May 11, 1994 - Ali Farka Toure Ry Cooder Talking Timbuktu by MBMC rar. 84.74 MB, ali farka toure ry cooder talking timbuktu by mbmc ali farka tour. Ali Farka Toure And Toumani Diabate Sabu Yerkoy WEB ML 2010 H5N1 NewSceneFiles net rar. 7.89 MB, ali farka toure and toumani diabate sabu yerkoy web ml 2010. Aug 02, 2014  Check out Talking Timbuktu by Ry Cooder Ali Farka Toure on Amazon Music. Stream ad-free or purchase CD's and MP3s now on Amazon.com. Ali Farka Toure - The River Torrent Download Locations Click the yellow ' Download ' button on the right to download the.torrent files directly from the indexed sites. If there is no 'download' button, click the torrent name to view torrent source pages and download there.

• Ali Farka Toure Biography

I haven’t yet had the opportunity to listen to the two most recent selections but am looking forward to doing so. Instead, I am writing to thank Gus, for posting “Louisiana Blues.” I was fourteen when I bought my first album, Little Walter’s “Hate To See You Go.” I was awestruck by the sounds he was able to create on his harp. In particular, on “Blue Midnight” and other songs, I thought he evoked the sounds of a saxophone and played beautifully and powerfully. Listening to Muddy Waters sing caused me to reflect on how very fortunate we are to have grown up during a time when many of the early blues musicians and singers were still living.

During my teenage and young adult years, I never had much money but I was able to see Muddy Waters and B. King, and lesser blues musicians such as Roy Bookbinder, play in small settings. The last of the first and second generation blues musicians will soon be gone and I wonder whether in a decade or so their recordings will be regarded as museum pieces or quasi-sacred songs compelling today's blues musicians to faithfully play them as the original artists did.

To try to express the thought better, I wonder whether musicians like Otis Taylor and Robert Cray will be part of a minority of artists creating or attempting to create a modern blues that is progressive and often syncretic I’m not suggesting that we let the dead bury the dead and reject all imitators who reverently seek to play and sing what has been played and sung so many times before but I want the blues to be as creative and expansive as it was during its early years, the era of first and second generation blues musicians and not become a fossil to be preserved in musical amber. We already have the music of Robert Johnson, Skip James, and giants whom we were born too late to see live as well as the giants we were able to see such as King and Buddy Guy. Given their uniqueness and creative genius, we will not see their like again. Consequently, I am especially concerned that the majority of blues musicians today are either from Europe or, in this country, Canada, and Australia, of European descent. Eric Clapton, Stevie Ray Vaughn, Jo-Ann Kelly, Rory Block, and others are living proof that the blues is not a racially or ethnically exclusive genre specific to or best played by African-Americans; however, I wonder whether the blues can still retain its original soul and the historical importance of its roots; that is, the culture and events from which it developed will be understood, if young African-American musicians and audiences view it as a relic from a time of brutal oppression and de jure, as well as more widespread de facto, racism. I have African-American friends who regard the blues with the same ambivalence many Jews in Israel regard Yiddish and many Irish in Ireland and here regard Irish Gaelic.

@Feilimed, I am not a musician, but I hope you dont mind if I weigh in. I grew up listening to the over polished pop of the 70s and 80s. Then one day, I happened to stumble on some old cowboy music. As a wet-behind the ears teenager, I had never heard anything like it-so I went looking for more. Cowboy music led to bluegrass and bluegrass to the blues.

In past 3 decades, I have seen a slow shift-used to be people couldn't even comprehend I was listening to music recorded before the 60s. Thanks to blogs and forums and albums like Oh Brother, more and more people are listening to the early and classic blues.

We now have young musicians like Carolina Chocoiate Drops that are starting to explore not just blues,but the roots of blues. I think we are on a cusp and in a few years, we will see more and more fusion bands (for lack of a better word) building and expanding on the early and classic blues. It definitely seems like that's where music is heading. Thanks for responding and I absolutely agree with you. I, too, have classic bluegrass and some cowboy music, not to mention Cajun and zydeco, which I prefer in French and Creole, respectively.

