1		In The Night	2:23
2		Tipitina	2:40
3		Tipitina	2:29
4		Ball The Wall	3:09
5		Who's Been Fooling You	2:03
6		Hey Now Baby	2:47
7		Mardi Gras In New Orleans	2:54
8		She Walks Right In	3:09
9		Hey Little Girl	2:52
10		Willie Mae	2:38
11		Walk Your Blues Away	2:46
12		Professor Longhair Blues	2:19
13		Boogie Woogie	2:31
14		Longhair's Blues-Rhumba	3:02
15		Mardi Gras In New Orleans	2:42
16		She Walks Right In	2:40

Alto Saxophone – Robert Parker (tracks: 6 to 16)
Baritone Saxophone – Red Tyler* (tracks: 1 to 5)
Bass – Edgar Blanchard (tracks: 1 to 5), Unknown Artist
Drums – Al Miller (tracks: 6 to 16), Earl Palmer (tracks: 1 to 5), John Woodrow (tracks: 6 to 16)
Tenor Saxophone – Charles Burbeck, Lee Allen (tracks: 1 to 5)
Vocals, Piano – Roy Byrd

All 16 of Professor Longhair's Atlantic sides from 1949 and 1953 (including a handful of alternate takes) are here on one glorious disc. Longhair's work for the label was famously marvelous -- this version of "Mardi Gras in New Orleans" reeks of revelry in the streets of the French Quarter, "She Walks Right In" and "Walk Your Blues Away" ride a bedrock boogie, and "In the Night" bounces atop a parade-beat shuffle groove and hard-charging saxes. ---Bill Dahl, AllMusic Review

All of the best of New Orleans blues singer and pianist Professor Longhair's work on the Atlantic Records label have been collected on this compilation album.

Henry Roeland "Roy" Byrd, better known as Professor Longhair, was a New Orleans blues singer and pianist. He was active in two distinct periods, first in the heyday of early rhythm and blues and later in the resurgence of interest in traditional jazz after the founding of the New Orleans Jazz and Heritage Festival. His piano style has been described as "instantly recognizable, combining rumba, mambo and calypso". His distinctive style of piano playing was influenced by learning to play on an instrument that was missing some keys.

His work was famously marvelous. The version of "Mardi Gras In New Orleans" reeks of revelry in the streets of the French Quarter, "She Walks Right In" and "Walk Your Blues Away" ride a bedrock boogie, and "In the Night" bounces atop a parade-beat shuffle groove and hard-charging saxes. ---elusivedisc.com

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1	Lurrie Bell–	I Feel So Good	4:12
2	Albert King–	Dust My Broom	3:56
3	James Cotton, Junior Wells, Carey Bell And Billy Branch–	Down Home Blues	6:22
4	Johnny "Big Moose" Walker–	Would You, Baby	3:24
5	Magic Sam–	I Have The Same Old Blues	3:31
6	Katie Webster–	Two-Fisted Mama	3:21
7	Clarence "Gatemouth" Brown–	I Got My Mojo Working	4:46
8	Big Jack Johnson–	I Wanna Know	3:29
9	Albert King–	Albert's Groove #2	2:32
10	Fernest Arceneaux & His Louisiana French Band–	I Don' Want Nobody	2:44
11	Big Walter Horton–	Have A Good Time	3:45

This musical celebration by legends of the blues will have you boogieing up the Mississippi from New Orleans to Chicago. It’s ironic that a style of music whose very name is the definition of sorrow and suffering can make you feel so good. The blues was born out of the African-American experience, which has been shaped by a history of oppression, discrimination and poverty.

It’s no wonder, then, that the blues typically addresses the struggles of daily life, one in which being left by your lover and being broke are familiar themes. The tonal structure, singing style and lyrical content of traditional blues is the quintessential outlet for expressing deep, powerful and ultimately melancholy emotions.

