Music Store: Record Shop: Vinylville, Louisiana

Concert Poster & Vinyl Records: Give The Gift Of Music

2011-10-24T08:24:00.002-05:00

"Factory Sealed LP's"

Stax 7501 ALBERT KING With STEVIE RAY VAUGHN In Session

Sire 6070 RAMONES Rock 'N' Roll High School

Paisely Park 25994 GEORGE CLINTON The Cinderella Theory

Elektra 60823 DOKKEN Beast From The East (2 LP'S)

MCA 11209 NIXONS Foma (Clear Vinyl)

many more...

"Masso Concert Posters"

Vinyl Records In The News: 2011 GRAMMY HALL OF FAME INDUCTEE ♫ Clifton Chenier

2011-01-05T10:59:00.004-06:00

Factory Sealed Store Stock Available

♫ NEWS ♫

CLIFTON CHENIER

BOGALUSA BOOGIE

The undisputed "King of Zydeco," Clifton Chenier was the first Creole to be presented a Grammy award on national television. Blending the French and Cajun 2-steps and waltzes of southwest Louisiana with New Orleans R&B, Texas blues, and big-band jazz, Chenier created the modern, dance-inspiring, sounds of zydeco. A flamboyant personality, remembered for his gold tooth and the cape and crown that he wore during concerts, Chenier set the standard for all the zydeco players who have followed in his footsteps. In an interview from Ann Savoy's book, Cajun Music: Reflection of a People, Chenier explained, "Zydeco is rock and French mixed together, you know, like French music and rock with a beat to it. It's the same thing as rock and roll but it's different because I'm singing in French." The son of sharecropper and amateur accordion player, Joe Chenier, and the nephew of a guitarist, fiddler, and dance club owner, Maurice "Big" Chenier, Chenier found his earliest influences in the blues of Muddy Waters, Peetie Wheatstraw, and Lightnin' Hopkins, the New Orleans R&B of Fats Domino and Professor Longhair, the 1920s and '30s recordings by zydeco accordionist Amede Ardoin and the playing of childhood friends Claude Faulk and Jesse and Zozo Reynolds. Acquiring his first accordion from a neighbor, Isaie "Easy" Blasa in 1947, Chenier was taught the basics of the instruments by his father. By 1944, Chenier was performing, with his brother Cleveland on frottoir (rub-board) in the dance halls of Lake Charles. Moving to New Iberia in the mid-'40s, Chenier worked in the sugar fields cutting sugar cane. After moving, to Port Arthur, TX, in 1947, he divided his time between driving a refinery truck and hauling pipe for Gulf and Texaco and playing with his brother. In 1954, Chenier signed with Elko Records. His first recording session, at Lake Charles radio station KAOK, yielded seven tunes including the regional hit single, "Cliston's Blues" and "Louisiana Stomp." Chenier's first national attention came with his first single for the Specialty record label, "Ay Tete Fille (Hey, Little Girl)," a cover of a Professor Longhair tune, released in May 1955. The song was one of 12 that he recorded during two sessions produced by Bumps Blackwell, best known for his work with Little Richard. By 1956, Chenier had left his day job to devote his full-time attention to music, Touring with his band, the Zydeco Ramblers, which included blues guitarist Philip Walker. The following year, Chenier left Specialty and signed with the Chess label in Chicago. Although he toured, along with Etta James, throughout the United States, Chenier's career suffered when the popularity of ethnic and regional music styles began to decline. Although he recorded 13 songs for the Crowley, LA-based Zynn label, between 1958 and 1960, none charted. The turning point in Chenier's career came when Lightnin' Hopkins' wife, who was a cousin, introduced Chris Strachwitz, owner of the roots music label, Arhoolie, to his early recordings. Strachwitz quickly signed Chenier to Arhoolie, producing his first single, "Ay Yi Yi"/"Why Did You Go Last Night?," in four years. Although they continued to work together until the early '70s, Chenier and Strachwitz differed artistically. While Chenier wanted to record commercial minded R&B, Strachwitz encouraged him to focus on traditional zydeco. Chenier's first album for Arhoolie, Louisiana Blues and Zydeco, featured one side of blues and R&B and one side of French 2-steps and waltzes. In 1976, Chenier recorded one of his best albums, Bogalusa Boogie, and formed a new group, the Red Hot Louisiana Band, featuring tenor saxophonist "Blind" John Hart and guitarist Paul Senegal. Chenier reached the peak of his popularity in the '80s. In 1983, he received a Grammy award for his album, I'm Here!, recorded in eight hours in Bogalusa, LA. The following year, he performed at the White House. Although he suffered from kidney disease and a partially amputated foot and was required to undergo dialysis treatment every three days, Chenier continued to perform until one week before his death on December 12, 1987. Following his death, his son, C.J. Chenier, took over leadership of the Red Hot Louisiana Band.

