Monday, January 25, 2021

GREEN MANALISHI


Peter Allen Greenbaum (29 October 1946 – 25 July 2020), known professionally as Peter Green, was an English blues rock singer-songwriter and guitarist. As the founder of Fleetwood Mac, he was inducted into the Rock and Roll Hall of Fame in 1998. Green's songs, such as "Albatross", "Black Magic Woman", "Oh Well", "The Green Manalishi (With the Two Prong Crown)" and "Man of the World", appeared on singles charts, and several have been adapted by a variety of musicians.

Green was a major figure in the "second great epoch" of the British blues movement. Eric Clapton praised his guitar playing, and B.B. King commented, "He has the sweetest tone I ever heard; he was the only one who gave me the cold sweats."Green was interested in expressing emotion in his songs, rather than showing off how fast he could play. His trademark sound included string bending, vibrato, and economy of style.
In June 1996, Green was voted the third-best guitarist of all time in Mojo magazine.Rolling Stone ranked him at number 58 in its list of the "100 Greatest Guitarists of All Time".Green's tone on the instrumental "The Super-Natural" was rated as one of the 50 greatest of all time by Guitar Player.







PETER GREEN SPLINTER GROUP
Cells Alive! 
Live in Gesendef Auf, Germany; June 28, 1998. Excellent audio (from TV broadcast?).

Track 01. Intro 
Track 02. Black Magic Woman 
Track 03. Mama Keep Your Big Mouth Shut 
Track 04. Rattlesnake Shake 
Track 05. The Supernatural 
Track 06. Shake Your Hips 
Track 07. Traveling Riverside Blues 
Track 08. Steady Rolling Man 
Track 09. The Stumble 
Track 10. Albatross 
Track 11. Green Manalishi 
Track 12. Going Down 
Track 13. Look Yonder Wall 






Saturday, January 23, 2021

DOCTOR BLUES

Rock journeyman Aynsley Dunbar has proven himself one of the finest drummers in the business for over forty years, whether as a member of several bands or as a session musician.

Dunbar began his career on the British blues-rock scene, playing with Champion Jack Dupree and Eddie Boyd before becoming the drummer for John Mayall's Bluesbreakers in 1967; he was influenced by jazz and the Who's Keith Moon as well. During this time, Dunbar also played on Jeff Beck's seminal Truth sessions, and also met Frank Zappa in Belgium; when Zappa broke up the first edition of the Mothers of Invention, he invited Dunbar to join his new band. Dunbar first appeared with Zappa as a guitarist on Uncle Meat, but soon assumed drum chores in the Flo and Eddie version of the Mothers, appearing on such albums as Chunga's Revenge, Fillmore East: June 1971, and 200 Motels, and playing music that gave him a chance to show off his jazzier chops. In the meantime, Dunbar also formed a blues-rock band called the Aynsley Dunbar Retaliation, which featured guitarist/vocalist John Moorshead, bassist Alex Dmochowski, and organist Victor Brox. The group released several albums from 1969-1970, including a self-titled effort, Doctor Dunbar's Prescription, and To Mum From Ansley and the Boys.



Doctor Dunbar's Prescription 

Tracklist

The Fugitive
Till' Your Lovin' Makes Me Blue
Now That I've Lost You
I Tried
Change Your Low Down Ways
Call My Woman
The Devil Drives
Low Gear Man
Tuesday's Blues
Mean Old World



Remains To Be Heard

Tracklist

Invitation To A Lady
Blood On Your Wheels
Downhearted
Whistlin' Blues
Keep Your Hands Out
Sleepy Town Sister
Fortune City
Put Some Love On You
Bloody Souvenir
Toga  


Thursday, January 21, 2021

JANUARY BLUES

 








I was listening to some of the original blues and singers from the 20's-50's  I was delighted to hear some of the tunes that many artists in the 60's and later have reworked  and kept in the limelight. I have decided to put together some comps that showcase the evolution of blues during the 60's and 70's  I also was humored just how many titles actually called the song a specific kind of blues . Now mind you not every song is truly  a blues piece but if they call it the blues I gotta believe their good intentions. Songs from the kaleidoscopic days of rock that indeed have their roots in the blues
All the tunes on this set of compilations are indeed labeled as some kind of blues.
Blues is a genre and musical form that originated in African-American communities in the "Deep South" of the United States around the end of the 19th century. The genre is a fusion of traditional African music and European folk music, spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads. The blues form, ubiquitous in jazz, rhythm and blues and rock and roll, is characterized by the call-and-response pattern and specific chord progressions, of which the twelve-bar blues is the most common. The blue notes are also an important part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect called a groove.

