1 	Georgia Grind 	4:52
2 	Leave My Man Alone 	3:43
3 	Loan Me Your Husband 	4:12
4 	Scat Skunk 	3:49
5 	Now You're Down In The Alley 	3:39
6 	Here's A Little Girl From Jacksonville 	4:24
7 	Nix On Those Lush Heads 	3:42
8 	Bow Legged Daddy 	2:55
9 	Trombone Man Blues 	3:28
10 	A Little Bird Told Me 	2:20
11 	Handy Andy 	4:27
12 	Don't You Feel My Leg 	3:59

Bass – Roland Guerin
Drums, Percussion – Herlin Riley
Guitar – Christopher Adkins 
Piano – Dave Torkanowsky
Saxophone, Clarinet – Roderick Paulin (tracks: 2, 3, 5 to 8, 10 to 12), Tom Fischer (tracks: 1, 4, 5, 9, 12)
Trombone – Charlie Halloran (tracks: 1, 4, 5, 9, 12), Rick Trolsen (tracks: 2, 3, 5 to 8, 10 to 12)
Trumpet – Duke Heitger (tracks: 1, 4, 5, 9, 12), Kevin Louis (tracks: 2, 3, 5 to 8, 10 to 12)
Vocals - Maria Muldaur

The album is a tribute to popular vocalist and songwriter Blue Lu Barker, who made her mark in the late 30s and early 40s, and whom Billie Holiday once cited as her biggest influence. Featuring a stellar band of NOLA musicians including New Orleans A-listers David Torkanowsky on piano (Neville Brothers, Irma Thomas, Solomon Burke), Roland Guerin on bass (Allen Toussaint, Steve Earle, Chris Thomas King), and Herlin Riley on drums (Dr. John, Wynton Marsalis, Cassandra Wilson), among others, DON'T YOU FEEL MY LEG brings Muldaur full circle from the 1973 album sessions that spawned Muldaur's million-selling hit, "Midnight At The Oasis," and which also featured a sassy take of Barker's "Don't You Feel My Leg," a cult favorite that remains Muldaur's most requested song to this day at her performances.

"Because of my friendship with Blue Lu and Danny, and my longtime association with that song, I was invited to New Orleans in 2016 to put on a concert paying tribute to Blue Lu in New Orleans. I started doing some in-depth research of all their past recordings, and to my surprise and delight I discovered that they had written and recorded dozens of songs equally naughty, bawdy, witty, and clever as 'Don't You Feel My Leg'. Besides the wonderfully funny, suggestive lyrics, I was really struck and quite charmed by Blue Lu's delivery of these tunes... droll, sly, full of sass and attitude, yet understated...a bit girlish and coy. Her cool nonchalance and crisp ladylike diction in contrast to the naughty, risqué lyrics made them smolder with innuendo all the more. These were songs by hipsters, for hipsters," says Muldaur.

Muldaur adds, "as we sit here in 2018, you might well ask why a vintage gal like me feels it is important to present these vintage tunes at this point in time. Well for one thing, in an era when so many aspects of sexuality are dealt with and discussed with such deadly seriousness, I find the lighthearted playful expressions of sexuality in these songs a pleasant and welcome respite from the fraught discourse prevailing today...and for another...these are all basically hip, fun happy songs, and I think we could all use a big dose of HAPPY right about now." ---broadwayworld.com

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1. Diplomat 
2. Shake Hands and Tell Me Goodbye 
3. Shout You Cats 
4. Ghost of St Louis Blues 
5. Let It Simmer 
6. Sweet Lovin' Ol' Soul 
7. Medley: Life's Too Short/When Elephants Roost in Bamboo Trees 
8. Garden of Joy 
9. He Calls That Religion 
10. I Ain't Gonna Marry 
11. Bank Failure Blues 
12. Panic Is On

