A1 	–Binghampton Blues Boys 	Cross Cut Saw 	
A2 	–Joe Mayfield 	I'm A Natural Born Man 	
A3 	–Model T. Slim 	Shake Your Boogie 	
A4 	–Sweets Reed 	Bad Shape Blues 	
A5 	–Jo Jo Williams 	All Pretty Wimmens 	
A6 	–Kid Thomas 	Rockin' This Joint Tonite 	
A7 	–Danny Boy 	Kokomo Me Baby 	
B1 	–Jimmy Slim 	Hey Y'All 	
B2 	–B. Brown 	My Baby Left Me 	
B3 	–Leroy Washington 	Everyday 	
B4 	–Good Jelly Bess 	A Little Piece At A Time 	
B5 	–J.L. Smith 	I Hate To See You Go 	
B6 	–Little Red Walters 	Pickin' Cotton 	
B7 	–Memphis Willie B. 	This I Gotta See

This album was released on the label Python Records (catalog number PWBC-1)

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A1 	–Jesse Thomas	 	Texas Blues 	
A2 	–Jesse Thomas	 	Gonna Write You A Letter 	
A3 	–Alex Moore 	Neglected Woman 	
A4 	–Alex Moore 	If I Lose You Woman 	
A5 	–Manny Nichols 	Walkin' Talkin' Blues 	
A6 	–Manny Nichols 	Tall Skinny Mama Blues 	
A7 	–Soldier Boy Houston 	Western Rider Blues 	
A8 	–Soldier Boy Houston 	Hug Me Baby 	
B1 	–Buddy Chiles 	Mistreated Blues 	
B2 	–Buddy Chiles 	Jet Black Woman 	
B3 	–Andy Thomas 	Baby Quit Me Blues 	
B4 	–Andy Thomas  	Angel Child 	
B5 	–Country Jim 	Old River Blues 	
B6 	–Country Jim 	I'll Take You Back 	
B7 	–Nat Terry 	Take It Easy 	
B8 	–Nat Terry 	I Don't Know Why

Jesse "Babyface" Thomas (February 3, 1911 – August 15, 1995) was an American Texas blues guitarist and singer. Known at different times as "Baby Face" or "Mule", and occasionally billed as "The Blues Troubadour", his career performing blues music extended eight decades. Born in Logansport, Louisiana, United States, Thomas is best known for the song "Blue Goose Blues", which he recorded for Victor in 1929. He recorded and performed throughout the 1940s and 1950s, based in the Los Angeles area. He recorded for Specialty Records in 1953. His career spanned over 60 years – in 1994 he appeared at the Long Beach Blues Festival. The Texas bluesman, Ramblin' Thomas, was his brother, and fellow Louisiana blues guitar player, Lafayette Thomas, was his nephew.

Whistlin' Alex Moore (1899 - 1989), blues pianist. Moore had one of the longest recording careers in blues history with his unique sound made by combining barrelhouse piano boogie with various other styles, such as blues, and ragtime. In the 1920s he acquired the nickname "Whistlin' Alex" for a piercing whistle he made with his lips curled back while playing the piano. He recorded six tracks for the Columbia Company in 1929. Although he made other recordings over the next three decades he had little interest in the commercial aspect, thus continuing his day job. He was almost forgotton but was rediscovered during the 1960s throughout the United States and Western Europe. He toured with the American Folk Blues Festival in England, performing with Earl Hooker and Magic Sam. He was awarded a National Heritage Fellowship from the National Endowment for the Arts, becoming the first African-American Texan to receive this honor. In 1988, Moore released his last recording "Wiggle Tail," a song that was recorded live. He was born Alexander Herman Moore.

Manny Nichols was a Texas country blues artist who like many of his peers, didn't leave behind a plentiful recording legacy. He started off cutting four sides for the tiny FBC label in Houston. Two of those sides were unissued but later appeared on a U.K. LP compilation. He later moved to the Imperial label recording four more songs. Issued on two 78 RPM records, all of those have appeared on reissue compilations by Imperial and Arhoolie. Some discographers claim that he later recorded under the name "West Texas Slim" while others have argued that the moniker belonged to Ernest "Buddy" Lewis. We'll probably never know for sure.

