INDIANAPOLIS COUNTRY BLUES/ New Links

INDIANAPOLIS COUNTRY BLUES/ New Links

Pour répondre aux demandes...Nouveaux liens/
By public demand New links for:

Indianapolis Country blues Vol. 1

 

Indianapolis Country blues Vol. 2

 

 

NEW LINKS/ NEW YORK CITY BLUES Series

NEW LINKS/ NEW YORK CITY BLUES SERIES

Nouveaux liens pour la série "New York City blues"/
New links for the New York City blues series

New York City blues Vol. 1 (Betty james- B. Brown - A. Scales)
New York City blues Vol. 2 (Cousin Leroy - Square Walton - LeGrand Mellon)
New York City blues Vol. 3 (Guitar Crusher - June Bateman - Bee Bee Queen)
New York City blues Vol. 5 (Little Luther - Bob Kornegay - B.B. King Jr)

et n'oubliez pas/ And don't forget
June Bateman (cf l'article dans ce blog/ see the post in this blog)

CHICAGO/ The Blues Yesterday Vol. 18

CHICAGO/ The Blues Yesterday Vol. 18

            Let's go for another trip to Chicago blues (yesterday of course) with, this time, three mostly obscure artist.

            Willie Weems was the lead guitar player of the Soul act, The Dontells/ The Turks (with singers Nate Pendelton and Leroy Dandridge) who recorded in Chicago for Daran and Vee Jay. But Willie recorded only one 45 under his name, the mostly instrumental Greens (Onions!)/ Stuff time. We have here also included another single waxed the same year under the "Singing Sam" tag with female singer Kitty Grove. Apparently, Willie died in Saginaw (Michigan) some years ago.

           

Singer Edna Mc Raney (from Covington, Ms) was a member of the Jackie Brenston and Eddie Johnson's bands, recording with each. She was featured in several Chicago clubs during the early 1950's. Outside this, the facts about her are sparse and her whereabouts and life are mostly unknown. Here are all the known tracks she recorded with, unfortunately, only a fragment of Yes, I know. (Thanks for anyone having the complete title and willing to share)

            Bandleader and tenor sax player Gay Crosse is mostly known for having hosted a young John Coltrane in his band during some months in 1951-52. Born in Mobile, Al. 15th August 1916, Celestra S. Crosse moved to Cleveland during the early 1930's, learned the saxophone, was strongly influenced by Louis Jordan and formed a band which played in many clubs and venues in Cleveland, Cincinnati and Chicago where Gay Crosse and His Good Humor Six recorded several sessions for King, Mercury (much sought after titles) and RCA-Victor. He then tried his luck (this time with Coltrane in his band) in Philadelphia (waxing one session for Gotham) and then Nashville, recording his last most well known session for the Republic label. But the success eluded him and he disbanded his Good Humor Six around 1955, opening the Gay's Drive in Bar B Q restaurant in Cleveland where Gay was also the cook! But the musical bug was strong enough and Gay Crosse resumed his band during the 1960's playing regularly in the Cleveland clubs and venues until his death on 9 March 1971.

           

Muddy Waters entering on stage. Lyon, Fr. 16 july 1979

Last but not least, and as a special bonus for you, we have a part of the Muddy Waters' concert hold in the Roman Theatre in Lyon (France) before an audience of 4000+ in July 1979. I was strongly involved in this special event, helping the Scorpio Agency (until then dedicated to Rock groups) to gather a line-up of the best bluesmen available (we had then the opportunity to feature Sugar Blue, Luther Allison, Taj Mahal, B.B. King and of course Muddy on a show which started at 7. PM until 3 o'clock in the morning) and I was backstage most of the time, chatting with all those great people until 6.00 the next morning. Muddy who had to go to London the next day, and liking so much to be in B.B.'s company, didn't bother to go to his hotel and quit the festival just to take his morning plane!

            Thanks a lot to J. Charles for providing those very rare (and very good) live tracks. Thanks also to Mr Mightygroove and his excellent blog http://soul-in-groove.eklablog.com/.