Musicians:
Maria Muldaur - vocals 
Taj Mahal - banjo, guitar
John Sebastian - baritone guitar, six string banjo, guitar, harmonica
David Grisman - mandolin, mandola, 'retro' banjo
Fritz Richmond -  jug (6) 
Kit Stovepipe - national guitar, jug, washboard
Alex Anagnostopoulos - banjo (4), harmony vocals 
Suzy Thompson - fiddle
Danny Caron - guitar 
Ruth Davies - bass 
Tim Eschelman - bass
Bowen Brown - drums, percussion 
Pete Devine - percussion

Maria's returning to her roots and not a moment too soon. Before well-deserved Midnight at the Oasis fame, she was a member of the Even Dozen Jug Band, which also numbered John Sebastian and David Grisman...and if I have to explain who they are, you just might be at the wrong site. That estimable group was happy competition to Jim Kweskin and his juggers, so you know we're not talking about just any Haight-Ashbury street buskers here. For Good Time Music, she's rejoined by John and David and another name or two you might have heard about: Dan Hicks and Taj Mahal.

Over half the cuts are traditionals arranged by Maria, two are penned by Hicks, one's a Kweskin melody, and the remaining are standards. To add to the era's ambiance, Neil Osborne kicked in a Robert Crumb-esque trio of cartoons (with just a hint of Jim Grashow)...and Crumb's a huge fan of roots music, a musician in his own Cheap Suit Serenaders ensemble, so the stylistic cop was appropriate in more ways than one. 15 musicians in total appear on Good Time Music, and the sound is as full as a N'awleans street band highsteppin' and swingin' in a swozzled hot afternoon's shade tree gig.

The songs are often relaxed and cool (Let It Simmer etc.) but get swingin' and jug-funky (The Diplomat) as well as mid-tempo'ed pickin' 'n grinnin' with an easy and confident air. Muldaur's in fine fettle, as ever, a natural whether she's tackling blues, gospel, or jug. The central backing unit is an up and coming band, the Crow Quill Night Owls, which boasts a cat who goes by the stage name of 'Kit Stovepipe' and who the chanteuse calls "the best ragtime player she's ever heard". Quite a compliment, but the band more than backs it up with the goods. And do I need to tell ya this is another great Stony Plain release? Probably not. I'm betting you guessed it about halfway in. --- acousticmusic.com

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01. I'm a Woman
02. Midnight at the Oasis 
03. My Tennessee Mountain Home 
04. Work Song 
05. Rockin' Chair 
06. It Ain't the Meat (It's the Motion) 
07. Don't You Make Me High (Don't You Feel My Leg) 
08. Three Dollar Bill 
09. Cajun Moon 
10. Louisiana Love Call 
11. Best of Me 
12. It Feels Like Rain 
13. Me and My Chauffeur Blues (with Roy Rogers) 
14. Gee Baby, Ain't I Good to You (with Charles Brown) 
15. Get Up, Get Ready 
16. Somebody Was Watching Over Me (with Bonnie Raitt) 
17. Well, Well, Well 
18. Soul of a Man (with Taj Mahal) 
19. It's a Blessing (with Bonnie Raitt)

It would be easy for different sets of fans to remember Maria Muldaur from different places and times. For folk fans, she started out as Maria D'Amato, a singer who belted out "I'm a Woman" and other saucy favorites for the Jim Kweskin Jug Band in the mid-'60s. For pop fans, Muldaur was the singer of the risqué "Midnight at the Oasis," a big hit in 1973. But the two singers can be put together by two words: saucy and risqué. This isn't to suggest that Muldaur couldn't sing pretty love songs like "Louisiana Love Call" or folksy country songs like "My Tennessee Mountain Home" -- only that she made her rep singing about giving "you the shivering fits" in "I'm a Woman" and slipping off to a sand dune in "Oasis." Taking a cursory glance at the 19 selections on 30 Years of Maria Muldaur does little to disavow that rep. There are lively versions of "It Ain't the Meat (It's the Motion)," "Don't You Make Me High (Don't You Feel My Leg)," and "Me and My Chauffeur Blues." It would be a shame, though, if listeners allowed all of this sex appeal to obscure what a fine singer Muldaur is, or to shadow how well she handles the blues and old jazz. There's a lovely version of "Rockin' Chair," on which she's backed by saxophonist Benny Carter, and a nice, bluesy take on "It Feels Like Rain." While 30 Years leans toward Muldaur's work from the early '70s onward, all of her fans will enjoy a retrospective of a long, productive career. ---Ronnie D. Lankford, Jr., allmusic.com

