rate, ever more hard to define — as a mind-blowing guitarist, a dazzling songwriter and engagingly soulful singer. With his debut album Blak And Blu he has just become the first artist ever recognized by the Recording Academy with Grammy Award nominations in both the rock and R&B categories for the same album in the same year, winning the latter: Best Traditional R&B Performance” - “Please Come Home” (from the album Blak And Blu). Rolling Stone dubbed Clark “The King of the Summer Festivals” as he captivated audiences from Coachella to Glastonbury, Lollapalooza to the New Orleans Jazz & Heritage Festival, from Metallica’s Orion Festival to Jay-Z’s Made in America, and of course his hometown Austin City Limits Festival, where he his band set a daytime attendance record.
1. Catfish Blues (Live)
2. Next Door Neighbor Blues (Live)
3. Travis County (Live)
4. When My Train Pulls In (Live)
5. Don't Owe You A Thang (Live)
6. Three O'Clock Blues (Live)
7. Things Are Changin' (Live)
8. Numb (Live)
1. Ain't Messin 'Round (Live)
2. If Trouble Was Money (Live)
3. Third Stone From The Sun/If You Love Me Like You Say (Live)
4. Please Come Home (Live)
5. Blak And Blu (Live)
6. Bright Lights (Live)
7. When The Sun Goes Down (Live)
Recorded fresh off the heals of touring as the guitarist with Bob Dylan’s band, Duke
Robillard’s new albui, “Calling All Blues,” is a collection of mostly new blues material by one
of the genre’s best and most creative artists. Robillard is joined by the horn section from
Roomful Of Blues, the band he founded in 1967, on four songs.
In a career spanning over four decades Duke has also worked with Tom Waits, Fabulous
Thunderbirds, and dozens of blues legends.
He has been nominated for two Grammy Awards and has won “Blues Guitarist Of The
Year” four times.
1. Down In Mexico
2. I’m Gonna Quit My Baby
4. Blues Beyond The Call Of Duty
5. Confusion Blues
6. Emphasis On Memphis
7. Motor Trouble
8. Nasty Guitar
10. She’s So Fine
Brand new limited edition batch for the Back To Black range. Exact reproductions of original LP artwork to retain authenticity, but now on 180 gram heavyweight vinyl.
A Sense of Place represents Mayall's full-fledged return to major-label record-making, from a well-known producer, to the introduction of such cover
material as Wilbert Harrison's "Let's Work Together" and J.J. Cale's "Sensitive Kind." The result was Mayall's first chart appearance in 15 years.
1. I Want To Go
2. Congo Square
3. Send Me Down To Vicksburg
4. Without Her
5. Sensitive Kind
6. Jacksboro Highway
7. Let's Work Together
8. I Can't Complain
9. Black Cat Moan
11. All My Life
1. I Just Can't Hold On Much Longer
2. I'm Gonna Keep On Walking
3. I Was Standing By The Wayside
4. T. B. Is Killing Me
5. Run On Babe
6. This World
7. I Like To See You Walk
8. It's You I Love, Baby
9. Driftin' And Driftin'
10. You Gonna Miss Me
1. You're Nice And Kind To Me Lou Della
2. I Need Some Money
3. I Want To Get Married
4. Boogie Chillun
6. Night Time Is The Right Time
7. You Don't Move Me Baby
8. You Been Dealin' With The Devil
9. Cruel Little Baby
10. Key To The Highway
Johnny Winter's popular career initially soared then floundered before he re-established contact with the blues and R&B that had been his inspiration from the beginning. If for no other reason, his glorious resurrection of Muddy Waters' career with a series of punchy, barnstorming albums was enough to earn him the gratitude of those who relished the blues as a life force. In assisting one of his mentors, Winter also re-discovered his own blues instincts, mining fresh seams of invention through a series of best-selling albums.
1. The Crawl
2. Sittin' in the Jail House
3. Like a Rolling Stone
4. New York, New York
5. Bon Ton Roulet
6. Rollin' and Tumblin'
7. Talk Is Cheap
8. Wolf in Sheep's Clothing
9. Don't Hide Your Love
10. Mother-in-Law Blues
11. Walkin' Slowly
Just Like You is the third album by three-time American Grammy Award-winning blues musician Keb' Mo' (born Kevin Moore). Keb'Mo' has been described as "a living link to the seminal Delta blues that travelled up the Mississippi River and across the expanse of America." His post-modern Blues style is influenced by many eras and genres, including Folk, Rock, Jazz and Pop.
