Lightnin' Slim – Rooster Blues 1960

 

 

 

 

 

 

 

 Lightnin' Slim – Rooster Blues (Excello LP-8000) | Deep Swamp Blues Classic

 

 

 

 

 

Excello records 1960 ‎– LP-8000

 

 notes:

Rooster Blues by Lightnin' Slim is one of the defining recordings of 

Louisiana swamp blues,
 released on Excello Records under catalog number LP-8000. Raw, stripped-down, 
and emotionally direct, this album captures the essence of post-war Southern blues
 with a sound that feels both haunting and deeply human.
Recorded during the golden era of Excello’s blues catalog, 

Rooster Blues stands as a key 
example of how minimal production and emotional intensity 

can create timeless music.
Rooster Blues is rooted in the swamp blues tradition — a style known for its laid-back 
rhythm, echoing guitar tones, and deeply expressive vocals.
Lightnin' Slim delivers his signature raw vocal style throughout the record, often 
backed by sparse instrumentation that highlights his emotional storytelling.
The album was released by Excello Records, a legendary label based in Nashville
 known for recording some of the most important
 swamp blues artists of the 1950s and 1960s.
Excello was instrumental in preserving the raw Louisiana blues sound, 
featuring artists such as Lightnin' Slim, Slim Harpo, and Lazy Lester.

credits:

Artist (vocal & guitar)
Lightnin’ Slim (Otis Verries Hicks) – vocals, electric guitar
A Baton Rouge–area bluesman known for raw “swamp blues” style, 
often recorded under producer/engineer Jay Miller.
Recording producer / engineer
J. D. “Jay” Miller – producer, recording engineer
Central figure behind Excello Records’ Louisiana blues sound
Recorded many artists including Slim Harpo, Lazy Lester, and Lightnin’ Slim
Known for a very minimal, close-miked, raw recording approach
Session musicians (typical Excello configuration for this period)
Exact personnel on this specific master take of “Rooster Blues” is not always 
fully documented in surviving session logs, but Excello’s house approach for 
Lightnin’ Slim sessions in 1955–1959 was highly consistent:
Lightnin’ Slim – guitar + vocal (always present)
Lazy Lester (often present in nearby sessions) – harmonica, 
sometimes percussion/guitar support
Session bass/drum accompaniment – usually minimal, sometimes:
local Baton Rouge / Crowley musicians hired by Miller
occasionally uncredited stand-in rhythm players
mportant: many Excello sessions from Crowley were recorded with 
no formal band credits, because Miller often built tracks around 
the solo artist with minimal overdubbing or rotating local support.
J. D. Miller Recording Studio
Location: Crowley, Louisiana, USA
Sometimes referred to as “Miller’s studio” or Excello’s Louisiana field studio
Not a large commercial studio—more of a converted 
space used for regional blues recording
Recorded: mid–late 1950s (around 1955–1959 era)
Released: 1959 (Excello single: Excello 45-2169)
This period is when Miller was actively capturing what
 became known as Louisiana swamp blues,

 Tracklist:

A1     Rooster Blues     2:38
A2     Long Leanie Mama     2:09
A3     My Starter Won't Work     2:45
A4     "GI" Slim     2:30
A5     Lightnin Troubles     2:25
A6     Bed Bug Blues     2:14
B1     Hoo-Doo Blues     2:06
B2     It's Mighty Crazy     2:33
B3     Sweet Little Woman     2:10
B4     Tom Cat Blues     2:56
B5     Feelin Awfull Blues     2:56
B6     I'm Leavin You Baby     2:27

 

 

link

 

 

 

 

Ram John Holder – Black London Blues (1969)

Ram John Holder  Black London Blues (1969) Rare British Blues LP 

Beacon Records 1969  ‎– BEAS 2

notes:

Ram John Holder – Black London Blues is a seminal British blues 

album first released in 1969 on Beacon Records. Fusing deep social

 commentary with roots guitar and soulful vocals, 

this rare LP remains a standout in the UK blues scene.