However, I greatly enjoy what Rhiannon Giddens and other alumni of the Chocolate Drops are doing and have all of their recordings. I hear Otis Taylor trying to do the same with the blues, and Taj Mahal's been seeking and achieving the same for years and can be best described as a modern songster, to use Mance Lipscomb's wonderful term. I really welcome that expansion of the genre and fusion with other influences, such is the history of music, without it we wouldn't have jazz, Afrobeat, reggae, and much of modern music. My concern is that I access so many blues blogs and, aside from the blogs presenting the classic greats we all know or singers from that era who were overlooked or forgotten and deserve to be heard, there seems to be an abundance of contemporary recordings by imitative 'electric blues bands' from the Netherlands, Sweden, Italy, France, England, this country, and Australia composed largely of young white musicians who assume that recreating the original music with an occasional flourish of rock guitar solos constitutes the blues and is authentic.

It strikes me as great listening when one is drinking or at a raucous outdoors festival but inspired, subtle, and authentic it ain't. Mind you the blues has been played well by many whites as Gerard Herzhaft observes in his great encyclopedia when he discusses, for example, Dave Van Ronk. Van Ronk had profound respect for the old songs and even more for singers like Mississippi John Hurt; however, when he sang the blues he sang in his own creative style. I refuse to believe any genre can only be articulated well by one ethnic group and I believe that Keb' Mo', Robert Cray, Guy Davis, Rory Block, Gary Clark, Jr., and many of the really. Good blues musicians active today are pursuing similar directions to Van Ronk; that is, retaining the heart of the music while expanding its vocabulary. The late folk musician Bill Morrissey also did a great reworking of Hurt's music; his version of “Avalon Blues” is beautiful an original. Otis Taylor certainly is and has been striving to reclaim the banjo as an African instrument in African-American music and the blues.

Artists like Ry Cooder and Hans Theesink and Terry Evans rely on their musicianship and incorporation of other influences to make the music their own. Our own Guitar Gus of this blog and his O.

Band played some inspired, creative blues with Earl Green as lead singer and can be seen and listened to on YouTube and on Gus’s blog. Green is charismatic and embodies the concept of cool; he is wonderful to watch perform. Gus is too modest about his playing to take this remark seriously but I greatly enjoy hearing Green and the band put their own stamp on the music as if the Thames had a delta tradition. Based on Gus’ recommendation, I have purchased several of Green’s recordings and I haven’t been disappointed yet.

On the other hand, so many so-called blues bands band aren't really creative and the music seems devoid of real life. In my uninformed opinion, unless they can achieve the musicianship of a Clapton, Peter Green, or a Johnny Winters, or leave their own imprint on the music, they're merely dusting off the songs and playing them loud as blues rock as if doing so is what constitutes electric blues. What’s irksome is that the blues is not an inherently restrictive genre yet so much of contemporary blues by such bands seems limited. The notes may be there, but the soul isn’t.

In expressing these views, I may sound like I'm pining for the good ol' days, I'm not. Instead, I want that creativity today that the Wolf, Waters, Hurt, Lipscomb, and others expressed in their time to be infused into the music played today. Much of what they did had been done in some fashion before but not as they did it and it made all the difference. Then, too, there's what Little Walter was able to do with a harmonica.

The era and events that fostered the original music and the aforementioned musicians won't return and blues or rock calling itself blues has too often become stale and too predictable. The music has to progress to be alive and creative. Moreover, one can recreate the standards in such a way that they are memorable and unique. Among others, Cassandra Wilson does so incredibly well in jazz and Marva Wright did so with the blues. I owe the King for introducing me to the music of the truly wonderful Ms. I remember when the Blues Brothers recordings were popular in the 1980s among so many people I knew and I wondered why a listener would choose to buy their records rather than buy Sam and Dave, Aretha, Sam Cooke, etc., all of whose music was still available.

After all, at a minimum, the Blues Brothers movies actually featured folks like Aretha, Sam Moore, Matt Murphy, and others so there really was no rationale for a listener buying the Blues Brothers' albums and equating them with the originals. To buy a soundtrack because one enjoyed the movie is one thing, to trumpet the Blues Brothers as great blues and rhythm and blues is another. Of course, there may have been some hidden rationale given that that was also near the end of the era of the 'disco sucks' crowd which appeared to me to be denouncing the blackness of, rather than the quality of disco music. Certainly some of the folks I knew who thought the Blues Brothers great also opined that disco sucked and race is almost always below the surface, if not obvious, in any discussion of culture in the United States.