Originally released in 1996, the album features guest artists Jackson Browne and Bonnie Raitt, both on the title track "Just Like You". Unlike the first album, Just Like You features a more Blues-Pop to Blues Rock feel and more of its tracks feature a full band. The album was produced by John Porter (Buddy Guy, B.B. King, Taj Mahal, a.o.).
In 1997, Just Like You won the Grammy Award for Best Contemporary Blues Album. This is the first ever vinyl issue of this classic album!
1. That’s Not Love
2. Perpetual Blues Machine
3. More Than One Way Home
4. I’m On Your Side
5. Just Like You
6. You Can Love Yourself
7. Dangerous Mood
8. The Action
9. Hand It Over
10. Standin’ At The Station
11. Momma, Where’s My Daddy
12. Last Fair Deal Gone Down
13. Lullaby Baby Blues
John Lee Hooker is the most down-home of the major post-war blues figures, “a most authentic singer of the way-back, close-to-the-soil kind of blues,” as
Orrin Keepnews once wrote. Of his innumerable recordings, The Country Blues of John Lee Hooker is perhaps the truest to Hooker’s Mississippi roots.
The celebrated guitarist set his usual amplified instrument aside, in exchange for an acoustic guitar, only accompanied by his voice. The result is an
intimate, wonderfully varied set of deep Delta blues, moans and boogies. Some songs are autobiographical, others re-workings of blues standards—all
stamped with the hauntingly personal John Lee Hooker touch.
1. Black Snake
2. How Long Blues
3. Wobblin' Baby
4. She's Long, She's Tall, She Weeps Like A Willow Tree
5. Pea Vine Special
6. Tupelo Blues
7. I'm Prison Bound
8. I Rowed A Little Boat
9. Water Boy
10. Church Bell Tone
11. Bundle Up And Go
12. Good Mornin', Lil' School Girl
13. Behind The Plow
Stereophile magazine senior contributing editor and analog expert Michael Fremer presents his almost three hour long Practical Guide to Turntable Set-Up. Fremer sets up three popular turntables from Pro-Ject, Rega and VPI. Using the hands-on phono cartridge installation techniques, tips and basic principles demonstrated with close-ups and flash animation, any turntable from the popular Technics SL-1200 to the most esoteric can be set up to perfection. Also included: an interview with famed Sterling Sound mastering engineer George Marino, and a 20 page PDF file embedded in the disc's DVD-ROM section that includes even more detailed technical descriptions and an article on record cleaning no vinyl fan should be without. Despite the seemingly dry subject matter, the disc is entertaining. There are even some laughs as Fremer once did stand up comedy (he played legendary Max's Kansas City and even opened for bands like Television and The Jam).
Guitarist Joe Bonamassa was opening for B.B. King when he was only eight years old and was a veteran of the road and gigging by the time he was 12, so it’s tempting to toss him in the all flash but no soul prodigy trash bin that has been filling up pretty well since Stevie Ray Vaughan shuffled off to blues heaven -- but that would be a big mistake. Bonamassa has soul, plenty of it, and he plays guitar with a reverent grace, and sometimes lost in all this is that he’s a pretty good singer, too, sounding more than a little bit like a reconstituted Paul Rodgers. His stunning headline show from the Royal Albert Hall, which featured guest spots by Eric Clapton and Paul Jones, was released in 2009 on DVD and download versions of the songs have been available on iTunes for a while, but this two-disc set marks the first official release of the concert as an album in and of itself, and it’s simply wonderful, full of great guitar playing, solid singing, and with a horn section and double drummers on board, the sound is full and even majestic. Bonamassa is the real deal, and tracks here like the elegant opener “Django,” “The Ballad of John Henry,” the marvelous cover of Charley Patton's “High Water Everywhere,” and a shifting, sprawling workout on Rod Stewart's “Blues Deluxe” show a musician at the top of his game, one who has learned that a guitar lead should serve the song and not the other way around. Bonamassa isn’t some kid prodigy anymore -- he’s grown up into one of the most soulful blues-rock performers on the planet. There’s plenty of proof of that here.
