Elmore James - Got To Move

All the stuff here was recorded in the early sixties.
This another vinyl rip, this time brought to you in another format, mp3s.
I've noticed that the high resolution files don't do well and that people might prefer smaller files.
A little feedback here will certainly be useful!

Tracks:
1.Dust My Broom (60's version)
2.Done SOmeone Wrong
3.Knocking At Your Door
4.Fine Little Mama
5.Pickin' The Blues
6.Strange Angels
7.Bledding Heart
8.I've Got A Right To Love My Baby
9.Early One Morning
10.Look Over Yonder Wall
11.Got To Move
12.Make My Dreams Come True
13.It Hurts Me Too (60's Version)
14.Elmore's Contribution To Jazz
15.Held My Baby Last Night
16.Every Day I Have The Blues

Password and Link:
mississippimoan
mp3 , 63 MB
http://ul.to/728c140d

Marcia Ball - Roadside Attractions - 2011.

Review:

Marcia Ball, born on the Texas/Louisiana border, has long been a superb performer, delivering her swampy blend of zydeco, blues, and gritty R&B with all the force of a Saturday night locomotive, and through 12 albums, she has never let that energy go. Roadside Attractions, her fifth release for Alligator Records, is no exception -- it cooks and rattles and rocks with Ball's typical joyous energy and powerful piano. None of her many fans will be disappointed by this outing, but it is a little different for Ball in one respect -- for the first time on one of her albums she has either written or co-written every song on it, and all of them draw on her thousands of hours on the road bringing her infectious brand of swampy boogie to the world. Song after song here roars by in a lightning-soaked tumble of piano-driven words until it feels like her own personal diary of America tumbling past the tour bus window -- and it isn’t all barbecues, picnics, and big concert stages, either. Love is found, lost, and found again out on the road, and Ball captures the kinetic feel of all of that here, and she’s arguably never sung better, her voice full of the smoke of life on the road. You can tell she loves singing these songs. The opening track, “That’s How It Goes,” stomps with joy right out of the gate, and song after song builds things forward, with Ball's singing and lyrics on cuts like “Between Here and Kingdom Come” and “Believing in Love” in constant motion. The whole album is full of motion and life, and it’s easily Ball's best and most personal statement to date. But don’t worry -- she still knows that all paths lead to the dancefloor, and once there, as she sings on the album-closing “The Party’s Still Going On,” you better be ready to dance. This wonderful album will insist on it.

Password and Link:
rukusjuice
mp3 320 kbps - 96 Mb

http://www.filefactory.com/file/ca88820/n/mbra.rar

Jimmy Liggins and His Drops of Joy - Recorded Between 1947 and 1953, Released in 1978.

Review:

The music of Jimmy Liggins differs greatly from his elder brother Joe's in many respects. Whereas Joe was a more schooled musician, Jimmy was harder, brasher and altogether from the rougher and cruder side of the street. This 25-track collection brings together all the notable tracks Jimmy recorded for Art Rupe's Specialty label between 1947 and 1954. The music Liggins made during his stay at the label produced several R&B hits, most notably the jump-blues perennial "Drunk" (complete with crudely overdubbed lead vocal) and the proto-rock & roll classic "Cadillac Boogie," which in turn provided the basis for Jackie Brenston's "Rocket 88."

Password and Link:
mississippimoan
mp3 128 kbps - 55 Mb
http://www.filefactory.com/file/b309ae3/n/jljlahdoj_rar

Albert Washington - Step It Up and Go - 1993.

Review:

Albert Washington's debut album Step It Up and Go is an impressive, soul-tinged collection of contemporary blues highlighted by Washington's powerful voice and knack for writing sturdy, memorable songs. Unlike some modern blues albums, Step It Up and Go has true grit to it, which brings true heart and soul to these songs and makes it a record well worth exploring.

Password and Link:
mississippimoan
mp3 320 kbps - 105 mb
http://www.filefactory.com/file/b309c4h/n/awsiuag.rar

Louisiana Red - Dead Stray Dog - 1976.

