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Joe Von Battle was a self-made man, who followed a well-trod path from the rural South to the urban north during the Great Migration. His Detroit record shop not only sold the sounds of the black South â blues and gospel âÂ but recorded many of the recent arrivals all around him.
Artists like Aaron âLittle Sonnyâ Willis, John Lee Hooker, Reverend C.L. Franklin and his daughter Aretha,
He also recorded blues artists such as One String Sam, Detroit Count, Calvin Frazier, Washboard Willie, Tye Tongue Hanley, Walter Mitchell and Robert Richard.
But the promise of Detroit wore thin for many black residents, and under the surface of the golden age, trouble was brewing. Joeâs Records would be caught in the middle of the tumult that overtook the city in 1967, but his daughter Marsha Music has kept his story alive.
This short film tells Joe’s story and the golden days of Detroit blues and the eventual demise of J-V-B Records.
For more information on the golden days of Detroit Blues and a fantastic three CD box set click here.
A new documentary about a West London club where The Rolling Stones, The Who, and Eric Clapton played in the 1960s is now available.
âSuburban Steps To Rocklandâ is an independent film aboutÂ the Ealing Club produced by 62 Films and directed by Giorgio Guernier.
The smoky basement venue, tucked down a set of stairs across the road from Ealing Broadway tube station, helped establish the careers of numerous rock legends.
Among the filmâs key contributors include Creamâs Ginger Baker and frontman Jack Bruce (giving one of his last broadcast interviews before his death) along with Paul Jones of Manfred Mann and Eric Burdon of The Animals.
The Rolling Stones first met at the club and were resident band there for six months between 1962 and 1963.
Supported by the BFI and Film London, the event showcases original music documentaries from all over the world.
The clubâs story began when UK blues pioneers Alexis Korner and Cyril Davies – deemed just too loud for the jazz crowd at the Marquee club â met Iranian student Fery Asgari, an events manager at the club.
With the help of Art Wood, Rolling Stone Ronnie Woodâs brother, the UKs first Rhythm and Blues venue was born on 17th March 1962.
The club quickly became known as the âMoist Hoistâ because of the condensation, which ran down the walls during crowded gigs.
The venue soon became the focal point for fmusicians like Mick Jagger and The Whoâs Pete Townshend.
Director Giorgio Guernier said: âThe list of influential musicians who became associated with the club is absolutely breathtaking. Many of the first golden generation of British Rock Music began their careers or simply visited the venue, just to learn how to play the blues”.
âAs a former musician, avid vinyl collector and filmmaker, the idea of making a movie about this legendary venue was a no-brainer. It was a story I just had to tell.â
Asgari appears in the film, as does Kornerâs widow Bobbie. Other key contributors include Terry Marshall, co-founder of the legendary amp makers – who were based in nearby Hanwell.
Itâs a heritage that Alistair Young, secretary of The Ealing Club Community Interest Company – and a co-producer of the film – is anxious to preserve.
He said: âItâs no surprise that esteemed music bible Mojo credited The Ealing Club with the title of âThe Cradle of British Rockâ.
âMore than 50 years on we are still proud to carry forward the name associated with this legendary Ealing location.
âOur aim is to inspire and promote live music events while instilling greater pride in Ealingâs amazing rock heritage.âÂ Â
Those unissued sides include “Unfriendly Woman,” “When I Lay My Burden Down” and “Meat Shakes On Her Bone”.
Disc one features some of his earliest sides.
Live sides include “She’s Gone,” “It Serves Me Right to Suffer,” “Boom Boom,” “Hi-Heel Sneakers” and “One Bourbon, One Scotch, One Beer.”
Disc five will feature his collaborations with artists like Eric Clapton, George Thorogood, Canned Heat, Santana and B.B. King.
âKing of the Boogieâ also comes with a 56-page book featuring photographs and new liner notes from Jas Obrecht, and Hooker’s long time manager Mike Kappus.
