Jimmy Yancey - Piano Solos

Here is another cool vinyl rip in high resolution for you.
This is an Italian-only collection of Jimmy's early (all tracks taken from a session done in New York in April 1939).

Tracks:

1.Jimmy's Stuff
2.Rolling The Stone
3.Steady Rock Blues
4.P.I.K Special
5.South Side Stuff
6.Yancey's Gateway
7.La Salle Street Breakdown
8.Two O'Clock Blues
9.Janie's Joys
10.Lean Bacon
11.Big Bear Train
12.Lucile's Lament

Password and Link:
mississippimoan
WAV File, 210 mb
http://www.filefactory.com/file/xgzrx4kwwg3/jyps1939.rar

Sonny Boy Williamson - The Original Sonny Boy Williamson - Recorded Between 1937 and 1939, Released in 2007.

Review:

JSP is a reissue label sent by angels to alleviate suffering and dispel ignorance in the world. We know this because JSP has done a fantastic job of compiling remastered blues, jazz, gospel, country, Cajun and western swing recordings in reasonably priced four-CD sets packed with loads of discographical information and insightful liner notes. Released in 2007, JSP's 100-track intensive tribute to Chicago blues harmonica legend John Lee Sonny Boy Williamson  (1914-1948) zeroes in on his earliest recorded works, dating from the years 1937-1939. (This is only volume one!) Rather than confining the scope of the retrospective exclusively to 41 titles by musicians with whom he hung out, gigged, and recorded. These are guitarists Big Joe Williams, "Jackson" Joe Williams, Robert Lee "Rambling Bob" McCoy, Henry Townsend, and Elijah Jones, as well as blues mandolin man Yank Rachell and boogie-woogie pianist Speckled Red. Additional support was provided by second chair mandolinist Will Hatcher and the great Big Bill Broonzy. This is where Chicago's modern blues harmonica tradition really began. All of the genre's essential components are firmly in place; the songs tell us everything that needed to be said about living, loving, working, scuffling, and trying to survive in a city whose working class population was largely committed to the meat packing industry during the years immediately preceding the Second World War. This was Sonny BOy Williamson I, not to be confused with Sonny Boy Williamson II, an entirely different individual who lived long enough to make records with British rockers during the '60s. Williamson I was beaten to death on the way home from a gig on the first of June 1948. Posthumously honored and widely imitated, his potent musical legacy is finally getting the sort of careful attention that it has always deserved.

Password and Link:
mississippimoan
mp3 224 kbps - 530 Mb
http://www.filefactory.com/file/b312b88/n/tosbw_part1_rar
http://www.filefactory.com/file/b312a27/n/tosbw_part2_rar
http://www.filefactory.com/file/b31293e/n/tosbw_part3_rar
http://www.filefactory.com/file/b31265h/n/tosbw_part4_rar

Doctor Clayton - Doctor Clayton , 1935- 1947, Released in 1993.

Review:

Pairing Doctor Clayton and Sunnyland Slim on the same compilation makes good sense for a number of reasons. Generally speaking, both men were influential participants in the Chicago blues scene of the 1940s. More specifically, they had a lot of players in common, including pianist Blind John Davis, guitarists Robert Lockwood and Big Bill Broonzy, and bassist Ransom Knowling. The most obvious similarity between Doctor Clayton and young Sunnyland Slim was their extroverted vocal delivery, bravely introduced by Clayton during the years 1935-1942 and revived with a vengeance by Sunnyland in 1947. Clayton's part of the package begins with "Peter's Blues" and its flipside, the naughty "Yo Yo Jive," recorded in July 1935. Nine selections from 1941 include an outspoken report on the Nazi occupation of Europe and a fine cover version of Walter Brown and Jay McShann's "Confessin' the Blues." Unfortunately Clayton drank himself to death in January 1947, derailing a stalled career that otherwise could have led to his success as one of the great extroverts of rhythm & blues and rock & roll. When Victor released the records cut at Sunnyland's session of December 10, 1947, they billed him as "Doctor Clayton's Buddy." This was actually based in fact; the two men knew each other and ran with the same crowd. Furthermore, they sounded a bit alike, as Sunnyland honored his deceased colleague by adapting Clayton's hollering and screaming technique to suit his own needs. In this way, both men broke the ice and paved the way for rowdy rockers like Wynonie Harris, Professor Longhair, Little Richard and Screamin' Jay Hawkins. Clayton's complete works (with the exception of a tiny bit of material from 1946) were reissued by Document Records in 1994. Sunnyland's work from the 1940s has been exhaustively revisited by both the Classics and JSP labels. This little Story of the Blues sampler from 1993 is an excellent way to enjoy both artists and to compare their extraordinary styles. Feel free to scream along if the feeling comes and gets you.

