If you love the ragged edges of mud-crusted Delta-style blues, look no further than Memphis Mojo! This live session marks one of the greatest moments of Louisiana Red's nearly 60 years of recording.

Blues legend Luther Allison is considered to be one of the greats, with a career that lasted nearly 40 years, but didn't make him famous until the last few years of his life. UNDERGROUND is a lost recording from his early session years, recorded in 1957 under the guidance of Bobby Rush, this album features 8 never before heard tracks of Luther in his early years. A must for fans of Luther Allison.

Two years ago, Canadian blues artist Sue Foley put together a two CD compilation call BLUES GUITAR WOMEN (RF1110.2). The album featured over 2 dozen female artists playing both traditional and contemporary blues. Now, for the third edition in the Blues Caravan tour, 3 artists have been carefully selected from the growing generation of blues women. Sue Foley, the veteran musician with 10 albums to her name; Deborah Coleman, who waited until her motherly duties were done to join in the music; and Roxanne Potvin, the new comer to the blues scene. A truly brilliant collection.

LIVE TROUT: AT TAMPA BAY BLUES FEST MARCH 2000

LIVIN EVERY DAY

Dangerous" - that's the word Luther Allison came up with to describe his son's guitar playing. At the age of 32, Bernard Allison combines the fiery influences of his father and others of that generation (like Freddy King and Albert Collins) with blues rockers like Jimi Hendrix and Eric Clapton, while capturing an aggressive, no-holds-barred sound all his own. 1st singles: "I Can't Get You Out Of My Mind" and "The Way Love Was Meant To Be.

Reissue of 1997 album. The title is program. Born in 1965 in Chicago Bernard Allison was introduced into the roots of black music and playing electric guitar by his father, the living blues legend luther allison. At the age of 20 he played with the Queen of Blues Koko Taylor for two years and took part in countless sessions with musicians like Johnny Winter, Stevie Ray Vaughan and Jeff Healey. He joined the tour band of Luther Allison in 1989 after a furious collaboration of "Father & Son" at the '89 Chicago Blues Festival. A recording of this formation is to be heard on the Luther Allison album Let's Try It again. Bernard released his first solo album in 1990 with the significant title The Next Generation. Bernard was not only influenced by the old masters or musicians like Jimmy Hendrix and Stevie Ray Vaughan but also grew up with the music of George Clinton and Johnny Guitar Watson. Born With The Blues was recorded in Chicago and mixed in Memphis - together with the band of blues legend Buddy Guy (with Ray Killer Allison/drums). Bernard's co-producer is the Rounder Bullseye producer Ron Levy who also plays the keyboards.

REDUX: LIVE AT THE KEYSTONE KORNER

This is volume 2 of a projected 3-volume set of Lead Belly's performances recorded by Moses Asch during the 1940s. The original masters now reside in the Folkways Archive at the Smithsonian Institution. Completely remastered from the best sources in our collections, this recording contains the highest sound quality possible. The liner notes contain extensive annotation and reflections on Lead Belly's music as you've never heard it before. Compiled and annotated by Jeff Place. "The soul expressed is full-fledged and sublime." -New England Folk Almanac.

The classic 1957 release from one of the greats of gospel blues, a rough diamond of hard, pure country gospel expression, at odds with the earthly concerns of the blues and yet entwined with the devil's rhythms. Listen to the splendid Moon Goes Down, the skittering guitar figures on Bad Company and classic ragtime of I Didn't Want to Join the Band for confirmation of his brilliant originality. 17 cuts total, including a couple of unreleased items.

Tony "Little Sun" Glover (b. 1939) is a Minneapolis-born harmonica player and singer, most notably associated with guitarists "Spider" John Koerner and Dave "Snaker" Ray during the folk revival in the early 1960s. Glover performed with Ray until the latter's death in 2002, and he still performs with Koerner on occasion. This session, recorded in 1965, is an introduction to the basics of playing blues harmonica. Glover stresses that the student should first listen to a wide range of players before attempting to play. The liner notes cover the recorded material in greater depth, as well as a discography of Glover's favorite blues harp recordings.

Taken from unreleased recordings, previous Folkways releases, and early blues recordings, this two-disc set offers an introduction to the vocal styles, ornamentation, and instrumentation of this "highly personal, expressive idiom." Copious liner notes by Samuel B. Charters accompany the musical material.

From the early blues of Son House, Willie Brown, and Charley Patton to the assertive music of the Depression, the Mississippi delta has produced songs and singers with a fierce honesty that has ensured the style's enduring popularity. This selection features a range of songs and extensive liner notes.

During the folk revival of the 1950s and 60s, documentarians and aficionados searched for country blues singers whose music had previously only been known through old recordings. This album's music presents historic recordings of these singers from 1920-1940, while it's liner notes describe these "rediscovered" musicians' lives in the 1960s.

