Bob Mac's Compilations
Welcome to my compilations of Blues, R&B, Soul, Gospel, Jazz, Rockabilly, Rock & Roll, Hillbilly & Country music.
Monday, September 14, 2026
Sunday, September 13, 2026
Bob's Chat
My last "Albums That Deserve Another Listen" - Davy Graham's 1965 album "Folk, Blues & Beyond" was well received, so here is his first LP "The Guitar Player", which was recorded in 1962 and released in 1963. Unlike his second album, on which Davy sang, this one is solely instrumental. I hope you all enjoy this outstanding record, he was certainly a very gifted musician.
It's Rockabilly & Early Rock & Roll time again, now up to Volume 130, with "Ain't Nothing Like Loving Volume 03 - My Girl". A total of 20 great tracks dated from 1953-1967 featuring Boyd Bennett, Fats Domino, Shirley & Lee, The Everly Brothers, Rusty York, Jimmy Gilmer, Jesse Lee Turner, The Platters, and several others. And of course these are all in flac.
Here's one more for you in the "Blues, R&B, Soul & Gospel Records". This is Volume 304, with tracks from 1939 through to 2023. Among the fine artists presented here are: Jimmy Rushing, Ramsey Lewis, Clara Ward, Arthur Alexander, Patti Parks & Johnny Rawls. Plus 3 of J.B. Hutto & His Hawks magnificent recordings for Chance Records in Chicago in 1954. The line up for these classic recordings was J.B. Hutto - guitar/vocals; George Mayweather - Harmonica; Joe Custom - Bass; and Eddie "Porkchop" Hines on washboard/drums. I love these rough, unpolished early Chicago blues. It must have been a buzz to have gone to some of those South Side blues clubs to watch bands like J.B. Hutto & His Hawks playing live.
As always my friends dig in and enjoy. Also don't forget to pop down to Bob's Cellar and have a look around. There's been lots of activity there recently with cabledogg2, Patrick, Nance and Spidey all sharing lots of goodies for you all. So look around, take what you like, and don't forget to take a few seconds to say thanks to the generous team for sharing their music with you.
Davy Graham - The Guitar Player (1963)
The Guitar Player was Davy Graham's first full-length LP, recorded in 1962 and issued on Pye Records Golden Guinea label in 1963.
This unique album combines his interesting and virtuoso guitar play with some excellent arrangements. With his guitar style he contributed to the musical changes in the early 1960s, where blues, rock and folk started to play a more prominent role in the music scene. The man crosses into blues, jazz, folk, Arabic music and more, often in the same song. It's an essential album and one of the greatest instrumental acoustic guitar records released in the 1960s. British guitar virtuoso Davy Graham inspired a multitude of artists such as Paul Simon, Jimmy Page and Eric Clapton. Combining different music genres, Graham proved to be one of the 20th century's most versatile guitarists and songwriters.
01. Don't Stop The Carnival
02. Sermonette
03. Take Five
04. How Long, How Long Blues
05. Sunset Eyes
06. Cry Me A River
07. The Ruby And The Pearl
08. Buffalo
09. Exodus
10. Yellow Bird
11. Blues For Betty
12. Hallelujah, I Love Her So
Davy Graham – guitar
Bobby Graham - drums
Note: Bobby Graham was an English session drummer and not related to Davy Graham.
Tracklist With Original Artists/Writers:
Don't Stop the Carnival - Written/recorded by Sonny Rollins (featured on his 1962 album What's New).
Sermonette - Written by Cannonball Adderley/Nat Adderley.
Take Five - Written by Paul Desmond (made famous by The Dave Brubeck Quartet).
How Long, How Long Blues - Traditional blues, written/popularized by Leroy Carr.
Sunset Eyes - Written by Teddy Edwards.
Cry Me a River - Written by Arthur Hamilton (popularized by Julie London).
The Ruby & the Pearl - Written by Jay Livingston and Ray Evans (popularized by Nat King Cole).
Buffalo - Traditional/attributed jazz-blues tune or original arrangement.
Exodus - Written by Ernest Gold (main theme from the film Exodus).
Yellow Bird - Based on the Haitian song "Choucoune".
Blues for Betty - Original composition by Davy Graham.
Hallelujah I Love Her So - Written by Ray Charles.
"I started to play the guitar about seven years ago, while I was still at school. Homework always gave in to music, so I was no genius. As soon as I got home, I would put on a blues record: Big Bill Broonzy, Blind Lemon Jefferson, Memphis Slim, Champion Jack Dupree and Muddy Waters and many others as well as modern jazz greats like Charlie Parker, Charlie Mingus and Thelonious Monk, who are still my favourites.