                                                                       Gérard HERZHAFT

CHICAGO/ THE BLUES YESTERDAY Vol. 18

WILLIE WEEMS, g; Leroy Dandridge, vcl on +/bs; Kitty Grove, vcl on *; Willie Weems, g; band. Chicago, Ill. 1967

01. Ooh baby!*

02. Move it baby†

Willie Weems, g; Nate Pendleton, og/vcls; Leroy Dandridge, bs; dms. Chicago, Ill. 1967

03. Greens

04. Snuff time

EDNA Mc RANEY, vcl; Jackie Brenston, b-sax/vcl; horns; Phineas Newborn Jr, pno; Calvin Newborn, g; bs; dms. Chicago, Ill. 15 décembre 1951

05. Hi-Ho baby

06. 88 boogie

07. Lovin' time blues

Edna Mc Raney, vcl; Eddie Johnson, t-sax/vcls; Claude Jones, pno; Johnny Pate, bs; Oliver Coleman, dms. Chicago, Ill. avril 1952

08. Back up

Edna Mc Raney, vcl; Eddie Johnson, t-sax; band. Chicago, Ill. 1953

09. Yes I know (fragment)

10. Edna's boogie

GAY CROSSE, vcl/t-sax; Eddie Harris, tpt; Charlie Ross, pno; Edward Lee, g; John Latham, bs; Walter Carson, dms/vcls. Cincinnati, Oh. 28 juin 1946

11. Gay's blues

12. My heart (vcl: Walter Carson)

Gay Crosse, vcl/t-sax; Eddie Harris, tpt; Jewell Grant, a-sax; Charlie Ross, pno; Bill Lewis, g; John Latham, bs; Walter Carson, dms. Chicago, Ill. 16 août 1949

13. Saturday night fish fry

14. Pelican's hop

Gay Crosse, vcl/t-sax; John Coltrane, a-sax; Charles Wright, dms; band. Philadelphia, Penn. 1950

15. Fat Sam from Birmingham

16. Bittersweet

Gay Crosse, vcl/t-sax; Stanley Turrentine, tpt; John Coltrane, a-sax; Stan Laughlin, pno; Alvin Jackson, bs; Oliver Jackson, dms. Nashville, Tn. 1952

17. Easy rockin'

18. No better for you

19. Tired of being shoved around

20. G.C. Rock

MUDDY WATERS, vcl/g; Pinetop Perkins, pno; Luther Johnson Jr, g; Bob Margolin, g; Jerry Portnoy, hca; Charles Calmese, bs; Willie Smith, dms. Lyon, Fr. 15 juillet 1979

21. Champagne and reefer

22. Honey bee

23. Hoochie coochie man

24. Kansas City (vcl: Pinetop Perkins)

HOMESICK JAMES/ Early Recordings and Life

HOMESICK JAMES/ Complete Early Recordings 1952-64

Malgré une production discographique relativement abondante et plusieurs interviews qu'il a donnés, la vie réelle de Homesick James reste confuse. Il s'est longtemps fait appeler James Williamson et a prétendu être le cousin (voire le demi-frère) de John Lee "Sonny Boy" Williamson;. guitariste de Elmore James durant plusieurs années à la fin des 50's, il a changé de patronyme, son nom de famille devenant James, lui-même se proclamant le cousin germain d'Elmore et bien sûr son seul héritier musical légitime! En fait, Homesick James est né William Henderson, près de Somerville, une grosse bourgade du centre du Tennessee.

Sa date de naissance est aussi très sujette à caution. D'abord (et longtemps) située le 3 mai 1914, Homesick a ensuite presque constamment donné le 30 avril 1910 et même à plusieurs occasions le 30 avril 1904! Mais plusieurs témoignages de proches ou d'amis font penser qu'il était en fait bien plus jeune et qu'il serait né aux alentours de 1920-24. Ce qui cadrerait beaucoup mieux avec son apparence physique telle qu'on a pu la juger de visu depuis la fin des 60's. Ainsi qu'avec celle de ses parents qui sont apparus, en pleine forme et visiblement pas plus âgés que 70 ans, à ses côtés au Nashville Heritage Festival en 1976!

            En effet, William grandit dans une famille de musiciens: sa mère Cordellia Henderson Rivers est une guitariste et chanteuse de blues. Son père, Plez Rivers est membre du célèbre Broadnax Fife and Drum band qui animait les pique-niques, mariages, bals... jusqu'à Nashville durant les années 20 et 30. Enfin, son oncle, Tommy Johnson (aucun rapport avec le grand bluesman du Delta), était lui aussi un bluesman d'importance du Tennessee central amène son neveu à Memphis sans doute dans les années 30 et lui fait rencontrer Peetie Wheatstraw, alors résident d'un club de Beale Street, John Estes, Yank Rachell, John Lee Williamson, Big Walter Horton, John Henry Barbee et Little Buddy Doyle derrière lequel il aurait enregistré pour la première fois en 1939 pour Bluebird.