Lawyer Daniel Houston ('Soldier Boy') was born in Marshall, Texas in 1917. He was inducted into the army in 1941 and served until 1946. He re-enlisted two months later and served until 1961. His songs “In The Army Since 1941” and “Lawton, Oklahoma Blues” are loosely autobiographical accounts of his time in the Philippines and Fort Sill near Lawton. As writer Neal Slavin notes: “Apart from their unusually informative lyrics, Houston's songs are notable for the springy rhythms with which he accompanies himself. In essence, his style is close to that of Lil' Son Jackson…". Two further songs,'Out In Califonia Blues' and 'Going To The West Coast', were prophetic; in the former, Houston announces his intention of going to Los Angeles' Central Avenue to stay at the Hotel Dunbar, after which 'I'm going out to Hollywood and become a movie star'. The move took place but the Army intervened. They needed him in Korea, where war broke out on June 25, 1950. At his second and Iast recording session, “Far East Blues” and “Leavin' Korea” indicate a familiarity with Korea and Japan which in this artist's case is virtual proof of his presence there." Circa 1953/1954 Houston cut eight sides for the Hollywood label in Los Angeles with the sessions purchased by King Records. He died of pulmonary disease on December 3, 1999.

Country Jim, b. Jim Bledsoe, c.1925, near Shreveport, Louisiana, USA. A somewhat obscure character, Bledsoe made several records in Shreveport, in 1949-50. As the pseudonym suggests, his music was down-home country blues, accompanied only by his guitar, a string bass, and occasional drums. His first record was issued on the local Pacemaker label, under the name Hot Rod Happy, but the later ones appeared on Imperial and had wider distribution. A year or so later, he completed a couple of long sessions for the Specialty company, but nothing was issued at the time, although a few sides appeared on albums in the 70s.

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A1 	–Dan Pickett 	Ride To A Funeral In A V8 	
A2 	–Dan Pickett 	Early One Morning 	
A3 	–John Lee 	Babys Blues 	
A4 	–John Lee 	Down At The Depot 	
A5 	–John Lee 	Alabama Boogie 	
A6 	–Doug Quattlebaum 	Don't Be Funny Baby 	
A7 	–Skoodle Dum Doo & Shefield 	Gas Ration Blues 	
A8 	–Skoodle Dum Doo & Shefield 	Tampa Blues 	
B1 	–Leroy Dallas 	I'm Down Now But I Won't Be Down Always 	
B2 	–Leroy Dallas 	Your Sweet Mans Blues 	
B3 	–Country Paul 	Mother Dear Mother 	
B4 	–Blues King 	Me And My Baby 	
B5 	–Blues King 	Good Boy 	
B6 	–Curley Weaver 	My Babys Gone 	
B7 	–Julius King 	If You See My Lover 	
B8 	–Julius King 	I Want A Slice Of Your Puddin'

Reissuers have unearthed little information about Dan Pickett: He may have come from Alabama, he played a nice slide guitar in a Southeastern blues style, and he did one recording session for the Philadelphia-based Gotham label in 1949. That session produced five singles, all of which have now been compiled along with four previously unreleased sides on a reissue album that purports to contain Pickett's entire recorded output -- unless, of course, as some reviewers have speculated, Dan Pickett happens also to be Charlie Pickett, the Tennessee guitarist who recorded for Decca in 1937. As Tony Russell observed in Juke Blues, both Picketts recorded blues about lemon-squeezing, and Dan uses the name Charlie twice in the lyrics to "Decoration Day." 'Tis from such mystery and speculation that the minds of blues collectors do dissolve. ---Jim O’Neil, Rovi

John Arthur Lee was an Alabama bluesman who recorded five sides ("Baby Blues," "Baby Please Don't Go," "Down at the Depot," "Alabama Boogie," "Blind's Blues") for Federal Records in July 1951 in Montgomery, AL. He also recorded an album for Rounder Records in the 1970s (which went unissued on CD). Lee was born May 24, 1915, in Lowdnes County, AL. He learned his distinctive knife slide guitar style from his uncle, Ellie Lee, and spent the 1930s playing jukes and house parties before settling in Montgomery in 1945. Federal's Ralph Bass auditioned him there, and impressed with what he heard, recorded the five sides in 1951. --- Steve Leggett, Rovi