Password and Link:
mississippimoan
mp3 - 90 Mb
http://www.filefactory.com/file/b3184d4/n/dcandhb19351947.rar

Leroy Carr - Whiskey Is My Habbit, Women Is All I Crave, The Best Of Leroy Carrr - Recorded Between 1928 and 1935, Released in 2004.

Review:

The 40 tracks compiled on this two-disc set represent the entire span of pianist and singer Leroy Carr's recording career that spanned a brief seven years, from 1928-1935. The material represented here -- all but one of these tracks were recorded for the Vocalion label -- features accompaniment by guitarist Scrapper Blackwell on all but one selection, and Josh White on a handful as well. Carr's material here ranges from the classic piano blues of the era that spawned Ma Rainey and Bessie Smith to vaudeville and hokum tunes made popular by artists like Tampa Red and Georgia Tom. Carr's voice is the haunting thing here; it's higher and very clear, sweet almost, as evidenced by most of these sides. But there was an edge, too; one that belied a kind of pathos underneath even the most cheery material -- check "Mean Mistreater Blues" or "Bread Baker." But the darker material such as "Suicide Blues" (one of six previously unissued performances), "Straight Alky Blues," or "Shinin' Pistol," is strange and eerie given Carr's smooth approach. Carr may not be the most well-known bluesman of the era, but his contribution is profound and lasting. This collection puts to shame almost all others with the exception of the multi-volume complete recordings on Document. But given the fact that these sides are wonderfully remastered, and 40 tracks are enough for virtually anybody but the hardest core blues punter, this is the set to have.

Password and Link:
mississippimoan
mp3 320 kbps - 280 Mb
http://www.filefactory.com/file/b364173/n/lcwimhwiaic_rar

Blind Boy Fuller - East Coast Piedmont Style - 1991.

Review:

Blind Boy Fuller, who died in 1940 when he was only 33, recorded extensively during 1935-1940. His guitar playing was in the tradition of the ragtime-influenced Blind Blake and Blind Willie McTell while his singing was simple and direct. The music on this CD reissue becomes a bit repetitive after awhile for Fuller generally lacked variety but, taken in small doses (as if one were listening to the original 78s and treasuring individual songs), Blind Boy Fuller's performances were often memorable. The reissue is a cross-section of his work with the emphasis on his earliest recordings. Guitarist Blind Gary Davis, Bull City Red on washboard and harmonica wiz Sonny Terry help out on a few numbers; five of the 20 selections were previously unreleased.

Password and Link:
mississippimoan
mp3 192 kbps - 80 Mb
http://www.filefactory.com/file/b370chc/n/bbfecps.rar

Alberta Hunter - Young Alberta Hunter, the '20s and '30s.

Review
This LP gives listeners a strong sampling of singer Alberta Hunter's work in the 1920s. The 14 selections find her joined by such major jazz names as pianists Fletcher Henderson and Eubie Blake, cornetist Louis Armstrong, soprano saxophonist Sidney Bechet, and Fats Waller (on organ). Although best known during the era as a classic blues singer,  Hunter was always flexible and able to sing a wide variety of material. The best way to acquire all of her 1920s recordings is through her Document CDs, but this LP sampler is excellent, with the highlights including "Down Hearted Blues" (her composition which Bessie Smith would make into a big hit in 1923), "Nobody Knows the Way I Feel Dis Morning," "If You Can't Hold the Man You Love," and "I'm Going to See My Ma."

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mississippimoan
mp3 160 kbps - 74 Mb
http://www.filefactory.com/file/b37f0dh/n/ahtyahtt.rar

Robert Wilkins - The Original Rolling Stone - 1980.