Texan Blind Willie Johnson was one of the most successful recording artists in the South in the late 1920s, before the Depression ruined the company for which he recorded. This collection demonstrates the singer's unique ability to express his personal poetic style through the genre of religious song.

This second volume continues Folkways' The Country Blues (FW00RF1) and is the result of efforts in the early 1960s to find singers who were previously known only as names on commercial recordings. Volume Two includes works by these lesser-known singers, as well as a pseudonymous recording by Blind Willie McTell, who recorded as "Georgia Bill."

Recorded on Victor and Decca in the 1920s and 30s, Sleepy John Estes was a leading exponent of the Memphis blues style. These recordings capture the distinctive sound of Yank Rachel's legato mandolin lines and Jab Jones' rhythmic piano accompaniment, as well as Estes' skill at singing the narrative blues.

Originally released in 1959, The Country Blues features a range of styles and a collection of recordings not included in other Folkways compilations. This selection-mostly recorded between 1927 and 1931-includes such gems as a test pressing of Robert Johnson's "Preaching Blues" and local releases from the 1920s.

An influential figure in the growth of the Southern blues tradition, William "Jazz" Gillum (1904-1966) had the kind of life from which the blues spring. Orphaned, starved, threatened, shot at, beaten, and discriminated against, Gillum's style, as heard throughout this recording-and as described in the liner notes-is unsurprisingly "sometimes harsh, sometimes poetic, with it's expressive delayed beat and strong rhythm, and it's bitterness tinged with nostalgia." He is joined on this album by Arbee Stidham (vocals and guitar) and Memphis Slim (organ and piano), associates from his early professional jobs in Chicago in the 1930s. Liner notes include song lyrics and a biography of Gillum, who lived and sang the blues his whole life.

Orphaned at age 2, William Thomas Dupree grew up in the same New Orleans boys' home where Louis Armstrong first played the cornet. Continuing his music education with barrelhouse piano musicians, Dupree became known for his gritty yet soulful piano blues and boogie-woogie style. During the Depression, he started boxing for a living and earned the nickname Champion Jack, which stuck with him for the rest of his life. Here, Dupree's theme is clear: Bad women and good women. Hard times... hot hands, and hot music. Liner notes include lyrics, photos, and an introduction by Charles Edward Smith.

Walter E. "Furry" Lewis (1893-1981), was a Mississippi-born, Memphis-bred guitarist and singer whose early fame was based on his 1927 recordings for the Victor label. When the Depression ended most of the recording in the South, Furry took a job as a laborer for the city of Memphis. He lived in musical obscurity until he was "re-discovered" by producer Sam Charters in the late 1950s. Lewis's version of "John Henry" is a powerful example of early southern blues. This collection also includes Lewis's oral history of his early days as a bluesman, as well as the story of his musical education in several styles of blues guitar. The liner notes include a discography of Lewis's early recordings.

I've never had the blues, says Brownie McGhee in an interview with famed oral historian, Studs Terkel, "the blues has always had me." the trio of legendary bluesmen played, talked, and traded stories with Terkel until the early hours of the morning in the studio of Chicago's WFMT radio station, creating a historic and memorable experience. Big Bill Broonzy had the idea of putting this session together in order "to reveal the uniqueness of each man's blues as a reflection of the uniqueness of each man's life," as noted in the extensive liner notes to what would be Broonzy's last recording for Folkways Records.

Recorded in 1961, The Blues in St. Louis, Vol. 2 celebrates 1930s and '40s style Barrelhouse Blues and Boogie Woogie. Henry Brown and Edith Johnson came from very different musical backgrounds: pianist Brown was formally trained, while Johnson learned the blues by singing along with music playing in her husband's record shop. Yet, the two came together in Jazz and Blues fan Bob Oswald's recording studio, and the result is a combination of Classic Blues instrumentals and vocals like "Honeysuckle Rose" and "Little Drops of Water," often accompanied by Brown tapping his foot against the piano pedal. Musician and scholar Samuel Charters gives a first hand account of the musicians and circumstances of recording in the liner notes.

Pink Anderson (1900-1974) spent most of his life working as a roving entertainer in the small medicine shows that traveled throughout the South. His stage repertoire included blues, comedic songs, country ballads, and minstrel show tunes. Pink's songs were first recorded in 1950 by the folk singer Paul Clayton. Folklorist Kenneth S. Goldstein heard the material, and asked the music historian Samuel Charters to find Pink and document his song repertoire. Charters subsequently featured Pink in his documentary the Blues. After a film session at his home in Spartanburg, South Carolina, in the summer of 1962, Pink felt like singing, so Charters continued recording. Many of the songs on this album come from those tapes, which include Pink's friend, blues guitarist Baby Tate.

Singing and begging are about the only two ways a blind man can make a living in farm country. Several years after Blind Willie Johnson's death in 1949, Samuel B. Charters tries to get to know the now-distinguished African-American blues and spiritual vocalist/guitarist through those closest to him, including Johnson's wife Angeline. The album combines old recordings, interviews and commentary.