Doug Quattlebaum b. 22 January 1927, Florence, South Carolina, USA. It was after moving to Philadelphia in the early 40s that Quattlebaum took up the guitar seriously, and toured with a number of gospel groups, claiming to have recorded with the Bells Of Joy in Texas. In 1952, he recorded solo as a blues singer for local label Gotham. By 1961, he was accompanying the Ward Singers but, when discovered by a researcher, was playing blues and popular tunes through the PA of his ice-cream van, hence the title of his album. Softee Man Blues showed him to be a forceful singer, influenced as a guitarist by Blind Boy Fuller, and with an eclectic repertoire largely derived from records. Quattlebaum made some appearances on the folk circuit, but soon returned to Philadelphia, where he recorded a single in the late 60s. He is thought to have entered the ministry soon afterwards. ---Rovi

Skoodle Dum Doo & Sheffield recorded four titles around 1943, probably in Newark, New Jersey: "Tampa Blues", Gas Ration Blues", "Broome Street Blues" and "West Kinney Blues". For all of their titles except for "Broome Street Blues", which featured them both playing guitar, the duo played harmonica and guitar. --- weeniecampbell.com

Leroy Dallas b. 12 December 1920, Mobile, Alabama, USA. Dallas travelled the south in the 30s and 40s, teaming up for some time with Frank Edwards, and sang in the Chicago streets for a while before settling in New York from 1943. His 1949 recordings for Sittin’ In With are in a small group format with Brownie McGhee (with whom Dallas had played guitar and washboard in the 30s) and Big Chief Ellis; they bear little sign of urbanization (indeed his springy guitar rhythms positively countrify ‘Jump Little Children, Jump’, usually a preserve of blues shouters). By 1962, he had ceased to play professionally, but was still a capable guitarist and a convincing singer. His subsequent whereabouts is unknown. ---Rovi

The blues guitarist, best known as Carolina Slim, was born in Leasburg, NC, on August 22, 1923. His real name is Edward P. Harris. He never performed or recorded under that name though, using a number of nicknames instead, including Country Paul, Georgia Pine, Jammin' Jim, and Lazy Slim Jim. Though much about his life is unknown, not even the reason for working under different names, it is said that Harris learned to play the guitar from his father. Blues artists like Lightnin' Hopkins and Blind Boy Fuller influenced the style of music Harris played. ---Charlotte Dillon, Rovi

Curley Weaver was one of Atlanta’s most beloved bluesmen and, for decades, Blind Willie McTell’s close friend. He was an exceptionally skilled guitar soloist, with a slide and without, and recorded many records on his own and as a sideman to Blind Willie McTell, Fred McMullen, Buddy Moss, Ruth Willis, and others. He was also an essential part of two of the best string bands of prewar blues, the Georgia Cotton Pickers and Georgia Browns. ---jasobrecht.com

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1 	–Harvey Hill & His String Band 	She Fool Me 	
2 	–L.C. Green 	When The Sun Is Shining 	
3 	–L.C. Green 	Hold Me In Your Arms 	
4 	–Henry Smith & His Blue Flames 	Lonesome Blues 	
5 	–Henry Smith & His Blue Flames 	Good Rockin' Mama 	
6 	–Sylvester Cotton & His Guitar 	Sak-Relation Blues 	
7 	–Sylvester Cotton & His Guitar 	Ugly Woman 
8	–Sylvester Cotton & His Guitar 	Ugly Woman 
9 	–Slim Pickens 	Papa's Boogie 	
10 	–Baby Boy Warren 	Lonesome Cabin Blues 	
11 	–Baby Boy Warren 	Don't Want No Skinny Woman 	
12 	–Baby Boy Warren 	Forgive Me Darling 	
13 	–Baby Boy Warren 	Please Don't Think I'm Nosey 	
14 	–Bobo Jenkins 	Bad Luck And Trouble 	
15 	–Andrew Durham & His Guitar 	Sweet Lucy 	
16 	–Andrew Durham & His Guitar 	Hattie Mae

L.C. Green b. 23 October 1921, Minter City, Mississippi, USA, d. 24 August 1985, Pontiac, Michigan, USA. Vocally and for his repertoire, L.C. Greene, whose records were issued without the final ‘e’ to his name, was indebted to John Lee ‘Sonny Boy’ Williamson. His amplified guitar playing is clearly Mississippi Delta-derived, but probably owes something to the popularity of fellow Detroit blues singer John Lee Hooker. Greene recorded in the early 50s (often with his cousin Walter Mitchell on harmonica) for Joe Von Battle’s shoestring operation, which leased a few sides to Dot Records, but he never matched the fortunes of Hooker, whom he equalled in guitar talent and power, although not in songwriting ability.