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1. Massachusetts - Andy Razaf & Lucky Roberts 
2. Rio De Janeiro Blue - Richard Torrance & John Haeny 
3. You've Changed - Carl Fischer & Bill Carey 
4. Blizzard Of Lies - David & Samantha Frishberg		play 
5. Lazy Afternoon - John Latouche & Jerome Moross 
6. Wheelers And Dealers - David Frishberg 
7. How Can You Face Me - Andy Razaf & Thomas Waller 
8. Transblucency - Duke Ellington & Lawrence Brown		play 
9. Looking Back - Benton & Hendricks 
10. Where - Weston & Hendricks 

Musicians:
Maria Muldaur - Vocals 
Michael Moore - Bass 
Dennis Irwin - Bass, Track 6: Ray Drummond - Bass, Track 9  
Kenny Barron - Piano 
Ben Riley - Drums 
Angel Allende - Latin Percussion
Gerry Cappuccio - Tenor & Baritone Sax 
Frank Wess - Flute, Alto & Tenor Sax
Jerry Dodgion - Flute, Clarinet, Alto Sax 
Don Sickler - Trumpet, Flugelhorn

This set sticks out wonderfully in Maria’s crazy quilt catalog. Straight ahead mature classy jazz songs and arrangements. The album was commissioned by a doctor from north jersey and the master tapes probably lost to the ages. My fondness is for Translucency is elevated by the memory of seeing it performed at The Bottom Line in Greenwich Village with the full band. Seated next to us was Maria’s mom and her friends — focused more on their food than the performance! Rio de Janeiro Blue was a radio hit. ---SanFranTexasNewJersey, rateyourmusic.com

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01 – I’ll Be Glad
02 – Why Are People Like That
03 – Soulful Dress								play
04 – Blues Go Walking							play
05 – I Done Made It Up in My Mind
06 – Walk by Faith
07 – As an Eagle Stirreth in Her Nest
08 – Rain Down Tears
09 – Get You Next to Me
10 – Steady Love
11 – Don’t Ever Let Nobody Drag Your Spirit Down
12 – Please Send Me Someone to Love
13 – I Am Not Alone

Maria Muldaur 	(Adaptation, Arranger, Producer)
Shane Theriot (guitar); 
Chris Burns (Hammond B3, Piano);
David Torkanowsky (keyboards); 
Cranston Clements, Shane Theriot (Guitar);
Johnny Allen, Paul Olguin (bass);
Kenny Blevins, Dave Tucker (drums); 
Ian Smith (Trumpet);
Yolanda "Peb" Windsay, Jolinda Kiki Phillips, Shannon Powell, Jenni Muldaur (background vocals).

The sounds of New Orleans have always been in Maria Muldaur's blood and catalog. Dr. John appeared on her first solo album back in 1974 and she arguably hit a career high point on her first full-fledged love letter to the city, 1992's Louisiana Love Call. She returns to the Crescent City for this 2011 release, employing veteran New Orleans keyboardist Dave Torkanowsky as musical director and "facilitator" and returning to the swampy "Bluesiana music" sound that includes heavy doses of gospel and blues along with touches of jazz, soul, and funk. This is a major shift from her past two acoustic jug band releases and plays to her sultry strengths as a vocalist who can convincingly sing any style of music she feels passionate about. Muldaur revisits a few tracks she has previously recorded (an earlier version of "As an Eagle Stirreth in Her Nest" was included on 1976's Sweet Harmony) but with a band that features guitarist Shane Theriot and Subdudes bassist Johnny Allen, they and the rest of the handpicked material boil with fresh enthusiasm.

