Clarence 'Gatemouth' Brown - Boogie Uproar: The Complete Aladdin/Peacock Singles As&Bs 1947-1961

Album: Boogie Uproar
Size: 148,9 MB
Time: 63:32
File: MP3 @ 320K/s
Released: 2017
Styles: Blues/R&B
Art: Full

CD 1:
1. Gatemouth Boogie (2:31)
2. After Sunset (2:33)
3. Guitar In My Hand (2:42)
4. Without Me Baby (2:29)
5. Didn't Reach My Goal (2:49)
6. Atomic Energy (2:28)
7. Mercy On Me (2:26)
8. My Time's Expensive (2:46)
9. Mary Is Fine (2:43)
10. 2'o Clock In The Morning (2:46)
11. Boogie Rambler (2:51)
12. I've Been Mistreated (2:52)
13. It Can Never Be That Way (2:49)
14. She Walks Right In (2:51)
15. Win With Me Baby (3:01)
16. I Live My Life (2:42)
17. Justice Blues (2:50)
18. Pale Dry Boogie (Part 1) (2:51)
19. Pale Dry Boogie (Part 2) (2:59)
20. She Winked Her Eye (3:00)
21. Sad Hour (2:52)
22. Too Late Baby (2:39)
23. Taking My Chances (2:51)

CD 2:
1. Just Got Lucky (2:57)
2. Baby Take It Easy (2:42)
3. You Got Money (2:33)
4. Dirty Work At The Crossroads (2:50)
5. Boogie Uproar (2:47)
6. Hurry Back, Good News (2:42)
7. Please Tell Me Baby (2:52)
8. Gate Walks To Board (2:36)
9. Midnight Hour (2:45)
10. For Now, So Long (2:47)
11. Good Looking Woman (2:38)
12. That's Your Daddy-Yaddy-Yo (2:45)
13. Okie Dokie Stomp (2:33)
14. Depression Blues (2:53)
15. Gate's Salty Blues (2:43)
16. Rock My Blues Away (2:34)
17. September Song (2:48)
18. Ain't That Dandy (2:49)
19. Just Before Dawn (2:08)
20. Swingin' The Gate (2:49)
21. Slop Time (2:41)
22. Gate's Tune (2:27)

Clarence 'Gatemouth' Brown was more than just a blues musician, throughout his long career he embraced many of the tributaries of American music. As well as being a superb guitarist, influenced heavily, like B.B. King, on the style of T-Bone Walker, he was also a proficient violin, mandolin, fiddle and harmonica player. This 2 CD set features the A and B side of all his releases between 1947 and 1961 and brings together all of his earliest singles for the Peacock label on one collection.

Despite receiving very little chart success, many of his singles were highly original and are now so famous it becomes difficult to understand why, "Boogie Uproar", "Okie Dokie Stomp", "Gate Walks To Board" and many others were staples for bar bands for years to come and were a huge influence over guitarists like Johnny Winter, Anson Funderburgh and Stevie Ray Vaughan. He didn't like to be called a bluesman but whether he liked it or not, he was undeniably a major influence over the genre throughout his lifetime.

(For personnel and recording info, see artwork included.)

Boogie Uproar: The Complete Aladdin/Peacock Singles As&Bs 1947-1961 (2 CD) mc
Boogie Uproar: The Complete Aladdin/Peacock Singles As&Bs 1947-1961 (2 CD) gofile

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Clarence 'Gatemouth' Brown - Long Way Home

Album: Long Way Home
Size: 129,2 MB
Time: 55:58
File: MP3 @ 320K/s
Released: 1996
Styles: Blues
Art: Full

1. Blues Power (3:46)
2. Somebody Else (7:09)
3. Dockside Boogie (5:41)
4. I'll Be There (If You Ever Want Me) (4:45)
5. Here I Go Again (4:35)
6. Deep, Deep Water (3:10)
7. The Blues Walk (3:26)
8. Mean And Evil (3:11)
9. Underhand Boogie (2:27)
10. Don't Think Twice (4:52)
11. Tobacco Road (2:56)
12. Don't Cry Sister (4:18)
13. Long Way Home (5:38)

Whatever you do, don't refer to multi-instrumentalist Clarence "Gatemouth" Brown as a bluesman, although his imprimatur on the development of Texas blues is enormous. You're liable to get him riled. If you must pigeonhole the legend, just call him an eclectic Texas musical master whose interests encompass virtually every roots genre imaginable.

Brown learned the value of versatility while growing up in Orange, TX. His dad was a locally popular musician who specialized in country, Cajun, and bluegrass - but not blues. Later, Gate was entranced by the big bands of Count Basie, Lionel Hampton, and Duke Ellington (a torrid arrangement of "Take the 'A' Train" remains a centerpiece of Brown's repertoire). Tagged with the "Gatemouth" handle by a high school instructor who accused Brown of having a "voice like a gate," Brown has used it to his advantage throughout his illustrious career. (His guitar-wielding brother, James "Widemouth" Brown, recorded "Boogie Woogie Nighthawk" for Jax in 1951.)

In 1947, Gate's impromptu fill-in for an ailing T-Bone Walker at Houston entrepreneur Don Robey's Bronze Peacock nightclub convinced Robey to assume control of Brown's career. After two singles for Aladdin stiffed, Robey inaugurated his own Peacock label in 1949 to showcase Brown's blistering riffs, which proved influential to a legion of Houston string-benders (Albert Collins, Johnny Copeland, Johnny "Guitar" Watson, Cal Green, and many more have pledged allegiance to Brown's riffs). Peacock and its sister label Duke prospered through the '50s and '60s.

Gate stayed with Peacock through 1960. The R&B charts didn't reflect Brown's importance (he hit only once nationwide with 1949's two-sided smash "Mary Is Fine"/"My Time Is Expensive"). But his blazing instrumentals ("Boogie Uproar," "Gate Walks to Board," 1954's seminal "Okie Dokie Stomp"), horn-enriched rockers ("She Walked Right In," "Rock My Blues Away"), and lowdown Lone Star blues ("Dirty Work at the Crossroads") are a major component of the rich Texas postwar blues legacy. Brown broke new ground often - even in the '50s, he insisted on sawing his fiddle at live performances, although Robey wasn't interested in capturing Gate's violin talent until "Just Before Dawn" (his final Peacock platter in 1959).

The '60s weren't all that kind to Brown. His cover of Little Jimmy Dickens' country novelty "May the Bird of Paradise Fly Up Your Nose" for tiny Hermitage Records made a little noise in 1965 (and presaged things to come stylistically). But the decade was chiefly memorable for Brown's 1966 stint as house bandleader for The!!!!Beat, a groundbreaking syndicated R&B television program out of Dallas hosted by WLAC DJ Bill "Hoss" Allen.

When Gate began to rebuild his career in the '70s, he was determined to do things his way. Country, jazz, even calypso now played a prominent role in his concerts; he became as likely to launch into an old-time fiddle hoedown as a swinging guitar blues. He turned up on Hee Haw with pickin' and grinnin' pal Roy Clark after they cut a sizzling 1979 duet album for MCA, Makin' Music. Acclaimed discs for Rounder, Alligator, Verve, and Blue Thumb in the '80s, '90s, and 2000s have proven that Gatemouth Brown is a steadfastly unclassifiable American original. Gatemouth Brown passed away on September 10, 2005 in Orange, TX. /Biography by Bill Dahl, AllMusic

(For personnel details, see artwork included.)