This collection features some of our favorite upbeat blues cuts that turn pain into pleasure and sadness into celebration. They provide life lessons as well; sometimes the best way to deal with the devil is to laugh in its face, proving that nothing he throws in your path is going to keep you from letting the good times roll. ---putumayo.com

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A1		Duše V Těle	5:20
A2		Můj Rodnej Dům (Tobacco Road)	6:15
A3		Lednový Blues	4:55
A4		Blues O Stáří	5:15
B1		Broadway	8:40
B2		Blues O Neistom Návrate	7:10
B3		Tulák Z Prázdného Mesta	4:35

Bass – Vladimír Kulhánek
Drums – Jaromír Helešic
Electric Guitar – Luboš Andršt
Harmonica – Ondřej Konrád
Vocals – Peter Lipa

Debutové album Blues z lipového dřeva, které u Supraphonu poprvé vyšlo v roce 1984, nezachytilo kvinteto jenom jako domácí bluesovou legendu, nýbrž rovněž jako jednu z klíčových federálních skupin. Ostatně pouhý výčet jmen všech zúčastněných - Luboš Andršt (el. kytara), Peter Lipa (zpěv), Ondřej Konrád (foukací harmonika), Vladimír "Guma" Kulhánek (basová kytara) a Jaromír Helešic (bicí) - je bez nadsázky zárukou hudebního hodokvasu. Východiskem všech sedmi vesměs původních skladeb (vyjma standardů Tobacco Road a Broadway), jež byly pořízeny během koncertů, není pouze puritánsky chápané elektrické blues, resp. rhythm'n'blues; své místo zde má i funky a jazz, který je srostlý nejen se scatovým vokálem Lipy. Bez nadsázky záležitostí jsou i texty, z nichž pět českých napsal Pavel Kopta, dva slovenské Milan Lasica. Zasvěcený sleeve-note napsal hudební publicista Ondřej Bezr (mj. dramaturg šumperského bluesového festivalu); booklet dále provázejí fotografie reflektující strhující atmosféru na pódiu, jejichž autorem je bratr instrumentálního frontmana Blues Bandu - Zdeněk Andršt. "Lví podíl" na skvělém zvuku nové edice nese i remastering z originálních pásů, který využil beze zbytku možností čtyřiadvacetibitové technologie. ---supraphonline.cz

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A1		Walking My Troubles Away	5:09
A2		Nobody's Sweetheart Now	4:35
A3		Sheik Of Araby	5:21
B1		T.B. Blues	5:04
B2		Baby, Baby, Do	6:06
B3		Love My Whiskey	5:10

Leon Redbone - guitar, vocals

This is a non-authorized release and Mr. Redbone understandably avoids speaking of it. That notwithstanding, it is an excellent example of just Leon and his guitar. Intricate fingerpicking and his choice of songs make this a delightful listen. This deserves an official release by the powers that be for all us Leon Redbone fans. Perhaps Jack White's Third Man Records can include this with their promised reissues. ---Jim Smith, allmusic.com

"I've heard he's anywhere from 25 to 60," Bob Dylan told Rolling Stone in 1974, "and I can't tell, but you gotta see him." That same year, when asked about his age by Rolling Stone, Redbone replied: "Of course I don't know. It's just something I vaguely recall. I can't say for sure." In the news release announcing his death, Redbone's age was cited as 127.

The only things known — ostensibly — of Redbone's origins were revealed by Toronto Star columnist George Gamester in the 1980s: that he was a Cypriot named Dickran Gobalian, who emigrated to Ontario in the 1960s and changed his name after arriving in Canada.

Redbone's obscurantist tendencies, including his ever-present, masking uniform of sunglasses, bushy mustache and Panama hat, gave Redbone the aura of a quixotic time-traveler, someone who simply stepped onto the stage fully formed.

And Redbone was a man happily — or at least, authentically — out-of-time. He played dusty classics — from Tin Pan Alley and ragtime to blues and country — with a loose fidelity, always anchored by his casually lovely and always wry voice.

Dylan's endorsement, made at the apex of his and Rolling Stone's cultural footprints, was a defining moment for Redbone and helped widened interest in him from stars of the era, including Bonnie Raitt and John Prine.