The box set was produced by Mason Williams (using todayâs terminology âcuratedâ) who said: “Even at 100 songs, this set is just a snapshot of John Lee Hooker’s incredible and influential career, but one that takes you on the long journey he took from his early days in Detroit, to his time in Chicago recording for Vee-Jay Records and up through his later collaborations with Van Morrison, Bonnie Raitt and Santana, among others.”
Much of Hookerâs extensive back catalogue has been reissued many times, but on the 100th anniversary of his birth â this is a good as any place to start listening to the great music of the Boogie Man.
- Boogie Chillen’ – John Lee Hooker And His Guitar
- Sally May – John Lee Hooker And His Guitar
- Hobo Blues – John Lee Hooker And His Guitar
- Crawlin’ King Snake – John Lee Hooker & His Guitar
- Black Man Blues – Texas Slim
- Goin’ Mad Blues – Delta John
- Who’s Been Jivin’ You – Texas Slim
- (Miss Sadie Mae) Curl My Baby’s Hair
- Hoogie Boogie – John Lee Hooker And His Guitar
- Burnin’ Hell – John Lee Hooker And His Guitar
- Weeping Willow Boogie
- Moaning Blues – Texas Slim
- Huckle Up Baby – John Lee Hooker And His Guitar
- Goin’ On Highway #51 – John Lee Hooker And His Guitar
- John L’s House Rent Boogie
- I’m In The Mood
- Two White Horses
- 33 Blues
- Sugar Mama
- Wobbling Baby
- Stuttering Blues – John Lee Booker
- I’m A Boogie Man – Johnny Lee
- Down Child
- Odds Against Me (Backbiters And Syndicaters)
- Shake, Holler And Run
- Unfriendly Woman [Aka Stop Now]*
- Mambo Chillun
- Time Is Marching
- Little Wheel
- I Love You Honey
- Drive Me Away
- When I Lay My Burden Down*
- Tupelo Blues
- Good Mornin’ Lil’ School Girl
- I Rolled And Turned And Cried The Whole Night Long
- No More Doggin’
- Dusty Road
- No Shoes
- My First Wife Left Me
- Crazy About That Walk – Sir John Lee Hooker
- Want Ad Blues
- Will The Circle Be Unbroken
- I’m Going Upstairs
- I Lost My Job
- Don’t Turn Me From Your Door
- Grinder Man
- Meat Shakes On Her Bone*
- Boom Boom
- Blues Before Sunrise
- She’s Mine
- Frisco Blues
- Good Rockin’ Mama
- I’m Leaving
- Birmingham Blues
- Don’t Look Back
- Big Legs, Tight Skirt
- It Serves Me Right
- One Bourbon, One Scotch, One Beer
- The Motor City Is Burning
- Mean, Mean Woman
- Doin’ The Shout
- Early One Morning
- Rocking Chair
- Hittin’ The Bottle Again
- Deep Blue Sea
- Hobo Blues – Live
- Maudie – Live
- Shake It Baby – Live
- Boogie Chillun – Live
- Bottle Up And Go – Live
- Crawlin’ King Snake – Live
- The Mighty Fire – Live
- You’ve Got To Walk Yourself – Live
- I’m Bad Like Jesse James – Live
- Boogie Everywhere I Go – Live
- She’s Gone*- Live
- It Serves Me Right To Suffer*- Live
- Boom Boom* – Live
- Hi – Heel Sneakers* – Live
- One Bourbon, One Scotch, One Beer* – Live
- I Got Eyes For You – With “Little” Eddie Kirkland
- Mai Lee – With The Groundhogs
- Peavine – With Canned Heat
- Never Get Out Of These Blues Alive – With Van Morrison
- Five Long Years – With Joe Cocker
- The Healer – With Carlos Santana
- I’m In The Mood – With Bonnie Raitt
- Sally Mae – With George Thorogood
- Mr. Lucky – With Robert Cray
- Up And Down – With Warren Haynes
- Boom Boom – With Jimmie Vaughan
- You Shook Me – With B.B. King
- Don’t Look Back – With Van Morrison
- Dimples – With Los Lobos
- Boogie Chillen’ – With Eric Clapton
Â *previously unreleased
Issued by Craft Recordings via Concord, the collection is available in a CD set set, as well as digitally and on streaming sites.