C'est probablement à ce moment-là (et non pas vers 1929 comme il l'a parfois affirmé) qu'il se fait appeler James Williamson et qu'il gagne Chicago en compagnie de John Henry Barbee. On le retrouve vite parmi les habitués de Maxwell Street et il est certainement membre des orchestres de Memphis Minnie puis (à la fin des années 40) de Johnnie Temple, rencontrant par la même occasion pour la première fois Elmore James. Il n'est guère certain d'ailleurs qu'il ait pratiqué la guitare slide avant cette rencontre.

Lorsqu'il a enfin l'occasion en juin 1952 d'enregistrer cinq titres en leader sous le nom de James Williamson pour le label Chance, il alterne les pièces avec et sans slide. Mais c'est une de ces dernières, Johnnie Mae qui lui vaut un petit succès à Chicago. Il récidive donc en janvier 1953, cette fois en compagnie de Johnny Shines et Lazy Bill Lucas, gravant enfin Homesick, interprété totalement à la Elmore, alors très populaire. C'est un vrai succès commercial (sans doute la meilleure vente pour le label Chance) et cela pousse William Henderson à s'appeler définitivement Homesick James et à capitaliser à la fois sur sa slide guitare et sa supposée parenté avec Elmore. Il retourne une nouvelle fois dans les studios pour Chance en août 1953, gravant une somptueuse séance accompagné de Snooky Pryor, magnifique à l'harmonica.

Il participe alors à plusieurs orchestres, particulièrement celui d'Elmore James derrière lequel il enregistrera à plusieurs reprises. Mais, à part une séance pour Atomic H en 1954 sous le nom ed Jick and His Trio (! et jamais éditée), Homesick ne retrouve les chemins des studios en leader qu'en 1962, un 45t pour Colt qui couple Can't afford to do it et Set a date, une fois encore deux très beaux titres. En 1963, il grave une grande version du classique Crossroads pour USA. Ces disques, largement confidentiels, ne lui rapportent rien, sauf une réputation auprès des bluesfans de plus en plus nombreux dans le monde qui s'intéressent à ce guitariste slide qui, à la mort d'Elmore en 1963, semble être son continuateur désigné.

C'est cette renommée, développée par la revue anglaise Blues Unlimited, qui pousse Sam Charters à le contacter et l'enregistrer pour ce public du blues revival: un bel album pour Prestige (Bluesfrom the Southside) en compagnie de Lafayette Leake et Lee Jackson et surtout quatre titres pour l'anthologie Chicago/ The blues today dont le succès international va lui permettre de tourner fréquemment en Europe. Parallèlement, Homesick grave encore quelques beaux titres pour Spivey (avec son vieil ami John Henry Barbee) et Decca (sous la houlette de Willie Dixon).

Si une grande partie de cette première oeuvre a été souvent rééditée, plusieurs séances rares, inédites ou/et introuvables apparaissent enfin ici dans leur chronologie. Merci à tous ceux qui ont permis ce travail, notamment Steve Wisner et Jim O. (pour la rareté absolue de la séance Atomic H de 1954) ainsi que Xyros dont le blog Don't ask me... est indispensable à tout amateur de blues.

                                                                      Gérard HERZHAFT

            Despite a large discography and many interviews, the truth about the early years of Homesick James' life are still a little bit hazy. He called himself James Williamson for a very long time, pretending to be a first cousin to John Lee "Sonny Boy" Williamson, then one of the most famous bluesman. As a guitarist of Elmore James, he then said repetedly he was also his first cousin and, at Elmore's death, his sole legitimate musical heir!

            In fact, Homesick James was born William Henderson at Longtown (Tennessee). Generally his given birthdate (based on Homesick's statement) was 30 April 1910 although he frequently said "30 April 1904". In fact, several accounts from relatives and friends give a much later birthdate, around 1920-24. Which would fit much more with his physical appearance until 1976 when he played alongside with his parents (who neither seemed to be aged more than 70) at the Nashville Heritage Festival.