Bio:

Minter lost his parents early in life; His mother died of pneumonia shortly after his birth, and his father was lynched by the Ku Klux Klan when he was five. He was brought up by a series of relatives in various towns and cities. Red recorded for Chess in 1949, before joining the army. After leaving the army, he spent two years in the late 1950s playing with John Lee Hooker in Detroit. He recorded for Checker Records in 1952, billed as Rocky Fuller.
His first album, Lowdown Back Porch Blues, was recorded in New York with Tommy Tucker and released in 1963, with second album Seventh Son released later the same year. Louisiana Red released the single "I'm Too Poor To Die" for the Glover label in 1964. It peaked at Billboard position #117, and Cashbox R&B position 30 (Bilboard did not print standard R&B charts during 1964).
He maintained a busy recording and performing schedule through the 1990s, having done sessions for Chess, Checker, Atlas, Glover, Roulette, L&R and Tomato amongst others. In 1983 he won a W.C. Handy Award for Best Traditional Blues Male Artist.
He has lived in Hanover, Germany since 1981.
He has also made film appearances in Rockpalast (1976), Comeback (1982), Ballhaus Barmbek (1988), Red and Blues (2005) and Family Meeting (2008).
In 1994 Red fused the blues with the urban Greek music of the bouzouki player, Stelios Vamvakaris, on the album, Blues Meets Rembetika. He continues to tour, including regular returns to the US.

Password and Link:
mississippimoan
mp3 320 kbps - 93 Mb
http://www.filefactory.com/file/b30b4be/n/lrdsd_rar

Brownie McGhee - The Complete Brownie McGhee - Recorded Between 1940 and 1941, Released in 1994.

Review:

Well, complete as far as his pre-war country blues waxings for OKeh sans Sonny Terry (except for one or two where the whooping harpist provided accompaniment). Mc Ghee was working firmly in the Piedmont tradition by 1940, when he signed with OKeh and began cutting the 47 enlightening sides here, which represent some of the purest country blues he ever committed to posterity.

Password and Link:
mississippimoan
mp3 320 kbps - 210 Mb
http://www.filefactory.com/file/b4f18b5/n/bmgtcbmg_part1_rar
http://www.filefactory.com/file/b30b8g4/n/bmgtcbmg_part2_rar

Howlin' Wolf - Howlin' Wolf Rides Again - Recorded Between 1951 and 1952 , Released in 1993.

Review:

While both Bear Family sets deal with a largely unissued wealth of material, this collection is devoted in the main to all the Memphis recordings from 1951 and 1952 that saw the light of day on a number of Los Angeles-based labels owned by the Bihari Brothers, being issued and reissued and reissued again on a plethora of $1.98 budget albums. Featuring recordings done in Sam Phillips' Memphis Recording Service and surreptitious sessions recorded by a young Ike Turner in makeshift studios, these 18 sides are the missing piece of the puzzle in absorbing Wolf's early pre-Chess period. It also helps that this just happens to be some of the nastiest sounding blues ever recorded. With no tracks being duplicated from the two Bear Family Memphis Days volumes, and sonics far surpassing all previous issues of this material (every last one of them horribly marred by an annoying 60 cycle hum), this is an essential part of any Wolf collection. Alternate-take freaks will revel in the inclusion of two extra takes of "Riding in the Moonlight" from an earlier and different session than the issued version also included. While not quite as essential as his first two Chess albums (and if you were making a judgement call on just passionate performances alone, even that would be debatable), this is definitely the next stop along the way in absorbing the raw genius of Howlin' Wolf.

Password and Link:
mississippimoan
mp3 128 kbps - 46 Mb
http://www.filefactory.com/file/b30d28f/n/hwra.rar

Frank Frost - Harpin' On It - 2002.

Review:

WestSide's 13-track collection Harpin' on It: The Complete Jewel Recordings compiles all of the songs Frank Frost cut for the Louisiana label in the mid-'60s. While these sides aren't as down-and-dirty as his earlier material for Sun, they're still enjoyable, revved-up juke joint blues. If anything, he stretches the form a little bit here, getting a little funkier with the rhythms, a little rockier in the guitar, and all the production sounds a bit more modern, more like the mid-'60s (which, ironically enough, means it doesn't sound as timeless as his earlier recordings). Throughout it all, Frost's great harp is front and center, and his playing is always first-rate, even when the material is a little pedestrian. Fortunately, he hit the mark more often than not while on Jewel -- most notably on instrumentals, plus the great Slim Harpo takeoff, "My Back Scratcher" -- which is why this is worth hearing.