Blues as a genre possesses other characteristics such as lyrics, bass lines, and instruments. The lyrics of early traditional blues verses consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the so-called AAB pattern, consisting of a line sung over the four first bars, its repetition over the next four, and then a longer concluding line over the last bars. Early blues frequently took the form of a loose narrative, often relating troubles experienced within African American society.

Many blues elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa. The origins of the blues are also closely related to the religious music of the Afro-American community, the spirituals. The first appearance of the blues is often dated to after emancipation and, later, the development of juke joints. It is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century. The first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a wide variety of styles and subgenres. Blues subgenres include country blues, such as Delta and Piedmont, as well as urban blues styles such as Chicago and West Coast blues. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a hybrid form called blues rock evolved 

By the beginning of the 1960s, genres influenced by African American music such as rock and roll and soul were part of mainstream popular music. White performers had brought African-American music to new audiences, both within the U.S. and abroad. However, the blues wave that brought artists such as Muddy Waters to the foreground had stopped. Bluesmen such as Big Bill Broonzy and Willie Dixon started looking for new markets in Europe. Dick Waterman and the blues festivals he organized in Europe played a major role in propagating blues music abroad. In the UK, bands emulated U.S. blues legends, and UK blues rock-based bands had an influential role throughout the 1960s.

Blues performers such as John Lee Hooker and Muddy Waters continued to perform to enthusiastic audiences, inspiring new artists steeped in traditional blues, such as New York–born Taj Mahal. John Lee Hooker blended his blues style with rock elements and playing with younger white musicians, creating a musical style that can be heard on the 1971 album Endless Boogie. B. B. King's virtuoso guitar technique earned him the eponymous title "king of the blues".

White audiences' interest in the blues during the 1960s increased due to the Chicago-based Paul Butterfield Blues Band and the British blues movement. The style of British blues developed in the UK, when bands such as The Animals, Fleetwood Mac, John Mayall & the Bluesbreakers, The Rolling Stones, The Yardbirds, and Cream and Irish musician Rory Gallagher performed classic blues songs from the Delta or Chicago blues traditions.

The British and blues musicians of the early 1960s inspired a number of American blues rock fusion performers, including The Doors, Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, The J. Geils Band, Ry Cooder, and The Allman Brothers Band. One blues rock performer, Jimi Hendrix, was a rarity in his field at the time: a black man who played psychedelic rock. Hendrix was a skilled guitarist, and a pioneer in the innovative use of distortion and feedback in his music.Through these artists and others, blues music influenced the development of rock music.
Santana, which was originally called the Carlos Santana Blues Band, also experimented with Latin-influenced blues and blues rock music around this time. At the end of the 1950s appeared the very bluesy Tulsa Sound merging rock'n'roll, jazz and country influences. This particular music style started to be broadly popularized within the 1970s by J.J. Cale and the cover versions performed by Eric Clapton of "After Midnight" and "Cocaine".

In the early 1970s, The Texas rock-blues style emerged, which used guitars in both solo and rhythm roles. In contrast with the West Side blues, the Texas style is strongly influenced by the British rock-blues movement. Major artists of the Texas style are Johnny Winter, Stevie Ray Vaughan, Doug Sahm, and ZZ Top. These artists all began their musical journey in the 1970s, but they did not achieve major international success until the next decade.

Welcome to volume 1 of Alla' Dem Blues


01 human ball blues - mccoys
02 jimmy's blues - mill valley bunch
03 tube train blues - brunning sunflower blues band
04 pony blues - canned heat
05 stonehead blues - eric quincy tate
06 tombstone blues - bob dylan
07 grand hotel blues - kathi mcdonald
08 milk cow blues- commander cody
09 travelin' riverside blues - loose gravel
10 american money blues - 60,000,000 buffalo
11 blues for millie - shades of joy
12 willy shakespere blues - bob mosley
13 fishin' blues - lovin' spoonful
14 ecological blues - blue cheer
15 london blues - canned heat
16 shotgun blues - blues brothers band
17 shaman's blues - doors
18 invitation to the blues - doug sahm
19 smokey factory blues - steppenwolf
20 bay bridge blues aum
21 rock coast blues - country joe & the fish
22 vicksburg blues - savoy brown
23 hot jelly roll blues - hot tuna
24 Mexicali Blues - grateful dead



