Blues Unlimited - The Radio Show

More great Down Home Rhythm Rockin' Blues from Doctor Ross, John Lee Hooker, Slim Harpo, Lightnin' Slim, Ralph Willis, Sam Myers, Charley Booker, and more.

No particular theme, just two hours of pure non-stop rhythm rockin' fun as we play a bunch of our Down Home favorites, featuring Boyd Gilmore, Charley Booker, Woodrow Adams, Doctor Isaiah Ross, Joe Hill Louis, Cousin Leroy, Slim Green (pictured) and the Cats from Fresno, Ralph Willis, and a whole lot more.

We continue our tribute to the great Nashville label, Excello, which issued some superb early '50s R&B, and also the legendary Louisiana Swamp Blues of Slim Harpo, Lazy Lester, Lonesome Sundown, Lightnin' Slim, and more. Picured, Excello's big "hit maker," Slim Harpo.

In this episode of Blues Unlimited, we pay tribute to the legendary Nashville label that brought the Louisiana Swamp Blues of Slim Harpo, Lazy Lester, Lonesome Sundown, and Lightnin' Slim to prominence -- as well as some very fine R&B that proprietor Ernie Young cut in Nashville during the early 1950s. Although they never had a lot of R&B chart hits (compared to such other contemporary labels as Modern, Chess, Imperial, or Specialty), what they did have was a remarkably consistent product, a strong advertising presence on Nashville's 50,000 watt clear channel WLAC radio station, and a thriving mail order business.

We continue our look at the Bentonia, Mississippi blues tradition, and the handful of practitioners, such as Skip James and Jack Owens, who have kept the style alive over the decades. Known for its haunting melodies and eerie, otherworldly lyrics, Bentonia blues has long been loved by scholars and fanatics alike. Photo of Jack Owens by Jimmy Stratton.

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Bentonia blues, with it's own distinct sound, tunings, and repertoire, is a style of music that has haunted fans and scholars alike for decades. Nehemiah "Skip" James (pictured), who cut 18 sides for the Paramount label in 1931, left behind the largest body of work from this school -- until his rediscovery more than three decades later. Shortly thereafter, a couple more Bentonia musicians were discovered -- Cornelius Bright and Jack Owens -- who both made their debut recordings in 1966. Forty years later, Jimmy "Duck" Holmes would record his debut album, and he is now considered to be the last surviving practitioner of this genre.

Never a group with large numbers, the Bentonia school has a small but proud tradition, largely centered around Henry Stuckey, who was interviewed but never recorded. According to legend, he learned the eerie, minor guitar tuning that is part and parcel of the Bentonia sound from two soldiers overseas in World War I -- who, by varying reports, were either Gypsies, or from the West Indies. After returning to Mississippi, he taught the tuning to a young Skip James, who incorporated it into his repertoire shortly thereafter.

In this special episode of Blues Unlimited, we trace the history of Bentonia blues back to Skip James' historic 1931 recordings, through the rediscovery period of the 1960s, and all the way up to Jimmy "Duck" Holmes' debut recordings, which were made at Bentonia's legendary Blue Front Cafe in 2005 and 2006.

The final installment of our extended tribute to blues guitarist Willie Johnson. Once called the linchpin of Howlin' Wolf's band, Willie and the Wolf made some of the most iconic blues recordings of all time, starting in Memphis in 1951, and continuing on in Chicago in the mid 1950s. (Pictured: Willie Johnson, during his Chicago days with the Howlin' Wolf)

Picking up where we left off last time, part two of our extended tribute to Willie Johnson finds us in Memphis sometime around the late summer or early fall of 1953, with Willie and the Wolf making some recordings at an undisclosed location (now thought to be Lester Bihari's Meteor studios). In 1954, the Wolf left for Chicago for good, leaving behind Willie Johnson for the time being. The following year, 1955, he and Sammy Lewis cut a couple of tough sides for Sam Phillips, which appeared on his Sun label. One side featured Sammy on the lead vocal, the other, Willie -- it would end up being the only single ever issued under his own name (and it was only for half of the record, at that!)