Long Way Home mc
Long Way Home zippy

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Clarence 'Gatemouth' Brown - Cold Storage

Size: 160,3 MB
Time: 69:10
File: MP3 @ 320K/s
Released: 1973/1988
Styles: Electric Blues, Texas Blues
Art: Full

01. She Winked Her Eye (5:57)
02. Cold Storage (4:57)
03. Choo Choo Boogie (4:12)
04. Pressure Cooker (3:41)
05. Sad Sad Hour (3:52)
06. My Time Is Expensive (4:32)
07. Justice Blues (7:24)
08. Slow Down (4:56)
09. Taking My Chance (6:19)
10. Just Got Lucky (3:56)
11. Let The Good Time Roll (4:27)
12. Salt Pork West Virginia (4:14)
13. Ain't Nobody Here But Us Chicken (5:11)
14. Ain't Just Like A Woman (5:27)

Whatever you do, don't refer to multi-instrumentalist Clarence "Gatemouth" Brown as a bluesman, although his imprimatur on the development of Texas blues is enormous. You're liable to get him riled. If you must pigeonhole the legend, just call him an eclectic Texas musical master whose interests encompass virtually every roots genre imaginable.

Brown learned the value of versatility while growing up in Orange, TX. His dad was a locally popular musician who specialized in country, Cajun, and bluegrass -- but not blues. Later, Gate was entranced by the big bands of Count Basie, Lionel Hampton, and Duke Ellington (a torrid arrangement of "Take the 'A' Train" remains a centerpiece of Brown's repertoire). Tagged with the "Gatemouth" handle by a high school instructor who accused Brown of having a "voice like a gate," Brown has used it to his advantage throughout his illustrious career. (His guitar-wielding brother, James "Widemouth" Brown, recorded "Boogie Woogie Nighthawk" for Jax in 1951.)

In 1947, Gate's impromptu fill-in for an ailing T-Bone Walker at Houston entrepreneur Don Robey's Bronze Peacock nightclub convinced Robey to assume control of Brown's career. After two singles for Aladdin stiffed, Robey inaugurated his own Peacock label in 1949 to showcase Brown's blistering riffs, which proved influential to a legion of Houston string-benders (Albert Collins, Johnny Copeland, Johnny "Guitar" Watson, Cal Green, and many more have pledged allegiance to Brown's riffs). Peacock and its sister label Duke prospered through the '50s and '60s.

Gate stayed with Peacock through 1960. The R&B charts didn't reflect Brown's importance (he hit only once nationwide with 1949's two-sided smash "Mary Is Fine"/"My Time Is Expensive"). But his blazing instrumentals ("Boogie Uproar," "Gate Walks to Board," 1954's seminal "Okie Dokie Stomp"), horn-enriched rockers ("She Walked Right In," "Rock My Blues Away"), and lowdown Lone Star blues ("Dirty Work at the Crossroads") are a major component of the rich Texas postwar blues legacy. Brown broke new ground often -- even in the '50s, he insisted on sawing his fiddle at live performances, although Robey wasn't interested in capturing Gate's violin talent until "Just Before Dawn" (his final Peacock platter in 1959).

The '60s weren't all that kind to Brown. His cover of Little Jimmy Dickens' country novelty "May the Bird of Paradise Fly Up Your Nose" for tiny Hermitage Records made a little noise in 1965 (and presaged things to come stylistically). But the decade was chiefly memorable for Brown's 1966 stint as house bandleader for The!!!!Beat, a groundbreaking syndicated R&B television program out of Dallas hosted by WLAC DJ Bill "Hoss" Allen.

When Gate began to rebuild his career in the '70s, he was determined to do things his way. Country, jazz, even calypso now played a prominent role in his concerts; he became as likely to launch into an old-time fiddle hoedown as a swinging guitar blues. He turned up on Hee Haw with pickin' and grinnin' pal Roy Clark after they cut a sizzling 1979 duet album for MCA, Makin' Music. Acclaimed discs for Rounder, Alligator, Verve, and Blue Thumb in the '80s, '90s, and 2000s have proven that Gatemouth Brown is a steadfastly unclassifiable American original. Gatemouth Brown passed away on September 10, 2005 in Orange, TX.

Cold Storage MP3
Cold Storage FLAC

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Clarence 'Gatemouth' Brown - Blues & Rhythm Series 5127: The Chronological 'Gatemouth' Brown 1952-54

Size: 250 MB
Time: 50:00
File: FLAC
Released: 2005
Styles: Blues, R&B
Art: Full

01. Baby Take It Easy (2:42)
02. She Winked Her Eye (3:00)
03. Sad Hour (2:52)
04. Pale Dry Boogie (Part 1) (2:53)
05. Pale Dry Boogie (Part 2) (2:59)
06. Dirty Work At The Cross Road (2:50)
07. You Got Money (2:33)
08. September Song (2:48)
09. Boogie Uproar (2:47)
10. Please Tell Me Baby (2:52)
11. Hurry Back Good News (2:43)
12. Gate Walks To Board (2:36)
13. Midnight Hour (2:45)
14. Good Looking Woman (2:38)
15. For Now, So Long (2:46)
16. That's Your Daddy Yaddy Yo (2:45)
17. Okie Dokie Stomp (2:33)
18. Depression Blues (2:52)

Whatever you do, don't refer to multi-instrumentalist Clarence "Gatemouth" Brown as a bluesman, although his imprimatur on the development of Texas blues is enormous. You're liable to get him riled. If you must pigeonhole the legend, just call him an eclectic Texas musical master whose interests encompass virtually every roots genre imaginable.

Brown learned the value of versatility while growing up in Orange, TX. His dad was a locally popular musician who specialized in country, Cajun, and bluegrass -- but not blues. Later, Gate was entranced by the big bands of Count Basie, Lionel Hampton, and Duke Ellington (a torrid arrangement of "Take the 'A' Train" remains a centerpiece of Brown's repertoire). Tagged with the "Gatemouth" handle by a high school instructor who accused Brown of having a "voice like a gate," Brown has used it to his advantage throughout his illustrious career. (His guitar-wielding brother, James "Widemouth" Brown, recorded "Boogie Woogie Nighthawk" for Jax in 1951.)

In 1947, Gate's impromptu fill-in for an ailing T-Bone Walker at Houston entrepreneur Don Robey's Bronze Peacock nightclub convinced Robey to assume control of Brown's career. After two singles for Aladdin stiffed, Robey inaugurated his own Peacock label in 1949 to showcase Brown's blistering riffs, which proved influential to a legion of Houston string-benders (Albert Collins, Johnny Copeland, Johnny "Guitar" Watson, Cal Green, and many more have pledged allegiance to Brown's riffs). Peacock and its sister label Duke prospered through the '50s and '60s.

Gate stayed with Peacock through 1960. The R&B charts didn't reflect Brown's importance (he hit only once nationwide with 1949's two-sided smash "Mary Is Fine"/"My Time Is Expensive"). But his blazing instrumentals ("Boogie Uproar," "Gate Walks to Board," 1954's seminal "Okie Dokie Stomp"), horn-enriched rockers ("She Walked Right In," "Rock My Blues Away"), and lowdown Lone Star blues ("Dirty Work at the Crossroads") are a major component of the rich Texas postwar blues legacy. Brown broke new ground often -- even in the '50s, he insisted on sawing his fiddle at live performances, although Robey wasn't interested in capturing Gate's violin talent until "Just Before Dawn" (his final Peacock platter in 1959).