            His mother Cordellia Henderson Rivers was a very good blues and gospel singer and guitarist while his father Plez Rivers was a staunch member of the locally well known and in-demand Broadnax Fife and Drums Band. And his uncle, a Tommy Johnson (no relation with the Delta bluesman of the same name) was also a well known bluesman in this part of the Tennessee State. This Johnson brought the young William to Memphis during the late 1930's where he had the chance to meet and play with many recording bluesmen including Sleepy John Estes, John Lee "Sonny Boy" Williamson, John Henry Barbee and Little Buddy Doyle with whom he could have even recorded in 1939.

            It's only then that William Henderson named himself James Williamson. During the early 1940's he and John Henry Barbee went to Chicago where they were featured together on Maxwell Street's market. Wiliamson also played with Memphis Minnie (a strong and lasting influence, particularly on his vocal) and Johnnie Temple, probably meeting in Temple's band Elmore James who taught him how to play the slide.

            Anyway, James Williamson first recorded as a leader and under this name in 1952 and 1953 for the Chance label, three sessions with two local hits, Johnnie Mae and particularly the very Elmorish Homesick that prompted William Henderson-James Williamson to at last become Homesick James!

            After Chance collapsed, Homesick recorded again either as Elmore's sideman or several short sessions for small labels like Atomic H (under the odd moniker Jick and his trio, never issued), La Salle (a whole still unissued session), Colt or USA, particularly in 1963 a striking version of Crossroads. Those records bring Homesick a strong reputation to the fledgling european blues community, particularly through the pioneering British mag Blues Unlimited. All those led Sam Charters to go to Chicago and record a whole album by Homesick for Prestige and then a noted contribution to the best-selling series Chicago/ The Blues today. At the same time, James waxed also several lesser known sessions for Spivey and Willie Dixon.

            If a large part of Homesick's early discography has been reissued, several odd, unissued or unobtainable tracks appear here for the first time in their chronological place. Many thanks to all those whose help made this possible, particularly Steve Wisner, Jim O. and Xyros whose blog Don't ask me... is of course a must for any blues buff!

                                                                       Gérard HERZHAFT

HOMESICK JAMES Discography

CHICAGO/ The Blues Yesterday Volume 17

CHICAGO/ The Blues Yesterday 17

           

Pour ce 17ème volume de notre série "Chicago/ The blues yesterday", intéressons nous une fois encore à trois bluesmen peu connus qui, comme tous les autres soutiers du blues, ont eux aussi contribué à faire tourner la belle machine du Chicago blues des années 1950-60.

            Le chanteur et guitariste "Birmingham" George Conner (né le 25 mai 1934 à Reform, Al) est encore actif, participant à des festivals dans son Alabama natal! Avant de refaire surface dans les années 2000 auprès de son compatriote Willie King et de la Music Maker Relief Foundation, George a vécu plus de trente ans à Chicago où il tenait un club, "The Place". Il a enregistré deux 45t que nous proposons ici sous les noms de George Corner (sic) et Birmingham George, ce dernier en compagnie de Otis Rush et Lonnie Brooks! Il est retourné vivre en Alabama dans les années 1980 et y a rouvert un club.

            Bien qu'il ait substantiellement enregistré, un certain mystère continue d'entourer le chanteur et guitariste Big Daddy Simpson, probablement Marcellus Simpson et non Melvin comme généralement signalé. Il a vécu et joué dans les clubs de Gary, Indiana en compagnie de John et Grace Brim (qui se trouvent peut-être présents sur certains de ses disques). Il semble en outre que pour la dernière séance, ce soit son fils Melvin Simpson qui chante, ayant remplacé au pied levé son père malade dans les studios. L'harmonica sur plusieurs des disques de ces Simpsons là est joué par le mystérieux Middle Walter (James Jones)! Melvin Simpson participera plus tard à l'orchestre de Big Daddy Kinsey.

            Enfin, G.L. Crockett (George L. Crockett) est le plus connu de ce lot, ayant obtenu un "hit" avec son formidable rockabilly, Look out Mabel en 1958. Crockett est né le 18 septembre 1928 à Carrollton, Ms. Venu à Chicago durant la deuxième guerre mondiale, Crockett a chanté avec divers groupes dans les clubs du West Side avant d'être amené dans les studios par son ami Louis Myers qui joue la fabuleuse partie de guitare de ce morceau. En 1965, Crockett a encore obtenu un certain succès avec le savoureux It's a man down there qui sera repris par Jimmy Reed et Sonny Boy Williamson (Rice Miller). Il est décédé peu de temps après à Chicago le 15 février 1967.