The GRAMMY Hall Of Fame was created to honor recordings of lasting qualitative or historical significance that are at least 25 years old. Recordings are reviewed annually by a special member committee of eminent professionals from all branches of the recording arts, and final approval is made by The Recording Academy Trustees.

"These musical treasures have brought us timeless recordings, and each of them deserves to be memorialized. These recordings are living evidence that music remains an indelible part of our culture."

- Neil Portnow, President/CEO of The Recording Academy.

Classic Rock, Cajun Music: Vinyl Records

2010-12-04T03:05:00.011-06:00

SEPTEMBER SALE
BUY ANY 2 NEW RECORDS at regular price
and get 50% off additional similar priced LP's

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Robert Pete Williams Those Prison Blues ARHOOLIE 2015

2008-09-02T08:56:00.002-05:00

~~SOLD~~ ~~↓ ↓~~↓↓~~↓ ↓~~ ↓↓↓~~↓ ↓~~ ↓↓↓~~↓ ↓~~ ~~SOLD~~

Robert Pete Williams Those Prison Blues ARHOOLIE 2015

Mance Lipscomp Texas Songster Volume 2 ARHOOLIE F1023

2008-08-22T21:40:00.005-05:00

Mance Lipscomp Texas Songster Volume 2 ARHOOLIE F1023

V: NM-
L: NM-
J: VG++ (v minor soil / handling wear, still v nice overall jacket)

- Joe Turner Killed A Man
- Bumble Bee
- Silver City
- If I Miss The Train
- Alabama Jubilee
- God Moves On The Water (The Titanic)

- Come Back Baby
- Charlie James
- Boogie In A
- Key To The Highway
- Cocaine Done Killed My Baby
- Spanish Flang Dang
- You Got To Reap What You Sow

rec. Berkeley, May 2, 1964 by Chris Strachwitz

Mance Lipscomb (1895-1976), guitarist and songster, was born to Charles and Jane Lipscomb on April 9, 1895, in the Brazos bottoms near Navasota, Texas, where he lived most of his life as a tenant farmer. His father was an Alabama slave who acquired the surname Lipscomb when he was sold to a Texas family of that name. Lipscomb dropped his given name, Bowdie Glenn, and named himself Mance when a friend, an old man called Emancipation, passed away. Lipscomb and Elnora, his wife of sixty-three years, had one son, Mance Jr., three adopted children, and twenty-four grandchildren.

Lipscomb represented one of the last remnants of the nineteenth-century songster tradition, which predated the development of the blues. Though songsters might incorporate blues into their repertoires, as did Lipscomb, they performed a wide variety of material in diverse styles, much of it common to both black and white traditions in the South, including ballads, rags, dance pieces (breakdowns, waltzes, one and two steps, slow drags, reels, ballin' the jack, the buzzard lope, hop scop, buck and wing, heel and toe polka), and popular, sacred, and secular songs. Lipscomb himself insisted that he was a songster, not a guitarist or "blues singer," since he played "all kinds of music." His eclectic repertoire has been reported to have contained 350 pieces spanning two centuries. (He likewise took exception when he was labeled a "sharecropper" instead of a "farmer.")