The '60s weren't all that kind to Brown. His cover of Little Jimmy Dickens' country novelty "May the Bird of Paradise Fly Up Your Nose" for tiny Hermitage Records made a little noise in 1965 (and presaged things to come stylistically). But the decade was chiefly memorable for Brown's 1966 stint as house bandleader for The!!!!Beat, a groundbreaking syndicated R&B television program out of Dallas hosted by WLAC DJ Bill "Hoss" Allen.

When Gate began to rebuild his career in the '70s, he was determined to do things his way. Country, jazz, even calypso now played a prominent role in his concerts; he became as likely to launch into an old-time fiddle hoedown as a swinging guitar blues. He turned up on Hee Haw with pickin' and grinnin' pal Roy Clark after they cut a sizzling 1979 duet album for MCA, Makin' Music. Acclaimed discs for Rounder, Alligator, Verve, and Blue Thumb in the '80s, '90s, and 2000s have proven that Gatemouth Brown is a steadfastly unclassifiable American original. Gatemouth Brown passed away on September 10, 2005 in Orange, TX. ~Bill Dahl

The Chronological 'Gatemouth' Brown 1952-54

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Gatemouth Brown - Blues & Rhythm Series Classics 5030: The Chronological Gatemouth Brown 1947-1951

Size: 144 MB
Time: 54:39
File: FLAC
Released: 2002
Styles: Blues, R&B
Art: Full

01. Gatemouth Boogie (2:30)
02. Guitar In My Hand (2:42)
03. After Sunset (2:33)
04. Without Me Baby (2:29)
05. Didn't Reach My Goal (2:49)
06. Atomic Energy (2:27)
07. Mercy On Me (2:26)
08. My Time's Expensive (2:46)
09. Mary Is Fine (2:43)
10. I Live My Life (2:42)
11. 2 O'clock In The Morning (2:46)
12. Boogie Rambler (2:51)
13. I've Been Mistreated (2:52)
14. It Can Never Be That Way (2:48)
15. Justice Blues (2:50)
16. Just Got Lucky (2:57)
17. She Walk Right In (2:50)
18. Win With Me Baby (3:01)
19. Too Late Baby (2:39)
20. Taking My Chances (2:49)

Clarence "Gatemouth" Brown was a versatile and crowd-pleasing entertainer throughout his long career, but it's easy to overlook just how explosive a guitarist he was in the early days, a situation this first volume in Classic Records' chronological survey of Brown's complete recorded output helps remedy. Collecting both sides of his first two singles for Aladdin Records, released in 1947, and his earliest sides for Don Robey's Peacock Records drawn from sessions dating between 1947 and 1951, this intriguing set spotlights mostly up-tempo jump blues pieces, and features small horn bands (Maxwell Davis' band for the Aladdin tracks and Jack McVea's band for several of the Peacock tracks). Brown wasn't yet playing his trademark fiddle in the studio (the fiddle would make its debut later in Brown's stay at Peacock) and his singing was far smoother than the rustic approach he adopted late in his career, but his guitar playing was never more biting, energetic and gutbucket (and ultimately influential) than it was on these sides. ~Steve Leggett

The Chronological Gatemouth Brown 1947-1951

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Lloyd Glenn & Clarence 'Gatemouth' Brown - Heat Wave (Blues Reference)

Size: 121,3 MB
Time: 51:54
File: MP3 @ 320K/s
Released: 2005
Styles: Piano Blues, Texas Blues
Art: Full

01. Heat Wave (4:58)
02. First Take And Blue (4:10)
03. It's Mean (5:59)
04. One Level Below Plant Life (3:18)
05. Someday (5:17)
06. Lover Call (4:23)
07. Slow Train Nº 1 (3:50)
08. Slow Train Through Paris (4:24)
09. Long Way Home (5:17)
10. First Take And Blue (4:15)
11. It's Mean (5:57)

Recorded at Black and Blue open air studio in Nice on July 15th 1977.
Tracks #10 & 11 are previously unissued.

Heat Wave MP3
Heat Wave FLAC

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Clarence 'Gatemouth' Brown - Sings Louis Jordan

Year: 1973/2001
Bitrate: MP3@320K/s
Time: 57:33
Size: 133,0 MB
Styles: Blues, jump blues, R&B
Scans: Front, tray

1. Choo Choo Ch'Boogie (4:10)
2. Somebody Done Changed The Lock Of My Door (7:54)
3. Let The Good Times Roll (4:25)
4. Salt Port, West Virginia (4:12)
5. Is You Is Or Is You Ain't My Baby (3:57)
6. Caldonia (3:53)
7. Ain't Nobody Here But Us Chickens (5:09)
8. Ain't Just Like A Woman (5:28)
9. Its Low Down Dirty Shame (6:16)
10. Is You Is Or Is You Ain't My Baby (Take 1) (3:33)
11. Is You Is Or Is You Ain't My Baby (Take 2) (4:21)
12. Let The Good Times Roll (Take 1) (4:11)

Clarence "Gatemouth" Brown (April 18, 1924 – September 10, 2005) was an American musician from Louisiana and Texas known for his work as a blues musician, as well as other styles of music. He spent his career fighting purism by synthesizing old blues, country, jazz, Cajun music and R&B styles. His work also encompasses rock and roll, rock music, folk music, electric blues, and Texas blues.

He was an acclaimed multi-instrumentalist, who played an array of musical instruments, including the guitar, fiddle, mandolin, viola, harmonica and drums. He won a Grammy Award for Best Traditional Blues Album in 1983 for his album, Alright Again!. He is regarded as one of the most influential exponents of blues fiddle and has had enormous influence in American fiddle circles. Brown's two biggest musical influences were Louis Jordan and T-Bone Walker. /Wikipedia

(For personnel details, see artwork included.)

Clarence 'Gatemouth' Brown Sings Louis Jordan mc
Clarence 'Gatemouth' Brown Sings Louis Jordan zippy

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Clarence 'Gatemouth' Brown - Live From Austin, TX

Year: 2012/2019
Bitrate: MP3@320K/s
Time: 61:55
Size: 142,5 MB
Styles: Electric blues
Scans: Front, back

1. Ain't That Dandy (5:39)
2. Born In Louisiana (4:56)
3. Honky-Tonk (5:55)
4. Dark End Of The Hallway (5:09)
5. Bits And Pieces (6:37)
6. Leftover Blues (11:25)
7. There You Are (5:56)
8. Early In The Mornin' (5:14)
9. Things Ain't What They Used To Be (5:51)
10. Up Jumped The Devil (5:08)

Suffice it to say, in all of music there was only one Clarence "Gatemouth" Brown. Texas music has always been a melting pot of many styles, genres, cultural and ethnic influences, but Gatemouth was a one-man cauldron of sonic intensity and originality unmatched by anyone before or since. If you asked him who his musical influences were, he would say, "I never wanted to sound like nobody. I just play the kind of stuff that got into my blood and I'm still the only person I know who plays it."

Still, born in Louisiana, raised in Texas and bouncing around the Texas circuit explains a lot. Whether playing one of his blistering blues guitar solos or teasing a country or Cajun melody out of his ever-present fiddle, Gatemouth's versatility reflected the musical palette of his home turf - a potpourri of blues, jazz, Cajun, r&b, Texas funk and honky-tonk. His father taught him to play piano and guitar, but he was also listening intently to T-Bone Walker, Count Basie, Woody Herman, and Texas Playboy steel guitarist Leon McAuliffe.