Tuesday, January 19, 2021

ANIMALISTIC BLUES


The Animals were an English rhythm and blues and rock band, formed in Newcastle upon Tyne in the early 1960s. The band moved to London upon finding fame in 1964. The Animals were known for their gritty, bluesy sound and deep-voiced frontman Eric Burdon, as exemplified by their signature song and transatlantic No. 1 hit single, "The House of the Rising Sun", as well as by hits such as "We Gotta Get Out of This Place", "It's My Life", "Inside Looking Out", "I'm Crying" and "Don't Let Me Be Misunderstood". The band balanced tough, rock-edged pop singles against rhythm and blues-orientated album material and were part of the British Invasion of the US

Having posted a few Stones tunes made think about these guys. The original lineup of the Animals may have been the only other band  who came close to keeping up with the Stones in the mid 60;s  They covered a lot of blues in their prime years 64 to 66  Some renditions` of classic songs here and I put in some of their later tunes when they reformed for a short time  releasing one LP


01  house of the rising sun
02  i'm crying
03  the other side of this life
04  gonna send you back to walker
05  boom boom
06  don't let me misunderstood
07  bring it on home to me
08  we gotta get out of this place
09  it's my life
10  don't bring me down
11  see see rider
12  inside looking out
13  hey gyp
14  blue feeling
15  it's all over now, baby blue
16  rock me baby
17  please send me someone to love
18  trying to get you
19  brother bill( the last clean shirt)
20  lonely avenue
21  gotta get back to you
22  that's all i am to you
23  going down slow
24  one monkey don't stop no show



 

Friday, January 15, 2021

EARLY STONES


If you don’t know the blues, there’s no point in picking up the guitar and playing rock’n’roll or any other form of popular music,” says Keith Richards. Blues pioneers such as Howlin’ Wolf, John Lee Hooker, Elmore James, Muddy Waters, Chuck Berry, Big Bill Broonzy and Robert Johnson had a huge impact on the young Rolling Stones, influencing Richards’ guitar licks and Mick Jagger’s vocals and songwriting.

The famous story of how the group got their name dates to 1962, when guitarist Brian Jones rang the Jazz News publication to place an advert for their first gig. When asked what the band’s name was, his eyes went straight to the first song on a Muddy Waters album lying on the floor: ‘Rollin’ Stone’.

During their own celebrated career, The Rolling Stones have put their own stamp on many of the iconic songs that influenced them. 

In my humble opinion there is nothing better than the Rolling Stones at the beginning of their career, Here's a set of the boys at their best.

01  confessin' the blues
02  bright lights, city lights
03  i'm a king bee
04  i just want to make love to you
05  hi-heel sneakers
06  can i get a witnes?
07  cops and robbers
08  everybody needs somebody to love
09  dowm the road apiece
10  it you need me
11  down in the bottom
12  key to the highway
13  i've been loving you too long
14  that's how strong my love is
15  cry to me
16  the spider and the fly
17  i can't be satisfied
18  hitch hike
19  little red rooster
20  3120 south michigan avenue
21  mercy mercy
22  look what you've done
23  heart of stone
24  time is on my side



 

Monday, January 11, 2021

CHICKEN FINGERS




Featuring Christine Perfect (better known as the future Christine McVie of Fleetwood Mac) the British ensemble Chicken Shack offers up a solid set of blues-influenced rock on their 1968 LP, fully titled 40 Blue Fingers Freshly Packed And Ready To Serve. This LP was a promising debut, especially noteworthy for Stan Webb's Freddie King-inspired guitar playing and Christine Perfect's vocals. Webb does justice to his mentor with two instrumentals, King's "San-Ho-Zay" and his own "Webbed Feet," and Christine proves the ideal counterpart: one of the few pianists paying homage to King's longtime collaborator Sonny Thompson. It remains their finest work; Perfect left the band in 1969 when she married John McVie of Fleetwood Mac. Pianist Paul Raymond, bassist Andy Silvester, and drummer Dave Bidwell all left in 1971 to join Savoy Brown.