His commercial success, according to the Billboard charts, peaked in 1977 when the album Double Time reached the top 50 — helped, in part, by two performances during Saturday Night Live's debut season. But Redbone remained a cultural presence for decades, singing the theme song for '80s sitcom Mr. Belvedere and appearing as "Leon the Snowman" in the now-classic Christmas film Elf in 2003.

In 2015, Redbone announced his retirement from touring, with a rep citing health concerns. He followed that retirement up with another album, Long Way Home, composed of his earliest recordings and released by Jack White's label, Third Man Records.

When asked by NPR's Lynn Neary in 1984 whether he enjoyed his performances, Redbone responded with a wink: "I never have a good time ... but I try." ---npr.org

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1		Sunnyland	2:51
2		I've Come Undone Again	5:06
3		Jet Airliner	5:00
4		Oh, Sun	4:02
5		Sadness Everlasting	4:44
6		Somebody Else's Baby	4:37
7		Will You Or Won't You	2:56
8		My Big Iron Skillet	2:09
9		The Other Side	3:58
10		Love Is A Wrecking Ball	3:03
11		I Feel Like Going Home	5:00
12		Jet Airliner (The Black Americana Version)	5:00
13		I've Come Undome Again (Otra Vez)	3:59

Acoustic Guitar – Bruce Edwards (tracks: 2, 4, 5, 7, 8, 9)
Acoustic Guitar, Lead Guitar, Rhythm Guitar – Jon Diaz (tracks: 1, 3, 8, 10, 12, 13)
Bass – Naisha Walton
Drums – Sir G. Earl Grice
Electric Guitar – Michael Duhnfort (tracks: 12)
Harmony Vocals – Queen Esther (tracks: 2, 5, 8)
Lap Steel Guitar – Raphael Mcgregor (tracks: 5, 10)
Lead Guitar, Rhythm Guitar – Marvin Sewell (tracks: 1, 3, 6, 12), Ronald "Head" Drayton (tracks: 1, 6)
Lead Vocals – Queen Esther
Pedal Steel Guitar – Bob Hoffnar (tracks: 4, 7)
Piano, Harmony Vocals – Jon Loyd (tracks: 7, 9, 11)
Rhythm Guitar, Harmony Vocals – Ralph M. White III (tracks: 3, 4)
Violin – Charles Burnham (tracks: 7, 9)

Secrets do have a way of leaking out, and one that desperately needs to be heard is Americana/country/ jazz singer, Queen Esther. The very talented songwriter has a superb old school soulful voice, which years ago would probably have taken her high into the charts. Queen Esther began her career in 2004 with Talkin’ Fishbowl Blues, a neat mix of blues and country, which ended with an interesting version of Tammy Wynette’s classic Stand By Your Man. In 2010 Queen Esther climbed on another horse, jazz, which resulted in another fine CD, What Is Love? Now we have Queen Esther’s most country album, The Other Side, which contains some stunning traditional country, a dash of country/blues and some well selected cover versions. Every song is sung with passion and fire, by this underrated female singer who should be a musical giant.

Opening delight, Sunnyland, begins as an acoustic country/blues song, but then becomes more upbeat as the electric guitar bursts in. Queen Esther’s wonderful vocal has hints of her gospel and church roots in the south of the USA. The country tracks start with the incredible heartbreaker, I’ve Come Undone Again, an original song. Queen Esther’s vocal and her songwriting skills on this track indicate strongly that this is where she should be. The CD’s best country song is touched with old school genius; Sadness Everlasting would have been perfect for George Jones. Queen Esther’s knowing vocal, which has a touch of sadness, is perfection, with a superb steel guitar solo as well. For me, this track is one of the best traditional country songs of the decade so far. Not far behind it is another traditional gem, Somebody Else’s Baby, which would have been a good song for Connie Smith to tackle.

