"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
Part of Norman Granz's Jazz at the Philharmonic series, Paris, 1972 features a live performance in the City of Lights by one of the biggest name in Blues: the great Muddy Waters. Backed by an all-star band (Pinetop Perkins on piano, Calvin Jones on bass, Willie Smith on drums, Mojo Buford on harmonica and Louis Meyers on guitar), Waters performs his biggest hits of the day, including "Rollin' and Tumblin,'" "I'm Your Hoochie Coochie Man" and "Got My Mojo Working." With impressive musicianship, and the quirks that make a live record unique, Paris, 1972 is a must-have for any fan of Muddy Waters.
2. Clouds in My Heart
3. Lovin' Man
4. County Jail
5. Hoochie Coochie Man
6. Blow Wind Blow
7. Honey Bee
8. Walking Thru the Park
9. Rollin' 'N' Tumblin'
10. Walkin' Blues
11. Got My Mojo Workin’
1. I’m Your Hoochie Coochie Man
2. Baby Please Don’t Go
3. Rollin’ And Tumblin’, Part 1
4. Gypsy Woman
5. I Just Want To Make Love To You
6. You’re Gonna Miss Me (When I’m Dead And Gone)
7. Streamline Woman
8. She’s All Right
9. I Feel Like Going Home
10. Honey Bee
11. I Can’t Be Satisfied
12. I Want To Be Loved
13. She Moves Me
14. Trouble No More
15. Just To Be With You
16. Walking Blues
17. My Life Is Ruined
18. Southbound Train
1. Mannish Boy
2. I’m Ready
3. Forty Days And Forty Nights
4. Still A Fool
5. Long Distance Call
6. Appealing Blues (Hello Little Girl)
7. She’s Nineteen Years Old
8. Country Blues
9. You Shook Me
10. Got My Mojo Working
11. Howlin’ Wolf
12. Louisiana Blues
13. Rollin’ Stone
14. I Feel So Good
15. Tell Me Baby
16. I Be’s Trouble
17. Standing Around Crying
18. You Need Love
Six LPs, 800 Digital Tracks, Two Definitive Large-Format Books. All Housed In A Polished Aluminum Case Evoking The Era's High Art Deco Stylings And America's Own Machine Age Modernism.
800 Newly-remastered Digital Tracks, Representing 175 Artists
90+ Fully-restored Original 1920s-30s Paramount Ads From Chicago Defender
6 X 180g LPs Pressed On Alabaster-white Label-less Vinyl, Each Side With Its Own Hand-Etched Numeral And Holographic Image
250 Pg. Large-Format Clothbound Hardcover Book Featuring Original Paramount Art And The Label's Curious Tale
400 Pg. Encyclopedia-Style Softcover Field Guide Containing Artist Bios & Portraits And Full Paramount Discography
Polished Aluminum And Stainless Steel Cabinet, Evoking 1930s High Art Deco Stylings And America's Own Machine Age Modernism
First-Of-Its-Kind Music And Image Player App Containing All Tracks And Ads, Housed On Sculpted Metal USB Drive
Last November, Jack White's Third Man and John Fahey's Revenant issued The Rise & Fall of Paramount Records, Volume One (1917-27), the first installment of the curious tale of America's most important record label. It was called "spectacular" (New York Times), "unprecedented" (Rolling Stone), "breathtaking" (Boing Boing), "a cabinet of wonder, indeed" (Pitchfork), and "the most perfectly realized attempt to combine music and documentation" (Fretboard Journal) and "damnedest musical objet d'art" (Nashville Scene) folks had ever seen.
Third Man-Revenant now presents the final volume in the Paramount story - The Rise & Fall of Paramount Records, Volume Two (1928-32).
As Volume Two begins, Paramount is entitled to a breather - in the previous 5 years it's been home to giants like King Oliver, Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, Alberta Hunter, Blind Blake, Ethel Waters, Ma Rainey, Papa Charlie Jackson, Eubie Blake, Fletcher Henderson, Big Bill Broonzy, Roosevelt Sykes, James P. Johnson, Jaybird Coleman, Clarence Williams, and Fats Waller.