This set features Jimmyâs recordings from the early 1950s until the mid-1960s, including his biggest hits as well as several rarer items, now making their digital debut – via newly-discovered master tapes.
Liner notes for the set are by the Scott Billington, and they are accompanied by detailed session notes and an annotated biography.
The set also features several spoken introductions by Calvin Carter, owner of Vee Jay who’s heard speaking to Reed retrospectively about some of his landmark tracks.
Reed had his first R&B hit ‘You Don’t Have To Go’ in 1955, and charted with 18 singles on Vee Jay up to 1965. He had ten top ten R&B hits.
Jimmy was just only 50 when he died in 1976 of alcohol related problems. He was inducted into the Rock and Roll Hall of Fame in 1991.
“Of all the blues musicians who began recording in Chicago in the late 1940s and early 1950s, Jimmy Reed might have seemed least likely to succeed,â writes Billington in his liner notes. âYet, until BB Kingâs run of bestselling records in the late 1960s, no post-war blues artist sold more records or showed up as often on the Billboard R&B and pop charts. Jimmy Reedâs music was approachable and, at least on the surface, easy for other musicians to play.â
Expect a similar set from the same label to celebrate the centenary of John Lee Hooker soon.
Robert Plant will release a new album in October – his 11th studio album, called ‘Carry Fire”. Street date is October 13thÂ withÂ a single, ‘The May Queen,’ – a reference to ‘Stairway To Heaven’ – promoting the album.
Chrissie Hynde of The Pretenders joins Plant on a cover of rockabilly singer Ersel Hickeyâs 1958 ‘Bluebirds Over The Mountain’.
The Sensational Shape Shifters once again provide back up – augmented by Seth Lakeman on three tracks.
In an interview on BBC6 Music, Robert said: âItâs about intention. I respect and relish my past works, but each time I feel the incentive to create new work, I must mix old with new. Consequently, the whole impetus of the band has moved on its axis somewhat â the new sound and different space giving way to exciting and dramatic landscapes of mood, melody and instrumentation.â
Plant has a 14 show UK tour for November and December planned, but there are no U.S. dates in support of the new album announced.
This is the one to get! Lots of rarities, unissued and alternative takes of classic Chicago blues from the 1940s and 1950s. Complete with booklet by Mike Rowe. Weinerworld have now published a new press release with track listing and information on the street date!
A showbiz lifer, Billy Vera was born into a white, suburban family, but Billy fell for black music as a child and started down a winding performer’s path that would buoy him the rest of his life.
In the 1960s, he paid his dues by songwriting (for other artists) through the day and playing clubs at night. By 1967 he and soul singer Judy Clay, the first interracial duet to perform at the Apollo, tore the house down with a a song he wrote for himself: ‘Storybook Children’ – a commercial hit produced by Atlantic Records.
Through the 1970s, popular taste shifted drastically. Blue-eyed soul went out of fashion, Billy hit tough times – but Dolly Parton recorded his song ‘I Really Got The Feeling’ which went to number one on the charts.
Vera moved to Los Angeles, formed a new working band, Billy and The Beaters, and charted twice before the close of 1981 with songs from their eponymous album recorded live at the Roxy.
Five years later, one of these hits, ‘At This Moment’ was featured in several episodes of NBC’s soap opera ‘Family Ties’ . The song rocketed up the charts and a Billy found himself with number one single.
In addition he produed albums for artists such as Lou Rawls, for Blue Note and contributed to reissue projects including specialist box sets of R&B and jazz greats and musicians and he is a regular contributorÂ to specialist music R&B magazines such asthe UK published Blues & Rhythm.
He has also a star on the Hollywood Walk and Fame and a Grammy Award.
His new biography will be published by Backbeat.