Password and Link:
mississippimoan
mp3 192 kbps - 54 Mb
http://www.filefactory.com/file/b30d7ch/n/ffhoitcjr_rar

Albert Washington - Blues and Soul Man - Recorded Between 1967 and 1970 - Released in 1999.

Review:

Washington may have been a journeyman at what he did, but he was at the very top of the journeyman class, and what he did--a hybrid of blues and soul--is not as overmined a genre as many blues styles are. That means that if you like blues-soul crossover, you will almost certainly like this compilation of late-'60s and early-'70s sides, which represent the peak of Washington as a recording artist. Most of these were done for Fraternity from 1967-1970, and show him comfortable in deep gospelly Southern soul grooves ("Doggin' Me Around"), quasi-Sam Cooke pop-soul ("A Woman Is a Funny Thing"), and party-tempo blues-soul hybrids that sometimes show a B.B. King influence. The material is more soul than blues; the blues bite is usually supplied by the sharp guitar licks (sometimes played by the great Lonnie Mack), the soul embellished by Washington's cheery, uplifting vocals. The exact tracks featuring Mack are not precisely identified, but his burning, slightly distorted tone is certainly on "Turn on the Bright Lights." Three of the 25 tracks were previously unissued, and in addition to the Fraternity material there are a couple of subsequent singles on Jewel from 1971 and 1973.

Password and Link:
mississippimoan
mp3 320 kbps - 136 Mb
http://www.filefactory.com/file/b30d980/n/awbandsm_rar

Arbee Stidham - Tired Of Wandering - 1960.

Review:

Over the years, the term R&B has been used to describe everything from the 1950s doo wop of the Five Satins to the hip-hop-influenced urban contemporary of Erykah Badu and R. Kelly -- in other words, a variety of African-American popular music with roots in the blues. Arbee Stidham was exactly the sort of singer who thrived in the R&B or "race" market after World War II; although essentially a bluesman, he wasn't a blues purist who embraced the 12-bar format 100 percent of the time. But his mixture of blues, jazz, and gospel made him quite popular among what were considered rhythm & blues audiences in the 1940s and 1950s. Recorded for Prestige's Bluesville label in 1960 -- eight years before Stidham's death -- Tired of Wandering is among his finest albums. This session, which boasts King Curtis on tenor sax, doesn't cater to blues purists; while some of the tunes have 12 bars, others don't. Regardless, the feeling of the blues enriches everything on the CD; that is true whether Stidham is turning his attention to Big Joe Turner's "Last Goodbye Blues" or revisiting his 1948 hit, "My Heart Belongs to You." Equally triumphant is Brownie McGhee's "Pawn Shop," which is associated with Piedmont country blues but gets a big-city makeover from Stidham. Like Jimmy Witherspoon -- someone he inspires comparisons to -- Stidham demonstrates that the blues can be sophisticated, polished, and jazz-influenced without losing their grit. The big-voiced singer/guitarist was born in Arkansas, but Chicago was his adopted home -- and the Windy City had a definite influence on his work. Anyone who has spent a lot of time savoring jazz-influenced bluesmen like Witherspoon and Percy Mayfield owes it to himself/herself to give Tired of Wandering a very close listen.

Password and Link:
mississippimoan
mp3 256 Kbps - 54 Mb
http://www.filefactory.com/file/b30hcg0/n/astow_rar

Big Jack Johnson - Live In Chicago - 1997.

Review:

Mississippi bluesman Johnson comes North to play in Chicago and the results are indeed satisfying. Taken from two different shows at two different venues (Hothouse and Buddy Guy's Legends) over a period of two years ('94 and '95), Johnson is ably backed by Aaron Burton's band with Lester "Mad Dog" Davenport contributing some nice harp on the set from the Legends show. Johnson keeps the set lists jumping, from straight-ahead blues ("Sweet Sixteen," "Black Rooster," "Fightin' Woman," Z.Z. Hill's "The Blues Is Alright") to Mississippi-juke-joint dance numbers (Hank Ballard's "The Twist," "Night Train") and even the stray 'hillbilly blues' number like "Pistol Packin' Mama" and Ivory Joe Hunter's "Since I Met You Baby." Sound is dodgy in spots, but Johnson's palpable energy comes through just fine.