Born John Wesley Holder in Georgetown, British Guyana, 

Ram John Holder moved to London in 1962 and built a 

dual career as a musician and actor. His musical catalogue 

includes Black London Blues (1969), 

Bootleg Blues (1971) and You Simply Are… (1975).

credits:

Ram John Holder – vocals, lead guitar, rhythm guitar, acoustic guitar

 on the album (credited as the primary artist and songwriter).

tracklist:

all titles composed and sung by Ram John Holder

A1 Brixton Blues 3:19

A2 Pub Crawling Blues 5:21

A3 Too Much Blues 4:08

A4 Notting Hill Eviction Blues 3:27

A5 Black London Blues 3:19

B1 Ladbroke Grove Blues 3:04

B2 Sleeping Alone Tonight Blues 3:34

B3 Wimpy Bar Blues 5:28

B4 Piccadilly Circus Blues 4:20

B5 Hampstead To Lose The Blues 4:11

link

Eddie Cleanhead Vinson and Roomful Of Blues

 Muse Records ‎1982 – MR 5282

credits:

Alto Saxophone – Eddie 'Cleanhead' Vinson*, Rich Lataille
    Baritone Saxophone – Doug James
    Bass – Jimmy Wimpfheimer
    Drums – John Rossi
    Guitar – Ronnie Earl Horvath
    Piano – Al Copley
    Tenor Saxophone, Leader – Greg Piccolo
    Trombone – Porky Cohen
    Trumpet – Bob Enos

Producer, Liner Notes – Bob Porter
Engineer – Malcolm Addey

Tracklist

A1        House Of Joy
Written-By – B. Hanighen*, C. Williams*
3:18
A2        Friend Of Mine
Arranged By – Roomful Of Blues
Vocals, Arranged By – Eddie 'Cleanhead' Vinson*
Written-By – R. Brown*
3:20
A3        Movin' With Lester
Alto Saxophone – Vinson*, Lataille*
Arranged By – Eddie 'Cleanhead' Vinson*, Roomful Of Blues
Baritone Saxophone – James*
Bass – Wimpfheimer*
Drums – Rossi*
Piano – Copley*
Written-By – L. Young*
7:00
A4        No Bones
Arranged By – Al Copley
Written-By – A. Copley*, R. Horvath*
5:52
B1        That's The Groovy Thing
Arranged By – Eddie 'Cleanhead' Vinson*, Roomful Of Blues
Written-By – E. Bostic*
4:24
B2        Past Sixty Blues
Arranged By – Roomful Of Blues
Arranged By, Vocals – Eddie 'Cleanhead' Vinson*
Vocals, Written-By – Vinson*
Written By – A. Hillary*
4:22
B3        Street Lights
Arranged By – Eddie 'Cleanhead' Vinson*, Roomful Of Blues
Written-By – E. Davis*
6:27
B4        Farmer's Daughter Blues
Arranged By – Roomful Of Blues
A1        House Of Joy
Written-By – B. Hanighen*, C. Williams*
3:18
A2        Friend Of Mine
Arranged By – Roomful Of Blues
Vocals, Arranged By – Eddie 'Cleanhead' Vinson*
Written-By – R. Brown*
3:20
A3        Movin' With Lester
Alto Saxophone – Vinson*, Lataille*
Arranged By – Eddie 'Cleanhead' Vinson*, Roomful Of Blues
Baritone Saxophone – James*
Bass – Wimpfheimer*
Drums – Rossi*
Piano – Copley*
Written-By – L. Young*
7:00
A4        No Bones
Arranged By – Al Copley
Written-By – A. Copley*, R. Horvath*
5:52
B1        That's The Groovy Thing
Arranged By – Eddie 'Cleanhead' Vinson*, Roomful Of Blues
Written-By – E. Bostic*
4:24
B2        Past Sixty Blues
Arranged By – Roomful Of Blues
Arranged By, Vocals – Eddie 'Cleanhead' Vinson*
Vocals, Written-By – Vinson*
Written By – A. Hillary*
4:22
B3        Street Lights
Arranged By – Eddie 'Cleanhead' Vinson*, Roomful Of Blues
Written-By – E. Davis*
6:27
B4        Farmer's Daughter Blues
Arranged By – Roomful Of Blues
Arranged By, Vocals – Eddie 'Cleanhead' Vinson*
Vocals, Written-By – E. Vinson*
Written-By – S. Selzer*
3:43Arranged By, Vocals – Eddie 'Cleanhead' Vinson*
Vocals, Written-By – E. Vinson*
Written-By – S. Selzer*
3:43

upl

 