Track listing

Side one

1. "The Letter" Jules Taub, B. B. King 4:25
2. "Lonesome Whistle Blues" Rudolph Toombs 3:02
3. "When the Train Comes Back" Christine Perfect 3:32
4. "San-Ho-Zay" Freddie King, Sonny Thompson 3:02
5. "King of the World" John Lee Hooker 4:59
Side two

1. "See See Baby" Freddie King, Sonny Thompson 2:22
2. "First Time I Met the Blues" Eurreal (Little Brother Montgomery) Montgomery 6:24
3. "Webbed Feet" Stan Webb 2:53
4. "You Ain't No Good" Perfect 3:35
5. "What You Did Last Night" Webb 4:36

Personnel
Chicken Shack
Stan Webb – guitar, vocals
Christine Perfect – organ, vocals, piano
Andy Silvester – bass
Dave Bidwell – drums





 

Friday, January 8, 2021

HEATED HOOKER




Hooker 'n Heat is a double album released by blues musician John Lee Hooker and blues-rock band Canned Heat in early 1971. It was the last studio album to feature harmonica player, guitarist and songwriter Alan Wilson, who died in September 1970 from a drug overdose. The photo on the album cover was taken after Wilson's death, but his picture can be seen in a frame on the wall behind John Lee Hooker. Guitarist Henry Vestine was also missing from the photo session. The person standing in front of the window, filling in for Henry, is the band's manager, Skip Taylor. Careful examination of the photo reveals that Henry's face was later added by the art department. Although featured on the cover, vocalist Bob Hite does not sing on the album.

It was the first of Hooker's albums to chart, reaching number 78 in the Billboard charts. Hooker plays unaccompanied on side one and "Alimonia Blues"; on the remainder of side two and "The World Today" and "I Got My Eyes on You" Hooker is accompanied by Wilson on various instruments. The full band plays with Hooker on the rest of side three and all of side four.

Track listing

All songs written by John Lee Hooker except as noted.

Side one

1. "Messin' with the Hook" 3:23

2. "The Feelin' Is Gone" 4:32

3. "Send Me Your Pillow" 4:48

4. "Sittin' Here Thinkin'" 4:07

5. "Meet Me in the Bottom" 3:34

Side two

1. "Alimonia Blues" 4:31

2. "Drifter" Charles Brown, Johnny Moore, Eddie Williams 4:57

3. "You Talk Too Much" 3:16

4. "Burning Hell" John Lee Hooker, Bernard Besman 5:28

5. "Bottle Up and Go" Tommy McClennan 2:27

Side three

1. "The World Today" 7:47

2. "I Got My Eyes on You" 4:26

3. "Whiskey and Wimmen" 4:37

4. "Just You and Me" 7:42


Side four

1. "Let's Make It" 4:06

2. "Peavine" 5:07

3. "Boogie Chillen' No. 2" John Lee Hooker, Bernard Besman 11:33



Personnel

John Lee Hooker - vocals, guitars

Alan Wilson - harmonica; piano on "Bottle Up and Go" and "The World Today"; rhythm guitar on       "I Got My Eyes on You" and "Peavine"

Henry Vestine - electric guitar on "Whiskey and Wimmen," "Just You and Me," "Let's Make It," and "Boogie Chillen' No. 2"

Antonio de la Barreda - bass

Adolfo de la Parra - drums

Bob Hite - producer

 

                                                         ***

Thursday, January 7, 2021

STEEL YARD BLUES





Steelyard Blues is a 1973 comedy crime film starring Donald Sutherland, Jane Fonda and Peter Boyle.

                                      Tagline: If you can't beat 'em ... drive 'em crazy!

Because Fonda, Sutherland and Boyle were active in anti-war activities when this movie was made, it seems that Steelyard Blues was not given a wide release or much publicity. Nevertheless, it is memorable for its portrayal of oddball characters, and found a warm reception among college students and non-conformists. With its anti-establishment message and hip soundtrack by musicians Mike Bloomfield, Paul Butterfield, Nick Gravenites, Maria Muldaur and others, it is an iconic seventies film.