            Mille remerciements à Steve Wisner pour sa constante générosité.

                                                                       Gérard HERZHAFT

            With this 17th (!!!) volume of our "Chicago/ The blues Yesterday" series, let's bring the spotlight once again upon three very lesser known Chicago bluesmen who, anyway, also making their own contribution to this great style.

            Singer and guitarist "Birmingham" George Conner (born 25 May 1934 at Reform, Alabama) is still performing on festivals! Before being rediscovered in the 2000's and recording again thanks to the Music Maker Relief Foundation (and with his friend Willie King), Conner lived in Chicago for three decades, holding a blues club "The Place" and recording two much sought after singles under the names George Corner (sic) and Birmingham George, this last one backed by Otis Rush and Lonnie Brooks! George has gone back to Alabama during the 1980's, opening again a club.

            Although he has substantially recorded, singer and guitarist Big Daddy Simpson (probably Marcellus Simpson and not Melvin as it is generally told) is still shrouded in some mystery. Simpson has lived and played in Gary, Indiana with John and Grace Brim (who might be on some of his recordings), coming to Chicago for some gigs and recording sessions. It seems that for at least the last session inhere it is his son Melvin Simpson who replaces his father who went ill just before the studio. The harmonica on many of those recordings is blown by another mysterious name, Middle Walter (sic), in fact James Jones. Melvin will also play and record behind Big Daddy Kinsey.

            G. L. Crockett (George Crockett) is better known for his two "hits". Born in Carrollton, Ms on 18th September 1928, Crockett came to Chicago at the end of Second World War and began to sing with several West Side blues bands for whom he also composed songs. This is his friend Louis Myers (who also plays the guitar) who brought him in the studios in 1958 for the recording of the fabulous Rockabilly blues tune, Look out Mabel. In 1965, G.L. Crockett would again hit the Chicago charts with It's a man down there, a great blues that will also be recorded by Jimmy Reed and Sonny Boy (Rice Miller). Unfortunately, George Crockett died shortly afterwards in Chicago on 15th February 1967.

            A lot of thanks, once again, to Steve Wisner for sharing some of the rarest records over here.

                                                                      Gérard HERZHAFT

George Conner (as George Corner), vcl/g; band. Chicago, Ill. 1962

01. Morning love blues

02. You know you don't love me

03. Too hot to hold

George Conner (as Birmingham George), vcl/g; Billy Emerson, og; Otis Rush, g; Lonnie Brooks, g; bs; dms. Chicago, Ill. 1965

04. Poor boy

05. Back in town

Big Daddy Simpson (Marcellus Simpson), vcl/g; band. Chicago, Ill. 1960

06. I love my baby

07. Try and understand

Big Daddy Simpson, vcl/g; Middle Walter (James Jones), hca; band. Chicago, Ill. 14 janvier 1963

08. What can I do

09. You don't believe a word I say

Big Daddy Simpson, vcl/g; Marcellus Simpson, vcls; band. Chicago, Ill. octobre 1963

10. Give me back my ring

11. Let your hair down baby

12. Lonely man

Melvin Simpson, vcl/g; Middle Walter, hca; band. Chicago, Ill. 1964

13. Someday baby

14. So hard I & II

15. Don't leave me

16. I'm in love with you

G. L. Crockett (George Crockett), vcl; Louis Myers, g; Henry Gray, pno; bs; dms. Chicago, Ill. juin 1958

17. Look out Mabel I & II

18. Did you ever love somebody I & II

G.L. Crockett, vcl; Louis Myers, g; Henry Gray, pno; Lorenzo Smith, t-sax; Reggie Boyd, bs; dms. Chicago, Ill. 17 juin 1965

19. It's a man down there

20. Every hour every day

21. Every goodbye ain't gone

22. Watch my 32

G.L. Crockett, vcl; Louis Myers, g; Henry Gray, pno; Lorenzo Smith, t-sax; Reggie Boyd, bs; dms. Chicago, Ill. janvier 1966

23. Think twice before I go

24. Gonna make you mine

TALL PAUL HANKINS/ Complete Recordings 1959-67

TALL PAUL HANKINS/ Complete Recordings

            La présence de Tall Paul Hankins dans notre dernier Chicago/ The Blues Today a engendré un certain intérêt parmi les lecteurs de ce blog, ce qui m'a poussé à faire davantage de recherches sur ce musicien jusqu'ici très peu documenté. Parallèlement, nos amis Benoit Blue Boy, Lex Jansen et particulièrement Steve Wisner nous ont fourni des copies des titres encore manquants et même un 45t de 1963 qui n'est pas présent dans l'excellente "Blues Discography".