After Wolf's new lead guitar player, Jody Williams, unexpectedly quit on him one day, he drove back down to Memphis and retrieved Willie Johnson, who would rejoin forces with the Wolf on stage and in the studio. By January 1956, the two of them were making records again, cutting one of Wolf's most iconic --and recognizable -- songs of all time, "Smokestack Lightnin'."

Their renewed relationship proved to be short lived, however. By 1959, the Wolf had had enough of Willie's antics, not to mention his drinking (it was considered strictly taboo by the Wolf while the band was onstage), and Willie decided to call it quits. He still appeared on the Chicago scene from time to time, but never for very long.

Part two traces the remainder of Willie Johnson's career, starting where we left off last time -- in Memphis -- and on to Chicago, where he would be a driving force on some of Howlin' Wolf's most memorable recordings. Rare sides featuring Willie Johnson backing up other artists are also profiled, as are some "comeback" recordings produced by Michael Frank in 1988.

A hugely influential artist in his own right, Willie Johnson will perhaps always be remembered as the Wolf's first great guitar player, but his trademark gritty tone and firebrand fretwork will forever be remembered in the hearts and souls of blues fanatics all over the world.

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Perhaps one of the most underrated blues guitarists of all time, Willie Johnson is best known for his incendiary, firebrand work with Howlin' Wolf. Starting his recording career in 1951 – right along side the Wolf – he helped to define and shape the overall impact of those early recordings that put Wolf on the map. Join us for an extended tribute to blues guitarist Willie Johnson (Note: Part 1 of 2)(Pictured: Willie Nix with guitarist Joe Willie Wilkins. Nix was one of the few people besides Howlin' Wolf that Willie Johnson recorded with in the early years).

Blues guitarist Willie Johnson was born in Tate County, Mississippi in 1923. Showing a talent for guitar at an early age, he crossed paths with the Howlin' Wolf in the late 1930s. At the time, Wolf had been playing with Son House and Willie Brown, and everyone agreed the teenager showed promise. Wolf taught the young Willie Johnson what he knew – Wolf had been a student of the great Charley Patton once – and from that point on, the two musicians formed a musical bond that would last the better part of 20 years.

By the late 1940s, Wolf and Johnson were playing together in West Memphis, Arkansas, but it was Wolf's appearance over the airwaves of local radio station KWEM that would probably change his life forever. Acting on a tip from a friend one day, Sam Phillips, founder of the legendary Memphis Recording Service at 706 Union Avenue, tuned in to hear the Wolf, and immediately sought him out to record him. Soon, the Howlin' Wolf and his guitarist, Willie Johnson, were making records together at Sam's tiny studio.

The story doesn't quite end there, however. Due to a handshake understanding that the Bihari brothers had with Sam Phillips, a fight quickly erupted between themselves and the Chess brothers in the Windy City after Phillips sent some of the Wolf's first recordings to Chicago instead of into the waiting hands of the Bihari brothers in Los Angeles. Soon, Joe Bihari was in West Memphis, making his own recordings on Howlin' Wolf, while Sam Phillips continued to record him across the river in Memphis, sending the resulting masters up to Chicago.

In the meantime, Howlin' Wolf and Willie Johnson continued to make musical history together, as these early recordings from their career easily testify.

Part one leaves off in 1953, Memphis, with the Wolf making the trip to Chicago in 1954. Soon afterwards, he would come back down to West Memphis to retrieve Willie Johnson, where they would go on to make some of the most iconic recordings in blues history.... but we'll save that for Part Two. (Photo of Willie Johnson by John Anthony Brisbin/Living Blues)

We continue our examination of the working life in story and song. From the Great Depression, to prison work songs, the perils of cotton farming, and modern day recession, it's a fascinating glimpse at the world of work. Photo of Gandy Dancers, Warren County, MS, August 1976, by Robert L. Freeman.

On this episode of Blues Unlimited, it's all about work. From tales of hard times in the Great Depression by Washboard Sam and Peetie Wheatstraw, to long forgotten eras of American History via prison chants and songs about life on the Mississippi River, to the hard working life in the big city, the perils of being a cotton farmer, and modern day recession, it's all about work. Classics from James Cotton, Lightnin' Hopkins, Fats Domino, Eddie Boyd, Floyd Jones, J.B. Hutto, Bo Diddley, Magic Sam, Leadbelly, and many more. Photo by Bruce Jackson, 1977, Arkansas.