But just as it seems the label might be losing steam, it begins a second act that threatens to dwarf its first. In its final 5 year push from 1928-32, Paramount embarks on a furious run for the ages, birthing the entire genre of Mississippi Delta blues and issuing some of the most coveted recordings in the history of wax - a staggering playlist including Skip James, Charley Patton, Son House, Tommy Johnson, Blind Roosevelt Graves, Willie Brown, King Solomon Hill, Tampa Red, Georgia Tom Dorsey, Little Brother Montgomery, Lottie Kimbrough, Rube Lacy, Meade Lux Lewis, Buddy Boy Hawkins, Ramblin' Thomas, Jaydee Short, George "Bullet" Williams, Cow Cow Davenport, Clifford Gibson, Ishman Bracey, Charlie Spand, Jabo Williams, Louise Johnson, Blind Joe Taggart, Geeshie Wiley & Elvie Thomas, and The Mississippi Sheiks.
Paramount simply killed. But more than that, it changed how this country thought of itself. It was the first and most comprehensive chronicler of what America really sounded like in the 1920s and '30s - on its street corners, at its fish fries and country suppers, in its nightclubs and dance halls and showtents. In the process, Paramount - not some preservationist-minded enterprise like the Library of Congress - inadvertently created the most significant repository of this young nation's greatest art form.
6 LPs feature tracks from the collection.
USB Drive contains 800 digital tracks by 175 artists across the Paramount family of labels.
Blending ragtime blues, honky tonk harmonies, vaudevillian echoes and a musical persona entirely his own, Leon Redbone's 1978 release Champagne Charlie is a tour de force from one of the most mercurial, magical and talented artists in modern music.
One of the distinguishing factors on the record is the fine choice of material, which ranges from Jelly Roll Morton to Jimmie Rogers. As usual with Redbone, the fare is lighthearted and tinged with nostalgia, and sweetened by antique arrangements. The band is delightful, filled with jubilant horns, oboes, and trumpets and, of course, Redbone's rich baritone and throwback acoustic guitar shine.
The album, produced by Joel Dorn, is filled with the best that Dixie, Delta blues and ragtime jazz has to offer keeping true to the old style that made these songs so popular to begin with. Leon has a sort of irreverent, off beat approach to these old jazz classics that is just plain fun to listen to. A charming and romantic introspective collection of classic blues and jazz melodies... each performance is an irresistible listen...his style is unmatched.
1. Champagne Charlie
2. Please Don't Talk About Me When I'm Gone
3. Sweet Sue (Just You)
4. The One Rose (That's Left in My Heart)
5. Alabama Jubilee
6. Big Band Bill (Is Sweet William Now)
7. Yearning (Just For You)
8. If Someone Would Only Love Me
9. I Hate a Man Like You
10. T. B. Blues
Dr. John, or Mac Rebennack as known to friends and family, is universally celebrated as the living embodiment of the rich musical heritage exclusive to New Orleans. His very colorful musical career began in the 1950s when he wrote and played guitar on some of the greatest records to come out of the Crescent City, including recordings by Professor Longhair, Art Neville, Joe Tex and Frankie Ford. A notorious gun incident forced the artist to give up the guitar and concentrate on organ and piano. Further trouble at home sent Dr. John west in the 1960s, where he continued to be in demand as a session musician, playing on records by Sonny and Cher, Van Morrison and Aretha Franklin to name a few. He also launched his solo career, developing the charismatic persona of Dr. John The Night Tripper. Adorned with voodoo charms and regalia, a legend was born with his breakthrough 1968 album Gris-gris, which established his unique blend of voodoo mysticism, funk, rhythm & blues, psychedelic rock and Creole roots. Several of his many career highlights include the masterful album Sun, Moon and Herbs in 1971 which included cameos from Eric Clapton and Mick Jagger and 1973's In The Right Place, which contained the chart hits "Right Place Wrong Time" and "Such A Night."
1. Right Place Wrong Time
2. Same Old Same Old
3. Just The Same
5. Traveling Mood
6. Peace Brother Peace
8. Such A Night
9. Shoo Fly Marches On
10. I Been Hoodood
11. Cold Cold Cold
Today it is hard to find anyone at all who remembers Robert Brown, the powerful Mississippi-born guitar player known to a few blues fans as Smoky Babe. Born in Itta Bena, MS, Smoky was recorded by folklorist Harry Oster in Louisiana and Mississippi on some twenty occasions between February 1960 and August 61. These recordings were previously unissued, hidden away on tapes in Oster’s widow’s house. This record represents what we feel is the best of those long lost performances.