Billy Bragg’s speech to the American Folk Alliance, February 18th;
Written By Lynne Margolis February 20, 2017
Few artists epitomize the folk-music tradition like Great Britainâs Billy Bragg. A passionate, well-informed, unflinching crusader for human rights, he has turned into one of the worldâs leading voices speaking out against injustice on every front. Heâs also a fine singer-songwriter, witty storyteller and engaging speaker; whether his forum is a concert stage, a political rally, a gathering of union representatives or a conference of fellow folkies, he never fails to inspire.
Braggâs appreciation for folk icon Woody Guthrie led Guthrieâs daughter Nora task him with turning her fatherâs unpublished words into songs, thereby allowing them to fulfill their potential and carry on the folk tradition of building on what came before. He enlisted Wilco to help; together, they made the Grammy-winning ‘Mermaid Avenue‘ album and started a trend of artists crafting songs from Woodyâs and othersâ words. (Even Bob Dylan has done it, via âLost On The River: The New Basement Tapesâ.)
As tirelessly as Bragg works to uphold the folk traditions embodied by Guthrie, he continues to explore and expand on other musical traditions (as well writing beautifully crafted love songs on occasion). Inspired by Lead Bellyâs âRock Island Line,â Bragg and fellow singer-songwriter Joe Henry recorded a collection of songs in rail stations across America and released them as 2016âs âShine A Light: Field Recordings from the Great American Railroadâ. He sang some of those songs â and discussed the unromantic state of Americaâs railroad system â during a performance at Sunday afternoonâs open-to-the-public Kansas City Folk Festival, held at Kansas Cityâs Westin Crown Center as part of the 29th Annual Folk Alliance International Conference.
But on Saturday, Bragg addressed conference-goers, including Nora Guthrie, as the five-day gatheringâs keynote speaker, joking about the hotel restaurant naming a burger for him before delivering a masterful, no-holds-barred oratory that left his audience cheering. And vowing to fight the power with their own words and music.
Â Hereâs the text of his Febuary 18th, 2017 speech.
âIâd like to thank the Folk Alliance International for inviting me here, as this yearâs named beefburger honoree. I realized this close to Kansas, being named after something with beef in it is as good as a knighthood back home. I ate one yesterday, and I donât think Iâll need to eat anything for the rest of the week. Which is great.
Itâs great to be back in Kansas City. The last time I was here was such a long time ago, that I was opening for A Flock of Seagulls. [Laughter.] And everybody in this room had dark hair, and it was slicked up. But those times have changed.
Itâs very timely that the Folk Alliance should call upon the issue of Forbidden Folk to be this yearâ theme. Not just in your country, but in my country, also, with the Brexit referendum. Right across Europe, in the coming months, far-right anti-immigrant parties will be attempting to wrestle their way into liberal democracy. And itâs a powerful thing.
We were at Glastonbury festival â which is kind of like this but with mud, and less beefburgers â and it was shocking. I mean, not only just for someone â I had run a stage called the Left Field, and I had some young political songwriters there, and we literally woke up that morning and weâd left the European Union and the prime minister had resigned. And I mean, these are kids whoâve, as songwriters, had never been though a transition of a prime minister.
Heâd been prime minister since 2010. I mean one of them âŠ was in tears. He had six songs that mentioned David Cameron by name. [Laughter.] I told him not to worry because Boris Johnson also worked fine, and heâll probably be prime minister by the end of weekend.
It didnât happen.
Life comes at us fast. Really fast. Who knows what 45 is gonna say this afternoon down in Florida? Jesus Christ. Get your pens at the ready.
But I [rumbled] off to find myself a cup of coffee at Glastonbury, back through the markets there. Theyâre my favorite coffee stand, and there were some guys there, must have been in their late 20s, and they were â like the rest of us â in shock. And they said to me, âWhat we gonna do, Bill?â And I said âWe?â because this is something thatâs not gonna happen to me. Itâs not gonna be my possibility to go to Europe thatâs disappearing, my opportunity to work in Europe, my future thatâs being rolled over here. Itâs the younger generation. Itâs their future. Theyâre gonna be the first generation, in my country, to grow up poorer than their parents.