This British country and western singer/songwriter was only five years old when he started playing drums in his father's band. Showing even more initiative than drummer Jimmy Carl Black of "when do we get paid?" fame, Henry Smith the toddler supposedly was asking his old man for his salary even before his gig was over. This quite direct interest in commerce continued as Smith began his solo recording career, his 2005 debut album titled in the form of an address to the individuals who potentially could do the most good for him, Hello DJ. Smith, moving to both guitar and piano as well as singing, leads his own group named Country Dreams. He followed up his first CD with a live set that demonstrates, at least symbolically, his success motivating crowds to dance to his music. Besides blending plenty of line dance material into the set, Smith himself is known for dancing with audience members while still performing with his trusty "head mike," kind of like Garth Brooks in a pub with fish and chips on his breath. His own songwriting contributions have so far been limited to a single track per CD, including the title cut on Hello DJ and the selfless "Your Love." Smith fills his set lists with hardcore country from writers such as Merle Haggard as well as covers of contemporary hits, agreeing with the drinkers' notion that "It's Five O'Clock Somewhere."

Sylvester Cotton b. USA. Nothing is known about Cotton except what can be gleaned from 18 tracks that he recorded in Detroit in 1948-49 for Bernie Besman’s Pan American Record Company. Only three of these were issued at the time (although all have now appeared on album), and one of those was credited to John Lee Hooker when leased to Modern Records. The other two appeared, properly credited, on a Sensation label 78 rpm release. All of Cotton’s recordings featured solo guitar and vocal country blues and were very basic and primitive for the period. It is apparent that he extemporized some songs in the studio, most notably the personal lyrics of ‘I Tried’.

Slim Pickens b. Clyde Wilson, 14 July 1910, USA, d. 15 July 1990, USA. From 1933 onwards Wilson performed often on radio, mainly in the Indiana, Missouri and Nebraska, on show such as Ozark Jubilee. He led his Prairie Playboys, sang solo and in various groups. A frequent collaborator was singer, Floyd ‘Goo-goo’ Rutledge with whom Wilson performed in duo as Whistler And Flash. There were also Slim And Shorty, the Tall Timber Trio, the Buster Fellows and the Goodwill Family. The bulk of Wilson’s recordings were radio transcriptions, which he continued to make into the 50s. Among instrumentalists backing Wilson were musicians such as Tommy Jackson, Grady Martin and Bud Isaacs. Wilson’s repertoire included songs such as ‘I’m Movin’ On’, ‘The Atchison, Topeka And Santa Fe’, ‘She’s The Lily Of Hillbilly Valley’, ‘I’ll Dance At Your Wedding’, ‘I’ll Be There (If You Ever Want Me)’, ‘Wedding Dolls (From Your Wedding Cake)’, ‘To Each His Own’, ‘The Great Speckled Bird’, ‘Man Of Galilee’, ‘Down The Trail’, ‘When It’s Prayer Meetin’ Time In The Hollow’, ‘Silver Threads Among The Gold’, ‘Red River Valley’, ‘Oh! Susanna’, ‘The Yellow Rose Of Texas’, ‘Good-Bye, Maggie’, ‘We Sat Beneath The Maple On The Hill’, ‘The Cowboy’s Dream’, ‘Down In The Valley’, ‘When The Bloom Is On The Sage’, ‘Barbara Allen’, ‘The Lonesome Road’ and ‘Froggie Went A’Courtin’’.

The denizens of Detroit's postwar blues scene never really received their due (except for John Lee Hooker, of course). Robert "Baby Boy" Warren compiled a sterling discography from 1949 to 1954 for a variety of Motor City firms without ever managing to transcend his local status along Hastings Street.

After honing his blues guitar approach in Memphis (where he was raised), Warren came to Detroit in 1942 to work for General Motors and gig on the side. The fruits of his first recording session in 1949 with pianist Charley Mills supporting him came out on several different logos: Prize, Staff, Gotham, even King's Federal subsidiary. A second date in 1950 that found him backed by pianist Boogie Woogie Red was split between Staff and Sampson; Swing Time snagged "I Got Lucky"/"Let's Renew Our Love" and pressed it for West Coast consumption.