Gate borrowed heavily from the Big Band sound, and his music could swing with the best of them, as he demonstrates in this show recorded on February 6, 1996 (the last of his four appearances on Austin City Limits). Gatemouth Brown's live shows were always a musical roller coaster, seamlessly bouncing from song to song and instrument to instrument, with his irrepressible banter sometimes competing with the music. His was a highly personal approach, and he was a larger-than-life personality. Keeping with show biz tradition, he "rocked till he dropped", maintaining a busy touring schedule until just before he died in 2005 at 81.

Live From Austin, TX mc
Live From Austin, TX zippy

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Various Artists - Blues In Concert

Year: 1995
Bitrate: MP3@320K/s
Time: 61:01
Size: 140,9 MB
Styles: Blues
Scans: Full

1. Muddy Waters - Everything's Gonna Be Alright (3:59)
2. Clarence 'Gatemouth' Brown - Pressure Cooker (4:17)
3. Bobby 'Blue' Bland - I'll Take Care Of You (4:31)
4. Muddy Waters - Nine Below Zero (5:16)
5. Albert King - I'll Play The Blues For You (4:23)
6. Bobby 'Blue' Bland - Soul Of A Man (3:41)
7. Muddy Waters - Baby Please Don't Go (4:27)
8. Albert King - Stormy Monday Blues (9:28)
9. Bobby 'Blue' Bland - Ain't That Lovin' You (3:30)
10. Muddy Waters - They Call Me Muddy Waters (5:51)
11. Clarence 'Gatemouth' Brown - Frosty (6:06)
12. Albert King - Born Under A Bad Sign (5:26)

Solid vocal and instrumental performances from several legendary bluesmen, including the dynamic "King Of The Blues" Muddy Waters, guitar hero Albert King (who tackles T-Bone Walker's classic "Stormy Monday Blues"), Clarence "Gatemouth" Brown and big band bluesman Bobby "Blue" Bland. Impressive, authoritative, thoroughly entertaining, and a "must" for blues addicts, old and new.

Blues In Concert mc
Blues In Concert zippy

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Clarence 'Gatemouth' Brown - The Peacock Recordings: 1949-1959

Size: 83,9 MB
Time: 35:29
File: MP3 @ 320K/s
Released: 2018
Styles: Texas Blues
Art: Front

01. My Time Is Expensive (2:48)
02. Depression Blues (2:56)
03. Midnight Hour (2:46)
04. Sad Hour (2:52)
05. Ain't That Dandy (2:53)
06. That's Your Daddy Yaddy Yo (2:45)
07. Dirty Work At The Crossroad (2:47)
08. Hurry Back Good News (2:47)
09. Okie Dokie Stomp (2:34)
10. Good Looking Woman (2:38)
11. Gate's Salty Blues (2:45)
12. Just Before Dawn (2:10)
13. For Now So Long (2:45)

Whatever you do, don't refer to multi-instrumentalist Clarence "Gatemouth" Brown as a bluesman, although his imprimatur on the development of Texas blues is enormous. You're liable to get him riled. If you must pigeonhole the legend, just call him an eclectic Texas musical master whose interests encompass virtually every roots genre imaginable.

Brown learned the value of versatility while growing up in Orange, TX. His dad was a locally popular musician who specialized in country, Cajun, and bluegrass -- but not blues. Later, Gate was entranced by the big bands of Count Basie, Lionel Hampton, and Duke Ellington (a torrid arrangement of "Take the 'A' Train" remains a centerpiece of Brown's repertoire). Tagged with the "Gatemouth" handle by a high school instructor who accused Brown of having a "voice like a gate," Brown has used it to his advantage throughout his illustrious career. (His guitar-wielding brother, James "Widemouth" Brown, recorded "Boogie Woogie Nighthawk" for Jax in 1951.) In 1947, Gate's impromptu fill-in for an ailing T-Bone Walker at Houston entrepreneur Don Robey's Bronze Peacock nightclub convinced Robey to assume control of Brown's career. After two singles for Aladdin stiffed, Robey inaugurated his own Peacock label in 1949 to showcase Brown's blistering riffs, which proved influential to a legion of Houston string-benders (Albert Collins, Johnny Copeland, Johnny "Guitar" Watson, Cal Green, and many more have pledged allegiance to Brown's riffs). Peacock and its sister label Duke prospered through the '50s and '60s.

Gate stayed with Peacock through 1960. The R&B charts didn't reflect Brown's importance (he hit only once nationwide with 1949's two-sided smash "Mary Is Fine"/"My Time Is Expensive"). But his blazing instrumentals ("Boogie Uproar," "Gate Walks to Board," 1954's seminal "Okie Dokie Stomp"), horn-enriched rockers ("She Walked Right In," "Rock My Blues Away"), and lowdown Lone Star blues ("Dirty Work at the Crossroads") are a major component of the rich Texas postwar blues legacy. Brown broke new ground often -- even in the '50s, he insisted on sawing his fiddle at live performances, although Robey wasn't interested in capturing Gate's violin talent until "Just Before Dawn" (his final Peacock platter in 1959).

The '60s weren't all that kind to Brown. His cover of Little Jimmy Dickens' country novelty "May the Bird of Paradise Fly Up Your Nose" for tiny Hermitage Records made a little noise in 1965 (and presaged things to come stylistically). But the decade was chiefly memorable for Brown's 1966 stint as house bandleader for The!!!!Beat, a groundbreaking syndicated R&B television program out of Dallas hosted by WLAC DJ Bill "Hoss" Allen.

The Peacock Recordings MP3
The Peacock Recordings FLAC

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Various - The Best Of Duke-Peacock Blues

Bitrate: MP3@320K/s
Time: 50:25
Size: 115.4 MB
Styles: R&B, Blues
Year: 1992
Art: Front

[2:45] 1. Clarence 'Gatemouth' Brown - My Time Is Expensive
[2:41] 2. Elmore Nixon - A Hepcat's Advice
[2:43] 3. Big Mama Thornton - Let Your Tears Fall Baby
[3:02] 4. Earl Forest - Whoopin' And Hollerin'
[2:31] 5. Johnny Ace - How Can You Be So Mean
[2:47] 6. Rosco Gordon - Keep On Doggin'
[2:45] 7. Andrew Tibbs - Rock Savoy Rock
[2:50] 8. Sonny Parker - She Sets My Soul On Fire
[2:41] 9. Memphis Slim - Living Like A King
[2:48] 10. Little Richard - Little Richard's Boogie
[2:23] 11. Peter Guitar Lewis - Goin' Crazy
[2:35] 12. Little Junior Parker - Drivin' Wheel
[2:40] 13. Larry Davis - Texas Flood
[2:45] 14. Fenton Robinson - Mississippi Steamboat
[2:54] 15. James Davis - Blue Monday
[2:39] 16. Otis Rush - Homework
[4:09] 17. Bobby 'Blue' Bland - Stormy Monday Blues
[2:38] 18. Bobby 'Blue' Bland - Turn On Your Love Light

Interesting collection of sides from this seminal Texas label. Highlights includes tracks by Bobby Bland ("Stormy Monday," "Turn On Your Lovelight"), Otis Rush ("Homework"), Junior Parker "Driving Wheel"), and Larry Davis' original version of "Texas Flood," made popular to a new audience by Stevie Ray Vaughan. ~Cub Koda

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Various - Blues At Kerrville

