“Excellent compilation of Greek Rembetika/Folk/Mortika music.  Dark & beautiful 78's about love, crime, death, drugs & so on.  All songs never reissued on LP before.  Extensive liner notes by Ian Nagoski with great photos. A co-release with Canary records.  Old school ‘tip on’ cover.  A real winner.” – Mississippi

“Compilation of deep 78s from all over the world - India, Iran, Anatolia, Portugal, Switzerland, Greece, Macedonia, Spain, America & more.  Compiled by Ian Nagoski as sort of a sequel to the String of Pearls compilation we put out a couple years back.  Beautiful austere performances by master instrumentalists & vocalists. Comes with four pages of liner notes.  Tip on old school cover.” – Mississippi

“The story of gospel music in the 1960s and ’70s is strewn with small record labels. Most produced only a few discs, usually of one or two local artists and selling only a few hundred copies around their home areas. But a few were run on a larger scale. One was Designer, from Memphis, Tennessee, which between 1968 and 1978 produced between 400 and 500 singles and a few albums. Yet less than 30 years after the last issue, Designer has faded into the mist, and little is known of its story. The printed labels tells us it was run from at least two addresses in Park Avenue, Memphis – No 3373, then later No 3109 – by Style Wooten and Charles Bowen. Designer was, in effect, two labels in one. The main one was the “vanity” or “custom” label – available to anyone who could pay the cost of a recording session and having anything between 100 and 1000 45rpm singles pressed. But as well, Wooten and Bowen signed promising artists to contracts, carrying the costs, marketing the discs – and reaping the profits.

“Designer appears to have been purely a gospel label. Most of its artists were African American quartets and small groups from Memphis and the Mid-South, although half a dozen choirs appear in the lists and artists from as far away as New Jersey, New York and Illinois had records issued. Some white artists were also recorded; at least two groups – The Gospel Melodies and The Happy Time Singers – had Designer issues. The dual nature of the label means its artists are of widely varying quality, ranging from semi-professional acts such as the Shaws, the Jubilee Hummingbirds, the Memphis Harmonizers and the Gospel Songbirds to family groups whose budgets and ambitions perhaps exceeded their musical abilities. Designer’s last issue appeared in 1978. The reason for the label’s closure is as obscure as the rest of its life-story, although rumour has it that Wooten and Bowen were pressured out by rival local labels and recording studios which didn’t like the competition. But the Designer legacy survives – a wonderful wide-angle snapshot of grassroots gospel through a fascinating decade of change.” – Alan Young, author of the great Woke Me Up this Morning.

This is a straight reissue of a Designer LP, with three tracks each are the Jubilee Humming Birds, Union Gospel Singers, Madam Andres and the Heavenly Echoes, and the Mosby Family Singers, all of whom deliver rocking uplift. Some notes would’ve been nice, but what can you do. Limited edition, 180-gram vinyl pressing.

“The second volume of recordings in our series of Madagascar music. From the archives of Montreal recordist, Charlie Brooks. While containing some similar artists as volume one, Fanafody focuses more on his second trip through the island during 2002 featuring violin players and throat breathing singers. Includes extensive photography and liner notes booklet.” – Mississippi

“Over a three year period in the late 1990s, Charlie Brooks embarked on two long field recording trips in Madagasikara. Brooks primarily concentrated on the more remote north and west regions of the island. Upon his return in 1999 he pressed 200 copies of a triple record and stored them under his bed for the last ten years. The three themed LPs: Vocal, Valiha Marovany, and Miscellaneous Instruments were released as the now out of print MR-061 Fihavanana. This single LP collection compiles seventeen tracks from Fihavanana. Comes with a twelve page booklet of photography and notes.” – Mississippi

Beautiful collection of sides originally recorded for (but often not released on) Gotham Records, circa the late 1940s / early 1950s.  Apart from Allen Bunn (Tarheel Slim), these artists aren’t well-remembered today, but we continue to be blessed by their uplifting music and visions of “No Jim Crow in Heaven”. 

Groups represented: Harmony Kings of WTND, Orangeburg, SC, Gospel Vocalaires of Norfolk, VA, Mount Eagle Quartet, Capitol City Quartette, Allen Bunn (Tarheel Slim).