One of his most memorable sessions took place in 1954, when wizened harpist Sonny Boy Williamson came to Detroit and backed Warren on "Sanafee" and "Chuc-A-Luck," which found their way to Nashville's Excello label. Joe Von Battle's JVB imprint unleashed Warren's "Hello Stranger" and "Baby Boy Blues" from the same date. That same year, a single for powerful Chicago deejay Al Benson's Blue Lake Records coupled "Mattie Mae" and "Santa Fe." The 1970s brought Baby Boy Warren a taste of European touring, though nothing substantial, before he passed away in 1977.

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A1 	–Jimmy & Walter 	Easy 	
A2 	–Joe Hill Louis 	Dorothy Mae 	
A3 	–Joe Hill Louis 	When I Am Gone 	
A4 	–Willie Love And His Three Aces 	Nelson Street Blues 	
A5 	–Willie Love And His Three Aces 	V-8 Ford 	
A6 	–Levi Seabury And His Band 	Motherless Child Blues 	
A7 	–Charley Booker 	Moonrise Blues 	
A8 	–Charley Booker 	Charley's Boogie Woogie 	
B1 	–Harmonica Frank 	She's Done Moved 	
B2 	–Junior Brooks 	Lone Town Blues 	
B3 	–Drifting Slim 	My Little Machine 	
B4 	–Drifting Slim 	Down South Blues 	
B5 	–Luther Huff 	Dirty Disposition 	
B6 	–Luther Huff 	1951 Blues 	
B7 	–Boyd Gilmore 	Take A Little Walk With Me 	
B8 	–Boyd Gilmore 	All In My Dreams

Jimmy & Walter - Jimmy DeBerry & Walter Horton

Jimmy DeBerry. American blues guitarist, banjoist and singer.

Walter Horton. American blues harmonica player usually billed as Big Walter Horton or Walter "Shakey" Horton. He learnt to play in the thirties in Memphis, started recording in 1939 with Little Buddy Doyle. In 1953 he also played with Muddy Waters.

Joe Hill Louis. American blues musician, born 23 September 1921 in Raines, Tennessee, USA, 5 August 1957 in Memphis, Tennessee, USA. This bluesman recorded quantity in Memphis as one-man band,and developed a primitive yet powerful style on the harmonica.

Charley Booker was a blues singer and guitarist from the Mississippi Delta. In 1952 Booker was approached by Ike Turner to record for Modern Records. The recording session was set up by Joe Bihari of Modern Records at the Club Casablanca on Nelson Street, in Greenville, on January 23, 1952. Booker was backed by Houston Boines on harmonica, Turner on piano and Jesse "Cleanhead" Love on drums. The same band also backed several songs by Boines. Despite the piano being "horribly out of tune" and problems with local law enforcement, the session resulted in two singles released under Booker's name, one on Modern Records and the other on the associated Blues & Rhythm label, as well as releases by Boines.

Harmonica Frank. Started to work as a comedian and musician on the carnival and medicine show circuits as a teenager. Hoboing for some 30 years. Worked for several Radio stations in in the thirties and fourties, and cut a few sides for Chess Records in 1951. Recorded proto-rockabilly "Rockin' Chair Daddy" for Sam Phillips' Sun Record Company in 1954, as the first white musician at these studio.

Junior Brooks (nicknamed "Crippled Red") was a blues singer from Pine Bluff, AR. He worked the local club scene with his fellow musicians Baby Face Turner, Elmon "Driftin' Slim" Mickle, and Sunny Blair. The Bihari brothers that owned the Modern/RPM record labels held two sessions in Little Rock in 1951 and '52 to record some of the local talent. Brooks made four recordings at the 1951 sessions. He died shortly afterwards from unknown causes, not living to see his second final 78 RPM record released.

Driftin' Slim was an African-American blues singer, guitarist and harmonica player. Born Elmon Mickle in Keo, Arkansas, he not only recorded as Driftin' Slim, but also as Model 'T' Slim and under his real name. His recordings were released on the - amongst others - Modern, RPM, Blue Horizon, Styletone, Milestone, Kent, and Flyright record labels.

Luther Huff learned guitar from older brother Willie and cousin Donnee Howard and, like them, played at fish fries and country picnics. One picnic, held at a plantation in Belzoni, lasted 13 days. Luther bought a mandolin in 1936 and taught himself to play. He was drafted into the army in 1942 and saw service in England, France and Belgium. While still in Belgium Luther recorded two acetates, both now lost. In 1947, he moved to Detroit and started what would be a large family of 12 children.