Bitrate: MP3@320K/s
Time: 58:03
Size: 132.9 MB
Styles: Assorted styles
Year: 2005
Art: Front

[4:10] 1. Dave Van Ronk - Another Time & Place
[9:04] 2. Gatesmouth Brown - Sometimes I Feel Myself Slippin
[2:50] 3. Roy Bookbinder - Kentucky Blues
[4:41] 4. Marcia Ball - My Man Is A Two Timer
[6:18] 5. Josh White Jr. - I Can Be Had
[4:55] 6. Angela Strehli - Telephone Blues
[5:16] 7. Marcia Ball With Band - Under Love's Spell
[4:10] 8. Tom Ball & Kenny Sultan - Honey Bee
[3:25] 9. Mance Lipscomb - Texas Blues
[3:50] 10. Robert Shaw - Put Me In The Alley
[3:30] 11. Juke Boy Bonner - I've Had The Blues
[2:29] 12. Spider John Koerner - Midnight Special
[3:20] 13. Kenneth Threadgill - Mississippi Delta Blues

Interesting cross section of live performances from this Texas blues festival. With performances aboard from Dave Van Ronk, Clarence "Gatemouth" Brown, Juke Boy Bonner, Mance Lipscomb, Marcia Ball, Angela Strehli, Roy Bookbinder, Kenneth Threadgill, Spider John Koerner, Josh White, Jr., Robert Shaw, and the duo of Tom Ball and Kenny Sultan, this is a wide and varied set of performances well played and decently recorded. ~Cub Koda

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Clarence 'Gatemouth' Brown - 2 albums: American Music Texas Style / Gate's On The Heat

Album: American Music Texas Style
Bitrate: MP3@320K/s
Time: 55:11
Size: 126.3 MB
Styles: Modern electric Texas blues
Year: 1999
Art: Front

[3:10] 1. Rock My Blues Away
[3:01] 2. Half Steppin'
[4:56] 3. Hootie Blues
[5:29] 4. Front Burner
[2:32] 5. I'm Beginning To See The Light
[6:46] 6. Swamp Ghost
[3:41] 7. Without Me Baby
[2:54] 8. Gate Swings Again
[5:07] 9. Strange Things Happening
[4:43] 10. Don't Get Around Much Anymore
[5:10] 11. Guitar In My Hand
[2:53] 12. Jumpin' The Blues
[4:42] 13. Things Ain't What They Used To Be

Clarence "Gatemouth" Brown was 74 when he recorded American Music, Texas Style, and the Texas bluesman made it clear that he still had plenty of energy. On this CD, Brown really emphasizes his love of jazz. Young hard bop players like trumpeter Nicholas Payton and alto saxman Wes Anderson are on board, and the veteran singer/guitarist offers no less than three standards from Duke Ellington's repertoire ("I'm Beginning to See the Light," "Don't Get Around Much Anymore," and son Mercer Ellington's "Things Ain't What They Used to Be") and two classics from Charlie Parker's years with Jay McShann ("Hootie Blues," "Jumpin' the Blues"). Meanwhile, the jazz influence is hard to miss on such fast jump blues as "Rock My Blues Away" and "Without Me Baby." Brown's voice is thinner than it used to be, but his guitar playing is as energetic as ever. While this CD isn't definitive, it's a good, solid effort that Brown can be proud of. ~Alex Henderson

American Music Texas Style mc
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Album: Gate's On The Heat
Bitrate: MP3@320K/s
Time: 61:58
Size: 141.9 MB
Styles: Texas blues, Funky blues
Year: 1975/2007
Art: Front

[5:09] 1. Gate's On The Heat
[2:59] 2. Man And His Environment
[4:53] 3. Funky Mama
[4:54] 4. Jelly, Jelly
[2:45] 5. St. Louis Blues
[4:56] 6. Please Mr. Nixon
[7:25] 7. The Drifter
[3:21] 8. One Mint Julep
[4:41] 9. River's Invitation
[5:21] 10. Dollar's Got The Blues
[7:50] 11. Traveling Mood
[7:39] 12. Three Weeks And A Suitcase

This is one laid back, funky, smokin' piece of blues excellence. Incredibly powerful and subtle at the same time, and yet oh so smooth. Some of the horn parts and guitar grooves are so funky you almost forget this is a blues album. Songs like "Man's Environment" and "Please Mr. Nikon (don't cut off your welfare line)", which should sound dated are as relevant today as ever. Some of his best songs "Rivers Invitation" and my favorite, "The Drifter" reside on this album. Only one real cheesy clunker of a love song on the album (Gate seems to include at least one on every album). This is Gatemouth at his bluesy\funky best. You will not be disappointed. ~Ricondo Wiggins

Gate's On The Heat mc
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Various - Texas Guitar Killers (2-Disc Set)

Part of Capitol's ongoing development of its vaults, this two-disc set was produced by the late Pete Welding. The 39 cuts feature T-Bone Walker, Gatemouth Brown, Lowell Fulson, Lightnin' Hopkins, Smokey Hogg and Pee-Wee Crayton, with sides drawn from their stints with Imperial and Aladdin. While the intent is to represent Texas blues artists from those labels (with recordings from 1945 to 1953), the result is a fascinating conglomeration of styles that have a bit less to do with guitar than the album title would lead one to believe. Still, it's a fine compilation, wonderfully produced, marvelously annotated and a lot of fun to listen to -- T-Bone Walker, particularly, was a fine jazz vocalist, as well as a brilliant guitar player whose onstage antics provided the model for Chuck Berry. ~Steven McDonald

Album: Texas Guitar Killers (Disc 1)
Bitrate: MP3@320K/s
Time: 57:13
Size: 131.0 MB
Styles: Texas guiitar
Year: 2007
Art: Front

[2:51] 1. T-Bone Walker - My Baby Left Me
[3:05] 2. T-Bone Walker - Come Back To Me Baby
[3:08] 3. T-Bone Walker - I Can't Stand Being Away From You
[2:54] 4. T-Bone Walker - Fast Woman She Is Going To Ruin Me
[2:29] 5. Gatemouth Brown - Gatemouth Boogie
[2:42] 6. Gatemouth Brown - Guitar In My Hand
[2:31] 7. Gatemouth Brown - After Sunset
[2:29] 8. Gatemouth Brown - Without Me Baby
[3:11] 9. Lowell Fulson - Night And Day
[3:31] 10. Lowell Fulson - Double Trouble Blues
[2:48] 11. Lowell Fulson - Stormin' And Rainin'
[3:13] 12. Lowell Fulson - Good Woman Blues
[2:56] 13. Lightnin' Hopkins - All Through My Dreams
[2:55] 14. Lightnin' Hopkins - Mean And Evil Blues
[2:52] 15. Smokey Hogg - Down Tomorrow
[2:37] 16. Smokey Hogg - Great Big Mama
[2:36] 17. Smokey Hogg - Worryin' Blues
[2:35] 18. Smokey Hogg - Need My Help
[2:44] 19. Smokey Hogg - In This World Alone
[2:58] 20. Smokey Hogg - Key To My Door

Texas Guitar Killers (Disc 1) mc
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Album: Texas Guitar Killers (Disc 2)
Bitrate: MP3@320K/s
Time: 48:09
Size: 110.2 MB
Styles: Texas guitar
Year: 207
Art: Front