Password and Link:
mississippimoan
mp3 128 kbps - 58 mb
http://www.filefactory.com/file/b30he97/n/bjjlic_rar

Floyd Dixon - Marshall Texas Is My Home - 1991.

Review:

Floyd Dixon landed at Art Rupe's Specialty label in 1953, his music jumping harder than ever. These 22 tracks rate with his best; the collection is full of rarities and previously unissued items, many featuring the wailing tenor sax of Carlos Bermudez in lusty support of the pianist. By 1957, when he momentarily paused at Ebb Records, Dixon could do a pretty fair breathless imitation of Little Richard, as the scorching "Oooh Little Girl" definitively proves. Also includes Dixon's best-known number, the often-covered rocker "Hey Bartender" (first out on Atlantic's Cat subsidiary in 1954).

Password and Link:
mississippimoan
mp3 128 kbps - 49 Mb
http://www.filefactory.com/file/b3104d4/n/fd_rar

Big Jack Johnson - The Oil Man - 1987.

Review:

A true legend in the Delta, Big Jack has gained national attention in the last decade. This solo debut is from 1987 is tremendous-- he's got a booming yet warm voice like Albert King and a ferocious lead/rhythm guitar approach that just astounds. The set list is a mix of originals and covers (even one by Bob Wills-- Big Jack counts country music has a key influence in his music) and the tour de force rendition of "Catfish Blues" is unforgettable. With Frank Frost on piano from the Jelly Roll Kings, this album is a must for initiates to Big Jack or fans who only know his '90's releases.

Password and Link:
mississippimoan
mp3 192 kbps - 65 Mb
http://www.filefactory.com/file/b310630/n/bjjtom_rar

Guy Davis - Butt Naked Free - 2000.

Review:

Making sure that country-blues starts the 21st century off on the right foot, Guy Davis' Butt Naked Free, whose title was inspired by the comments of Davis' young son, is one of the most accomplished statements the genre has offered in a few years. Picking up where 1998's You Don't Know My Mind left off, Davis once again has decided to fill out his sound, but this time adding touches of mandolin, organ and accordion, with the results being altogether more satisfying and never sounding even slightly overproduced. Where Davis on his previous album sounded, at times, unsure of his new direction, Butt Naked Free rocks with a loose liveliness, still allowing Davis' derivative yet idiosyncratic sound to shine through. "Waiting on the Cards to Fall" and "Never Met No Woman Treats Me Like You Do," the latter with Levon Helm contributing drums and mandolin, showcase how well Davis' sound fills out and offers the unique experience of hearing what it might have sounded like if Mance Lipscomb or Reverend Gary Davis had ever recorded with full-band accompaniment. Ballads like "Let Me Stay a While" and the narrative "Sugar Belle Blue" are some of the strongest Davis has written and, if anything, benefit considerably from the more filled out sound. Of course, Davis still delivers more than a few of his stripped-down solo country-blues tunes with the humorous "High Flying Rocket," the mean slide playing on "Come On Sally Hitch a Ride," and the gorgeous instrumental "The Place Where I'm From (Butt Naked Free)." More than anything, Butt Naked Free shows that Guy Davis is still more than happy to carry the banner of country-blues, yet remains able to add to the dialogue of the genre and put his own stamp on it in the process.

Password and Link:
mississippimoan
mp3 192 kbps - 59 Mb
http://www.filefactory.com/file/b3107ab/n/gdbnf_rar

Big Chief Ellis - Featuring Tarheel Slim, Brownie McGhee and John Cephas - 1977.

Review:

Some rare late-period blues from two very underrated New York musicians. Big Chief Ellis and Tarheel Slim weren't the greatest technical singers, but each was a fine interpreter, and that makes this late-'70s session quite instructive.