            Paul Vernon Hankins est né le 20 mars 1937 à Fairhope, Alabama, une petite ville côtière non loin de Mobile. Il apprend la musique et en particulier le piano à la Baldwin County Training School et commence à jouer très jeune dans différents orchestres locaux. Paul gagne Chicago dans les années 1950, se marie avec une amie d'enfance Edith Lillian Parnell (1936-2010) et fonde une maison de disques tout en s'imposant avec son orchestre composé des frères Hudson comme un excellent pianiste de organiste aussi à l'aise dans le jazz, le blues que plus tard la Soul et le Funk. Durant les années 1960, il est fréquemment dans les studios, enregistrant comme sideman pour différents bluesmen comme Earl Hooker, Bobby Saxton, Freddy Robinson, Lillian Offit mais sous son nom plutôt comme un organiste dans la veine d'un Jimmy Smith.

           

Lassé de la vie trop trépidante et criminogène de Chicago, "Tall" Paul Hankins décide de regagner son Alabama natal avec sa famille désormais nombreuse au début des années 1970. Paul se tourne de plus en plus vers la religion et, avec les années, il utilise surtout son grand talent d'organiste auprès de son église, la Twin Beech AME Zion Church à Fairhope. Il décède le 18 décembre 2010.

            Tous détails supplémentaires sur la vie et la carrière de cet important musicien seront les bienvenus.

                                              Gérard HERZHAFT

            Keyboardist Tall Paul Hankins' presence in the last issue of our Chicago/ The Blues Yesterday series has stirred a quick and strong interest among readers of this blog who are essentially hard blues buffs! As our friends Benoit Blue Boy, Lex Jansen and particularly Steve Wisner provided the missing tracks and even an hitherto unknown 45t from 1963 (for the short lived Bill Tyson's label Ty-Do) it so finished to convince me to search more and deeper about this great musician who stayed largely undocumented insofar.

            Paul Vernon Hankins was born in Fairhope, Alabama, a small town of 15.000 on the Gulf Coast, not far from Mobile, on 20^th March 1937. Paul started to learn the music and the piano while attending the Baldwin County Training School. As a teenager, he began to play in several local bands. To get more opportunities, Hankins came to Chicago during the late 1950's. He soon married Edith Lillian Parnell (1936-2010), a childhood friend. At ease whether playing blues, jazz, Soul and Funk, Paul Hankins displayed his great talents as a pianist and organist with many Chicago bands, in clubs and in studios. Forming his own band composed of good sidemen like the Hudson Brothers, Paul recorded a lot behind people like Earl Hooker, Bobby Saxton, Freddy Robinson or Lillian Offit and under his name, mostly as an organist in the Jimmy Smith's mould with a striking downhome touch.

            With a large family and tired of the hectic and sometimes dangerous Chicago life, "Tall" Paul Hankins decided to go back to his native Alabama during the early 70's. A religious man, he dedicated more and more his organ and piano playing to his Fairhope's Twin Beech AME Zion Church. He died in Fairhope on 18 December 2010.

            More details about the life and the music of this great musician would be most welcomed.

                                                           Gérard HERZHAFT

Tall Paul Hankins, pno; Eddie C. Campbell, g; A.C. Reed, t-sax; Jack Myers, bs; Odie Payne, dms. Chicago, Ill. 1959

01. Teenage hop

02. I am in love again

Tall Paul Hankins, vcl/og; prob. Willie Hudson, g; band. Chicago, Ill. c. juillet 1963

03. The big ape

04. Organ Soul

Tall Paul Hankins, og; Willie Hudson, g/vcl on *; Bobby Hudson, bs; Joe Hudson, dms. Chicago, Ill. 1964

05. Joe's House Party I & II

06. Red Lips

07. It's you I'm going to miss*

Tall Paul Hankins, og; The Hot Peppers, band. Chicago, Ill. 1965

08. The Turnpike

09. Saint James Infirmary

10. A touch of the blues

11. Hot Spot

Tall Paul Hankins, og; band. Chicago, Ill. 1966

12. My Boogaloo

13. I did it

Tall Paul Hankins, pno; band. Chicago, Ill. c. 1967

14. Rock me baby

15. Soul searchin'