Itâs been a few difficult years that weâve all lived through. But I think the time has come to hear from that generation, and thatâs why Iâm here today. Iâm here to kick ass and take names. Fortunately, most of you are wearing your names on the front of your shirts, mates, so donât give me no lip, all right? [Laughter.]
But I want to say something straight out the back. In my experience, music cannot change the world. The only people â in the wonderful exchange of ideas that we engage in as artists, the only people with the power to change the world are the audience. Not us.
Letâs not take it upon ourselves and feel failures if we havenât brought down capitalism by the end of the weekend. It doesnât work like that. But we know, having said that â having said that, we know that music has an incredible power, because we have ourselves been moved by it. But itâs intangible.
I donât know if any of you are familiar with the concept of intangible cultural heritage. Has this made any connections here in the United States of America? Itâs a UNESCO program where they talk about things that arenât made of brick and stuff like that. Iâll give you, briefly, the UNESCO definition of intangible cultural heritage because I think it applies to all of us in this room.
âIntangible cultural heritage means the practices, representations, expressions, knowledge, skills, as well the instruments, objects, artifacts and cultural spaces associated therewith that communities, groups and in some cases, individuals, recognize as part of their cultural heritage. This intangible cultural heritage, transmitted from generation to generation, is constantly re-created by communities and groups in response to their environment, their interaction with nature and their history. And it provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity.â
I would argue thatâs also the definition of folk music and why all of us are here this weekend. [Applause.]
But despite that intangibility, Iâm gonna talk just briefly from my own personal experience. All I can tell you as fact is how music has had an effect on my life. The first political activism I ever got engaged with was Rock Against Racism in Britain in 1978. I was a little snotty punk rocker.
A different form of folk music â just faster. And with fewer harmonies. But better drugs. Allegedly. [Laughter.]
The Clash were playing. They were my band, a political band; they were a huge inspiration to me. Also, I was an active opponent of the National Front, a right-wing, anti-immigrant, racist party that came third in the general Greater London elections for the councils. They were a genuine threat on the streets. So we marched through the streets of London to Victoria Park in Hackney.
The Clash were added late to the bill. The guy at the top of the bill that day was a guy named Tom Robinson. And he had a great song at the time called â(Sing If Youâre) Glad To Be Gay.â Today, that sounds like a great idea. Back then, being gay, you could get your head kicked in, just for the possibility that you might be gay. It was an incredibly brave song to sing. And when he began singing that song that day, all these geezers standing around me and my little gang of mates started kissing each other on the lips.
Now, I was a 19-year old working class lad; I had never met an out gay man. And I was taken aback by this. Weâd marched in just in front of a banner that said âGays against the Nazis,â and we were still standing under it. And my first thought was like, âWhy are these gays here? This is about black people. Surely. You know. Whatâs it gotta do with them?â
It didnât take very long that afternoon for the penny to drop to realize that the fascists were against anybody who was in any way different. Even us little punks; they were against us just for being different. And I came away that afternoon understanding that my generation were gonna define themselves in opposition to discrimination of all kinds, just as the previous generation defined itself in opposition to Vietnam and the generation before that against nuclear weapons, in my country.
It was very, very important to me. At the time, I was working in an office. The atmosphere in the office â there was a lot of casual racism, sexism, homophobia. I never said anything about it because I was like the office junior. I just sat there and kind of let it bounce around, and tried not to be embarrassed. But after that day in the park, I realized I really should start standing up, because thatâs what my generation were gonna do. We were gonna be that generation.
And so when I went back into work Monday morning, I started to stand up for what I believed in. And the music on that day changed my perspective. And it changed my perspective on the political situation, on my situation, on my work situation. The world was still the same, you know, the trains still ran, my mum still made liver and bacon on Sunday night when Iâd come home from the event, but really, my world had gone through a considerable change.
A few years later, I was involved with the minersâ strike in England, in 1984. I was playing solo by then. I was solo, spiky, one-man Clash kinda guy. TrĂ©, trĂ© radical. And because I was mobile, I was able to go up north into the coalfields themselves and do gigs actually in the mining villages where the confrontations were happening.