“Compilation of recent field recording made by Chris Kirkley (Sahel Sounds).  All tracks feature acoustic guitar players & vocalists from Senegal & Northern Mali, with the exception of the last song which is a rocking Tuareg electric guitar band.  Beautiful music by some of Africa's finest griots. At times melancholic and at others romantic pop music.  Old school tip on cover. Comes with a 16-page full color booklet featuring descriptive notes & beautiful never before published photos.” – Mississippi

Subtitled “A Selection of Commercially Recorded Black Religious Music, 1921-1953,” this compilation delivers as promised, tracing the development of gospel singing from jubilees through to quartets such as the Fairfield Four. Tracks selected by gospel scholar William H. Tallmadge.

Track listing:
Wings Over Jordan – I’m Gonna Sit at the Welcome Table
Wiseman Sextette – I Couldn’t Hear Nobody Pray
Utica Institute Jubilee Singers – Oh Mary Don’t You Weep
Virginia Female Singers – Don’t You Want to be a Lover of the Lord
Birmingham Jubilee Singers – I Heard the Preachin’ of the Elders
Cornfed Four – Waitin’ at the Gate
The Golden Gate Quartet – Jonah
Norfolk Jazz Quartet – Swinging the Blues
Famous Blue Jays of Alabama – Jesus Met the Woman at the Well
Dunham Jubilee Singers – I Dreamed of the Judgment Morning
Bill Landford Four – You Ain’t Got Faith
Heavenly Gospel Singers – This Old World is in a Bad Condition
The Georgia Peach and Her Gospel Singers – Do Lord Send Me
Selah Jubilee Singers – I Want Jesus to Walk Around My Bedside
Alphabetical Four – Precious Lord, Hold My Hand
The Fairfield Four – A Love Like a River

An outstanding collection of recordings made by Chris Strachwitz of Arhoolie Records in 1969. This record holds a special place in my heart since it was the first place I heard Mississippi fife-and-drum music. When Napolian Strickland let loose with his holler around a minute into the opening track, it set my course for many unforgettable times down south. Furthermore, this record gives you Mississippi Fred McDowell and Johnny Woods tearing it up, Furry Lewis spinning lovely musical yarns, and three beautiful guitar duos from an incognito John Fahey and Bill Barth (as R.L. Watson and Josiah Jones).

Track listing:
Napolian Strickland – Back Water Rising
Mississippi Fred McDowell & Johnny Woods – Shake ‘em on Down
Mississippi Fred McDowell & Johnny Woods – Fred’s Blues
Mississippi Fred McDowell & Johnny Woods – Keep Your Lamp Trimmed and Burning
Otha Turner – Otha’s Piece
Napolian Strickland – Shimmy She Wobble
Furry Lewis – Walking Blues
Furry Lewis – Judge Bushay Blues
R.L. Watson & Josiah Jones (John Fahey and Bill Barth) – Memphis Rag
R.L. Watson & Josiah Jones (John Fahey and Bill Barth) – St. Louis Blues
R.L. Watson & Josiah Jones (John Fahey and Bill Barth) – Praying on the Old Campgrounds & Lonesome Blues

"Part three in Mississippi Records' series exploring the rawest side of gospel music (part one being the 'Life is a Problem' compilation & part two being the 'Oh Graveyard, You Can't Hold Me Always' compilation).  Moving ballads sit side-by-side with incredibly rocking, crunchy guitar workouts.  The recordings span the 1950s through to the '80s...but the sound is timeless & consistently soulful like you won't believe.  Artists include Precious Bryant, Isaiah Owens, The Hickory Bottom Harmoneers, Boyd Rivers, the Straight Street Holiness Group, & many more.  We are very proud of this one.  Housed in an old school tip-on sleeve." - Mississippi (note: Rev. Charlie Jackson plays guitar on the song by Ike Gordon, and the Rev. Charles White track listed on the sleeve is actually Sister O.M. Terrell)

“M for Mississippi” is a wonderful new DVD that provides brief, evocative portraits of some of the current blues singers in Mississippi. The overall impression is of musicians who do this for love (especially since, as a number of the artists point out, if you’re doing it in the hopes of making money, you won’t bother doing it for too long). Cadillac John, his hands quivering, implores his baby to give it all to him. RL Boyce in his element, holds court at a house party. Pat Thomas goes from his extremely energetic descriptions of his visual art to a mellow delivery of his blues. Jimmy “Duck” Holmes at the juke that’s been in his family for decades. The biggest news to me is 80-ish year-old LC Ulmer, who has a lovely, light delivery and comes across as quite the sweetheart.

