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Baker, LaVerne - See See Rider
(Atlantic SD-8071 US-62 EX 800:-)

LaVern Baker was one of the sexiest divas gracing the mid-'50s rock & roll circuit, boasting a brashly seductive vocal delivery tailor-made for belting the catchy novelties for Atlantic Records during rock's first wave of prominence.

SEE SEE RIDER was LaVern Baker's last official album for Atlantic Records. There was a little something for everyone on the album, starting with the raunchy "You Better Stop," highlighted by Sam "The Man" Taylor and Dave McRae's tenor saxes, plus a hint of blues guitar opening the whole song -- very much period "big band" R&B-cum-rock & roll.

Original US pressing; both Sleeve and Vinyl are graded EX.
Carter, Cal - Twist Along
(Vee Jay VJLP-1041 US-62 EX 500:-)

Calvin Carter was an American record producer & songwriter, born in Indiana, on May 27, 1925. Together with his sister Vivian and her husband James Bracken they founded Vee Jay Records in 1953.
Diddley / Walter / Waters - Super Blues
(Chess CRL 4529 UK-68 VG+ 375:-)

Complete with psychedelic cover art, this relic from the Summer of Love is an enduring delight.

The bold notion to team blues masters Muddy Waters and Little Walter with rocking rhythm-and-blues king Bo Diddley works wonders throughout, achieving a creative chemistry and energy rarely seen in jam bands of this sort. The vocal and instrumental interplay on every track is intensely competitive in the tradition of jook house "headcutting" contests, with each performer spurring the next on to evermore impressive heights, while soaring through a repertoire of favorites. With the powerhouse headliners backed by the likes of Otis Spann on piano and Buddy Guy on guitar, this period piece remains a fun and refreshing gem.

Original UK pressing; the sleeve is graded EX - the vinyl is graded VG+.
Dupree, Champion Jack - Natural and Soulful Blues
(Atlantic 8045 US-61 EX 400:-)

Champion Jack Dupree had a very long and successful carreer making many albums for many labels. His zenith may have come in the late fifties and sixties when he was signed to the Atlantic label. This album finds Jack's strolling piano and booming voice backed by bass and drums. He sings a touching tribute to his friend in "Death of Big Bill Broonzy" and does a very nice version of the standard "How Long Blues".
Gardner & Dee Dee Ford, Don - Quintet in Sweden
(Sonet SLP-39 Swe-65 EX 450:-)

The popular Philly duo Don Gardner and Dee Dee Ford recorded this album with their quintet in Sweden. Although they were known primarily as a vocal duo, Dee Dee also played the organ and piano, and their musicianship and vocal talents shine on this R&B classic.

Original Swedish pressing; both sleeve and vinyl are graded Excellent!
Harris, Peppermint - Folk Blues, vol 5
(Time N90P-1388 US-62 EX 800:-)

By the time he was in his early twenties, Harrison Nelson, Jr. was lucky enough to have found a mentor and friend on the Houston blues front: Lightnin' Hopkins took an interest in the young man's musical development. After "I Got Loaded" lit up the charts in 1951, Harris indulged in one booze ode after another: "Have Another Drink and Talk to Me," "Right Back on It," "Three Sheets in the Wind."
Hogg, Smokey - Folk Blues, vol 6
(Time 6 US-62 wos EX 500:-)

Smokey Hogg was a rural bluesman navigating a postwar era infatuated by R&B, but he got along quite nicely nonetheless, scoring a pair of major R&B hits in 1948 and 1950 and cutting a thick catalog for a slew of labels. During the early '30s, Hogg, who was influenced by Big Bill Broonzy and Peetie Wheatstraw, worked with slide guitarist Black Ace at dances around Greenville, TX. Both his chart hits -- 1948's "Long Tall Mama" and 1950's "Little School Girl" -- were issued on Modern, but his rough-hewn sound seldom changed a whole lot no matter what L.A. logo he was appearing on. Hogg's last few sides were cut in 1958 for Lee Rupe's Ebb label.
Hogg, Smokey - Sings the Blues
(Ember EMB-3405 UK-71 EX 300:-)

Smokey Hogg was a rural bluesman navigating a postwar era infatuated by R&B, but he got along quite nicely nonetheless, scoring a pair of major R&B hits in 1948 and 1950 and cutting a thick catalog for a slew of labels. During the early '30s, Hogg, who was influenced by Big Bill Broonzy and Peetie Wheatstraw, worked with slide guitarist Black Ace at dances around Greenville, TX. Both his chart hits -- 1948's "Long Tall Mama" and 1950's "Little School Girl" -- were issued on Modern, but his rough-hewn sound seldom changed a whole lot no matter what L.A. logo he was appearing on. Hogg's last few sides were cut in 1958 for Lee Rupe's Ebb label.
Hopkins, Lightin' - Blues of Lightnin' Hopkins
(Storyville SLP-174 UK-72 NM 500:-)