Lipscomb was born into a musical family and began playing at an early age. His father was a fiddler, his uncle played the banjo, and his brothers were guitarists. His mother bought him a guitar when he was eleven, and he was soon accompanying his father, and later entertaining alone, at suppers and Saturday night dances. Although he had some contact with such early recording artists as fellow Texans Blind Lemon Jefferson and Blind Willie Johnsonqqv and early country star James Charles (Jimmie) Rodgers,qv he did not make recordings until his "discovery" by whites during the folk-song revival of the 1960s.

Between 1905 and 1956 he lived in an atmosphere of exploitation, farming as a tenant for a number of landlords in and around Grimes County, including the notorious Tom Moore, subject of a local topical ballad. He left Moore's employ abruptly and went into hiding after he struck a foreman for abusing his mother and wife. Lipscomb's own rendition of "Tom Moore's Farm" was taped at his first session in 1960 but released anonymously (Arhoolie LP 1017, Texas Blues, Volume 2), presumably to protect the singer. Between 1956 and 1958 Lipscomb lived in Houston, working for a lumber company during the day and playing at night in bars where he vied for audiences with Texas blues great Sam "Lightnin'" Hopkins,qv whom Lipscomb had first met in Galveston in 1938. With compensation from an on-the-job accident, he returned to Navasota and was finally able to buy some land and build a house of his own. He was working as foreman of a highway-mowing crew in Grimes County when blues researchers Chris Strachwitz of Arhoolie Records and Mack McCormick of Houston found and recorded him in 1960.

His encounter with Strachwitz and McCormick marked the beginning of over a decade of involvement in the folk-song revival, during which Lipscomb won wide acclaim and emulation from young white audiences and performers for his virtuosity as a guitarist and the breadth of his repertoire. Admirers enjoyed his lengthy reminiscences and eloquent observations regarding music and life, many of which are contained in taped and written materials in the Mance Lipscomb-Glenn Myers Collection in the archives and manuscripts section of the Barker Texas History Centerqv at the University of Texas at Austin. He made numerous recordings and appeared at such festivals as the Berkeley Folk Festival of 1961, where he played before a crowd of more than 40,000. In clubs Lipscomb often shared the bill with young revivalists or rock bands. He was also the subject of a film, A Well-Spent Life (1970), made by Les Blank. Despite his popularity, however, he remained poor. After 1974 declining health confined him to a nursing home and hospitals. He died in Grimes Memorial Hospital, Navasota, on January 30, 1976, and was buried at West Haven Cemetery.

Arhoolie Records (El Cerrito, California) has released seven albums of material by Lipscomb: Mance Lipscomb: Texas Songster and Sharecropper (Arhoolie 1001); Mance Lipscomb Volume 2 (Arhoolie 1023); Mance Lipscomb Volume 3: Texas Songster in a Live Performance (Arhoolie 1026); Mance Lipscomb Volumes 4, 5, and 6 (Arhoolie 1033, 1049, and 1069); and You'll Never Find Another Man Like Mance (Arhoolie 1077). Trouble in Mind was released by Reprise (R-2012). Individual pieces are included in other anthologies.