“This timely road movie will explore the thriving underbelly of a dying American art form in the land where it began – Mississippi. Planned as a weeklong journey through the birthplace of the blues, M for Mississippi seeks to capture the proverbial ‘real deal’ in its home where it is most comfortable and authentic – the jukes, the front yards, the cotton fields. More than just a collection of concert performances, the film will collect the sounds, the images and the feel of both the performers and their native landscape – an environment essential to their livelihoods and inseparable from their art.”

Soundtrack to the DVD, this features 50 Miles friend RL Boyce getting about as free as free can be, the sweet touch of LC Ulmer, Robert “Bilbo” Walker’s heartfelt take on “Bring It On Home,” T-Model Ford and his grandson Stud kicking it out, Jimmy “Duck” Holmes advising us to slow down (I’m trying, Duck!), and plenty more. Some come very obviously out of a particular tradition (Wesley Jefferson reworking “Smokestack Lightning,” Terry “Harmonica” Bean’s slightly more frantic take on a John Lee Hooker / Doctor Ross boogie, etc.) while others are more idiosyncratic.

Track listing:
Big George Brock and the Houserockers – M for Mississippi
The Wesley Jefferson Blues Band – The Wolves are Howling
RL Boyce and Lightnin’ Malcolm – Ain’t It Alright
Terry “Harmonica” Bean – I’m a Bluesman
Jimmy “Duck” Holmes – Slow Down, Slow Down
The Mississippi Marvel and Lightnin’ Malcolm – Black Mattie’s Face
T-Model Ford and Stud – Hip Shakin’ Woman
Cadillac John Nolden and Bill Abel – Give It All to Me, Baby
Pat Thomas – The Woman I Love
The Robert “Bilbo” Walker Band – Bring It On Home
LC Ulmer – Rosalee

“A selection of international songs including Calypso, Flamenco, Thai ballads, Indonesian instrumental and more. Designed as a sort of sequel to our ‘I Don’t Feel at Home in this World Anymore’ compilation. Cover art by Chris Johanson.” – Mississippi. Vocals often get the spotlight here, lots of nice floaters, which makes the yodel gymnastics of the Dezurik Sisters all the more surreal. Paste-on front + back covers.

Track listing:
Unknown – Pamahei
Canajas – Danza Mora
The Tiger – Down the Road
Roberto y su Orquestra Tipica – El Amanecer
George Ku Trio – Kuu Lei
The Dezurik Sisters – The Arizona Yodeller
Nelly Luis – Carrito Pasajerito
Unknown – Jagaang Tigang
Ernest Rodgers – Willie the Chimney Sweeper
Hawaiian Orchestre – White Birds
Manuel Vallejo – A Mi Mata la Pena
Blind Mamie Forehand – Honey in the Rock
Hiran Ny Tanoran Ny Ntao Lo – Oay Lahy E

Restocked, lower price!  Several years ago Fat Possum bought the rights to the recorded archive of folklorist George Mitchell, which resulted in the release of several CDs and a slew of 7”s, a fair number of which are also stocked here.  Right before this update was about to go out, word came in of this budget-priced 7CD box which compiles all of the material released on those 45 7”s, plus a full CD of additional material.  Mitchell’s recordings and books such as Blow My Blues Away and Ponce de Leon have had a substantial impact on 50 Miles of Elbow Room, so this will get a special mention in these parts. 