Sam Hopkins was a Texas country bluesman of the highest caliber whose career began in the 1920s and stretched all the way into the 1980s. Along the way, Hopkins watched the genre change remarkably, but he never appreciably altered his mournful Lone Star sound, which translated onto both acoustic and electric guitar. Hopkins' nimble dexterity made intricate boogie riffs seem easy, and his fascinating penchant for improvising lyrics to fit whatever situation might arise made him a beloved blues troubadour.
Hopkins, Lightin' - Down South Summit Meeting
(World Pacific WP-1296 US-60 VG+ 300:-)

From an historical stand point this recording session is important because it marks the first time that Sonny Terry and Brownie McGhee entered a studio with Hopkins. It was recorded mostly at The Ash Grove, in LA, late one evening, as Hopkins, Big Joe Williams, Terry, & McGhee sat down and played. Many of the songs have been released on one of the artists albums, while others were not. The cuts are raw and wonderful with trade offs between the artists.'
Hopkins, Lightnin' - Down South Summit Meeting
(World Pacific ST-1296 US-60 VG+ 300:-)

From an historical stand point this recording session is important because it marks the first time that Sonny Terry and Brownie McGhee entered a studio with Hopkins. It was recorded mostly at The Ash Grove, in LA, late one evening, as Hopkins, Big Joe Williams, Terry, & McGhee sat down and played. Many of the songs have been released on one of the artists albums, while others were not. The cuts are raw and wonderful with trade offs between the artists.
Hunter, Ivory Joe - This is Ivory Joe Hunter
(Dot DLP-3569 US-64 VG+ 300:-)

Bespectacled and velvet-smooth in the vocal department, pianist Ivory Joe Hunter (his real name) scored 21 R&B hits and 4 pop hits between 1945 and 1959. His greatest success was as a smooth balladeer, but he was very versatile, transcending the barriers between blues, pop, jazz, rock n roll and - unusual for an Afro-American - country music.

Original US pressing; the sleeve shows minor wear - the vinyl is graded EX.
Jefferson, Blind Lemon - Classic Folk Blues
(Riverside RLP-12-125 US-57 VG 500:-)

Country blues guitarist and vocalist Blind Lemon Jefferson is indisputably one of the main figures in country blues. He was of the highest in many regards, being one of the founders of Texas blues (along with Texas Alexander), one of the most influential country bluesmen of all time, one of the most popular bluesmen of the 1920s, and the first truly commercially successful male blues performer.
Johnson, Ella - Swing Me
(Mercury MG-20347 US-56 VG+ 400:-)

Ella Johnson made her mark as the vocalist with Buddy Johnson's big band during the '40s and '50s, and it is in that context she really shines. Although many of Ella's hits are uptempo, it is on ballads and torchy blues that she really brings it together. At her best, Ella sounds like a pouty, vulnerable, and very sexy young girl. Like so much of her life, it was no affectation. The comparison to Billie Holiday is inevitable, but Ella was her own singer.
Johnson, Robert - Complete Recordings
(Columbia C3-46222 US-90 VG+ 700:-)

Robert Johnson remains a potent force to be reckoned with. As a singer, a composer, and as a guitarist of considerable skills, he produced some of the genre's best music and the ultimate blues legend to deal with. Doomed, haunted, driven by demons, a tormented genius dead at an early age, all of these add up to making him a character of mythology who -- if he hadn't actually existed -- would have to be created by some biographer's overactive romantic imagination.

Original US 41-track 3LP box containing every master and alternative take recorded by Robert Johnson, complete with a 48 pg booklet.
Jordan, Louis - Somebody Up There Digs Me
(Mercury MG-20242 US-57 VG+ 600:-)

Effervescent saxophonist Louis Jordan was one of the chief architects and prime progenitors of the R&B idiom. His pioneering use of jumping shuffle rhythms in a small combo context was copied far and wide during the 1940s. Black audiences coast-to-coast were breathlessly jitterbugging to Jordan's jumping jive (and one suspects, more than a few whites kicked up their heels to those same platters as well).
Lenoir, J.B. - Crusade
(Polydor 2482-014 UK-70 VG+ 375:-)

Newcomers to his considerable legacy could be forgiven for questioning J B Lenoir's gender upon first hearing his rocking waxings. His exceptionally high-pitched vocal range is a fooler, but it only adds to the singular appeal of his music. His guitar playing is full of subtlety, deceptively simple and effective. Like Jimmy Reed his playing was both percussive and hypnotic. Even the move to acoustic guitar didn't remove his edge. This album combines songs from his last recording session with comments by his wife, Ella Louise.
Price, Lloyd - This is my Band
(Double L SDL-8301 US-63 EX/EX 300:-)