In discussing new directions in music, Poppachubby and I once exchanged messages on what Robert Glasper was trying to do with jazz and hip-hop. I find what Glasper is doing both intriguing and exciting; I enjoy his music and, more importantly, his creativity greatly. I still recall critics jumping Mile Davis' bones for playing Michael Jackson and Cindy Lauper songs in the 1980s as if he had sold out and compromised his standards by playing pop songs. I thought what he was doing was creating a new audience for his music that might not only enjoy the contemporary stuff he was playing but just might like it enough to get curious and explore 'Bitches' Brew', 'Live/Evil', and other recordings he made a decade or so earlier when he began incorporating rock influences into his music, They might even be tempted to explore 'Kind Of Blue', 'Sketches Of Spain' or other of his earlier recordings. I have always been a bit confused that folks made such an issue about what direction Miles was facing and missed that he was actually sticking his head into the drum kit - while sax players most often play off of their keyboard men, trumpet players are most often joined to a drummer - no mistake that Miles had drummers like Kenny Clarke, Philly Joe Jones, Tony Williams and Joe Chambers; no mistake that Max had trumpets like Clifford, Booker Little, Kenny Dorham and Cecil Bridgewater - Art always had monsters on trumpet too. I don;t disagree; however, during the three sets I sat through, he didn't face nor speak to the audience at any time even when the music wasn't playing; there were no band intros or song introductions. I attributed it to his eccentricity and it didn't affect my enjoyment of the music After all, I was there for the music not for his charm.

You can be sure that the critics who reviewed the performances commented. Miles was Miles, but that night the music was intense and he was incredible. The larger issue was those same critics attacking him a decade later for playing popular music and accusing him of slacking off by doing so. I still think they were wrong. Maybe they didn't listen to;his haunting introduction to 'Time After Time' on the DVD of his performance in Montreal. They certainly didn't see the effect of the music on the crowd outside of Church's on that 'wicked muggy' night. Then again, as a Patriots fan, I enjoy Bill Belichick press conferences and think they're funny; that monotone deadpan performance that irks the sports media so much makes him the Jackie Vernon or Steve Wright of football to some of us crazed Bostonians.

As for me, were he still alive, I'd pay as quickly as possible to ensure I had a ticket to see Davis play even in a 'silent.way,' so to speak. To see him was to see intense musical genius in action and the band was great and rally in sync with him. The other trumpeter too soon gone that I'd love to have seen even just once is Clifford Brown but I'm ending this now because I'm on to Cincinnati. Thanks for the high praise FOB my Irish Rover (of the mind these days) and invisible friend.My pal and vocalist Earl Green contributed greatly to the UK Blues scene and has appeared on many albums.as a soloist, as singer with Otis Grand and Paul Lamb.playing many European festivals etc. Gus, I'm very sorry to hear about Earl Green.

I would love to have seen him in concert. Please pass on to him that, although not especially noteworthy, he has one American fan who went so far as to order his several of his albums from England because they were not available here (the Internet is a wonderful invention, indeed, for those of us who obsess about and must own music) and who wishes him greatly improved health and a long life. As with so many artists introduced by the King and others here, he is yet again one of those artists whose music I did not discover until after he ended his performing career and whom wish I had discovered a lot sooner. That relaxed style of singing and honeyed voice are memorable and, if his performances on YouTube are an accurate reflection of his talent and charisma, he should have acquired some renown here. As much as I have loved reggae since I first heard the late Danny 'The News Dissector's Shechter’s 1972 special broadcast, which was a spectacular introduction to the music and the culture that served as its parents, on WBCN, Boston, I am glad that, unlike many of his fellow Jamaican immigrants to England, Green chose the road less traveled by and it made all the difference (thanks for the phrase, Mr. But, also based on YouTube, I find his live performances superior to his studio albums even though I enjoy them greatly.

Your band and he did each other proud!!! In my uneducated musical opinion, if you look up the word ‘cool’ in the dictionary, at last in Oxford's, you should find a photograph of Earl Green. As an aside, I know the lack of comments drives the King to appropriate fits of anger and madness because of its connotation of ingratitude and, too, his desire that the music elicit comments and discussion from those who visit his blog, but what I really enjoy about this blog can't be articulated in words. How does one articulate well the emotion one feels when one hears a James Carr, Marva Wright, Arthur Alexander, Sam Dees, Coco Robicheaux, Carl LeBlanc, James Booker, James Govan, Blind John Davis, Alvin or J. Robinson, Lou Pride, or so many of the artists posted here for the first time?

Or even the second or third? Not to mention the early recordings of Etta James and Irma Thomas? As my comments too often and so obviously show, I use far too many words to try to respond to the experience of listening to the music and fall far short of what I am trying to communicate, which is why I hated commenting at first and still dislike it because I do it so verbosely and inadequately In addition, there's no price tag for what one learns from and appreciates about le Roi's write-ups, for example, about James Booker and the Esquerita - Little Richard - New Orleans collection.