The hourlong, 13-track disc finds the singer interpreting some signature songs from the history of New Orleans and other gems such as Sugar Pie DeSanto's frisky Chess nugget "Soulful Dress" and a slow, stunning version of Percy Mayfield's "Send Me Someone to Love," the latter being the only song here not cut in New Orleans. Muldaur's voice has grown huskier over the years, all the better to dig into the gospel tunes that ground this set. Female backing singers including her daughter Jenni on harmonies help bring the religion on "I Done Made It Up in My Mind." The closing "I Am Not Alone" features its writer, Rick Vito, on slide guitar and strips down the sound, allowing Muldaur to hum and croon her spiritual convictions atop a snakelike churchy groove. She's just as convincing on a jumpy cover of Elvin Bishop's "I'll Be Glad" and the funk of Bobby Charles' classic "Why Are People Like That?," leaving room for the musicians to do their thing without hogging the spotlight. It's that indescribable vibe, perhaps aided by recording in New Orleans, that provides this album with its continuity and consistency. Add a batch of terrific tunes from somewhat unexpected sources (Austin's Stephen Bruton and two from Greg Brown) and a sympathetic mix from another area veteran in John Porter, and the result is a late-career stunner for an Americana singer who has never disappointed her fans despite, or perhaps because of, her diverse musical palette. That eclecticism works best within a context, though, which makes this return to New Orleans another high-water mark in Muldaur's impressive career. --- Hal Horowitz, allmusic.com

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1. Home Of The Blues		4:21
2. Fanning The Flames		5:30		play
3. Trust In My Love			4:11
4. Somebody Was Watching Over Me	5:06
5. Heaven On Earth			5:15
6. Stand By Me			4:35
7. Talk Real Slow			4:20
8. Stop Runnin' From Your Own Shadow	4:31
9. Can't Pin Yo' Spin On Me		4:05
10. Brotherly Love			6:19
11. Well, Well, Well			4:55
12. Strange And Foreign Land	3:26	      play

Maria Muldaur, Johnny Adams, Bonnie Raitt, Mavis Staples (vocals)
Sonny Landreth (slide & steel guitars)
Cranston Clements (guitar)
Huey Lewis (harmonica)
Dave Torkanowsky (piano, Wurlitzer piano, Hammond B-3 organ, Fender Rhodes)
Hutch Hutchinson (bass)
Steve Potts (drums)
Bill Summers (congas, tambourine, cabasa, shaker, bongo)
Benita Arterberry, Lady Bianca, Lucy Anna Burnett, Don Bryant, Jon Cleary, Charlene Howard,
 Jennie Muldaur, Tracy Nelson, Charles Neville, Ann Peeples,
 Alisa Yarbrough (background vocals).

For those who only know of Muldaur through her 1974 hit "Midnight at the Oasis," please scratch that from memory. This lady can flat out sing! Although the CD insert art suggests a "pops orchestra" recording, don't let it mislead you; Muldaur belts out gritty blues and gospel and soulful R&B as very few can. She appropriately terms this musical gumbo "bluesiana." A crack band was assembled featuring longtime Muldaur guitarist Cranston Clements, Dave Torkanowsky on keyboards, and Hutch Hutchinson on bass. Guest singer Johnny Adams joins Muldaur on "Trust in Me," but the two really hit stride as they swap vocal licks on the boogie number "Heaven on Earth." Muldaur and gospel singer Mavis Staples spend themselves emotionally on the mournful duet "Well, Well, Well," accompanied by Clements and guest Sonny Landreth on slide and National steel guitars; rarely has a Bob Dylan song sounded as sweet and alive. ---Dave Sleger

Maria Muldaur may be best known for her 1974 mega-hit “Midnight at the Oasis” and the follow-up, the iconic anthem “I’m A Woman.” But, her pop success aside, her 47 year career is best described as a long and rambling odyssey through various forms of American roots music. In her teen years she was part of the folk revival of the early sixties, and she grew up exploring and singing early blues, bluegrass, Appalachian old-timey music. Maria began her recording career in 1963 with the Even Dozen Jug Band, and shortly afterwards joined the popular Jim Kweskin Jug Band, recording five albums with them and touring the United States and Canada from coast to coast.