Boyd Gilmore. A guitarist, although seemingly not recorded as such, and an exuberant singer, Gilmore recorded for Modern in 1952 with Ike Turner on piano and James Scott Jnr. on guitar; Scott was an early victim of recording technology when an introduction and guitar break by Elmore James were spliced into ‘Rambling On My Mind’. The following year, Gilmore recorded for Sun Records, backed by Earl Hooker’s band, but the results were not issued until later. Gilmore performed in delta juke joints for a while, also playing in St. Louis and Pine Bluff, Arkansas, before settling in California for the remainder of his life.

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A1 	–Johnny Shines 	Brutal Hearted Woman 	
A2 	–Johnny Shines 	Evening Sun 	
A3 	–Willie Nix 	Just Can't Stay 	
A4 	–Willie Nix 	All By Yourself 	
A5 	–Little Willie Foster 	Falling Rain Blues 	
A6 	–Little Willie Foster 	Four Day Jump 	
A7 	–J.B. Hutto & The Hawks 	Pet Cream Man 	
A8 	–J.B. Hutto & The Hawks 	Lovin' You 	
B1 	–Othum Brown 	Ora-Nelle Blues 	
B2 	–Little Walter 	I Just Keep Loving Her 	
B3 	–Johnny Williams 	  Worried Man Blues 	
B4 	–Johnny Young     Money Taking Woman 	
B5 	–John Lee Hooker 	Knocking On Lula Mae's Door 	
B6 	–John Lee Hooker 	Rythm Rockin' Boogie 	
B7 	–Junior Wells 	Hodo Man 	
B8 	–Junior Wells 	Junior's Wail

In 1945, the war was over, and a new world was dawning. The old-guard bluesmen were still names to respect, but there were fresh faces in town. Chicago had changed. The rural South was emptying into it again, and a new blues was being born.

Bluesman Muddy Waters and many others used to meet on Maxwell Street on Sundays, to play for the shoppers in the open air market. This is how many bluesmen new to Chicago started out. Many of the first recordings of the new blues were released on the label of a Maxwell Street store. Musicians like Moody and Floyd Jones, Johnny Young, Snooky Pryor and Sunnyland Slim played rough and ready blues which expressed the shock of life in the Windy City.

The workshops of Chicago Blues in the 40's and 50's were the clubs of the South and West Side ghettos: Theresa's, Sylvio's, Pepper's Lounge, The 708, Smitty's Corner, Gatewood's Tavern, the Du Drop Inn. At the Zanzibar, female patrons sat entranced as the snake-eyed Muddy Waters sang 'I wanna show all you good looking women just how to treat your man'. The classic Chicago line up of guitars, harmonica, piano, bass and drums was developed over years of tireless clubbing. Many private piano teachers sought clubbing gigs to take advantage of the popularity of the clubbing scene. And the perfected model of the rollercoasting blues band was demonstrated on the records of Muddy Waters, Howlin' Wolf and their peers, mostly for the Chess label.

The glory years were the early fifties, the era of Muddy's Hoochie-Coochie Man, Wolf's Smokestack Lightnin' and Jimmy Reed's Ain't That Lovin' You, Baby - great songs and nationwide hits. Yet musical change was accelerating all the time, and by mid-decade the tight ensemble of Muddy's band was being nudged aside by a radical new format, the subtler rhythms and more open textures of the bands led by young guitarists like Buddy Guy, Freddie King and Otis Rush - The West Side sound. Harmonicas gave way to saxophones, upright bass to electric, and guitar was coming into prominence as the autocratic leading voice.

There was more to the West Side sound than musical innovation. It's intensity came from frustration and anger. "Hey, Hey, they say you can make it if you try", sang Rush in his brilliant song Double Trouble, but added bitterly, "Some of this generation is millionaires - it's hard for me to keep decent clothes to wear."

It's no coincidence that the West Siders were all guitarists. Amplified to the point of distortion, pushed to the limits of it's potential, the guitar expressed more keenly than any other instrument the anguish and isolation of the black blues singer in white America. It was the music of a people who had gained little or nothing from the post-war prosperity.

But at the same time it had a wealth of it's own, ideas from new directions, it's pulse and the freedom it gave it's soloists was inspired partly by contemporary jazz. Rush listened to jazz guitarists Wes Montgomery and Kenny Burrell and organist Jimmy Smith. But the outstanding model for the West Siders and their Sixties successors Luther Allison and Jimmy Dawkins, was B.B. King. The intense, dramatic, highly strung vocal, interspersed with the guitar was a logical progression from King's fifties work such as Three O'Clock Blues or Please Love Me.