Not entirely content with being a 1950s R&B star on the strength of his immortal New Orleans classic "Lawdy Miss Clawdy," singer Lloyd Price yearned for massive pop acceptance. He found it, too, with a storming rock & roll reading of the ancient blues "Stagger Lee" and the unabashedly pop-slanted "Personality" and "I'm Gonna Get Married" (the latter pair sounding far removed indeed from his Crescent City beginnings).
Ross, Isaiah - Call the Doctor
(Bounty BY-6020 UK-66 EX 500:-)

Doctor Ross (1925–1993) was an American Blues singer, guitarist, harmonica player and drummer — a one-man band — who was born Charles Isaiah Ross, in Tunica, Mississippi. Ross played various forms of the blues that have seen him compared to John Lee Hooker and Sonny Boy Williamson I, and is perhaps best known for the recordings he made for Sun Records in the 1950s, notably "The Boogie Disease" and "Chicago Breakdown".
Rush, Otis - This One's a Good 'Un
(Blue Horizon 7-63222 Hol-7? VG+ 375:-)

Otis Rush is a left-handed guitarist who became one of the most highly regarded urban blues players of the 1950s & '60s.

This compilation features unissued alternate take of his 1950's Cobra sessions.
Shepherd, Kenny Wayne - 10 Days Out
(Reprise 49294-1 US-07 EX 400:-)

More than a mere live album, this collection of impromptu performances, recorded at both established venues and in kitchens and on front porches throughout the American South, captures a rapidly vanishing generation of bluesmen and women singing and playing with the blues musician Kenny Wayne Shepherd and his Double Trouble rhythm section.

Featuring well-known artists such as B.B. King and Clarence "Gatemouth" Brown, as well as lesser-known performers such as Wild Child Butler and Cootie Stark, this is both a tribute to and a record of the musicians who influenced Shepherd, and a chance to observe the art form that laid the foundations for much of modern music.

Original US pressing; complete with insert.
Shines, Johnny - Country Blues
(Xtra 1142 UK-74 EX 350:-)

Best known as a traveling companion of Robert Johnson, Johnny Shines' own contributions to the blues have often been unfairly shortchanged, simply because Johnson's own legend casts such a long shadow. In his early days, Shines was one of the top slide guitarists in Delta blues, with his own distinctive, energized style; one that may have echoed Johnson's spirit and influence, but was never a mere imitation. Shines eventually made his way north to Chicago, and made the transition to electrified urban blues with ease, helped in part by his robust, impassioned vocals.
Sunnyland Slim - Slim's Shout
(Bluesville BVLP 1016 US-61 EX 800:-)

One of the finest piano players and vocalists of post-war Chicago blues, Mississippi native, Albert Luandrew first came to prominence playing on the Chicago scene with the likes of Sonny Boy Williamson, Howlin' Wolf, Little Walter and Muddy Waters.

1961's SLIM'S SHOUT finds this giant of the Windy City in far-off New Jersey, at a classic recording session for the Bluesville label. Here, Slim - backed by the legendary King Curtis lays down favorites like 'The Devil Is A Busy Man,' 'It's You Baby,' and the driving 'Shake It'.

Original US pressing; both sleeve and vinyl are graded Excellent!
v/a - On the Road again
(Xtra 1133 UK-72 EX 700:-)

A Rare collection of Chicago Blues from 1947-1954; featuring Floyd Jones, Delta Joe, Little Walter, Johnny Shines, John Brim a.o.
Waters, Muddy - Warsaw Session
(PolJazz 2-SX-0634/5 Poland 1982 EX 400:-)

Recorded live at the Congress Hall during the "Jazz Jamboree Festival" on October 22, 1976. This is the 1982 re-issue in two separate sleeves with insert.
Witherspoon, Jimmy - At the Monterey Jazz Festival
(HiFiJazz J-421 US-59 EX 400:-)

Arguably one of the greatest albums ever cut by Jimmy Witherspoon -- recorded live at an early Monterey Jazz Festival, and done in a style that shows the strong link between jazz and blues in Jimmy's work! The group on the set includes Ben Webster, Roy Eldridge, Coleman Hawkins, and Woody Herman -- and the longish tracks on the set give them all more than enough room to solo alongside Jimmy's bluesy vocals. The album's also one of the first to be produced by a young David Axelrod -- and shows a clear respect for both the singer and the musicians, in a combination that would come out even more strongly on Axe's later productions for Capitol. Titles include "No Rollin Blues", "Big Fine Girl", "Good Rockin Tonight", "Ain't Nobody's Business", and "When I Been Drinkin".
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