-All Music Guide
2. The Ballad Of John Henry
3. So It's Like That
4. Last Kiss
5. So Many Roads
7. Further On Up The Road
8. Woke Up Dreaming
9. High Water Everywhere
10. Sloe Gin
11. Lonesome Road Blues
12. Happier Times
13. Your Funeral My Trial
14. Blues DeLuxe
15. Story Of A Quarryman
16. The Great Flood
17. Just Got Paid
18. Mountain Time
19. Asking Around For You
Taj Mahal's second album, recorded in the spring and fall of 1968, opens with more stripped-down Delta-style blues in the manner of his debut, but adds a little more amplification (partly courtesy of Al Kooper on organ) before moving into wholly bigger sound on numbers like "She Caught The Katy And Left Me A Mule To Ride" and "The Cuckoo" -- the latter, in particular, features crunchy electric and acoustic guitars and Gary Gilmore playing his bass almost like a lead instrument, like a bluesman's answer to John Entwistle. Most notable, however, may be the two original closing numbers, "You Don't Miss Your Water ('Til Your Well Runs Dry)" and "Ain't That A Lot Of Love", which offer Taj Mahal working in the realm of soul and treading onto Otis Redding territory. This is particularly notable on "You Don't Miss Your Water", which achieves the intensity of a gospel performance and comes complete with a Stax/Volt-style horn arrangement by Jesse Ed Davis that sounds more like the real thing than the real thing. "Ain't That a Lot of Love", by contrast, is driven by a hard electric guitar sound and a relentless bass part that sounds like a more urgent version of the bassline from the Spencer Davis Group's "Gimme Some Lovin'". This LP reissue includes a trio of bonus tracks: a faster-paced rendition of "The Cuckoo" with a more prominent lead guitar, the slow electric lament "New Stranger Blues" featuring some good mandolin-style playing on the guitar, and the rocking instrumental "Things Are Gonna Work Out Fine," which is a killer showcase for Davis' lead electric guitar and Taj Mahal's virtuosity on the harmonica.
This item is not eligible for further discount.
1. Good Morning Miss Brown Corinna
2. I Ain't Gonna Let Nobody Steal My Jellyroll
3. Going Up To The Country, Paint My Mailbox Blue
4. Done Changed My Way Of Living
5. The Cuckoo (alternative version)
6. She Caught The Katy And Left Me A Mule To Ride
7. The Cuckoo
8. You Don't Miss Your Water ('Til Your Well Runs Dry)
9. A Lot Of Love
10. New Stranger Blues
11. Things Are Gonna Work Out Fine
100 Ton Chicken is the third album by the UK Brit Blues band Chicken Shack. Originally released in 1969, the follow-up album of their first two albums 40 Blue Fingers Freshly Packed And Ready To Serve and OK Ken? was Paul Raymond's first album as a member of Chicken Shack. Raymond replaced Christine Perfect, who left the band when she married John McVie of Fleetwood Mac.
Terence Ibbott was in charge of the album artwork for 100 Ton Chicken, which was bizarre as always. The recordings sounded quite different and gave The Shack what they were looking for - a "heavier" sound. On the album Chicken Shack covered Clarence Carter tunes ("The Road Of Love" and "Weekend Love"), a great Freddie King tune "Look Ma, I'm Cryin'", Lowell Fulson's "Reconsider Baby" and Clarence Gatemouth Brown's "Midnight Hour".
1. The Road Of Love
2. Look Ma, I’m Cryin’
4. Reconsider Baby
5. Weekend Love
6. Midnight Hour
7. Tears In The Wind
8. Horse And Cart
9. The Way It Is
10. Still Worried About My Woman
Europe Live was recorded in venues across Johnson's tour of the continent, with the majority of the album capturing his appearance at Amsterdam's Melkweg along with selections from two dates in Germany at Die Kantine in Köln and Bochum Zeche and the Paris show at New Morning. Each appearance featured a unique set list, offering Johnson the opportunity to cull this track listing from a wealth of repertoire captured.