Review

Yazoo's Original Rolling Stone is a wonderful disc containing 14 of the 17 sides Robert Wilkins recorded before the war. Wilkins was one of the great country-blues artists, and these songs -- including "Rollin' Stone," "That's No Way to Get Along," "Jailhouse Blues" and "I'll Go with Her" -- became legendary, not only because the songs were terrific (which they are) but also because the performances are intense and haunting. Original Rolling Stone features these songs in the best fidelity possible, along with some fairly good liner notes, making this the best package of his most influential recordings.

Password and Link:
mississippimoan
mp3 128 kbps - 30 Mb
http://www.filefactory.com/file/b37h6d6/n/rwtors.rar

Tommy McClennan - Cotton Patch Blues - 1939- 1942.

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mississippimoan
mp3 128 kbps - 36 Mb
http://www.filefactory.com/file/b382cg9/n/tmcpb.rar

Tommy McClennan and Robert Petway - A Guitar King, 1939- 1942.

Tommy's Bio:

A gravel-throated back-country blues growler from the Mississippi Delta, McClennan was part of the last wave of down-home blues guitarists to record for the major labels in Chicago. His rawboned 1939-1942 Bluebird recordings were no-frills excursions into the blues bottoms. He left a powerful legacy that included "Bottle It up and Go," "Cross Cut Saw Blues," "Deep Blue Sea Blues" (aka "Catfish Blues"), and others whose lasting power has been evidenced through the repertoires and re-recordings of other artists. Admirers of McClennan's blues would do well to check out the 1941-1942 Bluebird sessions of Robert Petway, a McClennan associate who performed in a similar but somewhat more lyrical vein. McClennan never recorded again and reportedly died destitute in Chicago; blues researchers have yet to even trace the date or circumstances of his death.

Password and Link:
mississippimoan
mp3 160 kbps - 70 Mb
http://www.filefactory.com/file/b382bba/n/tmagk.rar

Charley Patton - Founder of the Delta Blues - 1969.

Review

A cornerstone of any blues collection, Charley Patton is where it starts. As compilations go, Founder of the Delta Blues originally started life as a double-record set featuring all of Patton's best-known titles, and soundwise was miles above all previous versions. Its compact disc incarnation here trims the tune list to 24 tracks, but includes all the seminal tracks: "Pony Blues," "High Water Everywhere," "Screamin' and Hollerin' the Blues," "A Spoonful Blues," "Shake It and Break It," and the wistful "Poor Me," which was recorded at his final session in 1934, a scant two months before he died.

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mp3
http://www.filefactory.com/file/ca6f41d/n/cp.rar

Charley Patton - The Definitive Charley Patton , 75 th Anniversary Edition - 2009.

Review
This year marks the 75th anniversary of the ‘Father of the Delta Blues’, Charley Patton. Patton was not the first Mississippi Bluesmen to record but he was without doubt the most important. Through his songbook and performances the Blues in the Delta became a major movement and many of the greatest artists from that region owe a great debt to Charley Patton. Son House, Robert Johnson, Tommy Johnson, Howlin’ Wolf and just about any other Delta Blues artist from the first half of the last century all have Patton to thank for his groundbreaking work.

Although he was definitely a pioneer Patton himself had influences and on this set we not only look at those artists that followed in his wake but also his contemporaries and those that came before him. Patton borrowed music or lyrics from many artists including Ma Rainey, Bessie Smith, Blind Lemon Jefferson, the Mississippi Sheiks, Blind Willie Johnson, Jim Jackson and many more.

This 60 track set contains many of Patton’s best known songs as well as the sources for those songs and covers or variants by those artists that came after him. Also included is the DVD, ‘Talkin’ Patton’, that contains interviews with musicians, musicologists, blues scholars and Delta historians and contains brand new footage of Dockery’s, the legendary plantation where Patton was raised and where many people believe the Delta Blues truly blossomed as an art form.

Password and Links:
mississippimoan
mp3 320 kbp + AVI video file - 650 Mb
http://www.filefactory.com/file/b3892g5/n/tdcp.part1.rar
http://www.filefactory.com/file/b389879/n/tdcp.part2.rar

Blind Willie Johnson - Praise God I'm Satisfied - Recorded Between '30s, Released in '989.

Review
Yazoo's Praise God I'm Satisfied is an excellent collection of 14 tracks Willie recorded in the '30s, including such numbers as "Jesus Make Up My Dying Bed," "Praise God I'm Satisfied," "Rain Don't Fall on Me" and "Jesus Is Coming Soon." These are excellent, haunting recordings, boasting some stellar guitar work, but everything that's on this disc and its companion, Sweeter as the Years Go By, is included on Columbia/Legacy's The Complete Recordings of Blind Willie Johnson, which makes this unnecessary for any serious listener.