When I got tired of the city and a job suffocating in an office, I went to Paris and sang and played in the streets to cinema queues and up and down the French Riviera. I must admit I was very glad when I was invited to play in night clubs where I could put down the plectrum and play finger style as I still do. Every summer for three years I would break the chains of a job and leave for the continent, taking £5, the fare to Paris, freedom and the sun of the Cote d'Azur. When I came back to England in the winter of 1961, I started to get more regular work playing in folk song clubs, and got my first break playing as accompanist along with Alexis Korner for Shirley Abicair, the Australian folk singer on broadcasts for radio, a TV series and a concert at the Royal Festival Hall.
When people ask me what type of guitar I play, I usually say “Blues, bits and pieces”. The numbers on this album are a mixture of jazz and folk influences. I think that every number has its own particular mood. Before I play I don't know exactly what notes will come out, but I know the mood the number conjures up in me, so that on the framework of, say, a 12-bar blues with a slow tempo and a minor key, I can make the guitar cry by whining the strings.
On the other hand, for a calypso or fast rocking blues, I can use running single-line phrases with clipped notes to convey movement and excitement, filling in with block chords to keep the pulse of the number. For me, the richness of the guitar as a solo instrument, or an accompaniment to a singer lies in its many voices and moods.
For the last two years, I have been playing in Nick's diner near Earl's Court where I eat excellent steaks and am acquiring a taste for good wine and cigars. Over the past year I have made half a dozen solo TV appearances, though I love to play with a band. I have recently joined Alexis' “Blues Incorporated” and have a ball both playing, and watching the dancers. All is said now except that I sincerely hope you enjoy this record either to listen to, or as a background to good conversation." (Davy Graham 1963)
Rockabilly & Early Rock & Roll Vol 130
Ain't Nothing Like Loving Vol 03 - My Girl (1953-1967)
Blues, R&B, Soul & Gospel Records Vol 304 (1939-2023)
Wednesday, September 9, 2026
Hillbilly & Country Vol 167 - Love & Broken Hearts Vol 01
With Tears In My Eyes (1935-2016)
Blues, R&B, Soul & Gospel Records Vol 303 (1954-2023)
Sunday, September 6, 2026
Albums That Deserve Another Listen
Davy Graham - Folk, Blues & Beyond (1965)
Folk, Blues and Beyond is the second studio album by British musician Davy Graham, originally released in 1965. It has been considered Graham's most groundbreaking and consistent work and a defining record of the 20th century. It has also been a primary influence on some of the most popular musicians in Britain ranging from Bert Jansch to Jimmy Page and Eric Clapton.
Tracklist:
02. Cocaine
03. Sally Free And Easy
04. Black Is The Colour Of My True Love's Hair
05. Rock Me Baby
06. Seven Gypsies
07. Ballad Of The Sad Young Men
08. Moanin'
09. Skillet Good 'n' Greasy
10. Ain't Nobody's Business What I Do
11. Maajun
12. I Can't Keep From Cryin' Sometimes
13. Don't Think Twice, It's Alright
14. My Babe
15. Goin' Down Slow
16. Better Git It In Your Soul
Personnel:
Davy Graham - vocals, acoustic guitar
Tony Reeves - double bass
Barry Morgan - drums, percussion
Folk, Blues & Beyond was first released on Decca Records in 1965, and is one of the most important recordings from the 1960s folk revival. Davy Graham was the first guitarist to emerge from Britain whose work combined stylistic elements from Julian Bream, Big Bill Broonzy, Blind Lemon Jefferson, Ali Akbar Khan, Leadbelly, Joe Pass, Segovia and others too numerous to name. John Martyn described him as his "absolute hero" in a Guitar Player interview in 1975. Of Scottish and Guyanese parents, he came to personify musical adventure, his adoption of non-standard guitar tunings, most notably D-A-D-G-A-D, arguably his most important legacy. His uniqueness became, directly or indirectly, a model for Martin Carthy, Bert Jansch, John Renbourn, Wizz Jones and Martin Simpson. Covers of traditional folk standards like 'Black Is the Colour Of My True Love's Hair' and 'Seven Gypsies' combine with interpretations of compositions by Bob Dylan (Don't Think Twice, It's Alright), Willie Dixon (My Babe), Charles Mingus (Better Git In Your Soul), and Reverend Gary Davis (Cocaine) for an eclecticism of repertoire that wasn't matched by many musicians of any sort in the mid-1960s.