4. Forty Mile Town
5. Mr. P.C.
8. Song For Life
10. Last House On The Block
12. Cliffs Of Dover
13. Evinrude Fever
14. Sun Reprise
On February 4th, 2014, 73 year old Grammy nominated blues and R&B legend Bobby Rush added a generous helping of all analog, direct to tape, soul to Upstairs at United series. The set opens with a blistering take on the Beatles ''Come Together'' where most of the vocal is ''sung'' by the harmonica, followed by a sultry take on Otis Redding's ''Hard To Handle.'' Side two starts with a newly penned gem ''Why Do They Act Like That'' and finishes with Floyd-ish take on a Bobby Rush classic, ''2 Eyes Full of Tears.'' As traditional to the series, these recordings were done live to tape above the mechanical hum of the record presses at United Record Pressing then cut as a 45 RPM 12'' EP for the optimum listening experience.
1. Come Together (Beatles)
2. Hard to Handle (Otis Redding)
3. Why Do They Act Like That
4. 2 Eyes Full of Tears
Louisiana bluesman Lightnin’ Slim (nee Otis V. Hicks) began entertaining bar patrons in his native Baton Rouge in the 1940s. By the 50s he was releasing singles on the now legendary Excello label (the blues division of Nashville based Nashboro). This album, his first long player, appeared in 1960 and compiles many of those classic 50s sides. Slim plays a searing electric here and is often accompanied by his brother-in-law, Slim Harpo, on the harmonica, along with a full, rollicking rhythm section heavily influenced by the R&B coming out of NOLA at the time. Lightnin’ Slim deserves a place alongside the more often mentioned blues legends of the 50s, like Muddy Waters, John Lee Hooker, and Howlin’ Wolf; for proof, one needs to look no further than this excellent debut album.
1. Rooster Blues
2. Long Leanie Mama
3. My Starter Won't Work
4. "GI" Slim A5 Lightnin Troubles
6. Bed Bug Blues
7. Hoo-Doo Blues
8. It's Mighty Crazy
9. Sweet Little Woman
10. Tom Cat Blues
11. Feelin Awfull Blues
12. I'm Leavin You Baby
One hundred years ago, a boy-child was born in Mississippi – a dirt-poor, African-American who would grow up, learn to sing and play the blues, and eventually achieve worldwide renown. In the decades after his death, he has become known as the King of the Delta Blues Singers, his music expanding in influence to the point that rock stars of the greatest magnitude – the Rolling Stones, Bob Dylan, Eric Clapton, the Allman Brothers – all sing his praise and have recorded his songs.
1. Cross Road Blues
2. Terraplane Blues
3. Come On In My Kitchen
4. Walkin' Blues
5. Last Fair Deal Gone Down
6. 32-20 Blues
7. King Hearted Woman Blues
8. Preachin' Blues (Up Jumped the Devil)
9. If I Had Possession Over Judgement Day
10. When You Got A Good Friend
11. Ramblin' On My Mind
12. Stones In My Passway
13. Traveling Riverside Blues
14. Milkcow's Calf Blues
1. Me and The Devil Blues
2. Hellhound On My Trail
3. I Believe I'll Dust my Broom
4. They're Red Hot
5. Dead Shrimp Blues
6. I'm A Steady Rollin' Man
7. From Four 'Till Late
8. Little Queen of Spades
9. Malted Milk
10. Honeymoon Blues
11. Love In Vain
12. Kindhearted Woman Blues (alternate version - take two)
13. Little Queen of Spades (alternate version - take two)
14. Sweet Home Chicago
Like jazz, the blues has its share of late bloomers -- artists who didn't start recording or didn't become well-known until they were well into their 50s or 60s. R.L. Burnside is very much a late bloomer; the Mississippi bluesman was born in 1926, but it wasn't until the 1990s that he started to enjoy the publicity he deserved. Recorded in 2000, Wish I Was in Heaven Sitting Down finds the veteran singer continuing to be fairly unpredictable at 73. Essentially, this [album] falls into the Mississippi blues category -- Burnside maintains the earthy, down-home rawness that people expect from Mississippi country-blues. But Burnside certainly isn't without urban influences, and this [album] illustrates his appreciation of John Lee Hooker and early Muddy Waters as well as the Texas blues of Lightnin' Hopkins. Burnside has also been influenced by R&B; one of the few tracks that he didn't write or co-write is a cover of Aretha Franklin's 1960s smash "Chain of Fools." The producers (who include Andy Kaulkin, John Porter, and Brad Cook) try to make that track and others relevant to hip-hop by adding sampling and scratching -- and when they do, it sounds forced and unnatural. Some of the producing is simply too high-tech for an artist as raw as Burnside, but that doesn't make his vocals any less impressive. Despite its imperfections, Wish I Was in Heaven Sitting Down is a generally appealing document of Burnside at 73.