We continue, in the second half, with more great piano blues from New Orleans. From classic R&B party favorites to keyboard legends like Professor Longhair, Fats Domino (pictured), Little Richard, and Allen Toussaint, Blues Unlimited celebrates the art and artistry of New Orleans piano.

Think of New Orleans and you might think of the French Quarter, the distinctive cuisine they're justifiably famous for, the seemingly constant 24/7 party atmosphere, or strolling downtown by the Mighty Mississippi. But think of New Orleans for too long and you're bound to think of perhaps one thing -- the great music that's emanated from there, virtually non-stop, since the early days of the last century. And if you think of New Orleans music, sooner or later you're bound to think of some of the great keyboard legends that the city has known -- Professor Longhair (pictured), Fats Domino, Little Richard, Champion Jack Dupree, Paul Gayten, Allen Toussaint, and many many more. In this episode of Blues Unlimited, we explore that rich vein of talent in a special episode dedicated to the art and artistry of New Orleans piano, taking a look at some of the great moments and huge R&B hits the Crescent City produced over the years.

We continue our tribute to the "Anthology of American Folk Music" in part two of this episode of Blues Unlimited, by culling through all the great Blues and Gospel recordings from the legendary LP set issued on the Folkways label in 1952. It was all painstakingly compiled by one man -- a record collector and eccentric genius, Harry Smith. Pictured: Harry in his younger days, circa 1950.

In 1952, Folkways Records issued the "Anthology of American Folk Music." A set of 3 volumes, each one consisting of two LPs, it became the ground breaking and influential spark that primed the 1950s and the early 1960s for the Folk and Blues revivals, not to mention having inspired countless musicians and fans alike. It literally opened the doors to an almost forgotten universe of Folk, Blues, Country, Gospel, and Cajun music that had been recorded in the United States during the late 1920s and early 1930s. It was the work of one man, an eccentric record collector, filmmaker, artist, magician, philosopher, bohemian, scholar, and ethnomusicologist Harry Smith. In this episode of Blues Unlimited, we honor the "Anthology of American Folk Music" and the genius of Harry Smith, by culling through the Anthology's Blues and Gospel recordings to pay tribute to one of the most influential reissue albums of all time. Pictured: Harry Smith.

We continue our celebration of the independent spirit of the Lone Star State with two hours of Country Blues from some of the finest practitioners the state had to offer. From the masters of the genre, like Lightnin' Hopkins (pictured), Frankie Lee Sims, Smokey Hogg, and Little Son Jackson, to some of the 'famous unknowns' who only made a couple of records, it's a veritable "Who's Who" of Texas Country Blues.

Texas Country Blues certainly has a distinct history and influential sound all its own. Raw and gritty, seemingly fashioned out of the Texas clay itself, folded into the heartbreak and harsh realities that life in the Lone Star State could bring with it, all supplemented with a joyful and irrepressible spirit of independence. And while Texas has produced lots of famous musicians over the years in all sorts of musical genres, we think those Blues artists whose work could be incorporated underneath the Texas Country Blues umbrella are some of the finest the state ever offered. From the true masters, like Lightnin' Hopkins, Frankie Lee Sims (pictured), Smokey Hogg, and Little Son Jackson, to some of the 'lesser knowns,' like L.C. Wliiams, Whistlin' Alex Moore, Ernest "Buddy" Lewis, Manny Nichols, Nathaniel Terry, and more, come and join us for two hours of raw, unfiltered Postwar Country Blues from the Lone Star State.

In part two, we continue our look at some of our favorite artists – some of them synonymous with the very concept of "Postwar Electric Blues" – and are showcasing them in solo and acoustic settings for a change. Pictured: Arthur "Big Boy" Crudup.

In this episode of Blues Unlimited, we take a look at some artists whose names are pretty much synonymous with bringing modern, electric and amplified Blues to the world at large in a somewhat unique setting – alone and acoustic, without the benefits of electricity. From classic cuts off of "Muddy Waters Folk Singer," to live recordings of Eddie Boyd, Billy Boy Arnold and Little Johnny Jones, to Howlin' Wolf, introspectively playing acoustic guitar and singing to himself – this episode of Blues Unlimited turns off the electricity to shed a new – and somewhat illuminating – light on some of our favorite Post-War Blues artists.