1. Boss Man Blues
2. Backyard Boogie
3. Bad Luck and Trouble
4. Diggin' My Potatoes
5. What's Wrong With You
6. Chicago Bound
7. If I Had Listened to What My Mama Say
8. On Mr. Walter's Farm
9. I'm Going Home on the Morning Train
10. Way Back in the Country Blues
11. Shake, Shake Mattie
12. Goin' Home Blues
13. Boogie Gal
The Muddy Waters/Friday Music 180 Gram Audiophile Series Continues!
Muddy Waters & Johnny Winter – Their Final Studio Recording Together
First Time Official Audiophile Vinyl – Stunning First Time Gatefold Cover
Manufactured At R.T.I.
Featured Musicians: Johnny Winter, James Cotton, Pinetop Perkins, Willie Smith, Charles Calmese & Bob Margolin
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 working in the late seventies with one of his biggest fans Johnny
Winter, cutting his final four albums for Blue Sky Records, earning both the
artist and producer both Grammy Awards for several of them.
Their final studio recording King Bee, shows the artist and producer in
very rare and rockin’ form. The 1981 blues smash features a plethora of
Muddy Waters originals, as well as tip of the hat to Slim Harpo with Muddy’s
classic rendition of King Bee.
Featuring an all-star band with the likes of the legendary late great
Johnny Winter on guitar, James Cotton on harp and the masterful Pinetop
Perkins on piano, King Bee would go on to become one of the more revered
studio albums in Muddy Water’s extensive recorded catalog.
Kicking things off with one of his finest smash hits King Bee, Muddy
continues to rock the house through a treasure trove of 9 more blues
champions which made this Lp the classic that it is. The album features
classic gems like his classics I Feel Like Going Home, Champagne And
Reefer, and Deep Down In Florida. Noted for introducing his Chicago laden
blues style to a whole new generation of guitar players, King Bee is just
another example of how important this late blues master’s music was and
still is to millions of fans across the globe.
Friday Music is no stranger to the music of the legendary arsenal of fine
recordings of Muddy Waters. 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 final studio masterpiece King Bee.
Mastered impeccably by Joe Reagoso (Muddy Waters, Johnny Winter,
John Lee Hooker) for the first time on audiophile vinyl, King Bee 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 audiophile vinyl LP, we enhance this
limited edition masterwork with a stunning gatefold cover featuring the
original artwork elements as well as rare inner photos, which now are a
permanent part of the inside gatefold art, which show the man who helped
fuse blues and rock music for millions of music lovers across the globe.
Muddy Waters….King Bee…….Impeccable blues and rock from your
friends at Friday Music!
Deep Down In Florida...
1. I’m A King Bee
2. Too Young To Know
3. Mean Old Frisco Blues
4. Forever Lonely
5. I Feel Like Going Home
6. Champagne & Reefer
7. Sad Sad Day
8. (My Eyes) Keep Me In Trouble
9. Deep Down In Florida #2
10. No Escape From The Blues
The Muddy Waters/Friday Music 180 Gram Audiophile Series Continues!
Muddy Waters - 1979 Grammy Award Winner!
First Time Official Audiophile Vinyl – Stunning First Time Gatefold Cover
Manufactured At R.T.I.
Featured Musicians: Johnny Winter, James Cotton, Pinetop Perkins, Willie Smith & Bob Margolin
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 working in the late
seventies with one of his biggest fans Johnny Winter, cutting his final four albums for Blue Sky
Records, earning both the artist and producer both Grammy Awards for several of them including
the live masterpiece Muddy “Mississippi” Waters Live. 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 late great Johnny Winter on guitar,
James Cotton on harp and the masterful Pinetop Perkins on piano, Muddy “Mississippi” Waters
Live would go on to become one of the most revered live albums in modern day Chicago blues
Kicking things off with one of his finest smash hits Mannish Boy, Muddy continues to rock the
crowd through a treasure trove of 6 more blues champions which made this one of the most
important live recordings of all time. The album features classic gems like his classics She’s
Nineteen Years Old, Baby Please Don’t Go, and Nine Below Zero. Noted for introducing his
Chicago laden blues style to a whole new generation of guitar players, Muddy “Mississippi”
Waters Live is just another example of how important this late blues master’s music was and still
is to millions of fans across the globe.
Friday Music is no stranger to the music of the legendary arsenal of fine recordings of Muddy
Waters. 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
“Mississippi” Waters Live.
Mastered impeccably by Joe Reagoso (Muddy Waters, Johnny Winter, John Lee Hooker) for the
first time on audiophile vinyl, Muddy “Mississippi” Waters Live 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 audiophile vinyl LP, we enhance this limited edition masterwork
with a stunning gatefold cover featuring the original artwork elements as well as rare inner
sleeve live photos, which now are a permanent part of the inside gatefold art, which show the
man who helped fuse blues and rock music for millions of music lovers across the globe.