The first one I did, I went up there, and there was a very old guy by the name of Jock Purdon; heâd been a miner, and he was a songwriter. And he sat onstage with his finger in his ear; he was opening for me. And his songs were more radical than anything I had in my bag. And I sat watching him, and I thought, âGod, how am I gonna follow this? [Heâs] really showing me up here.â
He came offstage, and in the dressing room, we talked about some of his songs. And he talked about the struggle, the minersâ struggle; he talked about anti-racism, he talked about friends of his whoâd gone off and volunteered for the Spanish Civil War.
And he made it absolutely explicit to me that by coming and doing this gig for the miners, I was joining that tradition. No matter what song I was gonna play up there, no matter what type of guitar I was playing, no matter what genre I thought I was, I was now joining that tradition. He made me realize that I was joining that tradition.
Years later, I was at the Vancouver Folk Festival with Pete Seeger. I rather foolishly volunteered to take part in a Woody Guthrie workshop, thinking to myself, âI know a couple of Woody Guthrie songs. Itâll be easy. How hard can it be?â
When I get there, the other three participants in the workshop were Seeger, Arlo Guthrie and Ramblinâ Jack Elliott. [Laughter.] Yup.
Rhythm Bomb Records is set to release a new, five CD set of Bill Monroe recordings featuring everything he cut for Decca in 1950 and 1951 including sessions with Jimmy Martin and Carter Stanley as lead vocalist, with all the alternate takes captured in the studio.
The box set, Bill Monroe & The Bluegrass Boys â Castle Studio 1950-1951, Complete Sessions, is packaged as a 78 rpm album, with extensive notes from Dick Spottswood, a revised discography by Neil Rosenberg, and remembrances from Blue Grass Boys fiddler Charlie Smith who started with Munroe a few years after these sessions were cut.
A full track listing is shown on the Rhythm Bomb web site.
Only 1000 of these box sets will be produced, selling for 79.99 âŹ (roughly $85 US), and releasing on February 24. Pre-orders are available now online.
Information from Bluegrass Today.
Â CD One: 1. Blue Grass Ramble (instrumental) (take 1) 2. Blue Grass Ramble (instrumental) (take 2) 3. Blue Grass Ramble (instrumental) (take 3) OP 1950 4. New Mule Skinner Blues (take 1) 5. New Mule Skinner Blues (take 2, false start) 6. New Mule Skinner Blues (take 3) OP 1950 7. New Mule Skinner Blues (take 4) 8. My Little Georgia Rose (take 1) 9. My Little Georgia Rose (take 2, false start) 10. My Little Georgia Rose (take 3) 11. My Little Georgia Rose (take 4, fasle start) 12. My Little Georgia Rose (take 5) OP 1950 13. Memories Of You (take 1) 14. Memories Of You (take 2) 15. Memories Of You (take 3, false start) 16. Memories Of You (take 4) OP 1950 17. I’m On My Way To The Old Home (take 1) 18. I’m On My Way To The Old Home (take 2) OP 1952 19. Alabama Waltz (take 1) 20. Alabama Waltz (take 2, false start) 21. Alabama Waltz (take 3, false start) 22. Alabama Waltz (take 4) 23. Alabama Waltz (take 5) 24. Alabama Waltz (take 6, false start) 25. Alabama Waltz (take 7, false start) 26. Alabama Waltz (take 8) OP 1950 27. I’m