 

T-Bone Walker ‎– T-Bone Blues

ATLANTIC RECORDS 1959             8020

credits & notes:

    Bass – Billy Hadnott (tracks: A2, A4, A5, B1, B2), Joe Comfort (tracks: A1, B3, B5)
    Drums – Earl Palmer (tracks: A1, B3, B5), Oscar Bradley* (tracks: A2, A4, A5, B1, B2)
    Guitar – Barney Kessel (tracks: A1, B3, B5), R.S. Rankin (tracks: A1, B3, B5)
    Guitar, Vocals – T-Bone Walker
    Piano – Lloyd Glenn (tracks: A2, A4, A5, B1, B2), Ray Johnson (tracks: A1, B3, B5)
    Tenor Saxophone – Plas Johnson (tracks: A1, B3, B5)

Producer – Nesuhi Ertegun

On "Two Bones And A Pick," R. S. Rankin plays the first guitar solo;
Barney Kessel plays the second guitar solo;
T-bone Walker plays the third guitar solo.
The order of guitar solos is the same on "Blues Rock.
" The guitar solos on "Evenin'" are played by T-Bone Walker.

recorded session:

Andrew "Goon" Gardner, alto sax; Eddie Chamblee, tenor sax;

 McKinley Easton, baritone sax; John Young, piano; 

T-Bone Walker, guitar, vocals; Ransom Knowling, bass;

 Leroy Jackson, drums.
Chicago, IL, April 21, 1955

    Papa Ain't Salty

    T-Bone Shuffle

 Junior Wells, harmonica; "Jimmy Rogers", guitar; 

T-Bone Walker, guitar, vocals; 

Willie Dixon, bass;

 Francey Clay, drums.

    Play On Little Girl

Lloyd Glenn, piano; 

T-Bone Walker, guitar, vocals;

 Billy Hadnott, bass; 

Otis Lee Bradley, drums.
Los Angeles, CA, December 14, 1956

   Mean Old World   

T-Bone Blues   

Stormy Monday Blues

   Blues For Marili

   Shufflin' The Blues

 Plas Johnson, tenor sax; 

Ray Johnson, piano;

 Barney Kessel, R.S. Rankin, guitar; 

T-Bone Walker, guitar, vocals; 

Joe Comfort, bass; 

Earl Palmer, drums.

Los Angeles, CA, December 27, 1957

   Evenin'    

Two Bones And A Pick   

12 Bar Blues (as Blues Rock) (instrumental) 

tracklist:

A1 Two Bones And A Pick 2:47
Written-By – T-Bone Walker
A2 Mean Old World 4:05
Written-By – Michael Goldsen, T-Bone Walker
A3 T-Bone Shuffle 2:47
Written-By – T-Bone Walker
A4 Stormy Monday Blues 3:03
Written-By – T-Bone Walker
A5 Blues For Marili 4:18
Written-By – T-Bone Walker
B1 T-Bone Blues 3:45
Written-By – T-Bone Walker
B2 Shufflin' The Blues 3:20
Written-By – T-Bone Walker
B3 Evenin'2:37
Written-By – Harry White, Mitchell Parish
B4 Play On Little Girl 2:29
Written-By – T-Bone Walker
B5 Blues Rock 2:41
Written-By – T-Bone Walker
B6 Papa Ain't Salty 2:45
Written-By – Grover McDaniel, T-Bone Walker

link

Sam Baker – Do Right Man / These Blues Are Getting Me Down 1965

 

Sam Baker – Do Right Man / These Blues Are Getting Me Down (Blues Review)

Saadia records 1965 ‎– 9160

notes:

Sam Baker is a lesser-known but deeply expressive figure in blues music, 

known for delivering raw emotion and storytelling through stripped-down, 

authentic recordings. While not as commercially recognized as 

mainstream blues legends, his work carries the same soul, grit, 

and honesty that define the genre.

Do Right Man” stands as a powerful example of traditional blues themes 

morality, hardship, and personal struggle. The song’s minimal instrumentation

 allows Baker’s voice and message to take center stage, creating an

 intimate listening experience.

The track reflects the classic blues narrative: a man trying to navigate 

life’s difficulties while holding onto a sense of integrity. This simplicity 

is exactly what makes it resonate with listeners even today.