Snooks Eaglin ARHOOLIE 2014 Possum up a Simmon Tree

2008-08-17T21:27:00.001-05:00

Snooks Eaglin
ARHOOLIE 2014
Possum up a Simmon Tree
V: NM- L: NM-
J: VG++ (v minor spine handling wear)

Mississippi John Hurt - Today - VANGUARD VSD-79220

2008-08-17T21:22:00.002-05:00

Mississippi John Hurt
VANGUARD VSD-79220

Today

V: NM- L: NM-
J: VG++ (v minor lower ring crease)

Lightning Hopkins Po'Lightnin' ARHOOLIE 1087

2008-07-28T19:27:00.003-05:00

Lightning Hopkins Po'Lightnin' ARHOOLIE 1087
V: NM-
L: NM-
J: VG++ (amazing condition... very close to NM overall)

http://www.arhoolie.com/titles/403.shtml

http://en.wikipedia.org/wiki/Lightnin'_Hopkins

Born in Centerville, Texas, Hopkins love for the blues was sparked at the age of 8 when he met Blind Lemon Jefferson at a church picnic in Buffalo, Texas. That day, Hopkins felt the blues was "in him" and went on to learn from his older (somewhat distant) cousin, country blues singer Alger "Texas" Alexander. In the mid 1930s, Hopkins was sent to Houston County Prison Farm for an unknown offense. In the late 1930s Hopkins moved to Houston with Alexander in an unsuccessful attempt to break into the music scene there. By the early 1940s he was back in Centerville working as a farm hand.

Lightning Hopkins Early Recordings Vol 2 ARHOOLIE 2010

2008-07-28T19:23:00.003-05:00

Lightning Hopkins
Early Recordings
ARHOOLIE R2007
V: NM- L: NM-
J: VG+
(1" bottom ss, minor wear, wobj)

Lightning Hopkins
Early Recordings Vol 2
ARHOOLIE 2010
V: NM- (One v minor b-side sleeve scuff, need bright lite to see it.
L: NM- intact
J: VG+ (v minor spine handling wear, still v nice overall jacket)

http://www.bluesartstudio.at/NeueSeiten/pageA58.html

Fred McDowell & Blues Boys ARHOOLIE 1046

2008-07-28T19:21:00.002-05:00

Fred McDowell & Blues Boys ARHOOLIE 1046

V: NM- very minor sleeve scuffs, hairline or three...
L: NM- minor needle dings
J: VG+ glossy but minor wear, spine and seam wear, no ss however, wobj

Fred McDowell Vol 2 ARHOOLIE F 1027

2008-07-28T19:18:00.001-05:00

Fred McDowell Vol 2 ARHOOLIE F 1027
V: NM-/VG++ (extremely few hairlines)
L: NM-
J: VG+ (signs of age, minor wear, 1/2 inch bottom ss at opening, wobj)

Fred McDowell Mississippi Delta Blues ARHOOLIE F 1021

2008-07-28T19:13:00.004-05:00

Fred McDowell Mississippi Delta Blues ARHOOLIE F 1021
V: VG++ (shiney with too many scuffs to grade NM-) L: VG++ minor needle dents
J: VG+ (minor spine, lower seam handling wear, wobj)

Arhoolie 1021, "Delta Blues" with Mississippi Fred McDowell, from 1964. This is the first issue with deep red label and "Box 5073, Berkeley, California" address Heavy textured jacket is in great shape. Songs are "Write Me a Few Lines", "Louise", "I Heard Somebody Call", "61 Highway", "Mama Don't Allow Me", "Kokomo Blues", "Fred's Worried Life Blues", "You Gonna Be Sorry", "Shake 'Em On Down", "My Trouble Blues", "Black Minnie", "That's All Right", and "When I Lay My Burden Down".

McDowell was born in Rossville, Tennessee, near Memphis. His parents, who were farmers, died when McDowell was a youth. He started playing guitar at the age of 14 and played at dances around Rossville. Wanting a change from ploughing fields, he moved to Memphis in 1926 where he worked in a number of jobs and played music for tips. He settled in Como, Mississippi, about 40 miles south of Memphis, in 1940 or 1941, and worked steadily as a farmer, continuing to perform music at dances, and picnics. Initially he played slide guitar using a pocket knife and then a slide made from a beef rib bone, later switching to a glass slide for its clearer sound. He played with the slide on his ring finger.