Queen Esther’s amazing CD includes several cover versions, all of them high quality songs. The Steve Miller Band’s 1977 hit, Jet Airliner, which was originally written in 1973 by Paul Pena, emerges as a blazing blues/rock song. Queen Esther attacks this foot-tapper with great gusto. The Queen also does a strong version of Wanda Jackson’s My Big Iron Skillet, which dates back to 1969. Heard in 2014 the song sounds almost like a feminist anthem, with Queen Esther sounding like she understands the dark drama of this underrated track.

Other highlights are the country/gospel of The Other Side, and the acoustic country/blues song Love Is A Wrecking Ball. The album winds down beautifully with a killer version of the old Charlie Rich song I Feel Like Going Home. It’s a brave singer, who tackles one of Charlie Rich’s most perfect songs, but the new version also hits the target, with Queen Esther’s passionate vocal set to move anyone who hears it. The simple piano backing track, with Queen Esther’s emotional vocal is a dream end to a disc which has no faults.

So the secret is out, Queen Esther is a major talent in several area’s, but her greatest talent is as a writer and singer of the more traditional country song. Hopefully this is the road she is planning to travel down for many years. The Other Side is a major work, by a vital, important artist who has been ignored for too long, hopefully now is Queen Esther time. ---Paul Riley, 1queenesther.livejournal.com

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1		All Alone	4:25
2		It's All The Same	4:10
3		15 Years	4:49
4		This Tear's For You	4:55
5		You Are My Everything	4:26
6		You Ain't Who You Think You Are	4:15
7		Voodootize Me Baby	6:42
8		Soul Talk	2:59
9		Communicate	6:48
10		If You Ever Need A Friend	8:35

Backing Vocals – Cheryl Wilson (tracks: 5), Robin Robinson (tracks: 8), Theresa Davis (tracks: 8), Yvonne Gage (tracks: 5)
Bass – Chuck Rainey
Drums – Bernard Purdie
Guitar – Cornell Dupree
Harmonica – Kim Wilson (tracks: 2, 7)
Organ, Vocals – Tony Z
Percussion – Jose Rendon (tracks: 8)
Saxophone – Lenny Pickett

Keyboardist Tony Z uses the Hammond B-3 organ blues sound and style to paint a new tapestry of music on this disc. The groove on this album is immensely fortified by the formidable presence of Cornell Dupree on guitar, Bernard Purdie on drums and Chuck Rainey on bass as the rhythm section. But instead of aping the tunes and styles of B-3 masters like Jimmy Smith, Jimmy McGriff or Groove Holmes, Tony comes to the plate with a batch of his own songs for this album. With Lenny Pickett emoting soulfully on saxophone and a two-song guest turn from Kim Wilson on harmonica, this session goes into realms previously uncharted by your Hammond B-3 practitioner, retro or otherwise. Highlights include "Voodootize Me Baby," "All Alone," "You Ain't Who You Think You Are" and "Communicate." ---Cub Koda, AllMusic Review

Born and raised in Boston, Tony Zamagni began playing organ at St. Patrick's School in Roxbury. He cut his musical teeth with the Boston band Combat Zone and then went on to play with the Platters for the next ten years. He spent most of the latter part of the 1980s trying to organize his own touring band (no small feat) and working as a session player in Miami for TK Records, where he recorded an LP with the group Miami. After meeting Ronnie Earl through a mutual friend, trumpeter Bob Enos, Zamagni teamed up with the guitarist and joined his road band, the Broadcasters, from 1989 to 1991.