For many years, the recordings made by George Mitchell as he traveled the south needed to be procured in a similar manner to which Mitchell learned about the musicians he recorded: following up on a lead here or a reference there, analyzing some scrap of information that might prove to be key, and generally a lot of asking around.  A music enthusiast from an early age, Mitchell’s first trip to hang out with blues musicians took place in 1961, when he was only 17 years old.  Over the next 20 years, he proceeded to periodically record, interview, and photograph many great blues artists.  Along the way he made the first recordings of some artists who later went on to great renown, such as RL Burnside and Otha Turner, as well as some of the earliest “revival” sessions with pre-war stars such as Sleepy John Estes and Furry Lewis.  Mostly he recorded people who remain largely unfamiliar to modern listeners, but whose music offers great rewards: the massive “Georgia Drumbeat” stomp of James Davis, the deep and inscrutable blues of Cecil Barfield, the stately slide guitar gospel of Leon Pinson, the ancient-sounding blues of Lonzie Thomas, the stunning high and lonesome tunes of John Lee Ziegler, beautiful a cappella spirituals, and on and on.  Particularly noteworthy is the amount of material from the Chattahoochee Valley region, which was largely ignored by other folklorists of the time. 

Though these recordings are consistently outstanding, what makes this material truly special to me is the manner in which it transports the listener to a different place and time, giving a sense of how the blues existed during a period when the status of the musicians who played it was often starting to fade in their communities.  That said, the performances often have an intimate and relaxed feel to them, as befits a music played for the joy of a few.  In his liner notes to this box set, Sam Sweet sums it up quite well, “A detailed picture of 20th century black musical culture in the rural South emerges from the recurring themes in Mitchell’s archive: kids learning instruments from their relatives or family friends; musicians spending their entire life within the distance of one or two towns; musicians forming irreplaceable and lifelong musical partnerships; people staging non-church-related concerts and parties for themselves in the woods and fields near their homes.  What Mitchell amassed over his 20 years in the field is as good a picture of that world as any of us are ever going to get.”

Been getting bitten pretty hard by the Cajun bug lately and no I don’t mean crawfish. Among the first tunes from the genre to really grab me were the weepers. In that spirit, while the accordion is ostensibly the focus on this album, the deeply expressive singing is what keeps me coming back – such yearning. One of the great practitioners of the form was Amede Ardoin, who is well-represented on this collection:
http://npmusic.org/Amede_Ardoin_and_Dennis_McGee_Blues_de_Basile.mp3

Track listing:
Joe Falcon – Osson One Step
Amede Breaux – Home Sweet Home
Amede Breaux – T’as Vole Mon Chapeau
Angelas LeJeune – Le Petit One Step
Angelas LeJeune – La Valse de la Veuve
Amede Ardoin – One Step de Oberlin
Amede Ardoin – Blues de Basile
Amede Ardoin – La Valse de Oberlin
Amede Ardoin – Valse de Opelousas
Amede Ardoin – Amede Two Step
Joe Falcon – Madame Sosten
Bixy Guidry – Vien a la Maison Avec Moi
Lawrence Walker – La Valse des Pins
Delin T. Guillory – Stop That
Nathan Abshire – French Blues
Joe Falcon – La Jolie Fille N’en Veut Plus de Moi

Great, bargain set of gospel music, from which Mississippi Records compiled their "In the Storm So Long" collection.

"Waymon 'Gusman' Jones loved gospel music. Especially, he loved the rich, stirring sounds of the quartets he heard as a farm boy in rural Georgia, then in his adopted hometown of Savannah, where he set up his Gusman Record Shop. From his passion came an indispensable legacy of gospel song.

"Between 1961 and 1978, Jones recorded and issued a stream of essential recordings by the Golden Stars of Greenwood, SC, the White Family Singers of Savannah, GA, the Six Voices of Zion of Columbia, SC, the Flying Clouds of Augusta, GA, and many others.

"This 3CD set captures on 71 rare recordings the sounds Jones wanted everyone to hear, giving 21st century listeners a unique opportunity to roll back the years and hear the vital and vibrant sounds of a southern community's gospel music world in a simpler age. The enclosed booklet features historic group and label photographs and extensive notes by gospel music researcher and writer Alan Young." - Big Legal Mess

For this project, Qbico Records brought together a bunch of open-minded musicians from a multitude of backgrounds and generations, with the objective of everyone coming together for a collective throw-down.  Side B is a notable hoot.  Recorded live at Tonic on March 18, 2004.  Found a couple more of these, very last copies. 