While commonly lumped together with "Delta Blues singers," McDowell actually may be considered the first of the bluesmen from the North Mississippi region - parallel to, but somewhat east of the Delta region - to achieve widespread recognition for his work. A version of the state’s signature musical form somewhat closer in structure to its African roots (often eschewing the chord change for the hypnotic effect of the droning, single chord vamp), the North Mississippi style (or at least its aesthetic) may be heard to have been carried on in the music of such figures as Junior Kimbrough and R. L. Burnside; as well as the jam band The North Mississippi All-Stars.

The 1950s brought a rising interest in blues music and folk music in the United States, and McDowell was brought to wider public attention, beginning when he was discovered and recorded in 1959 by Alan Lomax and Shirley Collins. McDowell's recordings were popular, and he performed often at festivals and clubs. McDowell continued to perform blues in the North Mississippi blues style much as he had for decades, but he sometimes performed on electric guitar rather than acoustic. While he famously declared "I do not play no rock and roll," McDowell was not averse to associating with many younger rock musicians: He coached Bonnie Raitt on slide guitar technique, and was reportedly flattered by The Rolling Stones' rather straightforward, authentic version of his "You Gotta Move" on their 1971 Sticky Fingers album.

McDowell's 1969 album I Do Not Play No Rock 'N' Roll was his first featuring electric guitar. It features parts of an interview in which he discusses the origins of the blues and the nature of love. This interview was sampled and mixed into a song (also titled "I Do Not Play No Rock 'N' Roll" by Dangerman in 1999.

McDowell died of cancer in 1972 and is buried at Hammond Hill M.B. Church, between Como and Senatobia. On August 6, 1993 a memorial was placed on the gravesite of Mississippi Fred McDowell at the Hammond Hill Baptist Church cemetery by the Mt. Zion Memorial Fund. The ceremony was presided over by Dick Waterman and the memorial with Mc Dowell's portrait upon it was paid for by Bonnie Raitt. In this case the memorial stone was a replacement for an inaccurate and damaged marker (McDowell's name was mis-spelled) - the original stone was subsequently donated by McDowell's family to the Delta Blues Museum in Clarksdale, Mississippi.

Harmonica Blues YAZOO 1053

2008-07-28T19:05:00.003-05:00

Harmonica Blues YAZOO 1053
Great Performances of the 1920's & 1930's
Featuring Jazz Gillum, Jaybird Coleman, DeFord Bailey

V: NM-
L: NM- what an awesome label. wow.
J: VG++ (signs of age mostly, very minor flaws)
Robert Crumb cover art...

http://en.wikipedia.org/wiki/Robert_Crumb

http://www.wirz.de/music/yazoofrm.htm

Big Bill Broonzy

2008-07-18T22:51:00.008-05:00

Big Bill Broonzy
Sonny Terry
Brownie McGhee
Folkways FS 3817 (1968)

In A WFMT Chicago Presentation:
Studs Terkel Interview

V: NM-
L: NM-
J: VG++ v minor, v light stain top right seam area
Pamphlet: VG++ aged but excellent condition

http://media.smithsonianfolkways.org/liner_notes/folkways/FW03817.pdf

http://www.musicianguide.com/biographies/1608000148/Big-Bill-Broonzy.html

Blind Boy Fuller

2008-07-18T22:46:00.006-05:00

Blind Boy Fuller
BLUES CLASSICS BC11
Arhoolie LP
W/ Sonny Terry & Bull City Red

Vinyl: NM-
Jacket: VG++

Born Fulton Allen, c. 1908, in Wadesboro, North Carolina, died February 13, 1941, in Durham, North Carolina; son of Calvin Allen and Jane Walker; married Cora Mae Martin, 1926.