And let’s be frank, does a world without Unky Cliff as an invisible mentor to and tutor for his royal highness even make sense? Not to me and, with an appreciation of the Absurd, I am probably the last of the existentialists. Following Chitlin's is always, at least for me, a profoundly joyful experience that can't be well put into words because I love and am intensely passionate about music, although I am not a musician and cannot read music, and especially the experience of discovery. As I have often told my wife and youngest daughter, who too often object to the music and books I have amassed during my brief tenure on the planet, I will miss them dearly if they leave but be ecstatically grateful for the storage space for more music and books that their departure provides.

The books that have been recommended here and which I’ve read and have yet to read, the E-books, especially those about music and musicians, you sent, Lazz's wonderful and witty collaborations in songwriting and his album. Let's just note succinctly as I can, for a change, that none of it would have been and will continue to be possible without Chitlin's. After discovering Lazz’s songwriting, I purchased an album by Claire Martin because she sang two of his songs on it. I read about her as England’s premier jazz singer (premiere? After all, she is a woman) and now own four of her recordings.

I offer the Martin episode as an example of the unforeseen and wonderful chain of events that often results from my frequenting here. Other than brief remarks in the Comments section of individual posts, this will be my last post for a time here or in the Chat Box.

It’s time to let other more knowledgeable and better writers, as well as other novices or newcomers to this blog, respond and comment. But I wanted to thank you, Gus, for making me aware of Earl Green and le Roi and the other contributors for all they do with the dim hope that just maybe writing about the fervent appreciation of a few folks willing to comment will compensate le Roi for the silence of the masses. Hell, Google has killed and is still legally killing so many good and great blogs (yet another reason I am so ardently opposed to the death penalty) that we need to cherish those we still have and appreciate the efforts and dedication of those who create them. As a resolute Luddite upon whom some knowledge of computer technology was forced by a job, I don’t understand what it takes to adapt music for posts but, if Poppachubby’s prior explanations are any indication, I know it is time-consuming and, at times, even arduous to get the right sound for a post. Then there’s the writing which, in le Roi’s case, is inspired and always informative (by writing the term “le Roi”, I am unilaterally awarding him Creole status in recognition of his adoption of New Orleans as his home and his celebration of its music and heritage in this blog). So I’ll end with thanks again, le Roi, and to you Gus for, at a minimum, the introduction to Mr. Maybe this should be a private message sent to the both of you, but Earl Green is there for the discovery and I am hoping my remarks will entice a few more folks, if they get this far, to check YouTube and maybe, if they enjoy his music as much as I do, even buy it.

That’s all for now; if I had to pay a tax on each word I write, I would have to had filed bankruptcy during the first year I began following this blog. Here is a real exclusive Chitlins treat.This was the first time I saw and met Robert Cray.I LOVE this guy.great voice great guitar.I was 31 and this was IT! At one of our gigs I met a man & his son who went to this gig and recorded it on an early digital recorder.and later they gave me a CD version It's an audience recording but it's truly a great listen.I have more if appreciated.Only available On the KC brand.Sorry no covers.But I was bum to bum.on a table with Earl's sister a great gig! Get part 1 here: http://www10.zippyshare.com/v/df0EGi6s/file.html. Especially for my Irish Rover and bard of Irish/American/UK/& Everywhere Bluesville.OK.

Old geezer like me.holding on to mortality as long as possible.it tastes good! Here is part 2 of that gig that that made him a star here before the USA: I was there and remember it with well.Got to speak and shake hands after the gig.Robert Cray Band - Live At The Electric Ballroom Camden London 24 July 1985 - 2 plus.Tracks!

To 6 are a continuation of the Camden recording.Tracks 7 to 9 are BBC recordings of 3 tracks of the same gig that I taped on FM.and tracks 10 to 13 are my taped BBC FM broadcast of a live Eric Clapton Blues Night feat Robert Cray at the Royal Albert Hall on 3 Feb 1990 Get it here: Or here: https://mega.nz/#!yZVUSDpC!MlDRQImfv-FFPu-uWXBVw7fkCNsxnTUGp4ubSxyMuHk. No need to apologize, Gus, Green is great and had he sung reggae, might have gained more recognition which would be sad given his facility with the blues and r & b. Man, manyy thanks for the rest of Cray's performance. Le Roi, I've been wrestling with the upper respiratory demons and have been absent for a week so I apologize for the late response. I'll send you and E-mail to respond to your offer.