- Alex Henderson (All Music)
1. Hard Time Killing Floor
2. Got Messed Up
3. Miss Maybelle
4. Wish I Was In Heaven Sitting Down
5. Too Many Ups
6. Nothin' Man
7. See What My Buddy Done
8. My Eyes Keep Me In Trouble
9. Bad Luck City
10. Chain Of Fools
11. R.L. 's Story
Brilliant 1970 blues rock LP from future Canned Heat / John Mayall’s Bluesbreakers guitarist Harvey Mandel! Specially re-mastered for vinyl, pressed on 180 gram colored vinyl and packaged in a limited edition silver foil album cover.
2. Jive Samba
3. Love Of Life
5. Just A Hair More
6. Summer Sequence
7. Short’s Stuff
9. Campus Blues
The Johnny Winter Live Bootleg Series Continues On Friday Music!
First Time Special Limited Edition Recordings From The Rare Archives Owned And Controlled By The Legend Johnny Winter!
First Time On Smokin’ 180 Gram White Vinyl!
Mastered Impeccably By Joe Reagoso From The Original Johnny Winter Tapes At Friday Music Studios
Legendary rocker and blues statesman Johnny Winter continues to enthrall audiences the world over. With his
unique brand of blues/rock guitar and vocal prowess, Winter’s style is truly unmatched in purity and in star power
While he tours non-stop, it’s no secret that his live performances are legendary. Fortunately for his huge fan
base, Johnny has captured a lot of his concerts on tape over the many decades, which proudly leads us to the latest
installment of the chart topping Live Bootleg Series.
For Johnny Winter’s Live Bootleg Special Edition, the artist surely becomes his instrument in some incredible
guitar shredding first time released live performances. The blues wielding axeman steps out with super extended
workouts on concert classics like his masterful version of the Freddie King classic Hideaway, blues favorite Ain’t That
Just Like A Woman and a stunning rock free for all on the Chuck Berry champion Johnny B. Goode.
Known to write many of his own hit songs, Johnny also dug far back into his archives for two super rare performances for the fans with his classic power blues ballad Stranger and the masterful blues workout on Serious As A Heart Attack.
Always a champion of his favorite bands and artists, Johnny closes out the album with an incredibly rockin’
interpretation tip of the hat to The Rolling Stones with the hard rockin’ Jumping Jack Flash.
Friday Music is very honored to be the home of Johnny Winter’s Live Bootleg Special Edition. As with our previous releases, these are totally authorized and owned/controlled by Johnny Winter himself. Mastered impeccably by
Joe Reagoso (Johnny Winter/Canned Heat/John Lee Hooker) from the original Johnny Winter tapes at Friday Music
Studios, this album consists of his own personally picked archives and will be a welcome collection to any fan of the
blues and rock sounds of this Grammy Award winning artist and producer.
In addition to the hard rockin’ blues on this wonderful collection, this limited edition release also will be pressed
for a very short time on 180 Gram WHITE VINYL, including the fine album cover artwork, as well as Johnny’s good
friend, producer and guitarist Paul Nelson’s penned liner notes.
Live Bootleg Special Edition by Johnny Winter…Six tracks of pure Texan blues power on stunning 180 Gram
WHITE VINYL, courtesy of the legendary Johnny Winter and Friday Music. Rock and Roll!!!!