One of the most popular exponents of the Piedmont blues style, guitarist and singer Blind Boy Fuller recorded, between 1935 and 1940, 135 sides that found their way into the repertoires of a great number of bluesmen of the pre-World War II era. An understudy of guitarist Blind Gary Davis, Fuller created a personal style which brought an individual stamp to the large body of his work. Fuller's musical repertoire included ragtime-influenced "hokum" songs (double entendre numbers) and down home blues, several of which he displayed an exceptional talent on slide guitar. Though much of his material was culled from traditional folk and blues numbers, Fuller possessed a formidable finger-picking guitar style - one that influenced musicians such as Brownie McGhee who, during the first years of his career, performed under the name of Blind Boy Fuller No. 2.

Blind Boy Fuller was born Fulton Allen in 1908 in the small country market town of Wadesboro, North Carolina. Despite his later musical sobriquet, Fuller was born sighted, and attended school in Wadesboro until the fourth grade. After his mother's death, his father, Calvin Allen, moved the family to Rockingham, North Carolina, where Fulton eventually learned to play the guitar.

In 1926 Allen married fourteen year-old Cora Mae Martin and moved to Rockingham, North Carolina. The following year, he began to lose his eyesight. As blues scholar Bruce Bastin explained in Red River Blues, "While he was living in Rockingham he began to have trouble with his eyes. He went to see a doctor in Charlotte who allegedly told him that he had ulcers behind his eyes, the original damage having been caused by some form of snow-blindness." In search of work, Allen took his young wife to live in Winston Salem, where for short time he found employment in a coal yard. Not long after, Allen became blind and, without means of employment, turned to music as a permanent vocation. Studying the records of country bluesmen like Blind Blake, Allen became a formidable musician in the use of finger picks and the playing of slide guitar.

In 1928 Allen briefly played the tobacco warehouses in Winston- Salem and Danville, Virginia, and then moved to Durham. In Looking up at Down, William Barlow, described how "Fuller soon became a familiar figure, playing along [Durham's] Pettigrew Street and around the nearby tobacco warehouses." Through a permit requested on behalf the Welfare Department, Allen played the "Black Bottom" section of Durham, and not long after, developed a small local following. Allen gathered around him musicians such as guitar and washboard player George Washington, and a blind South Carolina-born guitarist, Gary Davis (Reverend "Blind" Gary Davis). A brilliant finger-style guitarist, Davis served as Allen's guitar instructor. Allen's musical circle also included a young blind harmonica player, Sonny Terry, who would eventually make his recording debut with Allen.

In 1935 Allen came to the notice of young white record store manager and talent scout, James Baxter Long. While managing Durham's United Dollar Store, Long encountered Allen, and brought him to the attention of the American Recording Company. In July 1935, Long took Allen, Gary Davis, and George Washington to New York City where the musicians cut sides for the ARC label group-- sessions featuring solo pieces like "I'm a Rattlesnakin' Daddy" and numbers such as the traditional "Rag, Mama, Rag," on which Allen is accompanied by guitarist Gary Davis and Washington on washboard. To promote the material, as Bruce Bastin explained in the liner notes to Blind Boy Fuller: East Coast Piedmont Style, "Long decided that the name Fulton Allen would not sell 78s, and as Fulton would always be elided in speech, Blind Boy was coined. Washington, a light-skinned near albino, was the ubiquitous 'Red' from Bull City, so became Bull City Red."

In April 1936, Long organized another New York session for Fuller - now known as Blind Boy Fuller--during which the guitarist recorded ten solo performances. Fuller's February 1937 session included the accompaniment of Bull City Red and guitarist Floyd Council. In July 1937, Fuller, after auditioning for talent scout Mayo "Ink" Williams, recorded for the Decca label (he had never signed a contract with J.B. Long). Following the session with Decca, Fuller agreed to sign a contract with Long that placed him under his permanent management. During December 1937, Fuller performed in the studio with harmonica stylist Sonny Terry, cutting such sides as "Bye Bye Baby Blues."