Credits

Like many traditional blues recordings, detailed documentation about 

the musicians involved in “Do Right Man / These Blues Are Getting Me Down” 

is limited. This was common for early and regional blues sessions, where 

artists such as Sam Baker often recorded with little formal credit given t

o accompanying players.

    vocal - Sam Baker

    Arranged By – Williams, Hale

    Producer – Frank Williams

    Written-By – F. Williams

tracklist:

A Do Right Man 2:48

B These Blues Are Getting Me Down (aka 'Blues Are Killing Me') 3:19

link

 

Elmore James – Blues After Hours (1953) Review | Chicago Blues Classic

Crown Records  1960 ‎– CLP 5168

notes:

Elmore James remains one of the most influential electric blues guitarists
 in history, known for his raw slide guitar style and emotional intensity. 
Blues After Hours captures the essence of early Chicago blues and the deep 
Southern blues tradition that shaped modern rock and blues.
Released under Crown Records as CLP 5168, this vinyl LP is a sought-after 
collector’s item among blues enthusiasts and record collectors.
This album reflects Elmore James’ signature sound:
Powerful slide guitar riffs
Deep emotional vocal delivery
Traditional blues structure with raw energy
It is a key release for anyone exploring the roots of electric blues

  credits:

 The Broom Dusters, The Maxwell Davis Orchestra,
    Piano – Little Johnny Jones
    Slide Guitar – Elmore James
    Vocals – Elmore James

    Baritone Saxophone – Jewell Grant (tracks: A2, A3, A5, B1, B2)
    Bass – Frank Fields (tracks: A1, B3, B4, B5), 

Ralph Hamilton (2) (tracks: A2, A3, A5, B1, B2), Ransom Knowling (tracks: A4)
    Design [Cover] – Hobco Arts
    Drums – Earl Palmer (tracks: A1, B3, B4, B5), 

Jessie Sailes (tracks: A2, A3, A5, B1, B2), Odie Payne (tracks: A4)
    Featuring – The Broomdusters*
    Piano – Edward Frank (tracks: A1, B3, B4, B5),

 Little Johnny Jones (tracks: A4), Willard McDaniel (tracks: A2, A3, A5, B1, B2)
    Slide Guitar, Vocals – Elmore James (tracks: all)
    Tenor Saxophone – Boyd Atkins (tracks: A4), J.T. Brown (tracks: A4)
    Tenor Saxophone, Arranged By – Maxwell Davis (tracks: A2, A3, A5, B1, B2)


This is the original issue on black Crown label, silver print.
A2, A3, A5, B1, B2 recorded at CULVER CITY MODERN studios, late summer 1954.
A1, B3, B4, B5 recorded at COSIMO MATASSA studios, NEW ORLEANS, 1955
A4 recorded IN CHICAGO, april1, 1953

tracklist:

A1     Dust My Blues 3:11
A2     Sunnyland 3:19
A3     Mean And Evil 2:16
A4     Dark And Dreary     2:48
A5     Standing At The Crossroads 2:47
B1     Happy Home 2:46
B2     No Love In My Heart     2:24
B3     Blues Before Sunrise     2:45
B4     I Was A Fool     2:51
B5     Goodbye Baby     2:59

link

Elmore James ‎– To Know A Man (1969)

Elmore James – To Know A Man (1969) 

Blue Horizon records 1969  ‎– 7-66230

 2 × Vinyl, LP, Compilation

 

 notes:

A Deep Blues Document from Elmore James
To Know A Man is a striking blues LP attributed to legendary slide 
guitarist Elmore James, released on the historic UK label Blue Horizon Records 
(catalog number 7-66230). This record stands as part of the enduring legacy
 of electric blues, where raw emotion, slide guitar power, and soulful expression define every groove.
For collectors and blues enthusiasts, this release represents both a historical
 artifact and a deep dive into the sound that shaped modern rock and blues guitar traditions.
This LP captures the essence of Elmore James’ unmistakable style: explosive slide
 guitar phrasing, gritty vocal delivery, and a deeply emotional blues structure
 rooted in the Mississippi tradition.
While many Blue Horizon releases helped revive interest in classic blues during
 the UK blues boom, this particular pressing has become a sought-after item among vinyl collectors.