Country, Pre-War & Acoustic Blues Vol 116
Country Blues Guitar Players Vol 01 - Old Home Blues (1927-2025)
Blues, R&B, Soul & Gospel Records Vol 302 (Live Recordings)
Thursday, September 3, 2026
Bob's Chat
As mentioned in my last chat, today sees the first in a 60 volume set of compilations in flac format. I think most of you will appreciate getting this music in flac, however anyone who prefers MP3-320 can easily convert the tracks. There are plenty of free file convertors available. Human Media is a pretty good one (https://www.mediahuman.com/audio-converter/) and has version for Windows, Mac, and Linux.
Also here is "Blues, R&B, Soul & Gospel Records" now up to Volume 301. These remain in MP3-320 format. I have made a few volumes in this series in flac, but they'll be coming to you later on. For the time being this series remains in MP3.
And another fine album for you by John Renbourn, his 1971 album "Faro Annie". This is, I believe, John's most bluesy album.
Finally, while taking my morning walk through the rice fields of NE Thailand today I was thinking what if I was to meet someone who had never in their whole life heard blues/R&B music. They had absolutely no idea what it sounded like, and they asked me to play them just one blues/R&B track that would introduce them to the music. What would I play?
I reckon I'd reach for Elmore James. Dust My Broom/Dust My Blues. Perhaps the Trumpet recording with Elmore and Sonny Boy. Or maybe that live "Please Find My Baby" with the Ike Turner band. I can't really think of a finer introduction to the blues than Elmore James.
So how about you guys? If you were to play just one track for someone to introduce them to blues/R&B music, what would you put on?
John Renbourn - Faro Annie (Reprise Records MS 2082)
An excellent example of John Renbourn's more bluesy side that makes a fine contrast to his more well-known work in traditional British Folk music as a solo artist, as well as his work with Bert Jansch and Pentangle.
Tracklisting:
02. Buffalo Skinners (3:37)
03. Kokomo Blues (3:54)
04. Little Sadie (3:16)
05. Shake Shake Mamma (3:33)
06. Willy O'Winsbury (5:39)
07. The Cuckoo (3:57)
08. Come On In My Kitchen (3:52)
09. Country Blues (3:36)
10. Faro Annie (3:25)
11. Back On The Road Again (3:12)
Musicians:
John Renbourn: vocals, guitars, sitar, harmonica
Dorris Henderson: vocals (1,3,11)
Sue Draheim: fiddle (4,6,9)
Pete Dyer: harmonica (3,8)
Danny Thompson: double bass (5,10)
Terry Cox: drums (5,10)
Studio album recorded in 1971 and released in 1972.
Pentangle singer/guitarist John Renbourn often takes a folk-rock approach, and often investigates American folk songs, on Faro Annie, beginning with the traditional "White House Blues," a song about the 1901 assassination of President William McKinley. "Buffalo Skinners" is a song associated with Woody Guthrie that Renbourn gives an unusually calm treatment to, adding for the first but not the last time a background sitar part. "Kokomo Blues" is the first overtly folk-rock track, finding Renbourn joined by the Pentangle rhythm section of bassist Danny Thompson and drummer Terry Cox. The first song with a distinctly British derivation is "Willy O'Winsbury," but before long Renbourn is evoking Robert Johnson on "Come on in My Kitchen." That Delta blues is followed by "Country Blues," and then the original instrumental title tune. Throughout, Renbourn and his cohorts explore the various folk styles with delicacy and restraint; that's the British element coming through, and it gives an elegance to the material.
Best Of Jazz Vol 128 - Only The Lonely Vol 01 - Blue In Green (1956-2025)
Blues, R&B, Soul & Gospel Records Vol 301 (1936-2023)
Tuesday, September 1, 2026
Bob's Chat
The Times They Are A-Changin'
Starting soon will be the final batch of my Jazz, Soul, Hillbilly/Country, Rockabilly/R&R, and Pre-War/Acoustic Blues series. This next batch is already compiled, a total of 60 compilations (12 volumes in each genre) and for a change this one is entirely in flac. I've decided to bring these series to an end because the blog is now entering its 6th year and it's time for a fresh approach. I don't see the point in making any more Soul compilations about broken hearts and tears, or Hillbilly compilations about drunks and jukeboxes, by the end of this next batch these various topics will be more than well covered. So sometime in 2027 the various genre compilations will come to an end. However I'll continue making some special compilations but they will be more detailed, with session information, personnel, dates, photos, plus a bit of a write up. As more time goes into compiling such compilations they'll only be appearing periodically.