A tremendous soundtrack album to director Alan Myerson's film Steelyard Blues, which starred Jane Fonda, Donald Sutherland, and Peter Boyle, this collection feels like a side project collaboration between the Electric Flag and Paul Butterfield Blues Band with added performances by Maria Muldaur and Merl Saunders. The majority of the material is written and performed by the great Nick Gravenites and Mike Bloomfield, the 14 songs really standing up on their own as a work not dependent on the film and not feeling like they are mere chess pieces to supplement a Hollywood flick. Gravenites does a masterful job of producing, with "Common Ground" resembling a great lost Electric Flag song -- Annie Sampson trading off on the vocals with Gravenites as Janis Joplin did with him on In Concert. Muldaur co-wrote "Georgia Blues" with Bloomfield and Gravenites, while they gave Muldaur and Saunders the opportunity to contribute a tune by including their "Do I Care." "My Bag (The Oysters)" adds some pop/doo wop to the affair, a nice twist, and it borders on parody. Gravenites is always able to juggle his serious side with a tongue-in-cheek wink, and this interesting and enjoyable effort deserved much wider play. 


                                                                           ***

Tuesday, January 5, 2021

COULD THESE GUYS BE THE ANSWER?



A plague doctor was a physician who treated victims of the bubonic plague. In times of epidemics, these physicians were specifically hired by towns where the plague had taken hold. Since the city was paying them a salary, they treated everyone, wealthy or poor.

However, some plague doctors were known to charge patients and their families additional fees for special treatments or false cures. Typically, they were not experienced physicians or surgeons at all; rather, they were often either second-rate doctors unable to otherwise run a successful medical practice or young physicians seeking to establish themselves in the industry. They rarely cured their patients
rather provided a count of he sick for 
demographic purposes


Plague doctors by their covenant treated plague patients and were known as municipal or "community plague doctors", whereas "general practitioners" were separate doctors and both might be in the same European city or town at the same time. In France and the Netherlands, plague doctors often lacked medical training and were referred to as "empirics". In one case, a plague doctor had been a fruit salesman before his employment as a physician

In the 17th, 18th, and 19th centuries, some doctors wore a beak-like mask that was filled with aromatic items. The masks were designed to protect them from putrid air, which (according to the now-obsolete miasmatic theory of disease) was seen as the cause of infection. The design of these clothes has been attributed to Charles de Lorme, the chief physician to Louis XIII.


The first European epidemic of the bubonic plague dates back to the mid 6th century and is called the Plague of Justinian. The largest plague epidemic was the Black Death in Europe in the 14th century. The large losses of people in a town created an economic disaster, so community plague doctors were considered quite valuable and were given special privileges; for example, plague doctors were freely allowed to perform autopsies to research a cure for the plague.

In some cases, plague doctors were so valuable that when Barcelona dispatched two to Tortosa in 1650, outlaws captured them en route and demanded a ransom. Barcelona paid for their release.[5] The city of Orvieto hired Matteo fu Angelo in 1348 for four times the normal rate of a doctor of 50-florin per year. Pope Clement VI hired several extra plague doctors during the Black Death plague to tend to the sick people of Avignon. Of 18 doctors in Venice, only one was left by 1348: five had died of the plague, and 12 were missing and may have fled.



A beaked Venetian carnival mask with the inscription Medico della Peste ("Plague doctor") beneath the right eye 

Some plague doctors wore a special costume. The garments were invented by Charles de L'Orme in 1630 and were first used in Naples, but later spread to be used throughout Europe. The protective suit consisted of a light, waxed fabric overcoat, a mask with glass eye openings and a beak shaped nose, typically stuffed with herbs, straw, and spices. Plague doctors would also commonly carry a cane to examine and direct patients without the need to make direct contact with them.


The scented materials included juniper berry, ambergris, roses (Rosa), mint (Mentha spicata L.) leaves, camphor, cloves, labdanum, myrrh, and storax. Per the then-widely accepted miasma theory of disease, it was believed this suit would sufficiently protect the doctor from miasma while tending to patients.Public servants

Their principal task, besides taking care of people with the plague, was to compile public records of the deaths due to the plague

In certain European cities like Florence and Perugia, plague doctors were requested to do autopsies to help determine the cause of death and how the plague played a role.Plague doctors became witnesses to numerous wills during times of plague epidemics. Plague doctors also gave advice to their patients about their conduct before death. This advice varied depending on the patient, and after the Middle Ages, the nature of the relationship between doctor and patient was governed by an increasingly complex ethical code.Methods

Plague doctors practiced bloodletting and other remedies such as putting frogs or leeches on the buboes to "rebalance the humors" as a normal routine.[20] Plague doctors could not generally interact with the general public because of the nature of their business and the possibility of spreading the disease; they could also be subject to quarantine.