Crédits

This album is  a  studio album session, but a posthumous compilation 
of Elmore James’ final recordings and alternate takes, mainly from his
 late studio work (1960–1963) before his death in 1963.
Main recording period
1951–1963 (with focus on late 1950s–1963 final sessions)
Especially tracks from his Fire Records / Bobby Robinson period (1959–1963)
 Key recording locations (historical sessions)
Chicago, Illinois (main late-career studio base)
New York (Fire Records sessions)
Various small R&B/blues studios used by Fire/Chief/Meteor affiliates
Because To Know a Man is a compilation, personnel varies by track, 
but the core Elmore James sound units include:
 Elmore James
Slide guitar, vocals
Leader of all sessions
 Key backing musicians (Broomdusters & Fire sessions era)
J.T. Brown – tenor saxophone (early & Fire-era recordings)
Johnny Jones – piano (frequent late-session pianist)
Homesick James – guitar (occasionally)
Odie Payne – drums (Chicago blues session drummer)
Frank Kirkland – drums (some Fire sessions)
Eddie Taylor / Sammy Lee Bully / other Chicago session players (varies by date
Compiled and produced by Blue Horizon Records (UK)
Compilation supervised with liner notes by blues historians
Sleeve notes commonly credited to Mike Leadbitter (Blues Unlimited)

   

 Coordinator – Mike Vernon, Richard Vernon 
    Producer – Bobby Robinson

 Tracklist

    To Know A Man Volume 1
    Hand In Hand / I Have A Right To Love My Baby / Hand In Hand     (7:45)
A1.1     Tape Announcement     
A1.2     Hand In Hand - Take 1 3:10
Written-By – E. James*
A1.3     Tape Announcement And Band Tuning     0:25
A1.4     I Have A Right To Love My Baby 2:45
Written-By – E. James*
A1.5     Hand In Hand - Take 2 (Last Verse) 1:25
Written-By – E. James*
Hand In Hand - Take 3     (3:15)
A2.1     Tape Announcement     
A2.2     Hand In Hand - Take 3
Written-By – E. James
A3     Hand In Hand - Take 4  3:04
Written-By – E. James
A4     Everyday I Have The Blues 3:26
Written-By – P. Chatman*
Dust My Broom     (3:48)
B1.1     Tape Announcement And Speech     0:50
B1.2     Dust My Broom 2:58
Written-By – E. James*
It Hurts Me Too     (3:24)
B2.1     Tape Announcement     
B2.2     It Hurts Me Too - Take 1
Written-By – M. London*
Talk To Me Baby / Can't Stop Loving My Baby     (5:30)
B3.1     Tape Announcement     
B3.2     [False Start] Talk To Me Baby - Take 1 3:00
Written-By – E. James*
B3.3     Tape Announcement     
B3.4     Can't Stop Loving My Baby 2:30
Written-By – E. James*
Got To Move     (4:06)
B4.1     Tape Announcement     
B4.2     Got To Move
Written-By – J. Williamson*
Manhattan Slide     (3:36)
B5.1     Tape Announcement     
B5.2     Manhattan Slide
Written-By – E. James

To Know A Man Volume 2
Twelve Year Old Boy     (4:15)
C1.1     Speech And Tape Announcement     0:45
C1.2     Twelve Year Old Boy 3:30
Written-By – M. London*
Elmore Jumps One     (4:10)
C2.1     Tape Announcement     
C2.2     Elmore Jumps One - 1st False Start     0:25
C2.3     Elmore Jumps One - 2nd False Start     0:30
C2.4     Elmore Jumps One - Take 1 3:15
Written-By – E. James*
I Believe / I Gotta Go Now     (7:55)
C3.1     I Believe - Take 1  3:40
Written-By – E. James*
C3.2     Speech And Announcement     0:35
C3.3     I Gotta Go Now 3:40
 Written-By – E. James*
Back In Mississippi     (3:40)
C4.1     Musicians In Discussion: Speech Only     
C4.2     Back In Mississippi     
Second Fiddle Man     (2:30)
D1.1     Unidentified Singer Possibly "Bushy Head"     
D1.2     Tape Announcement     
D1.3     Second Fiddle Man
Written-By – Bushy Head
Make My Dreams Come True     (3:37)
D2.1     Tape Announcement     
D2.2     Make My Dreams Come True - False Start     0:35
D2.3     Make My Dreams Come True - Take 3 3:02
Written-By – E. James*
Mean Mistreatin' Mama     (4:30)
D3.1     Tape Announcement     
D3.2     Mean Mistreatin' Mama - Take 1 Incomplete     1:35
D3.3     Mean Mistreatin' Mama - Take 2 2:55
Written-By – E. James*
D4     Mean Mistreastin Mama - Take 3 2:50
Written-By – E. James*
Sunnyland     (2:25)
D5.1     Tape Announcement     
D5.2     Sunnyland - Take 1
Written-By – E. James*
Footrace To A Resting Place / Wrong Doing Woman     (5:35)
D6.1     Unidentified Singer Possibly "Bushy Head". Speech     
D6.2     Footrace To A Resting Place 3:05
Written-By – Bushy Head
D6.3     Tape Announcement     
D6.4     Wrong Doing Woman 2:30
Written-By – Bushy Head