Blue, I’m Lonesome (take 1) 28. I’m Blue, I’m Lonesome (take 2) 29. I’m Blue, I’m Lonesome (take 3) 30. I’m Blue, I’m Lonesome (take 4) 31. I’m Blue, I’m Lonesome (take 5) 32. I’m Blue, I’m Lonesome (take 6) OP 1950 33. I’ll Meet You In Church Sunday Morning (take 1, false start) 34. I’ll Meet You In Church Sunday Morning (take 2) 35. I’ll Meet You In Church Sunday Morning (take 3) OP 1951 36. I’ll Meet You In Church Sunday Morning (take 4) 37. Boat Of Love (take 1) 38. Boat Of Love (take 2, false start) 39. Boat Of Love (take 3) 40. Boat Of Love (take 4) OP 1950
CD Two: 1. The Old Fiddler (take 1, breakdown) 2. The Old Fiddler (take 2, breakdown) 3. The Old Fiddler (take 3, breakdown) 4. The Old Fiddler (take 4) 5. The Old Fiddler (take 5, false start) 6. The Old Fiddler (take 6) 7. The Old Fiddler (take 7) 8. The Old Fiddler (take 8) OP 1950 9. Uncle Pen (false start) 10. Uncle Pen (take 2) OP 1951 11. When The Golden Leaves Begin To Fall (take 1) 12. When The Golden Leaves Begin To Fall (take 2) 13. When The Golden Leaves Begin To Fall (take 3, breakdown) 14. When The Golden Leaves Begin To Fall (take 4) OP 1951 15. Lord Protect My Soul (take 1, false start) 16. Lord Protect My Soul (take 2) 17. Lord Protect My Soul (take 3, false start) 18. Lord Protect My Soul (take 4) 19. Lord Protect My Soul (take 5) 20. Lord Protect My Soul (take 6) OP 1951 21. River Of Death (take 1/2, breakdown) 22. River Of Death (take 3, false start) 23. River Of Death (take 4, breakdown) 24. River Of Death (take 5) OP 1951 25. Letter From My Darlin’ (take 1) OP 1952 26. On The Old Kentucky Shore (take 1) 27. On The Old Kentucky Shore (take 2/3, breakdown) 28. On The Old Kentucky Shore (take 4) 29. On The Old Kentucky Shore (take 5) OP 1951 30. Raw Hide (instrumental) (take 1, breakdown) 31. Raw Hide (instrumental) (take 2) 32. Raw Hide (instrumental) (take 3, false start) 33. Raw Hide (instrumental) (take 4) 34. Raw Hide (instrumental) (take 5) 35. Raw Hide (instrumental) (take 6) OP 1952
CD Three: 1. Poison Love (take 1, breakdown) 2. Poison Love (take 2, breakdown) 3. Poison Love (take 3, breakdown) 4. Poison Love (take 4, breakdown) 5. Poison Love (take 5, breakdown) 6. Poison Love (take 6, breakdown) 7. Poison Love (take 7, false start) 8. Poison Love (take 8) 9. Poison Love (take 9, breakdown) 10. Poison Love (take 10, breakdown) 11. Poison Love (take 11 false start, 2 breakdowns) 12. Poison Love (take 12 false start, breakdown) 13. Poison Love (take 13, false start) OP 1951 14. Kentucky Waltz (take 1) 15. Kentucky Waltz (take 2) 16. Kentucky Waltz (take 3) OP 1951 17. Prisoner’s Song (take 1, false start) 18. Prisoner’s Song (take 2) OP 1951 19. Swing Low, Sweet Chariot (take 1) 20. Swing Low, Sweet Chariot (take 2) 21. Swing Low, Sweet Chariot (take 3, breakdown) 22. Swing Low, Sweet Chariot (take 4) OP 1951 23. Angels Rock Me To Sleep (take 1) 24. Angels Rock Me To Sleep (take 2, false start) 25. Angels Rock Me To Sleep (take 3, false start) 26. Angels Rock Me To Sleep (take 4) 27. Angels Rock Me To Sleep (take 5, breakdown) 28. Angels Rock Me To Sleep (take 6) OP 1951 29. Brakeman’s Blues (take 1, breakdown) 30. Brakeman’s Blues (take 2, false start) 31. Brakeman’s Blues (take 3) OP 1951 32. Travelin’ Blues (take 1) 33. Travelin’ Blues (take 2 false start, breakdown) 34. Travelin’ Blues (take 3) 35. Travelin’ Blues (take 4, breakdown) 36. Travelin’ Blues (take 5) OP 1951