As the blog will be featuring fewer homemade compilations, there will be more officially released albums. However, as previously stated, no new releases, just old, odd, rare and interesting things, much the same as I've been doing with the "Albums That Deserve Another Listen" series. I have a very large collection of digital music, so loads of great albums to share, and the blog will continue rolling along with the "Blues, R&B, Soul & Gospel Records" series. There are plenty of these prepared in advance, currently up to Volume 550. At the present rate of posting that's enough to last until 2030. Therefore I won't be making any more for the time being as I don't see any point in getting too far ahead of myself.
I'm also considering featuring other things of interest. For example I have an unpublished manuscript of interview transcriptions that were conducted with many visiting bluesmen in Australia throughout the 1970s. I'll be fetching this manuscript in October on my next trip to Perth, and after scanning the interviews I'll start putting them up on the blog. Most of these bluesmen I interviewed have now passed away, plus there are photos I took of them. So lots of interesting and historical things to look forward to.
Also as I'm a keen photographer and have traveled a lot, I'd like to show more of my travel and artistic photography. So in the months ahead this blog will begin to shape up more as a personal blogsite, and not so much as just being a music-sharing site. None of this will effect "Bob's Cellar" however, that will continue in its present format for as long as required.
Anyway, all this is in the future. For the time being everything remains the same, the changes will appear gradually.
Friday, August 28, 2026
Bob's Chat
Don't forget to check out "Bob's Cellar", the link is on the right of this page. Lot's of activity in the Cellar now, so look around and grab yourselves some goodies. Our friend cabledogg2 has just posted another large share of his rare bluegrass and country music CDs. Our good friend Patrick, formerly of the "Music Memories" blog has now joined us as a regular poster, so look out for lots of rare jazz/blues/rock music from Patrick's impressive collection. And a new follower of this site, NanceeKaye, has begun sharing some interesting things.
Also, I like to respond to everyone who makes comments and says "thank you" for the downloads, however, I've been extra busy these past couple of weeks, so forgive me if I haven't responded to anyone's comments. I do read all comments and very much appreciate all of them.
Anyway my friends, dig in and dig the great variety of music that's on offer to you here on Bob Mac's Compilations, and in Bob's Cellar.
Soul Party Vol 120 - Out On The Floor Vol 06 - Ya'll Know How To Party (1958-2024)
Blues, R&B, Soul & Gospel Records Vol 300 (1953-1993)
Wednesday, August 26, 2026
Monday, August 24, 2026
Albums That Deserve Another Listen
Roscoe Shelton - The Best Of Roscoe Shelton (Sunset Blvd Records 7 08535 79082 2)
02. My Best Friend
03. Worry
04. Love Is The Key
05. I'm Tryin' To Quit
06. Love Comes And Goes
07. Master Mind
08. Keep Your Mind On Me
09. Wedding Cake
10. The Fire Still Burns
11. My Eyes (I Can Cry If I Want To)
12. I Know Your Heart Has Been Broken
13. Easy Going Fellow
14. Roll With The Punch
15. Who Walks In (When I Walk Out)
16. You're Living Too Fast
17. Soon As Darkness Falls
18. A Man's Love
19. I'm In Way Too Deep
20. Tonight's My Night
21. Running For My Life
22. There's A Heartbreak Somewhere
23. I Can't Stand To Be Without You
24. I Want To Keep You (If You Want To Stay)
25. You Ought To Take Time Out For Your Love
26. I'm Ready (To Love You Now)
27. You're The Dream
28. I'm Still The Man
This bountiful 28-track compilation of Roscoe's SS7 years offers the most in-depth examination yet of a soul music pioneer's most productive period, his mellifluous voice never failing to thrill. Nashville soul at its finest.
Nashville is famous for the tremendous contribution to the history of country music, 'Music City' also housed a flourishing Rhythm and Blues community in the post-war period. John Richbourg, a leading DJ at Nashville's 50,000-watt R&B station WLAC, was an influential, driving force in this scene, especially since he joined Sound Stage 7 Records as a producer in the mid 60s. Richbourg created groundbreaking hits for the best soul singers of the label, among others for Roscoe Shelton from Lynchburg, Tennessee. Shelton began with The Fairfield Four and The Skylarks as a gospel singer, before a long-lasting change in 1958 at the behest of Ernie Young, owner of Excello Records. Roscoe made seven singles for Excello by 1961, but he took the most important step when he signed with Sims Records, where he cracked the national R&B charts with Strain On My Heart in 1965. After switching to Sound Stage 7 the following year, Shelton landed another hit with Easy Going Fellow and made more recordings for SS7 until 1968, then retired from the show business. This comprehensive compilation with 28 tracks from Roscoe's years at SS7 offers the deepest collection of this soul pioneer in it's most productive time.