 

  

 

link

 

 

Big Joe Turner – The Boss of the Blues Sings Kansas City Jazz (1956)

Big Joe Turner – The Boss of the Blues Sings Kansas City Jazz (1956) | Review & Tracklist

 

 

 

Atlantic  records 1956 – lp 1234

notes:

Few voices in American music carry the raw power and authenticity
 of Big Joe Turner. With The Boss of the Blues Sings Kansas City Jazz (1956), 
Turner delivers a landmark recording that blends jump blues, jazz, 
and rhythm & blues into a timeless classic.
Released during a golden era of blues and jazz fusion, this album stands
 as one of the finest examples of Kansas City’s rich musical heritage.
This album captures Turner at his peak, backed by an exceptional group
 of seasoned jazz musicians. The sound is both polished and deeply rooted 
in the blues tradition, making it accessible while retaining its authenticity.
One of the defining strengths of this album is its connection to the Kansas
 City jazz scene, known for its swing feel and improvisational energy.
Many of the musicians associated with this recording had ties to the 
legendary Count Basie orchestra, 
which helped shape the album’s distinctive groove.

Credits:

    Alto Saxophone – Pete Brown 
    Arranged By – Ernie Wilkins
    Bass – Walter Page
    Cover – Marvin Israel
    Drums – Cliff Leeman
    Guitar – Freddie Green
    Piano – Pete Johnson
    Tenor Saxophone – Frank Wess (tracks: A1, A2, A4, B2, B3, B5),
 Seldon Powell (tracks: A3, A5, B1, B4)
    Trombone – Lawrence Brown
    Trumpet – Jimmy Nottingham (tracks: A3, A5, B1, B4), J
oe Newman (tracks: A1, A2, A4, B2, B3, B5)
    Vocals – Joe Turner*


Supervised By – Jerry Wexler, Nesuhi Ertegun
 Engineer – Len Frank
recorded : 6,7 March 1956
Atlantic Studios NYC

Tracklist:

A1        Cherry Red
Written-By – Joe Turner*, Pete Johnson
    3:21
A2        Roll 'em Pete
Written-By – Pete Johnson
    3:41
A3        I Want A Little Girl
Written-By – Billy Moll, Murray Mencher
    4:16
A4        Low Down Dog
Written-By – Joe Turner*
    3:38
A5        Wee Baby Blues
Written-By – Joe Turner*, Pete Johnson
    7:15
B1        You're Driving Me Crazy
Written-By – Walter Donaldson
    4:10
B2        How Long Blues
Written By – Traditional
    5:43
B3        Morning Glories
Written By – Traditional
    3:39
B4        St. Louis Blues
Written-By – W. C. Handy
    4:17
B5        Piney Brown Blues
Written-By – Joe Turner*, Pete Johnson
    4:49

link

Lazy Lester – True Blues 1967

 

Lazy Lester – True Blues (1967)  Classic Louisiana Swamp Blues Album

Excello records 1967 – LP 8006

notes:

By the time True Blues was released, Lazy Lester had already lived 

through several eras of blues music. Born Leslie Johnson in Torras,

 Louisiana, he first became known in the 1950s through recordings

 for the legendary Excello Records.