Her first self-titled major label solo album, Maria Muldaur, contained the unique and unusual chart topper, “Midnight at the Oasis,” garnered her several Grammy nominations and enshrined her forever in the hearts of baby boomers everywhere. And in the 35 years since then, Maria has recorded 35 solo albums covering all genres of music, from blues to jazz to big band to gospel — and several acclaimed children’s albums. Since the early 90’s she has comfortably settled into her favorite idiom, the blues. ---amazon.com

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01. Buckets Of Rain
02. Lay Baby Lay (Lay Lady Lay)
03. To Be Alone With You
04. Heart Of Mine                 play
05. Make You Feel My Love
06. Moonlight
07. You're Gonna Make Me Lonesome When You Go
08. Golden Loom
09. On A Night Like This          play
11. Wedding Song
12. You Ain't Goin' Nowhere

Maria Muldaur (vocals, fiddle); 
Maria Muldaur; Danny Caron, Amos Garrett (guitar); 
Chris Haugen (slide guitar); 
Joel Jaffe (lap steel guitar, E-bow, shaker, tambourine); 
Richard Greene & Beryl Marriott (violin); 
Suzy Thompson (fiddle, accordion); 
James "Hutch" Hutchinson (bass guitar); 
Kimberly Bass (background vocals); 
Cranston Clements (guitar, acoustic guitar); 
David Torkanowsky (keyboards); 
Tony Braunagel (drums, percussion).

Maria Muldaur has been taken by Bob Dylan's music from the very start. They were on the coffeehouse circuit in New York in the early '60s, and she's had occasion to sing his praises from the stage and in Martin Scorsese's film No Direction Home. And while other artists from Joan Baez to Judy Collins have cut entire albums of Dylan's tunes, none of them feels quite like this one. Muldaur, a fine blues and jazz singer, has taken the songs form Dylan's romantic canon and has fashioned them in her own image without losing their original bite, wonder, and humor. Accompanied by her road band and a slew of guests that include Amos Garrett, Danny Caron, and Suzy Thompson, she has created a dreamy, languid, memorable song cycle. On first listen, it was a bit off-putting with all the license she took with the material, but on second and repeated listens, it settled in like an old friend on the couch telling stories. Beginning with a slippery, country-tinged bluesy "Buckets of Rain," and moving into a jazz groove on "Lay Lady Lay," (a weak tune by Dylan even if it was a hit) in which she changes the lyrics along gender lines and transforms the tune, perhaps offering a definitive version. The blues return on "To Be Alone with You," and she delivers a wrenching version of "Heart of Mine." The other stellar cuts here are the poignant "Wedding Song," the jaunty Caribbean-flavored "On a Night Like This," the sultry "Make You Feel My Love," and a funky jazz version of "You're Gonna Make Me Lonesome When You Go," which sounds like it could have been produced by Allen Toussaint as does "I'll Be Your Baby Tonight." --–Thom Jurek, allmusic.com

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01.Fever                            play
02.I Don't Know Enough About You    
03.Moments Like This   
04.Winter Weather    
05.Some Cats Know    
06.Everything Is Moving Too Fast   
07.Waitin' For The Train To Come In    
08.The Freedom Train    
09.Black Coffee    
10.A Woman Alone With The Blues     play   
11.For Every Man There's A Woman    
12.I'm Gonna Go Fishin'

Maria Muldaur - vocals
David Torkanowsky - piano
Jim Rothermel - alto & tenor saxophones, clarinet, flute
Danny Caron - guitar
Neal Caine - bass
Kevin Porter - trombone, bass trombone
Jeff Lewis - trumpet
Artur Latin II - drums
Gerry Grosz – vibraphone