“Thunderously heavy two LP set from Qbico documenting a night in New York where some of the hardest working lungs still in the service of liberated fire - Arthur Doyle, Perry Robinson, Daniel Carter, Charles Waters, Shanir Ezra Blummenkranz and Andrew Barker - plotted various tactical formations with brains of a whole other order, including Ed Wilcox of Temple Of Bon Matin, Nuuj of Pengo/Asthmatic, Dave Cross Of Coffee, Leslie Q and Vinnie Paternostro. Freely-improvised avant-guerilla spurt in the spirit of the LAFMS/MEV and avant/rock coalitions like BAG. First time Doyle has played together with Robinson and Carter since the loft-scene days of the 1970s... Comes in absurd full-colour gatefold sleeve with poem from Steve Dalachinsky.” – David Keenan, The Wire / Volcanic Tongue

side A:
Steve Dalachinsky- Phenomena of interference (excerpt)
Andrew Barker/Charles Waters duo & trio with Daniel Carter
side B:
Andrew Barker/Charles Waters/Daniel Carter/Shanir-Ezra Blumenkranz/Perry Robinson 5et
side C
Arthur Doyle/Nuuj duo
Arthur Doyle Electro-Acoustic Ensemble with special guests Daniel Carter and Perry Robinson
side D
Arthur Doyle Electro-Acoustic Ensemble with special guest Daniel Carter
Arthur Doyle solo

“Double LP set documenting two Qbico hosted nights in Denmark that featured a big band free jazz wig-out led by saxophonist Daniel Carter (Test/Other Dimensions In Music et al) and featuring Vin Paternostro on soprano sax, Marc Gade on tuba, Pernaus Salon on recorder, soprano sax and clay flute 'Qbico' on balalaika, vocals, percussion and violin and Ed Wilcox (Temple Of Bon Matin et al) on drums and harmonica.  There's also some premier trio blats led by Carter alongside Paternostro and Wilcox that succeeds in raising the roof and a particularly massive side-long work from Denmark's own Family Underground.” – Volcanic Tongue

Side A:
Global Experience Orchestra
Side B:
Family Underground
Sides C and D:
Daniel Carter/Vin Paternostro/Ed Wilcox

"Over the course of three decades, beginning in the late 1950s, songwriter, musician, producer, and entrepreneur David Lee released fourteen 45s and two LPs on his Impel, Washington Sound, and SCOP (“Soul, Country, Opera, and Pop”) labels, run out of his record shop in Shelby, North Carolina. He wrote most of the songs himself, including his biggest hit, “You’re Letting Me Down,” which he recorded in 1971 with a then-unknown young Greenville, South Carolina soul singer named Ann Sexton. This first-ever anthology of Mr. Lee’s career features an array of unheralded soul and African American gospel groups from the North/South Carolina borderlands, including Joe Brown and the Singing Mellerairs, Brown Sugar Inc., the Yakety Yaks, and pioneering teenage “salt and pepper” combo the Constellations. Pressed in an edition of 500, the vinyl LP includes an eight-page booklet of detailed liner notes, a vintage SCOP promotional newsletter, and a coupon for free MP3s of all fourteen tracks, twelve of which have never before been reissued." - Paradise of Bachelors

“This series of archival 78 transfers was originally released in 1995 on CD only. Now for the first time on vinyl, a deluxe gatefold presentation and limited edition pressings. Produced by Hisham Mayet (Sublime Frequencies) in conjunction with Yazoo Records.

“Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country’s finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery.” “One of the most consistently rewarding world music compilations in years, the cuts range from Macedonian fiddle jaunts to Puerto Rican Christmas tunes, from Abyssinian religious chants to ominous Japanese court music. The instruments include Ukrainian sleigh bells, Sardinian triple pipes, Vietnamese moon lutes and Ethiopian one-string violins...a profound artistry lurks beneath the alien vernaculars.” -- Village Voice; Vol. 1 contains music from Nigeria, Sardinia, Russia, Ceylon, Rajahstan, Cuba, Rumania, Vietnam, Macedonia, Morocco, and more. – Mississippi

“This series of archival 78 transfers was originally released in 1995 on CD only. Now for the first time on vinyl, a deluxe gatefold presentation and limited edition pressing. Reissue produced by Hisham Mayet (Sublime Frequencies) in conjunction with Yazoo Records. Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country's finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery. Early 20th century recordings from Bulgaria, Puerto Rico, India, Mozambique, Ukraine, Trinidad, Kazakhstan, Ceylon, Tibet and elsewhere, compiled by archivist Pat Conte.” – Outernational.  Nice price on these great Outernational sets.

“Outernational Records is pleased to announce the third volume of this legendary series is now available on the vinyl format. This series of archival 78 transfers was originally released in 1995 on CD only. Now for the first time on vinyl, a deluxe gatefold presentation and limited edition pressing. Reissue produced by Hisham Mayet (Sublime Frequencies) in conjunction with Yazoo Records. Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country's finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery. Early 20th century recordings from Poland, Spain, China, Angola, Turkey, Mongolia, Russia, the Congo, and elsewhere, compiled by archivist Pat Conte.” – Outernational.  Nice price on these great Outernational sets.

"In 1998, I began conducting informal recording and interview sessions with the elder musicians of the Tennessee, Alabama, and Georgia tri-state area. In July of 2011, the first set of these field recordings will be released.  This limited edition set features a one-hour DVD, a 20-track CD, and a 16-page booklet in a handmade letterpress package. The DVD features interview and live performance footage recorded at the homes of the musicians. The CD features live performances recorded at the homes of the musicians. Appearing on the CD/DVD set are 4 Alabama musicians: Wayne Heard, Jess Moore, Willie King, and Cast King." - Matt Downer / Slowtime. Some lovely music on here, and the footage of Cast King is a particular treat.  See a trailer for the DVD, here: http://www.youtube.com/watch?v=ZkCQMieK_4I

“A compilation of Georgia bluesmen who play all in a style of their own.  Truly great recordings made by George Mitchell between 1979-1981.  Features the hypnotic sounds of John Lee Ziegler, the incredibly rockin' drum & guitar music of James Davis, the hair-stands-up-on-the-back-of-your-neck voice & guitar of William Robertson (Also known as Cecil Barfield!), the unique doaist playing of Jimmy Lee Williams & the ragged & beautiful music of Jim Bunkley.  Really just the best blues music you could ever hope to hear.  Another testament to the brilliant ear of George Mitchell, who traveled the south in search of the real stuff & found it.  Old school ‘tip on’ cover.” – Mississippi. 

Note 9 of the 12 tracks on this collection were previously compiled on the Georgia Blues Today LP on Flyright, which sold like crazy out of here when it was in stock.  Here's what was said about that one:

A killer compilation that spotlights distinctive and under-recognized Georgia blues musicians who were recorded by George Mitchell in the late '70s. Cecil Barfield, who was known as William Robertson when this record was issued, has a unique take on country blues - particularly in his moaning, somewhat nasal singing style - which was sometimes almost as inscrutable as Charley Patton. Jimmy Lee Williams you may have heard on his very fine but somewhat overlooked collection released on Fat Possum. His blues is warm and inviting, which you might expect from a singer who is requesting that you hoot your belly. John Lee Ziegler delivers some stunning high and lonesome blues, somewhat in the vein of Blind Pete Burrell or perhaps Robert Pete Williams' treatments of spirituals, accompanied by Rufus Jones' nice spoon work.

Of particular interest to me is James Davis, who played a barely-recorded instrumental blues style known as "drum music" and/or "Georgia drumbeat". The drumming seems to be in the tradition of fife-and-drum bands from the region, with James' electric guitar taking the lead with snaky riffs. Anyone who has an affinity for the more rocking northern Mississippi-style blues will probably find plenty to love in Mr. Davis' music.