After stepping away from music for years to work outside the industry, 

Lester made a remarkable comeback in the late 1980s and 1990s. 

True Blues is part of that revival period, showing that his harmonica tone, 

laid-back vocals, and storytelling style were still as powerful as ever.

credits:

Lazy Lester – vocals, harmonica, sometimes guitar

Lester is the main artist throughout True Blues, singing 

and playing harmonica and occasionally guitar on his originals.

 Session Musicians (Typical Excello/Rhythms on Original Recordings)

Because True Blues compiles recordings from Lester’s Excello singles 

era, the personnel varies by track and records from different sessions.

 Single credits from that period often include:

Slim Harpo – guitar/harmonica (associated as companion session musician 

— Lester joined some of his recordings)

Lightnin’ Slim – guitar/vocals on related Excello sessions Lester played 

on (Lester sometimes appears as harmonica or multi‑instrumentalist)

Various uncredited Louisiana studio musicians typical in Crowley/Excello

productions — including guitarists, bassists, and drummers — 

played backing parts on the singles later compiled on True Blues.

 Specific line‑ups often weren’t listed on original 1960s session records.

True Blues functions more like a compilation of classic Lester singles

rather than a single unified studio band album, so personnel may vary by song.

The common thread across the tracks is Lazy Lester himself, whose harp

and vocals define the sound.

tracklist:

A1 I'm A Lover Not A Fighter 2:31

            written by J. Miller

A2 I Hear You Knockin' 2:11

             written by J. Miller

A3 Sugar Coated Love 2:44

               written by J. Miller

A4 I'm So Glad 2:58

             written by J. West

A5 If You Think I've Lost You 2:22

             written by J. West

A6 Bye, Bye Baby 2:18

             written by Johnson, West

B1 Lonesome Highway Blues 3:10

             written by J. West

B2 I Made Up My Mind 2:17

             written by J. West

B3 Because She's Gone 2:38

             written by J. West

B4 Pondarosa Stomp 2:32

            written by J. West

B5 The Same Thing Could Happen To You 2:18

             written by Jerry West · Leslie Johnson

B6 Lester's Stomp 1:56

            written by L. Johnson, J. West

link

Curtis Amy & Paul Bryant – The Blues Message

(Updated on February 20, 2026 )

Curtis Amy & Paul Bryant – The Blues Message (1960 Jazz LP)

Pacific Jazz records 1960 – PJ-9

notes:

The Blues Message is a compelling jazz album recorded in 1960

 by tenor saxophonist Curtis Amy and organist Paul Bryant. Released 

on the celebrated Pacific Jazz Records label, the album stands as 

a soulful blend of blues feeling and hard-bop sophistication, capturing

 the raw energy and emotional depth of early-1960s West Coast jazz.

Rooted deeply in the blues tradition, The Blues Message highlights

 Curtis Amy’s expressive tenor tone alongside Paul Bryant’s warm 

Hammond organ lines. Together, they create a sound that is both 

gritty and refined — a meeting point between urban blues 

grooves and modern jazz improvisation.

credits:

    Curtis Amy - tenor saxophone

    Paul Bryant - organ

    Roy Brewster - valve trombone

    Clarence Jones - bass

    Jimmy Miller - drums

Recorded August 11 & 17, 1960

Studio Rex Productions Studio, Hollywood, CA

Producer Richard Bock

sessions recording:

Roy Brewster, valve trombone;

 Curtis Amy, tenor sax;

 Paul Bryant, organ; 

Clarence Jones, bass; 

Jimmy Miller, drums.

Rex Productions Studio, Los Angeles, CA, August 11, 1960

A1 Searchin' 8:44

A2 Goin' Down, Catch Me A Woman 9:22

same personnel.