Muddy Waters….Muddy “Mississippi” Waters Live…….Impeccable blues and rock from your
friends at Friday Music!
I’m A MAN……
1. Mannish Boy
2. She’s Nineteen Years Old
3. Nine Below Zero
4. Streamline Woman
5. Howlin’ Wolf
6. Baby Please Don’t Go
7. Deep Down In Florida
Ranked 280/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Cut at 45 RPM For The First Time Ever!
From the original 1964 Chess analog masters! Pressed at Quality Record Pressings!
Mastered by Bernie Grundman.
New Gatefold jacket, with extra photos!
Folk Singer has been an audiophile staple for years. It always gets a bunch of play at hi-fi shows. It's a no-doubter demonstration disc. But never before has it sounded like this! Never has it been cut at 45 RPM!
There are a handful of landmark albums in any genre. In the blues, one of them is Muddy Waters' Folk Singer. Originally released in 1964, Folk Singer was the only acoustic album Waters ever recorded, thus becoming the first and perhaps best blues concept album ever. Muddy of course started out playing acoustic blues in the Delta, and he's clearly very comfortable in this return to his roots, which was designed to appeal to the mid-1960s surge of interest in folk music.
Muddy's supporting cast includes a very young Buddy Guy on guitar, Willie Dixon at the upright bass and Clifton James on drums.
This recording has enormous presence with ample room for Muddy's booming voice to resonate.
This title is not eligible for discount.
1. My Home Is in the Delta
2. Long Distance Call
3. My Captain
4. Good Morning Little Schoolgirl
5. You're Gonna Need My Help
6. Cold Weather Blues
7. Big Leg Woman
8. Country Boy
9. Feel Like Going Home
Blues Control might just be the missing link between Van Halen and legendary experimentalist Henry Flynt. They are a duo. Lea Cho plays swank but grounded atmospheric keyboard parts (think Harold Budd), through which guitar player and manipulator of assorted junk-on-table Russ Waterhouse cuts, whittles and lays to waste. It's a hazy, spaced world that exists between fuzzed distortion, jabbering electronics, and a lazy, stay-in-bed psychedelic glaze, with rhythmic keyboards pulsating below it all a la a guy named Florian-- and you can choose which one you want. Oh yeah, I gotta mention the humid bikini-vibe that permeates the entire album.
The Blue Sheep
Limited edition 12 vinyl featuring vintage recordings by Americas greatest post-war bluesman including the original 1956 studio recording of Smokestack Lightning plus Killing Floor, Little Red Rooster and many more!
1. Killing Floor
2. Smokestack Lightnin
3. Shake It For Me
4. I Believe Ill Dust My Broom
5. Going Down Slow
6. Highway 49
7. Little Red Rooster
8. Poor Boy
9. Worried About You
10. Smile At Me
11. Howlin For My Baby
Two Original Albums Plus 12 Classic Tracks - Original Recordings Remastered
1. Shake For Me
2. The Red Rooster
3. You'll Be Mine
4. Who's Been Talkin'
5. Wang Dang Doodle
6. Little Baby
8. Going Down Slow
9. Down In The Bottom
10. Back Door Man
11. Howlin' For My Baby
12. Tell Me
13. Howlin' Wolf Boogie [Bonus Track]
14. Mr. Highway Man [Bonus Track]
15. I'm The Wolf [Bonus Track]
16. Rockin' Daddy [Bonus Track]
17. Who Will Be Next [Bonus Track]
18. The Natchez Burning [Bonus Track]
1. Moanin' At Midnight
2. How Many More Years
3. Smokestack Lightnin'
4. Baby, How Long
5. No Place To Go
6. All Night Boogie
7. Evil 08. I'm Leavin' You
9. Moanin' For My Baby
10. I Asked For Water (She Gave Me Gasoline)
12. Somebody In My Home
13. Sitting On Top Of The World [Bonus Track]
14. I Better Go Now [Bonus Track]
15. Howlin' For My Darling [Bonus Track]
16. I've Been Abused [Bonus Track]
17. Just Like I Treat You [Bonus Track]
18. I Ain't Superstitious [Bonus Track]
On-the-air since 1976, Austin City Limits has featured more than 500 different regional and internationally acclaimed artists on its stage, presenting the best of America's music from country, blues and folk to rock 'n' roll, bluegrass and zydeco.