Luckily I had some of what was lost backed up elsewhere but am naively hoping that I can figure out a way to recover the rest because I certainly can't pay for the price the good folks at Seacrest want to charge. As for that brand, we'll be parting ways because both the external hard drive and back-up drive I purchased two ears ago from them have bitten the dust within two months of one another. I have already loaded up the new computer with music and am now wrestling with the problems arising from Windows 10. I am almost at the point of returning to Windows 7. In the meantime the latest offerings are great and are keeping me sane. Funny how easily music restores mental euphoria!!! The Golden Eagles ‎– Lightning And Thunder (1988) @320 Cyril Neville ‎– New Orleans Cookin' (2000) CD @320 Hack Bartholomew - Lifting Jesus Up, Down in New Orleans (2003) CD @320 http://www.amazon.com/Lifting-Jesus-Down-New-Orleans/dp/B000KIBJDE.

Tina and any other interested persons, Many of the books on the recommended reading list can be purchased used for reasonable prices from Amazon.com various sellers. I was fortunate to find nearly new copies of Charlie Gillett's 'The Sound of the City' and Evan Eisenberg's philosophical meditation 'The Recording Angel: Music, Records and Culture from Aristotle to Zappa', as well as several of the Guralnik books.

Thank you, le Roi, for posting them in response to my initial request and to Gus for so richly supplementing the list. I have learned so much from them. Gus, I'm mad for compilations and you have never disappointed, so I'm interested. Here on the western shore, the weather has been miserable here of late as Winter contests primacy with climate change and brings the usual maladies in the O'Broin home when the weather is schizophrenic, so a very belated happy New Years to all and here's hoping for a prosperous, healthy, and peaceful year for all as well. Many, many thanks, le Roi, for making 2015 a memorable year musically; nobody does it better.

Thanks, Clash, for the great posts here and in Blue Hell. I love these blog within a blog recordings and appreciate all who understand the technology well enough to upload and contribute.

My mental well- being, my music collection, and my children owe you all a great deal and fortunately the former youngsters, still living at home in their twenties, are open-minded enough to appreciate much of what I own, download, or buy. At times in my mundane delirium, I think the solution to the world's many problems could be resolved if more folks were obsessed with and willing to share music. It seems to work in creating a sense of community here and in Blue Hell. Speaking of community, is Lazz okay and merely frequenting more jazz oriented blogs? His Brazilian and African music contributions here were wonderful and I miss his erudite, ironic humor and still play his own recording.

I consider him and Unky Cliff to be among the honored and honorable elders of my favorite blogs. Rest in peace, Ziggy Stardust, and thanks for all the years and transformations (cha-cha-changes, I suppose) of rock and pop music. Here are my scattered, biased, and not especially informed impressions in these small hours of the morning before dawn. Fair or not, his passing will garner much more publicity than Otis Clay’s or many of the artists who appear on this blog, but notwithstanding David Bowie was a true icon with a career spanning five decades. Whether singing with Bing Crosby or acting in, among other films, Nicolas Roeg’s “The Man Who Fell To Earth”, “Merry Christmas, Mr. Lawrence”, and portraying so perfectly Andy Warhol in “I Shot Andy Warhol,” Bowie was a singular and extraordinary talent and his passing serves as yet another reminder of our and our idols’ and icons’ mortality. When I listen to the music my youngest daughter and her friends enjoy, I find it lacks the diversity of the music we enjoyed when their age in an era when AM and FM radio stations played an eclectic list of music that covered numerous genres and, too, almost everyone listened to the same stations.

Technology has provided many more formats, specialization, and music via the Internet. Still, I find, perhaps wrongly, that music today often lacks the willingness to experiment and the unrestrained creativity and merging of diverse influences of the popular music we heard when record companies’ budgets were still in the black and artists were held on the rolls much longer regardless of the success of their latest releases. Like today’s professional football coaches, artists are afforded much less time to succeed unless they strike out on their own and utilize creative sites like Bandcamp to gain an audience. I still think Buddy Guy, Leon Russell, Mavis Staples, Taj Mahal, Clapton, and many other musical artists will obtain some purchase on immortality in my view of what a just world should mean. Great talent deserves great life spans. As I hear the media comment on how young 69 is today, I think that Clay was only four years older when he died. There’s something inherently unfair about artists who have entertained us for decades and, in doing so, weathered the less pleasant aspects of the music industry and the years of youthful excess but who, like Clay and Bowie, are denied great longevity.