 

Monday, January 4, 2021

BLUES HISTORY V3 & V4


Disc: 3
1.  That's Chicago's South Side - Sam Theard
2.  Peetie Wheatstraw - Pete Wheatstraw
3.  Devil's Island Gin Blues - Roosevelt Sykes
4.  sail On Little Girl sail On - Amos easton
5.  Black Gal What Makes Your Head So Hard? - Joe Pullum
6.  I Lost My Baby - Lil Johnson
7.  Keep Your Hands Off Her - Big Bill Broonzy
8.  When the Sun Goes Down - Leroy Carr
9.  Selling My Pork Chops - Minnie McCoy
10. Every Day I Have the Blues - Pine Top
11. Sweet Sixteen - Walter Davis
12. Honky Tonk Train Blues - Meade Lux Lewis
13. Trouble in Mind - Richard M. Jones
14. He Roars Like a Lion - Merline Johnson
15. Prowling Night Hawk - Robert Lee McCoy
16. Good Morning School Girl - Sonny Boy Williamson
17. You Got to Fix It - Speckled Red
18. Bucket's Got a Hole in It - Washboard Sam
19. Bottle It Up and Go - Tommy McClennan
20. Key To the Highway - Jazz Gillum
21. Don't You Lie to Me - Tampa Red
22. What Is That She Got - Johnny Temple
23. Going Down Slow - St. Louis Jimmy
24. Hobo Blues - Yank Rachel
25. He's a Jelly Roll Baker - Lonnie Johnson






Disc 4

1.  Pearl Harbor Blues - Doctor Clayton
2.  My Buddy Blues - The Five Breezes
3.  Worried Life Blues - Big Maceo
4.  I'd Rather Drink Muddy Water - The Cats & A Fiddle
5.  Grinder Man Blues - Memphis Slim
6.  Walkin' the Boogie - Pete Johnson & Albert Ammons
7.  Why Don't You Do Right - Lil Green
8.  Little Boy Blue - Robert Lockwood
9.  Angels in Harlem - Doctor Clayton
10. Illinois Blues - Sunnyland Slim
11. Chicago Is Just That Way - Eddie Boyd
12. That's All Right - Arthur "Big Boy" Crudup
13. Get the Mop - Henry "Red" Allen
14. Look On Yonder Wall - Jazz Gillum
15. Anytime is the Right Time - Roosevelt Sykes Trio
16. When Things Go Wrong With You - Tampa Red
17. Dust My Broom - Arthur "Big Boy" Crudup
18. Soap and Water Blues - Washboard Sam
19. Rockin' with Red - Piano Red
20. Little Angel - Tampa Red Sweet
21. My Baby Left Me - Arthur "Big Boy" Crudup
22. How Blue Can You Get {Downhearted} - Johnny Moore's Three Blazers
23. Right String But the Wrong Yo-Yo - Piano Red
24. Ride and Rol - Sonny Terry
25. Get Rich Quick - Little Richard 










 

BLUES HISTORY V2



Disc: 2
1.  Telephoning the Blues - Victoria Spivey
2.  Viola Lee Blues - Gus Cannon's Jug Stompers
3.  Haven't Got a Dollar to Pay Your House Rent Man - Genevieve Davis
4.  Saturday Blues - Ishman Bracey
5 . When I Woke Up This Morning She Was Gone - Jim Jackson
6.  Canned Heat Blues - Tommy Johnson
7.  Statesboro Blues - Blind Willie McTell
8.  Stealin' Stealin' - Memphis Jug Band
9.  Judge Harsh Blues - Furry Lewis
10. Rent Man Blues - Edna Winston
11. I Don't Care What You Say - Harris & Harris
12. I Hate A Man Like You - Lizzie Miles
13. 'Tain't Nobody's Business If I Do - Pt. 1 - Frank Stokes
14. I'm a Mighty Tight Woman - Sippie Wallace
15. Blue Yodel #9 - Jimmie Rodgers
16. The Girl I Love She Got Long Curly Hair - Sleepy John Estes
17. Don't Want No Woman - McCoy & Johnson
18. Cocaine Habit Blues - Memphis Jug Band
19. Married Woman Blue - Blind Willie Reynolds
20. Red Nightgown Blues - Jimmie Davis
21. Hardworking Woman - Mississippi Matilda
22. Doubled Up in a Knot - Bo Carter
23. If You Want Me Baby - Daddy Stovepipe & Mississippi Sarah
24. The First Time I Met the Blues - Little Brother Montgomery
25. Sales Tax - The Mississippi Sheiks