We continue with some of our favorite Red Hot Rhythm Rockin' Blues and Sizzlin' R&B. From Memphis Slim, Roosevelt Sykes, and B.B. King, to Little Junior Parker, Ike Turner and His Kings of Rhythm, Johnny Otis, Ray Charles, and lots more. Pictured: Big Mama Thornton.

This episode of Blues Unlimited is another grab bag of Red Hot Rhythm Rockin' Blues that will have you tapping your feet, snapping your fingers, dancing in the aisles, and maybe even playing a little air guitar. We'll hear from some classic R&B "belters" like Big Mama Thornton, Annie Laurie, and Marie Knight, a few Saint Louis music legends such as Oliver Sain, Clayton Love, Ike Turner and His Kings of Rhythm, as well as Rhythm & Blues classics from L.A. and New York City, with just the right amount of spice thrown in from Chicago, Houston & New Orleans. It's party time on this episode of Blues Unlimited, and this time we've pulled out all the stops for two hours of non-stop Red Hot Rhythm Rockin' Blues! Pictured: The Late Great Johnny Otis.

We continue our look at some of the great harp players that worked and recorded in the Windy City. From John Lee "Sonny Boy" Williamson and Jazz Gillum to Little Walter, Snooky Pryor, Jimmy Reed, and more, it's a veritable "Who's Who" of Chicago Blues Harmonica!

In this episode of Blues Unlimited, we begin an in-depth survey of some of the great harmonica wizards that were a mainstay of the Chicago Blues scene. Beginning with 'The Chairman of the Board' – John Lee "Sonny Boy" Williamson, who was pretty much responsible for putting the harmonica on the Windy City Blues map in the first place – and continuing on up through the early recordings of Little Walter, Snooky Pryor, Junior Wells, and Big Walter Horton, it's a veritable feast of Harmonica Blues, as we pull out some of the finest waxings the Windy City had to offer, including some rare gems and a look at some of the 'lesser knowns' who were a part of the scene as well.

In part two, we continue our tribute to Sam Phillips of Sun Records. Although Sam cut a lot of great Blues in the early years of his operation, the vast majority of it was never released at the time. Unissued gems from the Sun Records Blues Vaults, on this episode of Blues Unlimited. Pictured: The Sun Records distinctive logo.

In this episode of Blues Unlimited, we pay tribute to one man with a tape recorder on a mission. 706 Union Avenue in Memphis, Tennessee is where Sam Phillips started operations of the now legendary "Memphis Recording Service," and long before Elvis Presley, Johnny Cash or Jerry Lee Lewis put Sun Records on the map, Sam Phillips spent the early years of the 1950s recording and documenting the local Blues scene that was happening in and around Memphis. Folks like Sleepy John Estes made the trip down to 706 Union Avenue, as did Howlin' Wolf, Rufus Thomas, Joe Hill Louis, Dr. Isaiah Ross, David "Honeyboy" Edwards Willie Nix, Big Walter Horton, Raymond Hill, and many others. In this episode of Blues Unlimited, we mine the Sun Records Blues vaults looking for the unissued gems that Sam Phillips recorded but never released. Pictured: The man behind the controls, Sam Phillips.

Join us on our continued exploration of the outer reaches of the Blues Universe. From fife and drum band music out of Georgia and Mississippi, to musicians who play quills, pan pipes and homemade instruments, one string guitar players from Florida to Los Angeles, and quick-witted street musicians from Ann Arbor and San Antonio, join us for Blues from the Outer Limits. Pictured: Jesse Fuller and his homemade 'fotdella.'