In 1991, Zamagni moved to Chicago, where he worked for three years with guitarist Larry McCray and found work as a session musician on albums by Son Seals, Saffire, Little Smokey Smothers and Lee "Shot" Williams. Zamagni's debut album, Get Down With the Blues, was released on Rounder's Tone-Cool subsidiary in 1995. The outing is first-class, self-produced in Chicago's Streeterville Studios with some stellar backing musicians: former Roomful of Blues guitarist Duke Robillard, drummer Bernard "Pretty" Purdie, saxophonist Houston Person, harmonica master Sugar Blue and former Albert Collins band bassist Johnny B. Gayden. Buddy Guy was so impressed by Get Down With the Blues that he hired Tony Z to tour with him. In 1998, Tony Z released his second record for Tone Cool, Kiss My Blues. The record featured another all-star cast including Cornell Dupree on guitar, Bernard "Pretty" Purdie on drums again, Chuck Rainey on bass, Lenny Pickett on sax and Kim Wilson blowing harp on two tracks. Since then he has toured with Buddy Guy and on his own, continuing to spread his unique take on the B-3 sound. ---Richard Skelly, allmusic.com

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1		Burn It Down	6:26
2		She's In Control	3:38
3		Bang Against The Wall	3:30
4		Graveyard Queen	5:01
5		4 In The Morning	4:48
6		Live Oak	5:45
7		Till We Bleed	5:47
8		The Fugitive	3:57
9		Oh Louisiana	6:01
10		So Cold	3:30
11		On My Own	4:26 

Eric Johanson - Vocals, Guitar
Corey Duplechin - Bass
Tab Benoit - Drums, Backing guitar

Guitarist/vocalist Eric Johanson has the right to sing the blues. He was a fixture in the music scene of Louisiana for years, but emigrated to New Zealand in 2006 after he lost everything he owned when Hurricane Katrina destroyed the home he established in New Orleans.

Born and raised in a musical family, Johanson possesses a beautifully rich voice that plays off well against his down-and-dirty six-string sound. His maternal grandfather was a piano tuner and jazz clarinetist, his grandmother was a pianist who sung in church choirs and aunts played cello and bass. His paternal grandfather owned a music store, and Eric started playing guitar at age five.

Eric began jamming in the Crescent City at age 15 after playing with a band at home two years earlier, frequently traveling from his home in Alexandria, and he lived in the big city for several years before tragedy struck. He returned the U.S. in 2010, quickly reestablishing himself in the bands of a trio of legends — Cyrill Neville, Terrance Simien and Corey Henry’s Treme Funktet.

“Cyril taught me a ton about New Orleans history, culture and music – especially funk,” he says. “When I started with Terrence, I didn’t know much about zydeco music, despite growing up in it.”

The album remains blues-based despite not built on traditional structure, Johanson notes. “While it was my intention to make a ‘blues’ record, Tab encouraged me to do more of the songs with something unique and different about them.”

A haunting guitar line opens “Burn It Down,” a Delta-infused lesson that deals with Eric having nothing left to lose as he weeds elements from his life that are holding him back as he works to set new, healthier goals. The music percolates under the lyrics and builds tension throughout. The sound brightens and tempo quickens for “She’s In Control,” a rocker that describes a woman who enters a bar in overdrive and makes the singer high for no reason. He quickly realizes she’s in full control of his personal demons.

The rhythm section opens the powerfully autobiographical “Bang Against The Wall” in which Johanson states that he was born restless and that nothing has changed in a life dealing with high hopes and plenty of frustration, while “Graveyard Queen,” a slow blues co-written with Benoit, paints a dark picture of a woman who leaves a path of destruction as she dances slowly, leaving people she touches wary of trusting anyone again.

The funky “4 In The Morning” describes being in a barroom and not wanting to go home, while “Live Oak” is an image-filled message about life in the South. It cautions to watch your step because the roots run deep. A repetitive eight-note riff drives “Till We Bleed,” which describes a relationship that needs to undergo a major change.

Johanson puts an interesting spin on unconditional love in “The Fugitive” – the singer’s a man on the run who’s taken in by a lady willing to give him a second chance at life — before the only cover number in the set, “Oh Louisiana,” written by Charles Edward Anderson and first recorded by Chuck Berry, gets a major makeover as it sings praises for The Pelican State. The funky “So Cold,” which describes the end of a romance, is up next before “On My Own” gives space for Eric to reflect on his past as he realizes he’s got to build his own dreams going forward.