Rockabilly & Early Rock & Roll Vol 129 - Hops, Parties & Dances Vol 01
Rockin' Jukebox (1953-2000)
Blues, R&B, Soul & Gospel Records Vol 299 (1928-2003)
Friday, August 21, 2026
Albums That Deserve Another Listen
Jo Ann Kelly Band - Just Restless (1984)
Tracklist:
02. People Sure Act Funny
03. Help Me Through The Day
04. Satisfied With Jesus
05. Roll Roll Roll
06. Me
07. Don't Mess Up A Good Thing
08. Clean Up Woman
09. Feel So Worried
10. Restless
Credits:
Jo Ann Kelly - Vocals
Al McLaine - Lead Vocals On Track 07
Pauline Neill - Backing Vocals
Al McLaine - Backing Vocals
Pete Emery - Guitar
Geraint Watkins - Keyboards
Nick Paice - Saxophone
Tex Comer - Bass
Les Morgan - Drums
Les Morgan - Percussion
The rock era saw a few white female singers, like Janis Joplin, show they could sing the blues. But one who could outshine them all - Jo Ann Kelly - seemed to slip through the cracks, mostly because she favored the acoustic, Delta style rather than rocking out with a heavy band behind her. But with a huge voice, and a strong guitar style influenced by Memphis Minnie and Charley Patton, she was the queen. Born January 5, 1944, Kelly and her older brother Dave were both taken by the blues, and born at the right time to take advantage of a young British blues scene in the early '60s. By 1964 she was playing in clubs, including the Star in Croydon, and had made her first limited-edition record with future Groundhogs guitarist Tony McPhee. She expanded to play folk and blues clubs all over Britain, generally solo, but occasionally with other artists, bringing together artists like Bessie Smith and Sister Rosetta Tharpe into her own music. After the first National Blues Federation Convention in 1968 her career seemed ready to take flight. She began playing the more lucrative college circuit, followed by her well-received debut album in 1969. At the second National Blues Convention, she jammed with Canned Heat, who invited her to join them on a permanent basis. She declined, not wanting to be a part of a band, and made the same decision when Johnny Winter offered to help her. Throughout the '70s, Kelly continued to work and record solo, while also gigging for fun in bands run by friends, outfits like Tramp and Chilli Willi, essentially pub rock, as the scene was called, and in 1979 she helped found the Blues Band, along with brother Dave, and original Fleetwood Mac bassist Bob Brunning. The band backed her on an ambitious show she staged during the early '80s, Ladies and the Blues, in which she paid tribute to her female heroes. In 1988, Kelly began to suffer pain. A brain tumor was diagnosed and removed, and she seemed to have recovered, even touring again in 1990 with her brother before collapsing and dying on October 21. Posthumously, she's become a revered blues figure, one who helped clear the path for artists like Bonnie Raitt and Rory Block. But more than a figurehead, her recorded material, and unreleased sides have appeared often since her death, show that Kelly truly was a remarkable blueswoman.
Hillbilly & Country Vol 166 - Duos & Trios Vol 04 - The Lonesome River (1948-2016)
Blues, R&B, Soul & Gospel Records Vol 298 (1927-2023)
Tuesday, August 18, 2026
Country, Pre-War & Acoustic Blues Vol 115 - Blues Duos Vol 05
She Squeezed My Lemons (1928-2024)
Blues, R&B, Soul & Gospel Records Vol 297 (1958-2023)
Saturday, August 15, 2026
Best Of Jazz Vol 127 - Mainline To The Soul Vol 01 - Two Bass Hit (1936-1973)
Blues, R&B, Soul & Gospel Records Vol 296 (1930-2017)
Thursday, August 13, 2026
Eddie Cochran - Eddie's Blues (1959)
Wednesday, August 12, 2026
Bob's Chat
At the same time as the 3 giants of British blues/rock electric guitar - Eric Clapton, Jeff Beck, Jimmy Page - were making their marks on the musical world, there were also 3 British giants of acoustic guitar - Davy Graham, Bert Jansch, John Renbourn - who were arguably superior musicians but never reached the same levels of international renown. All 3 of these superb acoustic guitar players have now passed away, however, fortunately, they leave behind some magnificent recordings, which I'll be presenting to you over the coming weeks as "Albums That Deserve Another Listen". For those of you who are unfamiliar with the recordings of Graham, Jansch & Renbourn you will be in for some surprises as many of their songs were inspirations and influences on many other artists, in particular Jimmy Page, and also The Rolling Stones. I remember many years ago watching a British TV show on which Bert Jansch and John Renbourn appeared and played a duet of old Elizabethan Chamber Music. This was highbrowed intricate classical guitar playing but they were throwing in bends and blues licks. It was remarkable playing and I had never heard anything like it before or since.