In this special edition of Blues Unlimited, we pull out all the stops and dig through our archives in search of Blues musicians that play one-stringed instruments, Fife and Drum Band music from the Hill Country of Mississippi, Blues musicians that play pan pipes and trombones (no, not at the same time) as well as a variety of home made instruments. From cult favorites like Bongo Joe to the crowd-pleasing one-stringed boogie riffs of Lonnie Pitchford to the celestial sounds of Gospel singer Washington Phillips, we leave no holds barred on this one for a show dedicated to the odd, the unique, the bizarre and the downright wonderfully weird into one utterly delightful package. Includes rare and classic performances by One String Sam and Willie Joe Duncan & His Unitar, Othar Turner, Jesse Fuller (the one-man-band and his homemade ‘fotdella’); perennial favorites Hezekiah and the Houserockers; Ann Arbor, Michigan street performing legend Shakin' Jake Woods, and many more. Pictured: Napoleon Strickland on fife, Jimmie Buford on bass drum, R.L. Boyce on snare drum, and Othar Turner dancing; photo by David Evans.

In part two, we continue our look at a Who's Who of early Blues masters that lived and worked in the great state of Mississippi. All-time classics from the Mississippi Sheiks, Charley Patton, Son House, Willie Brown, Bukka White, Skip James, and more.

In this episode of Blues Unlimited, we crank up the time machine and put it in high gear to go way, way, back for a program dedicated to some of the early Blues masters that hailed from the great state of Mississippi. We aim the spotlight on some of the true giants of the early days of Country Blues, like Mississippi John Hurt, Tommy Johnson, Charley Patton, and Son House, as well as some of the lesser known figures like Ishmon Bracey, Rube Lacy, Garfield Akers, Geeshie Wiley, Blind Joe Reynolds, and Kid Bailey (who, according to some researchers, may possibly be a pseudonym hiding the identity of Blues legend Willie Brown).

We continue our look at the Imperial Record label, focusing on some of the fantastic Country and Down Home Blues that Imperial held in their catalog over the years, from Snooks Eaglin, Lil' Son Jackson, J.D. Edwards, Clifton Chenier, Papa Lightfoot, Boozoo Chavis, and many more.

The Imperial Record label, founded in 1948 in Los Angeles, is well known as the home of Fats Domino and other great New Orleans artists, as well as Texas guitar hero T-Bone Walker. On this episode of Blues Unlimited, however, we focus on some of the fantastic Country and Down Home Blues that Imperial held in their catalog over the years, from Lightnin' Hopkins, Clifton Chenier, Papa Lightfoot, Lil' Son Jackson, BooZoo Chavis, Snooks Eaglin, and many more. Partly inspired by a series of three LPs that came out more than 40 years ago, simply entitled "Rural Blues," we'll hear lots of rarities and classic sides from Imperial, as well as associated labels (such as Aladdin, which Imperial bought in 1961) and a few other operations that were on Imperial's radar as well. The three LPs -- the material for which was notably selected by Bob "The Bear" Hite and Henry Vestine of Canned Heat fame -- were originally subtitled "Goin' Up The Country" (volume 1); "Saturday Night Function" (volume 2); and "Down Home Stomp," and have long been considered to be classics of the genre.

In the second half, we'll hear from Dr. Hepcat, Muddy Waters, Lonnie Johnson, Stick McGhee, Pee Wee Crayton, Memphis Minnie, Professor Longhair (pictured), T-Bone Walker, Hadda Brooks, Big Maceo, Arthur "Big Boy" Crudup, and many more!

In this episode of Blues Unlimited, we explore the roots of Rock 'n' Roll in 1940s Blues and Rhythm and Blues. Great, rare and classic performances from T-Bone Walker, Jimmy Liggins, Pee Wee Crayton, Roy Milton, Muddy Waters, Memphis Slim, Jazz Gillum, John Lee Hooker, Snooky Pryor, Smokey Hogg, Baby Boy Warren, and more. Just because Rock 'n' Roll hadn't been invented yet didn't mean these cats didn't know how to boogie -- quite the contrary -- roll up the rug and put on your dancing shoes for two solid hours of 1940s-styled Rhythm Rockin' Blues. Pictured: Jimmy Liggins. Note: Contains internet-only bonus content not featured in the broadcast version!

On this episode of Blues Unlimited, we're "recycling the blues" by taking a look at a handful of world-famous, iconic blues songs and tracing their roots back to the original versions that inspired them, including on this second half "Dust My Broom," "Baby Please Don't Go," "Shake Your Money Maker," and more.