In 1938 Fuller was incarcerated for shooting a pistol at his wife. In Looking up at Down, William Barlow described Fuller as "a diminutive man with an attractive face and pleasant smile, but [he] also had a fiery temper. He was a smart dresser, and he usually carried a thirty-eight pistol, which on one occasion he threatened to use on his agent J.B. Long. On another he did use it to shoot his wife, wounding her in the leg." Because of his connections with Long, and the unwillingness of his wife to testify against him despite her leg wound, Fuller was released from jail.

Fuller recorded with Sonny Terry in April 1938 and, in October of the same year, attended another session in Columbia, South Carolina--a date that produced the autobiographical number "Big House Bound," dedicated to his time spent in Durham's jailhouse. At a 1939 session held in Memphis, Fuller--accompanied by Washington and Sonny Terry--yielded such numbers as "You've Got Something There" with a unknown guitarist (possibly Sonny Jones). He also recorded with Terry and Washington (now billed as Oh Red) on the suggestive number "I Want Some of Your Pie." In the liner notes to the album Story of the Blues, English blues historian Paul Oliver observed that the "I Want a Piece of Your Pie" exhibits "a rag flavor and the ambiguities that are often found in Fuller's blues."

Fuller's last two recording sessions took place in New York City during 1940. One of these sessions produced the hit, "Step it and Go," modeled after "Bottle up and Go," a number popularized by Mississippi singer and guitarist Tommy McClennan. Though he emerged the last of the pre-World War II top-selling bluesmen, Fuller saw little monetary reward for his music. Suffering from a kidney aliment brought on by excessive drinking, he received intermittent hospital treatment and care at home from a family doctor. Eventually, Fuller refused admission to the hospital and remained under the supervision of his wife, Cora Mae. He died in Durham, North Carolina, on February 13, 1941. That same year, Brownie McGhee, in honor of his former mentor, recorded "The Death of Blind Boy Fuller" for the Okeh label.

Fuller was often criticized by blues critics and historians as a derivative musician--as opposed to a composer of one's unique own material. Fuller's ability to fuse together elements of other traditional and contemporary songs and reformulate them into his own performances, attracted a broad audience who were drawn to his facile guitar work and able voice. In a music rooted in a long history of borrowing and redefining melodies, themes and lyric lines, Fuller represented, in his performances, a sense of identity enabling him to become, as John Cowley noted in The Blackwell Guide, "one of the most successful street singer-guitarists on gramophone records during the New Deal period.

Dr. Ross His First Recordings ARHOOLIE 1065

2008-07-17T20:47:00.007-05:00

Dr. Ross His First Recordings ARHOOLIE 1065
Year of release: 1972
- Shake 'Em On Down
- Down South Blues
- Shake A My Hand
- Little Soldier Boy
- Mississippi Blues
- Going Back South
- Dr. Ross Breakdown

- Going To The River
- Good Thing Blues
- Turkey Leg Woman
- Country Clown
- My BeBop Gal
- Memphis Boogie

rec. 1951-1954 for the Sun label

V: NM-
L: NM-
J: VG++ (minor dings jacket opening)

Born Charles Isaiah Ross, in Tunica, Mississippi.

Ross played various forms of the blues that have seen him compared to John Lee Hooker and Sonny Boy Williamson I, and is perhaps best known for the recordings he made for Sun Records in the 1950s, notably "The Boogie Disease" and "Chicago Breakdown". Ross won a Grammy for his 1981 LP Rare Blues, and subsequently enjoyed a resurgence and much critical acclaim towards the end of his career.

http://en.wikipedia.org/wiki/Doctor_Ross

http://www.youtube.com/watch?v=g2BDVjoq1nw&feature=related

Vinyl Grading

2007-10-10T07:32:00.003-05:00

I use Goldmine grading standards

I occasionally utilize NM- to describe items that are
clearly beyond the condition of vg+ but not quite nm

I rarely utilize "mint"

I use "buyers eyes" when grading and tend to grade conservatively...