2. Ain’t That Just Like A Woman
3. Johnny B. Goode
4. Serious As A Heart Attack
6. Jumping Jack Flash
Remastered And Reissued As Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign
Released in 1968, Total Eclipse by jazz vibraphonist, Bobby Hutcherson, features Chick Corea on piano, Harold Land on tenor sax and flute, Reggie
Johnson on bass and Joe Chambers on drums. This is Hutcherson’s first recording with Harold Land. All songs were written by Hutcherson, with the
exception of “Matrix” by Chick Corea. Remastered by Bernie Grundman, Total Eclipse will be reissued on vinyl as part of an overall Blue Note 75th
anniversary vinyl reissue campaign spearheaded by current Blue Note Records President, Don Was.
2. Total Eclipse
4. Same Shame
For the the eleventh volume of FRKWYS, an unrestricted series pairing contemporary
artists with their influential predecessors, gifted guitar squire Steve Gunn meets roving,
radiating legend Mike Cooper in Lisbon, Portugal.
Sharing their vision over lengthy living room guitar sessions and evenings of cold wine
in Fado taverns, Gunn and Cooper created Cantos de Lisboa, an album with variable
vernacular shades and musical forms from Portugal’s antiquity.
Cantos means “corner” in Portuguese, as well as “chant” or “song” (this latter meaning
evolved from the Latin antecedent referring to stanzas of verse in poetry). For two artists
whose roots lie in the country blues and its subverted offshoots, the proverbial “corner”
is actually home, the undisturbed spot where music can flourish.
A tranquil interlude for these two travellers to create off-guard improvisations in their
shared style of deconstructed guitar music, Cantos de Lisboa is a curious detail in the
periphery of their snapshot of Portugal.
In his fifty-year-plus career, Cooper’s global ventures have transported his music to
exotic locales parallel to Lisbon. 2004’s Rayon Hula musically translated the patterned
flora of aloha shirts (Cooper’s signature garment) as looped samples of famed Hawaiian
vibraphone player Arthur Lyman for an avant vivified form of exotica.
Rayon Hula signaled Cooper’s vital re-emergence as a dexterous alchemist of slide
guitar. Cooper’s discography is colored with similar instances of casually conceptual,
improvisatory guitar music, including his 1970 masterpiece Trout Steel (an album Gunn
recalls in Cantos de Lisboa’s liner notes as shaping his own ambitions and music).
For his part, Gunn’s path to Portugal was compelled by his kinship to Cooper and
his ilk’s experimentation with guitar-picked country blues and 70s British folk. Gunn’s
extracurricular immersion in free jazz and psychedelia, no doubt influenced by his
Philadelphia upbringing and surroundings, ensures his playing never grits or grids and
always soars to ecstatic heights.
These musical emblems were gracefully memorialized on Gunn’s celebrated Time
Off (Paradise of Bachelors, 2013) and across a substantial catalog of solo, duo and
ensemble work that resembles that of a veteran player more than a young guitar
On Cantos de Lisboa, Gunn and Cooper take emotive cues from Fado, the regional
music of Portugal, which is in close plaintive spirit to the blues. A melancholy seeps into
the music, while steering a wide berth from any bummer notes or pastiche. Cooper’s
sparse effects toolkit and stately, gliding cadences are nimbly employed, while Gunn’s
ashen voice and steady strum lend an intensely organic feel to the album’s improvisatory
The latter half of Cantos de Lisboa echoes the “saudade” theme as referenced in
the blissful opening track, Cooper’s howl spiriting the Portuguese word that translates
roughly into “loss” or “longing.” Saudade is said to be the core feature of Fado music. In
Cantos de Lisboa, Saudade becomes a spirit inhabiting the album’s corners, but never
disrupting the musicians’ collaborative evocations.
In the hands of these two limitless guitarists, Cantos de Lisboa convenes in an abstract,
almost field recorded take on lap-steel and American Primitive guitar styles. For the
brief idyll, Gunn and Cooper’s collaboration is remarkably rich, marking their passage
through Portugal not just as a time to revel in an ancient city, but a time for focused
collaboration and creative consonance.
1. Saudade Do Santos-o-Velho
2. Pena Panorama
3. Song For Charlie
4. Pony Blues
5. The Enchanted Moura
6. Lampedusa 2013