If you've ever listened to your favorite blues song and wondered who the original artist was or who did it first, then this program is for you. We've taken a handful of world famous, iconic blues songs and traced their roots back to the "original" versions. From such enduring classics as "Sweet Little Angel" (B.B. King, Tampa Red), to "Cross Cut Saw" (Albert King, Tommy McClennan), "Baby Please Don't Go" (Muddy Waters, Big Joe Williams), and more, join us for an illuminating look at some all-time classic blues songs, and the original versions that inspired them. Note: This 'Producer's Cut' contains INTERNET ONLY bonus content not contained in the broadcast version! Label shot courtesy of the Big Joe Louis collection.

We continue our look at Shreveport, Louisiana. Home to a thriving music scene, the "Louisiana Hayride" (a rival of the "Grand Ole Opry"), and more than a dozen record labels, join us for some fine Blues, Rhythm & Blues, Country Blues, and a little bit of Soul. Pictured, Shreveport Blues legend Jesse Thomas.

Located in the northwest corner of Louisiana, Shreveport has had a thriving music for many decades. From such blues icons as Jesse Thomas and Oscar "Buddy" Woods (of the two of them, only Thomas would make records after World War II) -- to such legendary rockers as Dale Hawkins, whose iconic "Susie Q" was cut "after hours" at local radio station KWKH, Shreveport has a lot about which it can be rightfully proud. On this episode of Blues Unlimited, we focus on two of the movers and shakers in the music business in Shreveport - Mira Smith, who started up a handful of labels, including Ram, Clif, and Jo (among others) and Stan Lewis, who operated Shreveport's all-important record distributorship for many years, and finally (at the encouragement of Leonard Chess) got into the record business himself. Also on the program, some very fine country blues that were captured during the height of the post-war era, courtesy of labels like Gotham, JOB (another home-grown Shreveport label), Pacemaker (owned by country music star Webb Pierce), Imperial, and Specialty -- from an all night recording session in March 1952 that was organized by Stan Lewis for Specialty's owner Art Rupe -- that give us a spectacular cross-section of the down home blues talent that was on hand in Shreveport in the early 1950s. Don't miss this special tribute to the Blues, R&B, and Country Blues from Shreveport, on this episode of Blues Unlimited.

We continue our celebration of Arhoolie's 50th anniversary by playing classic selections off of three classic LPs from their catalog, many selections from which were never reissued on compact disc. Great and rare performances from Clifton Chenier, Malcolm "Little Son" Willis, K.C. Douglas, Detroit Slim, Bukka White, Manny Nichols, and more. Featuring special "web only" content that didn't make it into the final radio broadcast edit!

Recently, Chris Strachwitz and Arhoolie Records marked their 50th anniversary. We'll celebrate by playing selections from three classic LPs from their catalog that were issued in the early to mid 1960s -- some of which has never been reissued since then. A celebration of the Arhoolie label, with classics from Lightnin' Hopkins, The Black Ace, Mercy Dee Walton, Big Joe Williams, Robert Curtis Smith, Sidney Maiden, Blind James Phillips, and many more, all on this episode of Blues Unlimited.

Who doesn't love a good story? In this episode of Blues Unlimited, it's all about Blues singers and songs that weave tall tales, spin entertaining yarns, recall a personal tragedy, offer social and political commentary, or in some cases, simply tell a darn good story (Pictured: Lightnin' Hopkins).

As long as there have been Blues singers, there have been Blues songs that commented on the events, people, and everyday happenings of the world and the environment around them. And while many people have said that the Blues, in particular, tells a story about what happens between a man and a woman, that would tend to down-play the artistry offered by some of the Blues' finest storytellers. In this episode of Blues Unlimited, we look at the fine craft of telling a good story, including tales about personal tragedies such as floods, fires and shipwrecks; to commentary on everything from national political events and prison to the worst place in town to go out for a drink; as well as a goat who can't seem to keep himself from getting into trouble. Plus, we'll hear touching tales from B.B. King about the special bond he has with his guitar, Lucille, and a perennial favorite from Lightnin' Hopkins about a little boy looking for a home and the kindly stranger that befriends him. Join us, then, as we look at some of the finest moments in Blues storytelling through the years, on this episode of Blues Unlimited (Pictured: Mercy Dee Walton).