The always eclectic Maria Muldaur, whose previous albums have paid tribute to Shirley Temple and blues women of the '20s, takes another musical detour in this collection of songs associated with Peggy Lee. In addition to her cool, sexy, relaxed voice, Lee was arguably more talented than other vocalists from her era. As a songwriter she co-penned some of her own material, including the swinging "I'm Gonna Go Fishin'" with Duke Ellington, which features the witty double entendres that spice several other songs. Muldaur possesses a similar ability to purr ("Some Cats Know") or sizzle (an opening tour de force of "Fever" and "Black Coffee") without breaking a sweat. So this collection of 12 tracks, backed by a talented yet restrained eight-piece band, is a natural extension of her vocal strengths. The stylish, retro arrangements include vibes and big-band-styled horn charts that sound as authentic as if they were recorded in the '30s. Even though there are some finger-popping swing numbers (a zippy duet with Dan Hicks on Ted Shapiro's "Winter Weather" is especially peppy), a late-night, languid blues-jazz vibe dominates. The title track, a sexy "Some Cats Know," "Moments Like These," and "I Don't Know Enough About You" exude a gauzy, smoky sheen perfect for Muldaur's sensual delivery. Sticking to less popular fare, producer Randy Labbe forgoes such Lee favorites as "Big Spender," "Is That All There Is?," and "I'm a Woman" (which Muldaur had already successfully covered on 1974's Waitress in a Donut Shop) to concentrate on more obscure, often loungy material. Classy, sophisticated, supple, and subtle, Maria Muldaur's tribute to Peggy Lee is a triumph for the singer and a heartfelt homage to her subject. Both artists' legacies should benefit from this impeccably conceived project. --Hal Horowitz, AllMusic Review

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1. Richland Woman Blues - 4:32
2. Grasshoppers In My Pillow - 3:24
3. It's A Blessing - 3:48
4. Me And My Chauffeur Blues - 3:15
5. Put It Right Here - 3:19
6. I'm Goin' Back Home - 2:58
7. My Man Blues - 4:05
8. In My Girlish Days - 2:19
9. Far Away Blues - 2:57
10. I Got To Move - 4:52
11. Lonesome Desert Blues - 3:04
12. Soul Of A Man - 2:51
13. I Belong To That Band - 4:18
14. It's A Blessing (Reprise) - 0:45

Maria Muldaur - vocals
and
Amos Garrett - 12-string guitar (2)
Angela Strehli - vocals (6,7)
David Wilkie - mandocello (2)
Ernie Hawkins - guitar (13)
Alvin Youngblood Hart - vocals, guitar (10)
Taj Mahal - vocals, guitar (12)
Bonnie Raitt - vocals, slide guitar (3)
Roy Rogers - guitar, slide guitar (4,8)
John Sebastian - guitar (1)
Dave Matthews - piano (5,7,11)
Tracy Nelson - vocals (9)

Best known for that ditty about camels, Maria Muldaur has since established herself as one of the finest folk/country/jazz/blues/gospel interpreters ever to have a Top Five single. After 26 years and 24 solo albums, Muldaur -- inspired by a trip to Memphis' Beale Street -- digs deep into her roots and pays tribute to the classic blues women of the '20s and '30s. Aided by the similarly inclined Bonnie Raitt, Taj Mahal, and Alvin "Youngblood" Hart, Muldaur breezes through 14 tunes from icons Bessie Smith and Memphis Minnie, as well as obscurities from the Reverend Gary Davis, Mississippi John Hurt, and Blind Willie Johnson. Keeping the unplugged accompaniment stripped way down to a single guitar or piano and occasional bass, Muldaur has room to maneuver her evocative vocals that shift from gritty groans to a high-pitched edgy trill. Far from a dry history lesson, these songs are performed with the strength and tenacity of the women who originally sang them. Whether spinning saucy, double entendre lyrics in "Me and My Chauffeur Blues" ("the way you ride so easy, I can't turn you down") or longing for her Southern home after moving north during the Depression in Bessie Smith's "Far Away Blues," the singer remains invigorated and inspired throughout. By returning to her late-'60s Jim Kweskin Jug Band coffeehouse days, Maria Muldaur has discovered her middle-aged oasis with Richland Woman Blues. And there's not a camel in sight. ---Hal Horowitz, AllMusic Review

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