“Originally released in 1959, this is the recording of 6 pre-teens from Harlem on bongos, and vocals. Pounding rhythms and chants convey the emotions and experiences of life in New York City's housing projects and tenements. Heralded after the fact as an early precursor to rap music, Street and Gangland Rhythms is an important document of post-WWII urban black America. An amazing record lovingly reissued in a perfect replica of the original Folkways jacket and including a reproduction of the original information booklet.” – Folkways

"Heavy compilation of hard to find Gospel 7"s. A meditation on mortality & the meaning of life.  Side A features some fairly lo-fi but intense & emotional performances.  Side B gets even more lo-fi, but also a bit more rocking.   Mostly guitar based ensembles & solo performers with the occasional sparse organ & drums.  Artists include Mira Jean Clark, Rev. R Henderson, the Whirlwinds, Ike Gordon, Bishop McDaniels & many more.  Comes with a bonus 7" featuring the amazing Ethel Proffit on guitar & vocals performing "Death is not the end" & "Life is a battle"!  One of our best compilations ever & not for the feint of heart. Old school "tip on" cover." - Mississippi. (note: the liners state Rev. Charlie Jackson may be the guitarist on the Ike Gordon track; I'd be very surprised if that's the case)

180-gram vinyl reissue of the seminal Testament Records survey of fife-and-drum music from Mississippi and Georgia, one of those records that I buy every time I see it because certainly there’s somebody who needs it.  Unbeatable, rousing music, some of the grooves hit on here are ridiculous.  Another cool aspect of this record is it shows the variety in the music: different tones on the fife, diversity of drumbeats, individual vocal approaches, etc. 

Bonuses: Mississippi Fred McDowell playing a wastebasket, one-man fife-and-drum band Compton Jones being coached by Otha Turner regarding when to ramp up the volume when playing his washtub, a gravel voiced reveler shouting: “Napolian’s got you scared now, boy!  Napolian’s got you beat!”

Among the great artists heard here:  Otha Turner, Napolian Strickland, Sid Hemphill, RL Boyce, Compton Jones, Ephram Carter, J.W. Jones, Lucius Smith. Most of the recordings here were made by David Evans and George Mitchell in 1970, with some others by Alan Lomax in 1942.

“We Juke Up in Here follows music producers Roger Stolle and Jeff Konkel as they explore what remains of Mississippi’s once-thriving juke joint culture.  The film is told largely from the vantage point of Red Paden, proprietor of the legendary Red’s Lounge in Clarksdale, Mississippi.  Paden, a true Delta character and jack-of-all-trades, has been running his blues and beer joint for more than 30 years – providing one of the region’s most reliable live blues venues and an authentic stage for a cavalcade of veteran blues performers, both legendary and obscure.  Featured artists include Terry “Harmonica” Bean, Big George Brock, Hezekiah Early, Jimmy “Duck” Holmes, Anthony “Big A” Sherrod, Robert Lee “Lil’ Poochie” Watson, Elmo Williams, and Louis “Gearshifter” Youngblood.  Told through live music performances, character-driven interviews, and rare on-camera blues experiences, We Juke Up in Here takes viewers below the surface of the quasi-legal world of real Delta jukes while it’s still living and breathing.

“We Juke Up In Here is a joint production of Broke & Hungry Records and Cat Head Delta Blues & Folk Art.  The project reunites the team that produced the award-winning 2008 blues film M for Mississippi. Includes deleted and extended scenes, artist biographies and a photo gallery.” – Three Forks  See the trailer: http://www.youtube.com/watch?v=rozVNy9ux88

“In the 60s blues obsessive Bengt Olsson traveled to America in search of the fringe players who helped define the genre in the 30s and 40s. These masters, many barely recorded, quickly faded into obscurity when their medium left them poor, wolves at the door. What Olsson captured was a robust slice of haunting blues and gospel that would have otherwise been completely forgotten. Wolf's At The Door is eerie, celebratory, dark and redemptive, fragile, lonely and scandalous. It is about drunken revelers at a bootleggers house telling dirty jokes while teaching each other a four-part harmony to a gospel standard. It is the underbelly of the underbelly and all these tracks are presented here for the first time ever. (not exactly; I’ve got one of these tracks on an old Flyright comp – Adam/50 Miles) 180 gram vinyl.” – Sutro Park. Special mention for Lonnie Fuqua's "Moan": a beautiful, spectral guitar instrumental.