This performance, captured on the ACL stage on November 15, 1976, finds influential guitarist Roy Buchanan in his prime at the age of 37. Declared one of the three greatest living guitarists during his lifetime by Rolling Stone, the set features definitive live versions of such songs as "Roy's Bluz," "Hey Joe," "Soul Dressing" and "The Messiah."
1. Roy's Bluz
2. Soul Dressing
3. Hey Joe
4. The Messiah
With his warm, gentle vocals and rhythmic guitar lines, Mississippi John Hurt's recordings represent a fascinating counterpoint to what is expected of Mississippi blues. His repertoire is a mixture of narrative ballads, traditional songs and blues.
1. Got the Blues, Can't Be Satisfied
2. Louis Collins
3. Blue Harvest Blues
4. Avalon Blues
5. Blessed Be The Name
6. Nobody's Dirty Business
8. Ain't No Tellin'
9. Big Leg Blues
10. Stack O' Lee Blues
11. Praying On The Old Camp Ground
12. Spike Driver Blues
13. Candy Man Blues
Not only is House Of The Blues a vintage Hooker release, it is classic, essential blues of the highest order. It is primarily Hooker's solo show, and the master charges ahead with nothing but his raw, electric guitar, soul-drenched, world-weary vocal delivery, and his foot to keep rhythm.
One of Hooker's finest tracks, "Walkin' The Boogie," kicks off the set. This excellent example of his tremendously influential "boogie" style is made especially noteworthy by an overdubbed, speeded up guitar solo. Every song on the album is a Hooker original, and he varies the pace between slow, grinding blues ("Louise") and danceable, uptempo jams ("Leave My Wife Alone"). The electric blues doesn't get much better than this pure, unadulterated shot of the real stuff. House of Blues is a keeper.
1. Walkin' The Boogie
2. Love Blues
3. Union Station Blues
4. It's My Own Fault
5. Leave My Wife Alone
6. Ramblin' By Myself
7. Sugar Mama
8. Down At The Landing
10. Ground Hog Blues
11. High Priced Woman
12. Women And Money
1. Found My Baby Crying
2. Move On Out, Part One
3. Back Door Friend
4. Fishing Clothes
5. Morning Blues
6. Gamblers Blues
7. Wig Wearing Woman
8. Lonesome Dog Blues
9. Last Affair
10. Move On Out, Part Two
1. Highway Blues
2. Whistlin' And Moaning Blues
3. Never Satisfied
4. Howlin' Wolf
5. Queen Bee
6. Hoogie Boogie
7. Boogie Chillen
8. Crawling King Snake
9. Graveyard Blues
10. Notoriety Woman
11. Goin' On Highway 51
12. Don't Go Baby
More than one British Invasion band learned what they needed to know about American rock & roll from the songs on this record (the Stones cut "Cops and Robbers" at their earliest recording session, and later released a killer version of "Mona," though the most interesting British version of the latter was done by an all-girl band with an attitude called the Liverbirds). This record is every bit as raunchy as Diddley's first two albums (the guitars may even be crunchier, and the singing shows more range), and has more than enough to recommend it to collectors and fans. This is the album that began the funny cover photos on Diddley's records.
1. She's Alright
2. Cops and Robbers
3. Run Diddley Daddy
4. Mumblin Guitar
5. I Need You Baby
6. Say Man, Back Again
7. Nursery Rhyme
8. I love You So
9. Spanish Guitar
11. Come On Baby
Bo Diddley Is a Gunslinger is the fifth album by American rock and roll pioneer Bo Diddley released in December 1960 by Checker Records. The album title comes from the album's first track called "Gunslinger" and the cover art has Bo Diddley dressed in Western-style clothing. The songs for Bo Diddley Is a Gunslinger were recorded from October 1959 to February 1960. Several tracks of interest are "Sixteen Tons" which Bo was supposed to perform on The Ed Sullivan Show, the title track, and "Diddling" (an instrumental between guitar and saxophone).
1. Gun Slinger
2. Ride On Josephine
3. Doing The Crawdaddy
7. Sixteen Tons
8. Whoa Mule (Shine)
9. No More Lovin'
Got Me A Louisiana Woman
Want To Come Home
Please Don't Quit Me
Devil Is Watching You
Rolling and Rolling
War Is Starting Again
Walkin' Round In Circles
Coon Is Hard To Catch