[2:26] 1. T-Bone Walker - The Hustle Is On (Lp Take)
[2:38] 2. T-Bone Walker - Baby, You Broke My Heart (78 Rpm Version)
[2:35] 3. T-Bone Walker - Evil Hearted Woman
[2:28] 4. T-Bone Walker - No Reason
[2:07] 5. T-Bone Walker - Look Me In The Eye (78 Rpm Version)
[3:01] 6. T-Bone Walker - Too Lazy (Alternate Take)
[2:59] 7. Pee Wee Crayton - When It Rains It Pours
[2:41] 8. Pee Wee Crayton - Daybreak
[2:58] 9. Lowell Fulson - Blues Don't Leave Me
[2:33] 10. Lowell Fulson - Blues Never Fail
[2:18] 11. Lowell Fulson - Chuck With The Boys
[2:51] 12. Lowell Fulson - You Gotta Reap
[2:22] 13. Smokey Hogg - When I've Been Drinking
[2:27] 14. Smokey Hogg - I Gotta Ride
[2:01] 15. Smokey Hogg - Tear Me Down
[2:24] 16. Smokey Hogg - Train Whistle
[2:16] 17. Smokey Hogg - My Baby's Gone
[2:14] 18. Smokey Hogg - Peace Of Mind
[2:43] 19. Smokey Hogg - Oo-Oo-Wee

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VA - Christmas Blues

Size: 174,4 MB
Time: 73:52
File: MP3 @ 320K/s
Released: 2013
Styles: Blues, Xmas
Art: Front

01 Marcia Ball - Christmas Fais Do Do (3:14)
02 Carey Bell - Christmas Train (3:36)
03 Lonnie Brooks - Christmas On The Bayou (4:46)
04 Charles Brown - Boogie Woogie Santa Claus (3:12)
05 Clarence 'Gatemouth' Brown - Christmas (3:12)
06 Michael Burks - Christmas Snow (4:00)
07 Lonnie Brooks - All I Want For Christmas (Is To Be With You) (4:56)
08 Cephas & Wiggins - Christmas Day Blues (3:09)
09 C.J. Chenier & The Red Hot Louisiana Band - Zydeco Christmas (3:25)
10 W.C. Clark - Christmas Party (3:51)
11 William Clarke - Please Let Me Be Your Santa Claus (4:32)
12 Shemekia Copeland - Stay A Little Longer, Santa (4:24)
13 Tinsley Ellis - Santa Claus Wants Some Lovin' (3:22)
14 The Holmes Brothers - Back Door Santa (3:04)
15 Roomfull Of Blues - Santa Claus, Do You Ever Get The Blues (3:23)
16 Kenny Neal - Christmas Time In The Country (4:34)
17 Charlie Musselwhite - Silent Night (2:43)
18 Coco Montoya - A Bluesman's Christmas (4:30)
19 Lil' Ed & The Blues Imperials - I'm Your Santa (2:54)
20 Little Charlie & The Nightcats - Santa Claus (2:57)

Christmas Blues

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Various - Five Star Blues Rock

Bitrate: MP3@320K/s
Time: 110:17
Size: 252.5 MB
Styles: Blues rock
Year: 2016
Art: Front

[5:55] 1. Jonny Lang - A Quitter Never Wins
[5:06] 2. Lucky Peterson - Compared To What
[7:16] 3. Roy Buchanan - Roy Buchanan - Pete's Blue
[3:42] 4. Eric Clapton - Rockin' Daddy
[9:43] 5. Ten Years After - I May Be Wrong, But I Won't Be Wrong Always
[4:54] 6. The Allman Brothers Band - One Way Out
[3:33] 7. Savoy Brown Blues Band - The Doormouse Rides The Rails
[4:46] 8. Susan Tedeschi - Love Me Don't Hate Me
[4:47] 9. Clarence Gatemouth Brown - Don't Think Twice
[2:08] 10. Eric Clapton - Key To Love
[3:54] 11. Robert Cray - I Wonder
[4:45] 12. Takats Tamas Dirty Blues Band - Roadhouse Blues
[3:04] 13. Buddy Guy - I Got A Strange Feeling
[2:44] 14. Otis Rush - You Been An Angel
[2:49] 15. Muddy Waters - Short Dress Woman
[4:28] 16. John Scofield - I Don't Need No Doctor
[3:01] 17. Albert Collins - Frosty
[3:00] 18. Koko Taylor - What Kind Of Man Is That
[4:10] 19. Howlin' Wolf - I Ain't Superstitious
[5:34] 20. John Mayall - Force Of Nature
[5:16] 21. Luther Allison - Easy Baby
[3:26] 22. Bobby Blue Bland - Driftin' Blues
[3:59] 23. Johnny Copeland - Blues Ain't Nothin'
[3:29] 24. Joe Louis Walker - Yveline
[4:34] 25. Robben Ford - Lovin' Cup

Though much early rock & roll was based in the blues, Blues-Rock didn't fully develop into a subgenre until the late-'60s. Blues-rock emphasized two specific things -- the traditional, three-chord blues song and instrumental improvisation. Borrowing the idea of an instrumental combo and loud amplification from rock & roll, the original blues-rockers -- bands like Cream that grew out of the Alexis Korner and John Mayall tradition of British blues, as well as American bands like the Paul Butterfield Blues Band and Canned Heat -- also attempted to play long, involved improvisations which were commonplace on jazz records, as well as live blues shows. The hybrid became quite popular and the bands that immediately followed them were louder and more riff-oriented. Out of this approach came heavy metal and Southern rock, which both used basic blues riffs and featured extended solos. In the early '70s, the lines between blues-rock and hard rock were barely visible, as boogie-based bands like ZZ Top employed album-rock production techniques that tended to obscure their blues roots. However, blues-rock soon backed away from hard rock, and there was a set number of acts that continued to play (and rewrite) blues standards as well as write their own songs in the same idiom. In the '80s and '90s, blues-rock was more roots-oriented than in the '60s and '70s, even when artists like the Fabulous Thunderbirds and Stevie Ray Vaughan flirted with rock stardom. By the '80s, blues-rock had become an accepted tradition, much like the blues.

Five Star Blues Rock

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Various - The Rounder Records Story (4-Disc Boxset)