Password and Link:
mississippimoan
mp3 256 kbps - 102 Mb
http://www.filefactory.com/file/b310a3c/n/bce_rar

Earl Hooker - Blues Guitar: The Chief and Age sessions 1959- 1963.

Review:

Widespread respect for Earl Hooker, one of the unsung giants of the blues, is long overdue, and his rather limited available discography belies a great original talent. P-Vine Japan has attempted to put this right with , an intelligent and authoritative collection of Hooker's early-'60s heyday, containing instrumental classics such as "Blue Guitar" and " Blues in D Natural." Both sound quality and packaging supersede all previous reissues of this work and, as such, this release becomes perhaps the cornerstone of any Earl Hooker collection.

Password and Link:
mississippimoan
mp3 320 kbps - 158 Mb
http://www.filefactory.com/file/b310e8e/n/ehbgtcandas_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

The Legendary Josh White , Recorded in the '60s, Released in 1998.

Review:

This release highlights 18 songs cut by Josh White during the early '60s. Accompanied by his solo acoustic guitar and a string bass, he goes through a range of songs, from his concert favorite "One Meat Ball" to more generic traditional numbers such as the guitar virtuoso showcase "Prison Bound." White also performs contemporary pieces with which he is associated, including the Earl Robinson and Allen Lewis song "House I Live In" (which became much more famous in the hands of Frank Sinatra), jazz pieces like "Miss Otis Regrets," and even his version of "Waltzing Matilda," which in its tempo and accents is perhaps the most stylized rendition ever heard. The material shows off White's range to exceptionally good advantage, and this is as fine a representation of the music that made him famous in the 1960s as any single CD collection currently available.

Password and Link:
mississippimoan
mp3 128 kbps - 46 Mb
http://www.filefactory.com/file/b3143b1/n/jwtljw_rar

Tarheel Slim - No Time At All - 1974.

Review:

Tarheel Slim made some great almost-black rockabilly records for Bobby Robinson in the early '60s, but these 1975 recordings for Pete Lowery's Trix label are loose, informal, and largely acoustic performances. The good news is that they're every bit as engaged as the earlier, rockier Fire sides, full of involved vocals and plucky guitar work that veers between single-note clusters and fleet fingerpicked runs. For all the rough hewness of these recordings, Slim's personality comes through in full force, which makes for one powerful blues album in the bargain

Password and Link:
mississippimoan
mp3  320 kbps - 128 Mb
http://www.filefactory.com/file/b314bb1/n/tsntaa.rar

Hop Wilson and His Buddies - Steel Guitar Flash - 1988.

Review:

Although the majority of the recordings collected here already show up on Bullseye Blues' 1993 reissue Houston Ghetto Blues, this is the one to get. The main reason for this is the inclusion of all the known extant tracks cut in the '50s for the Lake Charles, LA, Goldband label, where Wilson's versions of "Chicken Stuff" and "Rockin' in the Coconut Top" became tri-state biggies, giving him his 15 seconds of fame and influencing the likes of a young Johnny Winter and other young Texan slide-slingers in the process. With his drummer/sometimes-vocalist King Ivory Lee Semien banging the daylights out of a set that sounds like Salvation Army rejects (check out the floor-tom intro on the Goldband version of "Rockin' in the Coconut Top"), a string bass played by the ubiquitous "Ice Water" Jones, and a crackling, wires sticking out of it steel guitar going to places Elmore James could only think of after watching a bad sci-fi movie, Hop Wilson's dour singing delivery combined with his wild-ass playing becomes a whole genre of blues in and of itself and one well worth investigating. With a full generous 29 tracks aboard (including Wilson and the boys backing up Fenton Robinson and Larry Davis on newly discovered cuts) covering all the Goldband, Trey, and Ivory takes known to exist, this is now the definitive Hop Wilson collection and reason enough to start haunting the blues import bins to track it down. Programming tip: For full frontal assault, program up tracks 13 and 25-29 first and prepare yourself for something really special. There was only one Hop Wilson and here's where you check in to get his message.

Password and Link:
mississippimoan
mp3 160 kbps - 84 Mb
http://www.filefactory.com/file/b3cfbf8/n/hwsgf_rar