B1 The Blues Message 8:44

B2 Come Rain Or Come Shine 4:54

B3 This Is The Blues 8:38

Rex Productions Studio, Los Angeles, CA, August 17, 1960

tracklist:

All compositions by Curtis Amy, except as indicated

A1 Searchin' 8:44

written by Paul Bryant

A2 Goin' Down, Catch Me A Woman 9:22

B1 The Blues Message 8:44

B2 Come Rain Or Come Shine 4:54

written by Harold Arlen, Johnny Mercer

B3 This Is The Blues 8:38

link

 

Richard "Groove" Holmes – Book Of The Blues Vol. 1 (1964) | Vinyl Review

 

 

 

 

 Vintage Jazz Vinyl: Richard "Groove" Holmes Book Of The Blues Vol. 1 (Warner Bros. 1553)

 

 

 

Warner Bros. Records 1964 – LP 1553

 

 notes:

Richard “Groove” Holmes – Book Of The Blues Vol. 1

Few Hammond organ players captured the spirit of soul jazz

 quite like Richard Holmes.
 Released on Warner Bros. Records, Book Of The Blues Vol. 1 

stands as a rich combination 
of blues feeling, swinging jazz rhythms, and deep late-night grooves.

This classic LP showcases Holmes’ unmistakable Hammond B-3 

organ sound, blending 
blues roots with sophisticated jazz improvisation. The album delivers warm tones, 
relaxed tempos, and soulful melodies that helped define the golden era 

of soul jazz during the 1960s.

Supported by an excellent rhythm section, Holmes creates an 

atmosphere filled with smoky 
club energy and emotional expression. Each track flows naturally,

balancing blues intensity 
with jazz elegance. Fans of groove jazz, blues organ, 

and vintage vinyl recordings will 
appreciate the timeless character of this Warner Bros. release.

Book Of The Blues Vol. 1 remains an essential album for collectors 

of classic jazz vinyl and 
listeners discovering the magic of Hammond organ music for the first time. 

Richard “Groove” Holmes 
continues to influence generations of jazz keyboard players with 

his unmistakable style and soulful phrasing.

Whether you are a dedicated soul jazz collector or simply exploring 

classic American jazz albums,
 this LP deserves a place in every serious vinyl collection.

credits:

    Richard “Groove” Holmes — Hammond B-3 organ
    Uncredited studio big band/orchestra
   Arranged and conducted by Onzy Matthews
    Engineer – James Lockert, Lee Hirshberg
    Producer – Ben-Ven Productions
    Recorded By – Nick Venet

tracklist:

A1        See See Rider
Songwriter – M. Rainey*
A2        Organ Grinder
Songwriter – C. Williams*
A3        I'd Rather Drink Muddy Water
Songwriter – E. Miller*
A4        Mean Old Frisco Blues
Songwriter – A. Crudup*
A5        I'm Gonna Move On The Outskirt Of Town
Songwriter – Razaf*, Weldon*
B1        Your Red Wagon
Songwriter – Raye*, DePaul*, Jones*
B2        How Long, How Long Blues
Songwriter – L. Carr*
B3        In The Dark
Songwriter – L. Green*
B4        Roll 'Em Pete
Songwriter – Turner*, Johson*

 

 

 

link

 

 

 

 

 

Johnny Otis Quintette, The Robins And Little Esther Double Crossing Blues / The Beale St. Gang Back Alley Blues

 

Double Crossing Blues – Johnny Otis, Little Esther & The Robins

Savoy Records 1950 – 45-731 A side

notes:

“Double Crossing Blues” is a landmark R&B track recorded by 

Johnny Otis, featuring vocals by Little Esther and The Robins.

"Double Crossing Blues" is a 1950 song by Johnny Otis Quintette, 

the Robins, and Little Esther. It was released as a 78-rpm single (731-A)

 by Savoy Records in 1950. The single went to number one on

 the US Billboard R&B chart

credits:

    Bass  – Mario Delagarde (pistes : A)

    Drums – Leard Bell (pistes : A)

    Guitar  – Pete Lewis* (pistes : A)

    Piano – Devonia Williams (pistes : A)

    Vibraphone – Johnny Otis (pistes : A)

tracklist:

A Johnny Otis Quintette With The Robins And Little Esther– Double Crossing Blues

Written-By – Johnny Otis

Back Alley Blues – The Beale St. Gang Review

Savoy Records 1950– 45-731 B side

notes:

The Beale St. Gang

Profile:

Studio Band led by Milt Buckner for Savoy Records under

disguise (contractual reasons, recording ban, etc.)

Aliases:

Beale St. Boys

tracklist:

B The Beale St. Gang– Back Alley Blues

Piano [Uncredited], Leader [Uncredited] – Milt Buckner

Written-By – A. M. Brunner

link