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mississippimoan
mp3 256 kbps - 52 Mb

http://www.filefactory.com/file/ca59be4/n/bwjpgis.rar

Barbecue Bob - The Essential - 2001.

Review
Atlanta's  Robert "Barbecue Bob" Hicks recorded some 65 sides between 1927 and his death in 1931, an interesting mix of modal country blues that is as fine as any tracked by a country blues artist in the era, although he seldom gets the same attention afforded the Mississippi Delta players of the period. This double-disc set has all the essentials, although it may be more than the casual listener really needs, since like most blues players of the day, Hicks wasn't about to change what worked. Still, his modal approach sets him apart, and his guitar playing is vastly underrated.

Disc 1

1. Barbecue Blues 3:12
2. Honey You Don't Know My Mind 3:11
3. Black Skunk Blues 3:02
4. Goin' Up The Country 3:14
5. California Blues 3:01
6. Poor Boy A Long Ways From Home 3:03
7. Yo Yo Blues 2:57
8. How Long Pretty Mama 3:23
9. Doin' The Scraunch 2:57
10. Diddle-Da-Diddle 3:03
11. She's Gone Blues 3:27
12. My Mistake Blues 3:22
13. Hurry And Bring It Back Home 3:06
14. Chocolate To The Bone 2:52
15. I'm On My Way Down Home 3:14
16. It Won't Be Long Now (Part 1) 3:32
17. It Won't Be Long Now (Part 2) 3:27
18. Cold Wave Blues 3:30

Disc 2

1. Twistin' That Stuff 3:10
2. Motherless Chile Blues 3:14
3. Ease It To Me Blues 2:59
4. Crooked Woman Blues 2:51
5. It Just Won't Hay 3:07
6. Jacksonville Blues 2:57
7. Good Time Rounder 3:11
8. Atlanta Moan 3:06
9. She's Coming Back Some Cold Rainy Day 3:03
10. She Looks So Good 3:00
11. Tellin' It To You 3:14
12. 'Fo Day Creep 3:06
13. It's Just Too Bad 3:13
14. Waycross Georgia Blues 3:09
15. She Shook Her Gin 3:12
16. Midnight Weepin' Blues 2:58
17. Jambooger Blues 3:17
18. We Sure Got Hard Times 3:27



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mississippimoan
FLAC
http://www.filefactory.com/file/b39035a/n/bbte_rar

Sam Collins - Jailhouse Blues - 1990.

Review
Known as "Crying" Sam Collins, after the eerie, falsetto quality of his voice, the artist in fact had many nicknames. A rather prolific recording artist, less than half of the 50 sides he cut saw release. Often the same tune would crop up on different labels necessitating a variety of pseudonyms (including "Bunny Carter," "Big Boy Woods," and "Salty Dog Sam"). Jailhouse Blues collects the bulk of the guitarist's commercially released output. Perhaps not as expressive or emotionally exhilarating as the "hard" Mississippi Delta singers, Collins' voice has an accessible, undeniable beauty. His guitar accompaniment proves a mastery of the basic slide and fingerpicking skills, delivered with a rough but pleasant style. These elements were combined with a compelling set of influences (intentional or otherwise) that came together in his music. For one, Collins probably picked up a lot from listening to recordings and performers from the area. His songs are filled with common, stock blues phrases delivered without a great degree of personal reconfiguring. "Hesitation Blues," a popular song from the period, is given a raw, swift rendition. The guitar line follows his singing, but he ends his phrases with deep, hard chords that contrast his high vocal. Other songs are approached in a similar manner. On "Midnight Special," the pace is almost rushed. Collins' vocal on both songs bears a striking resemblance to Skip James (at times, Collins actually sounds strikingly like a woman). The connection is made stronger by the fact that Collins' "Lead Me All the Way" has been performed by James as "Jesus Is a Mighty Good Leader." More unusual, however, are the strains of white music that run through Collins' style of Mississippi blues. On "It Won't Be Long," for instance, his characteristic vibrato and natural blues phrasing are less prominent, creating a bizarre mix of white and black

Password and Link:
rukusjuice
mp3 128 kbps - 37 Mb

http://www.filefactory.com/file/ca58360/n/scjb.rar

Big Bill Broonzy - In Chicago 1932- 1937.