Aurally different and available through most major retailers, Burn It Down is a winner on all counts. It’s bluesy, modern and full of interesting themes. True blues for modern times. ---Marthy Gunther, bluesblastmagazine.com

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1.Blueberry Hill 04:00
2.Travelin' Blues 03:07
3.Prayer For The Blind 02:18
4.Badlands 03:34
5.Dreaming of Utah 03:17
6.What Remains 03:24
7.Heaven Bound Station 02:18
8.Will I Ever Be Satisfied 03:08
9.Dreamboy 03:35
10.Wishing Bone Blues 04:28
11.The Driving Song 04:25
12.Satisfied Soul 05:13 

Cristina Vane - Vocals, Guitar
Dow Tomlin - Bass
Tommy Hannum - Steel, Dobro
Nate Leath - Fiddle

Italian-born Cristina Vane sees her American dream realized on her debut record, Nowhere Sounds Lovely. In capturing the artist’s first tour across the U.S, the record chronicles Vane becoming acquainted with the intricacies of American music; from sea to shining sea. Leaning heavily on old school rock and pre-war blues, Vane’s songwriting explores gospel, bluegrass, delta blues, country and even waltzes, resulting in a patchwork quilt of influences, both old and new.

Rather than focusing solely on emotional reflection, Nowhere Sounds Lovely sees Vane venture into the theme of place - something that immediately surfaces on ‘Badlands’, a delta blues ballad about the picturesque Badlands of South Dakota. The journey continues with the whimsical ‘Blueberry Hill’, named after a street she walked daily during her adventures in Taos, New Mexico; a fitting feel for the land of enchantment. Vane later dips into stripped back, pre-war blues nostalgia on the reminiscent ‘Dreamin Of Utah’, before pivoting to the upbeat, ragtime musings of ‘Heaven Bound Station,’ a song that documents her awe of the musical community in Nashville, whom she met when paying her first visit. ‘Prayer For The Blind’, a bluegrass-heavy banjo and fiddle duel, is inspired by a story Vane was told by a Nebraskan couple in Iowa; where a woman is concerned that her husband is cheating on her, with a woman with two peg legs. It seems that no matter the song, Vane’s vivid writing allows her newfound sense of place to shine through, welcoming the listener into the passenger seat on her travels.

While place is an underlying theme throughout the record, so is self-discovery. Vane tackles the highs and lows of relationships; on ‘Dream Boy’, she flips the script of typical “dream girl” and “lover boy” tropes, to instead describe the perfect, imaginary man of her dreams. ‘What Remains’ ponders love with a more sombre outlook, questioning if the constant process of picking yourself up from heartbreak is really worth it. Self-doubt also creeps into the picture, on the haunting blues of ‘Driving Song’; as she recounts a desolate late-night drive down I-10 in Los Angeles. Other reflective compositions, like the country waltz stylings of ‘Satisfied Soul’, look at how the varying local flavors of the American landscape have contributed to Vane’s sense of fulfilment, while the happy-go-lucky ‘Travelin Blues’ confronts the fine line between freedom and running from your problems whilst living alone on the road. While Vane’s journey has been filled with wonder, it's also seen its fair share of bumps along the road. But it’s this expression of vulnerability throughout Nowhere Sounds Lovely that acts as one of her biggest strengths, in the process showing both herself and others that life’s toughest moments oftentimes yield the most valuable lessons (and some of the best songs).

Though she may not be a United States native - admittedly still referring to herself as an outsider - Vane captures the sound and essence of American music to a T. From amber waves of grain to purple mountain majesties, Nowhere Sounds Lovely proves that Vane is more ingrained in western culture and music than many who’ve lived it their entire lives. ---Matt Wickstrom, holler.country

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1		Shylina
2		Blue Breeze
3		Back Stage
4		That Night
5		Dizzy Busy Bluesman
6		Ram Jam Josey
7		Hobo Joe
8		I'm Coming Home
9		The Great Grandfather
10		Hoochie Coochie Man
11		L.B.Boogie