In the years to come, it would be King, far more than Muddy or Wolf or anyone in the Chicago Blues establishment, who would influence the style of the city's young musicians. --- archives.waiting-forthe-sun.net

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A1 	–One String Sam 	My Baby Oooo 	
A2 	–One String Sam 	I Need A 100 Dollars
B1 	–Black Diamond	Lonesome Blues 	
B2 	–Goldrush	All My Money Is Gone 	

A side tracks are recorded in Detroit, MI 1958.
B side tracks are recorded in Oakland, CA 1949. 

Hobo, tramp, and bum are all terms for a person who’s homeless and without a steady job. While most folks use these words interchangeably, there is a slight difference between the three—especially to those who live this lifestyle. To be precise, a hobo is someone who travels from place to place looking for work, a tramp is someone who travels but avoids work whenever possible, and a bum doesn’t care to work or travel. --- knowledgenuts.com

Not much is known about One String Sam, an eccentric street musician who walked into Joe's Record Shop on Hastings Street in Detroit in 1956 and recorded two odd and unforgettable tracks, "I Need a Hundred Dollars" and "My Baby Ooo," on a fretless, one- string instrument that was essentially a diddley bow, consisting of a wood plank with a piano wire stretched between two nails, augmented with an electric guitar pickup. Sam, whose real name was Sam Wilson, fretted the instrument with a baby food jar and, placing the jar near the vocal microphone when he sang, created his own echo chamber. The result was an eerie, spooky, and riveting version of country blues. Sam played on the streets in Detroit for a few years, but eventually vanished. He was relocated in nearby Inkster in 1973 and added to the roster of the Ann Arbor Blues & Jazz Festival that year, where he performed "I Need a Hundred Dollars" and "I Got to Go" before vanishing once again into blues history. His entire recorded output consists of the two sides recorded in 1956, plus the two tracks recorded at the 1973 festival in Ann Arbor. The Hastings Street tracks (which were originally released on JVB Records) can be found on Document's Rural Blues, Vol. 1, while the festival tracks are on Motor City Blues, released in 1998 by Total Energy Records. --- Steve Leggett, Rovi

Goldrush - american blues pianist and vocalist. Real name unknown. Date and location of birth unknown. Date and location of death unknown.

Black Diamond – guitarist from Texas. Real name apparently James Butler. Date and location of birth unknown. Date and location of death unknown.

Jaxyson – obscure (and primarily gospel) label operating in Oakland between 1948 and 1950. Its only blues artists were Goldrush and Black Diamond.

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A1 	–Baby Face Turner 	Blue Serenade 	
A2 	–Baby Face Turner 	Gonna Let You Go 	
A3 	–Charley Booker 	Rabbit Blues 	
A4 	–Clarence London 	One Rainy Morning 	
A5 	–Clarence London 	Going Back To Mama 	
A6 	–Lost John Hunter 	Cool Down Mama 	
A7 	–Lost John Hunter 	School Boy 	
A8 	–Joe Hill Louis 	Goin' Down Slow 	
B1 	–D.A. Hunt 	Lonesome Ol' Jail 	
B2 	–D.A. Hunt 	Greyhound Blues 	
B3 	–Dr. Ross 	Country Clown 	
B4 	–Country Paul 	Your Picture Done Fade 	
B5 	–Country Paul 	Ain't It Sad 	
B6 	–Joe Hill Louis 	Eyesight To The Blind 	
B7 	–Big Charley Bradix 	Dollar Diggin' Woman 	
B8 	–Big Charley Bradix 	Boogie Like You Wanna

Limited edition of only 99 copies.

John G. Allinson from liner notes: "The sad factor is that for most of the artistes here, the few sides on this LP represent their total recorded output. A short session in a makeshift studio, ending in 3 or 4 sides, a few dollars paid, this was the beginning and end of their recording careers. Like their old 78's details and information about these artistes is extremely hard to come by: no one wants to remember the singer who 'never made it'. What information there is available has been acquired by an extremely small number of blues researchers, one of whom writes the following notes. John G. Allinson "This collection was arranged to provide you the listener with as varied as possible southern blues session by artists you would not usually be able to hear, also as a supplement to Mike Rowe's "Memphis On Down" LP on P.W.B. I trust you will enjoy it enough to ask for more and also want to know more about one of the most fascinating phases of post-war blues". ---amazon.com

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