Review

The indomitable William Lee Conley Broonzy would have already passed his 100th birthday, and hardcore blues enthusiasts are of course ever grateful for the many, many great records made by Big Bill and his century's worth of influence. The "itinerant" Reverend's high old time in Chicago spanned a far longer period than In Chicago 1932-1937 documents, although these are without question choice and demonstrative cuts performed at a distinct and motivated peak in the man's career. All of these spare but full-tilt blues classics can be found on numerous other collections, although there is a well-knit and sequenced quality to these live versions that distinguishes this record from even other live Windy City shows. "Long Tall Mama," "You Know I Got a Reason" and "Little Bug" are the kind of sweet-smiling, affectionately home-cooked blues songs that bring to mind and heart an almost fatherly Big Bill. "Oh Babe" is a plaintive but convincing suitor's song, and "Come Up to My House" is pure mischief. Regardless of the selection, there is zero doubt found here or anywhere else that Chicago is this man's town, and 1932 to 1937 was more like a great blues weekend there.

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rukusjuice

mp3 320 kbps - 140 Mb

http://www.filefactory.com/file/ca5a7fd/n/bbbic.rar

Blind Boy Fuller - Remastered 1935- 1938 (4 cd box set).

Review


Following Blind Blake, Blind Boy Fuller is probably the best known of the so-called Piedmont blues guitarists, a loose group of players from the Appalachian foothills of North Carolina, South Carolina, and upper Georgia who specialized in a flashy two- and three-finger picking style. Fuller was hardly in Blake's league, but his simple, crisp playing and easy singing style made him immensely popular, and he sold thousands of records for ARC (and a handful for Decca) until his death in 1941. This four-disc set from Britain's JSP Records collects everything Fuller did, 100 tracks in all, recorded in just a three-year span between 1935 and 1938, and features Fuller solo and with accompanists like guitarists Gary Davis (Fuller's guitar teacher, who may have been the greatest Piedmont picker of them all, but he steadfastly refused to do secular material) and Floyd Council, washboardist Bull City Red, and harmonica players Sonny Terry and Charlie Austin. Fuller worked off of a couple of well-used templates, generally fairly generic tunes with floating blues verses like "Tom Cat Blues," "Bulldog Blues," and "Weeping Willow," along with good-time rag pieces like "Rag, Mama, Rag" and "Piccolo Rag" (piccolo was seaboard slang for a jukebox), and hybrids between the two, like his signature piece, "Truckin' My Blues Away" (which is represented here in three versions, along with several variations on the theme under different titles). Truthfully, this is probably way more Blind Boy Fuller than most people will need, and a single-disc comp will work for most folks, but for serious collectors, having everything in one set may be just the ticket.

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rukusjuice
mp3 256 kbps - 467 Mb
http://www.filefactory.com/file/c36314d/n/bbf4.rar

Sam Collins - Complete Recorded Works 1927- 1931.

Review

Every track that Sam Collins recorded at the end of the '20s and early in the '30s is included on Document's Complete Recorded Works (1927-1931). Although the comprehensiveness of the set is a little intimidating for casual listeners -- they should stick with the better-sequenced Jailhouse Blues -- historians will find the collection invaluable.

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rukusjuice
mp3 320 kbps - 134 Mb
http://www.filefactory.com/file/ca44dc3/n/sc.rar

Josh White - Complete Recorded Works , Vols. 1 to 6.

Review Vol1.
Josh White, who became famous in the 1940s as an accessible and highly intelligent folk singer, began his career as a blues-oriented vocalist and guitarist. Vol. 1 of his complete early recordings starts with a couple instrumental jams from 1929 with the Carver Boys (a quartet consisting of harmonica and three guitars). The remainder of this CD is from 1932-1933, with White heard on some easy-to-take religious songs and as a blues performer. These 24 recordings are all solo numbers other than two selections that have an unknown pianist added. White's voice is strong, and his guitar playing is quite fluent. Among the better numbers are "Black and Evil Blues," "Things About Coming My Way," "Double Crossing Woman," and "Lay Some Flowers on My Grave." This set is particularly recommended to blues collectors who were not aware of Josh White's musical beginnings.