This four-disc, 87-track retrospective covers the first four decades of one of the most successful "folk" labels in history. Co-founders/owners Ken Irwin, Marian Leighton Levy, and Bill Nowlin assembled a collection that showcases -- one disc per decade -- how deeply entrenched the label was in the 1970s in exposing various forms of folk music from traditional to emergent ones, and how its focus expanded. Disc one includes tracks by newgrass outfit J.D. Crowe & the New South, outsider songwriter Michael Hurley, banjoist Ola Belle Reed, Appalachian traditionalists Hazel Dickens and Alice Gerrard, and ace superpicker Norman Blake and the Cajun sounds of D.L Menard & the Louisiana Aces. It also reveals the label's first big directional shakeup by including George Thorogood & the Delaware Destroyers' scorching read of Bo Diddley's "Who Do You Love." The '80s reflect a wider reach still, with tracks by soulman Ted Hawkins, the Klezmer Conservatory Band, polka revisionists Brave Combo, country songwriter Keith Whitley, and blues artists Rory Block and Johnny Copeland. There's also a deeper step into Louisiana traditions with music by Professor Longhair, James Booker, and Buckwheat Zydeco included, too. This decade also signaled the arrival of Nanci Griffith on Rounder's Philo imprint. In the '90s, Rounder's profile was enhanced by the arrival of bluegrass queen Alison Krauss, who has been a best-selling artist for them ever since. There were more singer/songwriter types on the imprint too, such as Bill Morrissey, Tish Hinojosa, and Jimmie Dale Gilmore; more modern electric blues and R&B talents were showcased too in Marcia Ball, Irma Thomas, Tracy Nelson, Ruth Brown, Johnny Adams, and Wilson Pickett; and the label still held traditional sway with bluegrass mainstay Krauss and uber-tradtionalist James King. The first decade of the new century reveals Rounder's wide range in embracing everything they felt they could sell: from Americana-drenched rock acts such as Son Volt and the Cowboy Junkies to uber-rockers Rush; the vanguard pop of They Might Be Giants and jazzy chanteuse Madeleine Peyroux; to British folk maven Linda Thompson, as well as experimental projects like the Grammy-winning Raising Sand by Robert Plant and Krauss. Country-pop legend and stalwart Willie Nelson also recorded for them. But no matter their genre extensions, bluegrass is still part of Rounder's mix, as cuts by Dailey & Vincent, Rhonda Vincent, and Blue Highway attest. It's impressive to be sure. That said, despite the range of music here and the fine historical essay by Geoffrey Himes, two chapters are missing: a disc that focuses on their vast licensing of traditional music, and the essential collection of tracks by American songwriting icons such as Tom Russell, Ray Wylie Hubbard, Guy Clark, rockabilly queen Rosie Flores, and R&B legend Eddie Hinton, most of whom recorded multiple albums for the label and its subsidiaries. Here's hoping Rounder will consider a second collection to showcase these lesser-selling projects from essential artists who are an indelible part of its story. ~Thom Jurek

Album: The Rounder Records Story (Disc 1)
Bitrate: MP3@320K/s
Time: 76:13
Size: 174.5 MB
Styles: Blues, Country, Folk
Year: 2010

[2:46] 1. J.D. Crowe - Old Home Place
[2:41] 2. The Bailey Brothers - Take Me Back To Happy Valley
[2:12] 3. Country Cooking - Armadillo Breakdown
[2:34] 4. Ola Belle Reed - High On A Mountain
[3:52] 5. Woodstock Mountains - Killing The Blues
[2:16] 6. George Pegram - Johnson's Old Grey Mule
[2:51] 7. Ed Haley - Cherry River Rag
[4:01] 8. Holy Modal Rounders - Sweet Lucy
[3:41] 9. The Balfa Freres - Parlez-Nous A Boire
[3:38] 10. Joe Cormier - Mrs. Scott Skinner
[2:15] 11. Mark O'connor - Tom And Jerry
[3:39] 12. Norman Blake - Down Home Summertime Blues
[2:32] 13. Boone Creek - Memory Of Your Smile
[3:04] 14. Don Stover - Things In Life
[2:20] 15. Buddy Thomas - Kitty Puss
[2:52] 16. Highwoods String Band - Who Broke The Lock
[3:44] 17. Hazel Dickens - Don't Put Her Down You Helped
[5:01] 18. Alhaji Bai Konte - Jula Jekere
[4:16] 19. Tony Trischka - The Only Way
[3:06] 20. Jerry Douglas - Fluxology
[3:23] 21. D.L. Menard And The Louisiana - La Porte Dans Arriere
[1:58] 22. David Grisman - I Ain't Broke But I'm Badly Be
[3:03] 23. Joe Val & The New England Blue - Sparkling Brown Eyes
[4:19] 24. George Thorogood & The Destroy - Who Do You Love

The Rounder Records Story (Disc 1)

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Album: The Rounder Records Story (Disc 2)
Bitrate: MP3@320K/s
Time: 71:11
Size: 163.0 MB
Styles: Blues, Country, Folk
Year: 2010

[3:44] 1. Clarence Gatemouth Brown - Frosty
[2:13] 2. Ted Hawkins - Watch Your Step (Acoustic Vers
[2:42] 3. Jonathan Richman - New Kind Of Neighborhood
[3:16] 4. Keith Whitley - I Never Go Around Mirrors
[2:33] 5. Tony Rice - Cold On The Shoulder
[4:29] 6. Hazel Dickens - Mama's Hand
[1:48] 7. Klezmer Conservatory Band - A Freylekhe Nakht In Gan Eydn
[3:56] 8. Culture - Babylon's Big Dog
[3:33] 9. Buckwheat Zydeco - Ya Ya
[4:21] 10. Professor Longhair - Tipitina
[3:37] 11. Beausoleil - Zydeco Gris Gris
[1:41] 12. Riders In The Sky - Cowboy Jubilee
[2:40] 13. The Johnson Mountain Boys - Let The Whole World Talk
[2:29] 14. Brave Combo - Happy Wanderer
[3:13] 15. James Booker - Classified
[2:20] 16. Rory Block - Got To Have You Be My Man
[2:19] 17. Sleepy Labeef - Electricity
[2:54] 18. Johnny Copeland - Everybody Wants A Piece Of Me
[3:08] 19. Béla Fleck - Whitewater
[2:33] 20. Nanci Griffith - Once In A Very Blue Moon
[3:08] 21. The Bluegrass Album Band - Blue Ridge Cabin Home
[2:40] 22. John Mccutcheon - Howjadoo
[2:16] 23. Flaco Jimenez - Viva Seguin
[3:25] 24. NRBQ - Me And The Boys

The Rounder Records Story (Disc 2)

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Album: The Rounder Records Story (Disc 3)
Bitrate: MP3@320K/s
Time: 73:58
Size: 169.3 MB
Styles: Blues, Country, Folk
Year: 2010

[3:20] 1. Bill Morrissey - Birches
[3:48] 2. Alison Krauss - Baby Now That I Found You
[3:45] 3. Jimmie Dale Gilmore - One Endless Night
[4:17] 4. Marcia Ball - Sing It
[4:28] 5. Rebirth Brass Band - Do Watcha Wanna Pt. 3
[6:48] 6. Charles Brown - A Virus Called The Blues
[3:13] 7. Carrie Newcomer - Only One Shoe
[3:40] 8. Johnny Adams - There Is Always One More Time
[5:01] 9. Tish Hinojosa - Something In The Rain
[4:55] 10. James King - Bed By The Window
[4:54] 11. Beau Jocque And The Zydeco Hi- - Give Him Cornbead
[3:16] 12. Eddie Lejeune - Valse De Kaplan
[4:02] 13. Longview - High Lonesome
[3:23] 14. Alison Krauss - In The Palm Of Your Hand
[4:24] 15. Ruth Brown - False Friend Blues
[2:41] 16. Bo Dollis - Carnival Time
[4:15] 17. Roomful Of Blues - Standing Here At The Crossroad
[3:40] 18. Wilson Pickett - It's Harder Now

The Rounder Records Story (Disc 3)

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Album: The Rounder Records Story (Disc 4)
Bitrate: MP3@320K/s
Time: 73:11
Size: 167.5 MB
Styles: Blues, Country, Folk
Year: 2010
Art: Front