Here's another in the very popular Soul Party series: Volume 119 - Cities & Places Vol 04 - The Dark End Of The Street (1962-2013) today featuring James Carr, Latimore, Grace Jones, Bill Withers, Stevie Wonder, Sam Cooke, Dinah Washington, Chaka Khan & Rufus, and several other great people.
And Blues, R&B, Soul & Gospel Records now up to Volume 295 brings you 21 great tracks from 1952-2023. Included among the fine artists in this collection are: B.B. King, Chuck Higgins, Sugar Boy Crawford, Sista Monica Parker, Mary Taylor, Willie West, Melvin Davis, plus a few others.
Incidentally, as I have mention before I make these compilations up in batches and then they're backed away on external HDDs waiting their turns to appear on the blog. With the "Blues, R&B, Soul & Gospel Records" series a rule of thumb is the most recent date of a track in the compilation will be the year that it was compiled. So in the case of today's "Blues, R&B, Soul & Gospel Records Vol 295" that was made up 3 years ago in 2023. Therefore, the compilations that I am putting together at the present time, now up to "Blues, R&B, Soul & Gospel Records Vol 550" probably won't get on the blog until 2030.
Anyway my friends, dig in and enjoy.
Finally a message to Fred (finnigan49) a week ago you requested a new link for "Country, Pre-War & Acoustic Blues Vol 93". Well if you're reading this Fred I renewed that link a week ago but it still hasn't been downloaded. You'll find the new link in the comments.
Albums That Deserve Another Listen
Bert Jansch & John Renbourn - After The Dance (1966-1968)
Tracklist:
02. Waltz
03. Piano Tune
04. Goodbye Pork Pie Hat
05. Hole In The Coal
06. The Wagoner's Lad
07. Lucky Thirteen
08. Three-Part Thing
09. Stepping Stones
10. Red's Favourite
11. No Exit
12. Orlando
13. Bells
14. East Wind
15. After The Dance
Guitarists delight. This anthology supplements most of the material from the album "Bert and John" (later released as "Stepping Stones" in the States) with six or seven duets taken from Bert Jansch and Pentangle albums from the same general period, 1966 to 1968. A good idea, as it allows listeners to hear Jansch and Renbourn both in the context of unaccompanied duet, and in their role as the duel driving forces of Pentangle. Jansch and Renbourn were perhaps the most celebrated acoustic guitar duo from this period, and the material still shines: pieces like 'Hole in the Coal,' 'Three Part Thing,' and 'After the Dance' itself have so much drive, yet elegance.
A hidden gem. This breathtaking album showcases a series of spellbinding and perfect dialogues between two masters of acoustic guitar. Although normally classified under "folk", the album is an extraordinary and seamless fusion of blues, jazz, Celtic/British, bluegrass and baroque counterpoint. The music combines strong and catchy melodies, driving rhythms and strategically advanced composition.
An extraordinarily intense driving energy pervades this album, and as the last few notes echo in your ears, you are left with the feeling of having been in the presence of pure, bright liquid light, emanating from a pitch-black background. The pieces are hauntingly beautiful, each track highly distinctive. This album is a master course in dialogue and composition.
Soul Party Vol 119 - Cities & Places Vol 04 - The Dark End Of The Street (1962-2013)
Blues, R&B, Soul & Gospel Records Vol 295 (1952-2023)
Sunday, August 9, 2026
Rockabilly & Early Rock & Roll Vol 128 - Love & Heartaches Vol 04 - Cry Guitar (1956-1961)
Blues, R&B, Soul & Gospel Records Vol 294 (1949-2018)
Friday, August 7, 2026
Hillbilly & Country Vol 165 - Cowgirls Get The Blues Vol 05
Who'll Help Me Get Over You (1950-2023)





