CD Four: 1. When The Cactus Is In Bloom (take 1, breakdown) 2. When The Cactus Is In Bloom (take 2) 3. Sailor’s Plea (take 1) 4. Sailor’s Plea (take 2) 5. Sailor’s Plea (take 3, breakdown) 6. Sailor’s Plea (take 4) OP 1952 7. Sailor’s Plea (take 5, breakdown) 8. Sailor’s Plea (take 6) 9. My Carolina Sunshine Girl (take 1, breakdown) 10. My Carolina Sunshine Girl (take 2, breakdown) 11. My Carolina Sunshine Girl (take 3) 12. My Carolina Sunshine Girl (take 4, breakdown) 13. My Carolina Sunshine Girl (take 5) OP 1989 14. Ben Dewberry’s Final Run (take 1) 15. Ben Dewberry’s Final Run (take 2, breakdown) 16. Ben Dewberry’s Final Run (take 3) OP 1989 17. Peach Pickin’ Time In Georgia (take 1, 2 false starts) 18. Peach Pickin’ Time In Georgia (take 2, false start, breakdown) 19. Peach Pickin’ Time In Georgia (take 3,false start) OP 1964 20. Those Gambler’s Blues (take 1, breakdown) 21. Those Gambler’s Blues (take 2, false start, breakdown) 22. Those Gambler’s Blues (take 3, false start) OP 1989 23. Highway Of Sorrow (take 1, false start, breakdown) 24. Highway Of Sorrow (take 2) 25. Highway Of Sorrow (take 3) OP 1951 26. Rotation Blues (take 1) 27. Rotation Blues (take 2) 28. Rotation Blues (take 3, breakdown) 29. Rotation Blues (take 4, breakdown) 30. Rotation Blues (take 5) 31. Rotation Blues (take 6, breakdown) 32. Rotation Blues (take 7, breakdown) 33. Rotation Blues (take 8, breakdown) 34. Rotation Blues (take 9) OP 1951
CD Five: 1. Lonesome Truck Driver’s Blues (take 1, breakdown) 2. Lonesome Truck Driver’s Blues (take 2) 3. Lonesome Truck Driver’s Blues (take 3, breakdown) 4. Lonesome Truck Driver’s Blues (take 4) OP 1951 5. Sugar Coated Love (take 1) 6. Sugar Coated Love (take 2, breakdown) 7. Sugar Coated Love (take 3) 8. Sugar Coated Love (take 4) 9. Sugar Coated Love (take 5) OP 1951 10. Cabin Of Love (take 1) 11. Cabin Of Love (take 2) 12. Cabin Of Love (take 3) 13. Cabin Of Love (take 4) OP 1953 14. You’re Drifting Away (take 1) 15. You’re Drifting Away (take 2) 16. You’re Drifting Away (take 3) OP 1953 17. Get Down On Your Knees And Pray (take 1) 18. Get Down On Your Knees And Pray (take 2, breakdown) 19. Get Down On Your Knees And Pray (take 3) 20. Get Down On Your Knees And Pray (take E1) 21. Get Down On Your Knees And Pray (take E2) 22. Get Down On Your Knees And Pray (take E3) 23. Get Down On Your Knees And Pray (take 3, master) OP 1951 24. Christmas Time’s A-Coming (take 1, false start & breakdown) 25. Christmas Time’s A-Coming (take 2, breakdown) 26. Christmas Time’s A-Coming (take 3, breakdown) 27. Christmas Time’s A-Coming (take 4) 28. Christmas Time’s A-Coming (take 5, breakdown) 29. Christmas Time’s A-Coming (take 6) OP 1951 30. The First Whippoorwill (take 1) 31. The First Whippoorwill (take 2, false start) 32. The First Whippoorwill (take 3, breakdown) 33. The First Whippoorwill (take 4, breakdown) 34. The First Whippoorwill (take 5, breakdown) 35. The First Whippoorwill (take 6) 36. The First Whippoorwill (take 7) OP 1951 OP 2017, except where noted