Review Vol.2 .

The second of three Josh White CDs that document the folk singer's early period features him both as a gospel performer (known as "The Singing Christian") and as a blues singer (billed as "Pinewood Tom"). White's guitar playing was quite fluent during this period and he sounds quite authentic in these different idioms. The first two sessions feature him solo and then other selections have Walter Roland, Leroy Carr or Clarence Williams on piano, with two songs adding Scrapper Blackwell on second guitar. Among the better selections are "Welfare Blues," "I Believe I'll Make a Change," "Evil Man Blues," "Black Gal," "Milk Cow Blues" and "Homeless and Hungry Blues."

 Review Vol.3.

 The third of three Document CDs that cover Josh White's early years has 16 selections from 1935-1936 and eight from 1940. In between those periods, White suffered a serious injury to a hand that forced him out of music temporarily. The earlier numbers feature him either as "The Singing Christian" or as a blues singer under the name of "Pinewood Tom." Those duets (with either pianist Walter Roland or guitarist Buddy Moss) are excellent including such numbers as "Jet Black Woman," "Got a Key to the Kingdom" and "No More Ball and Chain." The later eight numbers have White accompanied by bassist Wilson Meyers and, on "Careless Love" and "Milk Cow Blues," the great clarinetist Sidney Bechet. Listeners who think of Josh White as primarily an urban folk singer, will find these performances, and those are the preceding two Document CDs, to be quite intriguing.

Dirty: I didn't find reviews online for the three last albums of this collection... But believe me: They're good!

Password and Links:
rukusjuice
mp3  224 kbps - 677 Mb

http://www.filefactory.com/file/ca4cb5d/n/jwcrw1to6.part1.rar
http://www.filefactory.com/file/c5bdb77/n/jwcrw1to6.part2.rar
http://www.filefactory.com/file/ca4d15e/n/jwcrw1to6.part3.rar

V.A. - Ladies sing The Blues - 1992.

Review

Living Era's Ladies Sing the Blues compiles performances from some of the most popular female blues singers from the '30s and '40s. Lizzie Miles, Ida Cox, Marnie Smith, and Una Mae Carlisle are some of the artists included here, and performances like Bessie Smith's "Empty Bed Blues, Pt. 1-2," Ma Rainey's "Booze & Blues," Billie Holliday's "Long Gone Blues," and Ada Brown's "Evil Mama Blues" showcase the sultry, world-weary, and often humorous stylings of these pioneering blueswomen.

Password and Link:
mississippimoan
mp3 320 kbps - 130 Mb
http://www.filefactory.com/file/b39c6c0/n/valstb.rar

Bumble Bee Slim - Complete Recorded Works Vol.2 - Released in 1994.

Bio
Popular and prolific, Bumble Bee Slim parlayed a familiar but rudimentary style into one of the earliest flowerings of the Chicago style. Much of what he performed he adapted from the groundbreaking duo Leroy Carr and Scrapper Blackwell -- Slim built on Carr's laconic, relaxed vocal style and Blackwell's guitar technique. During the mid-'30s, Bumble Bee Slim recorded a number of sides for a variety of labels, including Bluebird, Vocalion, and Decca, becoming one of the most-recorded bluesmen of the decade.

Born in Georgia, Bumble Bee Slim left his home when he was a teenager. He joined a circus and travelled thorughout the south and the Midwest for much of his adolescence and early adulthood. Eventually, he made a home in Indianapolis, where he played local parties and dance halls.

Bumble Bee Slim moved to Chicago in the early '30s. After a few years in the city, he began a recording career; his first singles appeared on Bluebird. Slim wrote and recorded frequently during the mid-'30s, selling more records than most of his contemporaries. In addition to cutting his own sides, he played on records by Big Bill Broonzy and Cripple Clarence Lofton, among others.

Bumble Bee Slim moved back to Georgia in the late '30s. After a few years, he left the state once again, relocating to Los Angeles in the early '40s. During the '50s, Slim cut some West Coast blues for Specialty and Pacific Jazz, which failed to gain much interest. For the rest of his career, he kept a low profile, playing various Californian clubs. Bumble Bee Slim died in 1968.

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mississippimoan
FLAC - 221 Mb
http://www.filefactory.com/file/b39fgf5/n/bbscrwv2.rar