This Dutch blues band was formed in the Hague around 1967, becoming a regular outfit from 1969. The early line-up included Bjorn Toll (vocals), John Lagrand (harmonica), Ted Oberg (guitar), Ruud Fransen (bass) and Niek Dijkhuys (drums) but although the name remained wholesale changes soon took place, bringing in a new singer, Nicko Christiansen, and new bass and drums, Peter Kleinjan and Beer Klaasse, the latter pair being swiftly replaced by Gerard Strutbaum and Cesar Zuiderwijk, while keyboard player Henk Smitskamp was added. Other changes followed through the 70s, by which time the band’s repertoire was more inclined towards rock. Musicians involved included bass players Ruud van Buuren, Jan van der Voort, Jaap van Eijk and André Reynen, drummers John Lejeune, Herman van Boeyen, Cor van Beek, Michel Driessen, Kenny Lamb and Arjen Kamminga; the latter pair played in the band simultaneously for a spell. Smitskamp sometimes played bass, singer Johnny Frederiksz came in, as did organist Paul Vin and guitarist Ron Meyes.

Although best known in the Netherlands, Livin’ Blues also gained a following elsewhere in Europe, especially in Poland. At the start of the 80s, the band included Oberg, Christiansen, Evert Willemstein (bass) and Boris Wassenbergh (drums). Spin-off bands formed by ex-members of the Livin’ Blues included Nitehawk and the J&T Band, while most members also played with other Dutch blues and rock bands. The band recorded from 1968, cutting a few singles with its first album coming in 1969. The band appears to have drifted from the limelight after the early 80s but interest in its recorded work remained high into the new millennium. ---allmusic.com

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01 – Ma Rainey’s Black Bottom
02 – Runaway Blues
03 – Booze And Blues
04 – Prove It On Me Blues
05 – Stack O Lee Blues
06 – Chain Gang Blues
07 – Dead Drunk Blues
08 – Jealous Hearted Blues
09 – Sweet Rough Man
10 – Black Eye Blues
11 – Deep Moaning Blues
12 – Leaving This Morning
13 – Traveling Blues
14 – Sleep Talking Blues
15 – Blame It On The Blues
16 – Toad Frog Blues
17 – Farewell Daddy Blues
18 – See See Rider Blues
19 – Moonshine Blues
20 – Those All Night Long Blues
21 – Southern Blues
22 – Oh Papa Blues
23 – Ya Da Do
24 – Sissy Blues
25 – Bad Luck Blues
26 – Blues Oh Blues
27 – Titanic Man Blues
28 – Dream Blues
29 – Hear Me Talkin To You
30 – Cell Bound Blues
31 – Lucky Rock Blues
32 – Georgia Cakewalk.
33 – Big Boy Blues
34 – Counting The Blues
35 – Damper Down Blues
36 – Screech Owl Blues.
37 – Grieving Hearted Blues
38 – South Bound Blues
39 – Trust No Man.
40 – Wringing And Twisting
41 – Honey, Where You Been So Long
42 – Jelly Bean Blues
43 – Ma And Pa Poorhouse Blues
44 – Morning Hour Blues
45 – New Boll Weavil Blues.
46 – Oh My Babe Blues
47 – Slave To The Blues
48 – Soon This Morning
49 – Those Dogs Of Mine
50 – Yonder Come The Blues 

The Mother of the Blues was 38 when she finally began recording, but she'd incorporated the blues into her traveling stage shows since 1902. When she did hit the studio, the results were a high point of 1920s classic female blues. Rainey combined a husky voice with the songbook of a minstrel and a booming delivery. Her lyrics ranged from topical songs about Southern life to personal songs of loneliness and depression. Her original classic "See See Rider Blues," complete with rarely heard introduction, features jazz greats Louis Armstrong, Fletcher Henderson, and Buster Bailey, and the grim "Slave to the Blues" includes Joe Smith and Coleman Hawkins. Ragtime guitarist Blind Blake and hokum-blues duo Georgia Tom and Tampa Red also contribute. --Marc Greilsamer, Editorial Reviews

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