Not young enough to be forever young in our memories as Hendrix, Joplin, Redding, Bessie Smith, Robert Johnson, and others are, but too young to make sense when the seemingly indestructible Keith Richards continues to survive his many demons and excesses, even outlasting that other legendary chemist Lou Reed. If he eve markets his genes to science, he'll make a fortune. Fortunately I can immerse myself in listening to the recent Clay posts and hold to the idea that he still lives through his music. It still doesn’t compensate for the sense of loss and I will feel the same way about David Bowie while remembering his early releases and the acclaim that greeted him when he created the persona of Ziggy Stardust and his music echoed through the halls of my college dorm. What remains best about this blog to me is its frequent stories about and exposition of the work of Southern soul and New Orleans artists who often achieved at best regional fame but are relatively unknown to non-musicians and folks lacking a deep knowledge of Southern soul or music from New Orleans. And please excuse the rambling verbosity as I again try to cobble together a few meandering thoughts after another sleepless night. By the way, the soundtrack as I wrote this is your latest mix and David Ruffin has just finished singing.

Ali Farka Toure Biography

The mixing of deep southern Soul artists like O. Wright with Gaye, Ruffin, and other members of Motown's finest really works and yet emphasizes what I said about my record collection. Nonetheless, it still makes for great listening and is a great way to begin the new day. As always, many, many thanks. Anonymous said. Hello King Cake, I would really appreciate a reup of the first volume of Where Southern Soul Began, that was posted here as well as of the Betty Harris CD, if you have time and feel like it, of course: thank you very much in advance for your time and consideration, this would make me very happy to hear these rare gems. Anonymous said.

Hi folks, haven't been around for more than a year. Very glad to find this place still alive and well!

Was just discussing with a friend the amazing output of Chips Moman's American Sound Studios, which brings me to my request: Would it be possible, please, to re-up 'Spencer Wiggins - The Complete Goldwax Singles'? And does anyone have 'Memphis Boys-the Story of American Studios' on Ace Records? Thans in advance, Le Porc Rouge P.S.: Why ist it there's no King Curtis here on the side?

D0dge57 said. Hi KC, I've just been listening to the Howard Tate Get It While You Can album, what a great album from a fine singer - so I thought I'd reciprocate with his Rediscovered album from 2004 that I've uploaded for the site - I've added a review and cover if you want to post it. The tunes are a bit more contemporary but Howard's voice is still very soulful and there some great horn arrangements giving it a retro feel. I hope you and your followers enjoy it: https://mega.nz/#!ogNXzRBY!Rlbs9045nQKjj9Gcl1I713z2bs8CBUFtt3-yiFsBwuU. @Anonymous: On our blog, we generally don't reply to anonymous comments. It's easy to use a name, nickname, pseudo, aka, without even signing in with a Google account. Nevertheless, I'll make an exception today to let you know, and I hope Kingcake won't mind that I'm using his blog to advertize ours, that the Johnnie Taylor album you're looking for was posted earlier this year on our Blue Dragon blog.

The blog is listed in this one's 'Places of interest' on the right. Pay us a visit, use the search engine there, you'll find the Johnnie Taylor album.

DL links are still valid. Hi everybody, here is some more ZZ Hill on Malaco which might have been missed, i can't see it here anywhere.

It's his Bluesmaster album, released in 1984 the year of his untimely passing and contains one of his best ever songs 'I'm Gonna Stop You From Givin' Me The Blues'. Incidentally I think that the 601 Music cd is a series of discs that Malaco released as a sort of best of cheaper cd with only 10 tracks, I have several by different artists.

Enjoy PS Any chance of a reup on the 3 James Carr ds? Anonymous said.

Posted a comment under an old link for Memphis Minnie V1 - the first published Blues Classics. I remarked that I couldn't believe it may have been 3 decades since I bought this album in Ireland, Murray's of Dun Laoghaire, Happened to mention this to my good lady and she told me that it was 4 decades and change! So here is the request repeated again (updated) If someone could help out with BC1 I would be very thankful.

Great site by the way.go raibh maith agat (no agaibh) Bottleneck. New rip with better cartridge. Skip Easterling ‎– Taking Inventory (1988) Vinyl @320 Skip Easterling ‎– Meat Rack Tavern / So In Love Are We 7' (1985) @320 Skip Easterling - Walking On Edges / O de O, O de O Doe de O 7' (1973) @320 All in one zip file http://www32.zippyshare.com/v/q049A5HY/file.html.