[3:10] 1. Madeleine Peyroux - Don't Wait Too Long
[4:18] 2. Son Volt - Down To The Wire
[2:55] 3. Dailey & Vincent - More Than A Name On A Wall
[3:06] 4. Earl Scruggs - Roll In My Sweet Baby's Arms
[2:18] 5. Willie Nelson - Man With The Blues
[1:52] 6. Jimmy Sturr - Rebel Rouser
[3:23] 7. Linda Thompson - Versatile Heart
[4:44] 8. Irma Thomas - In The Middle Of It All
[5:52] 9. Robert Plant - Please Read The Letter
[3:07] 10. Blue Highway - Through The Window Of A Train
[4:25] 11. Rush - Resist
[3:37] 12. Cowboy Junkies - Small Swift Birds
[4:05] 13. Sarah Harmer - Basement Apt
[3:41] 14. Mary Chapin Carpenter - I Have A Need For Solitude
[3:00] 15. Rhonda Vincent - Lonesome Wind Blues
[3:11] 16. The Grascals - Me And John And Paul
[3:21] 17. Steve Martin - The Crow
[3:44] 18. Robert Plant - The Only Sound That Matters
[3:36] 19. Delta Spirit - Trashcan
[2:09] 20. They Might Be Giants - Fibber Island
[3:28] 21. Kathleen Edwards - Back To Me

The Rounder Records Story (Disc 4)

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Various - Live In Long Beach 1997

Bitrate: MP3@320K/s
Time: 63:25
Size: 145.2 MB
Styles: Contemporary blues
Year: 2015
Art: Front

[5:01] 1. Dave Alvin - Barn Burning
[3:37] 2. Dave Alvin - Woman In East Texas
[4:17] 3. Dave Alvin - Tell Me How You Want It Done
[4:30] 4. Dave Alvin - Dry River
[4:59] 5. Dave Alvin - Chains Of Love
[7:02] 6. Dave Alvin - Long White Cadillac
[5:57] 7. Billy Boy Arnold - I Wish You Would
[2:48] 8. Clarence 'Gatemouth' Brown - San Antonio Rose
[2:13] 9. Clarence 'Gatemouth' Brown - Wabash Cannonball
[4:53] 10. Clarence 'Gatemouth' Brown - Beer Barrel Polka
[1:16] 11. Clarence 'Gatemouth' Brown - Jolie Bon
[1:32] 12. Clarence 'Gatemouth' Brown - Jambalaya
[8:47] 13. Dave Alvin & Friends - Long Beach Blues
[6:26] 14. Dave Alvin & Friends - It's A Long Way Home

This is the first time I heard Dave Alvin (co-founder of band The Blasters) sing and it is not surprising he was able to maintain a long lasting solo career. His 'blues' singing is kind of deep and just fine. As for this LIVE IN LONG BEACH 1997 recording let me explain this Blues Festival inspired, annual 'get-togethers' at the Carpenter Performing Arts Center on the campus of Cal State University Long Beach continuously scheduled musicians who had not performed together before and, well, threw them together for a Blues Unplugged night of blues. On this 1997 show in LONG BEACH Dave Alvin played a solo set of 6 songs paying homage to 'Big Joe Turner" on a slow blues version of "Chains of Love"; as well as a slow version of Alvin's own "Long White Cadillac". Eventually, playing a duet with Alvin is harp and songwriter Billy Boy Arnold performing Billy Boy's own "I Wish You Would" originally done in 1955 (this song also played by "Yardbirds" and the "Red Devils").

Gatemouth Brown comes out for 5 (quick) songs playing his fiddle and challenging the crowd, it seems, with country, polka, and a cajun tune "....you wanna' hear a Cajun tune...?" Gate almost seems surprised the max 1000 fans in attendance seem SO enthusiastic in their 'Yes" response. He had just played "Beer Barrel Polka" turning the "Roll out the barrell...bring out a barrel of fun..." polka beat into a country racing fiddle ditty. It's surprisingly fun ... but not for all blues fans, I'm sure. But, the crowd seems to like it; with Dave Alvin playing backup country and Cajun guitar sounds when appropriate. Gate eventually says "This guy's great ... he did not know I was going to play that..." Again, it is a fun 'get-together' the crowd seems to be laughing 'with'.

On the final 2 songs all 4 musicians (including a real nice, cool Joe Louis Walker guitar sound...I think he's plugged-in...) get together for 12 minutes of "Long Beach Blues" (instrumental) and some Gatemouth vocals on his own "Long Way Home". It is a solid ending to about an hour of music with additional minutes added between songs with 'dialogue' mostly by Dave Alvin (and some 'aforementioned' Gatemouth 'clowning'...) ~a. walther

Live In Long Beach 1997

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Various Artists - Beware Of The Texas Blues

Year: 1991
Bitrate: MP3@320K/s
Time: 47:57
Size: 111,0 MB
Styles: Texas blues
Scans: Full

1. Joe 'Papoose' Fritz - I'm A Stepper (2:33)
2. Henry Moore w. Guitar Slim - Can't Sleep Tonight (3:39)
3. Johnny Copeland - Working Man Blues (2:44)
4. Big Walter - Life's Highway (3:21)
5. Clarence Green - Empty House Of So Many Tears (2:25)
6. Eastwood Revue - Drowning On Dry Land (7:26)
7. Juke Boy Bonner - Rock Of Gibraltar (3:50)
8. T-Bone Walker - Farther On Up The Road (1:49)
9. Johnny Winter w. Calvin 'Loudmouth' Johnson - Lien On Your Body (4:21)
10. Albert Collins - The Freeze (2:17)
11. Piano Slim - That's Fat (2:22)
12. Johnny Copeland - Rock Me Baby (5:08)
13. Gatemouth Brown - It's Alright (2:45)
14. Lightning Hopkins - Good As Old Time Religion (3:11)

Here on one package are fourteen bluesmen, each as different from the others as night from day, yet all are bound inextricably together in their Texas heritage. The selections were all recorded between 1958 and 1988. They range the gamut from the old-fashioned "down home" blues (that has thankfully never gone out of fashion) to the up-to-date urban blues sound yet all of them exemplify that genre known as the Texas Blues.

So, better beware of these Texas Blues. They'll get you hooked if you listen to this album a few times. You will probably wind up liking all of them. /Excerpts from the liner notes by Bo Svensson

Beware Of The Texas Blues mc
Beware Of The Texas Blues zippy

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Jimmy Dawkins - Tribute To Orange (With Clarence 'Gatemouth' Brown & Otis Rush)

Size: 147,5 MB
Time: 63:48
File: MP3 @ 320K/s
Released: 1974/1993
Styles: Modern Electric Blues, Chicago Blues
Art: Full

01. All For Business (6:02)
02. You've Got To Keep On Trying (6:15)
03. Ain't Never Had Nothing (3:19)
04. Born In Poverty (4:44)
05. Marcelle Morgantini's Cassoulet (6:07)
06. Your Love (3:32)
07. Tribute To Orange (4:27)
08. Mississippi Bound (6:41)
09. Life Is A Mean Mistreater (6:11)
10. Mean Atlantic Ocean (5:45)
11. It Serves You Right To Suffer (3:43)
12. Marcelle Jacques Et Luc (3:56)
13. Ode To Billy Joe (3:00)

Jimmy Dawkins' infrequent albums are always a joy, and that was the case when he made his first sojourn to Europe in 1970 and recorded LPs for Black & Blue, Vogue, and Excello in France and England. This disc features eight numbers pairing Dawkins and the great Gatemouth Brown and another four matching him with equally sensational Otis Rush. The Brown/Dawkins tandem duel, match, and challenge each other as Dawkins' sometimes enigmatic, sometimes bemused and often compelling vocals set the stage for their instrumental encounters. The same holds true on the Rush/Dawkins cuts. While Rush provides searing licks and twisting solos, Dawkins' singing sets the tone with its urgent inflections and weary, resigned quality. ~Review by Ron Wynn

Tribute To Orange

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