Wille Dixon - The Chess Box (2 CD)

Album: The Chess Box
Size: 118,3 + 137,7 MB
Time: 51:39 + 60:09
File: MP3 @ 320K/s
Released: 1988/1997
Styles: Blues
Art: Full

CD 1:
1. Little Walter - My Babe (2:42)
2. The Big Three - Violent Love (2:22)
3. Eddie Boyd - Third Degree (3:15)
4. Willie Mabon - Seventh Son (2:53)
5. Willie Dixon - Crazy For My Baby (2:51)
6. Willie Dixon - Pain In My Heart (3:19)
7. Muddy Waters - Hoochie Coochie Man (2:46)
8. Howlin' Wolf - Evil (2:53)
9. Little Walter - Mellow Down Easy (2:42)
10. Jimmy Witherspoon - When The Lights Go Out (2:51)
11. Muddy Waters - Young Fashioned Ways (3:00)
12. Bo Diddley - Pretty Thing (2:50)
13. Muddy Waters - I'm Ready (3:03)
14. Lowell Fulson - Do Me Right (2:54)
15. Muddy Waters - I Just Want To Make Love To You (2:52)
16. Lowell Fulson - Tollin' Bells (3:05)
17. Willie Dixon - 29 Ways (2:10)
18. Willie Dixon - Walkin' The Blues (3:04)

CD 2:
1. Howlin' Wolf - Spoonful (2:48)
2. Otis Rush - You Know My Love (2:41)
3. Bo Diddley - You Can't Judge A Book By Its Cover (3:10)
4. Howlin' Wolf - I Ain't Superstitious (2:51)
5. Muddy Waters - You Need Love (2:42)
6. Howlin' Wolf - Little Red Rooster (2:26)
7. Howlin' Wolf - Back Door Man (2:49)
8. Little Walter - Dead Presidents (2:46)
9. Howlin' Wolf - Hidden Charms (2:22)
10. Muddy Waters - You Shook Me (2:42)
11. Sonny Boy Williamson - Bring It On Home (2:35)
12. Howlin' Wolf - 300 Pounds Of Joy (3:05)
13. Willie Dixon - Weak Brain, Narrow Mind (4:27)
14. Koko Taylor - Wang Dang Doodle (3:02)
15. Muddy Waters - The Same Thing (5:56)
16. Howlin' Wolf - Built For Comfort (2:37)
17. Little Milton - I Can't Quit You Baby (6:41)
18. Koko Taylor - Insane Asylum (4:22)

This was the most unusual, and probably the most difficult to assemble of MCA's Chess Box series, mostly because of the unusual nature of Willie Dixon's contribution to Chess Records. To be sure, Dixon rates a place in the history of the label right alongside that of Muddy Waters, Howlin' Wolf, and Little Walter, but his role was more subtle than that of a performer (indeed, two of the half-dozen recordings here that feature Dixon as a singer were previously unreleased). So he is all over this two-CD set, as a songwriter, producer, and bassist, and occasionally as a singer as well, but the unifying element are the Dixon songs, and he is the only blues songwriter to be honored by a major label with a retrospective of this type.

Since he was not the performer on most of this material, but, rather, was working to mesh his material with the styles and sensibilities of a vast range of players, the sounds contained on these two CDs are a lot more varied than on any of the other Chess Box releases - amplified Delta blues, big band, Mills Brothers-style harmony blues, jazz-influenced jump blues, and near-pop style R&B are all here; guitar pyrotechnics by Muddy Waters or Hubert Sumlin (on the Wolf's records), vocal acrobatics by Little Walter, and rippling performances by Koko Taylor illuminate this set throughout.

While some of it, such as Muddy Waters' single of "Hoochie Coochie Man"; Little Walter's "My Babe"; Howlin' Wolf's performances of "Evil," "Spoonful," "Little Red Rooster," and "Back Door Man"; and Lowell Fulson's version of "Do Me Right" are easily available elsewhere, a lot else of what's here is genuinely rare and most enticing - Dixon's own renditions of "Violent Love," "Crazy For My Baby," and "Pain In My Heart," in particular, are great records, lacking perhaps only a slight measure of the energy that a Muddy Waters brought to recording. Most of the set is concentrated on his blues work - a pair of hot Bo Diddley sides ("Pretty Thing," "You Can't Judge a Book by Its Cover") that Dixon wrote are represented, but since he didn't write anything for Chuck Berry, that side of Dixon's history is left out, despite his having played bass on most of Berry's early recordings.

Still, it's difficult to imagine anyone complaining over an "excuse" to bring some of the best sides of Muddy, Walter, the Wolf, Diddley, Taylor, Lowell Fulson, Jimmy Witherspoon, Sonny Boy Williamson, Otis Rush, and even Dixon's own '40s outfit, the Big Three together in one release. The sound is impeccable, holding up to standards even a dozen years later, and the set includes a well-illustrated and annotated booklet. /Bruce Eder, AllMusic

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

The Chess Box (2 CD) mc
The Chess Box (2 CD) gofile

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Willie Dixon - Willie Dixon Live At Richard's Atlanta April 3rd. 1973 (Restauracion 2024)

Size: 171.8 MB
Time: 74:27
File: MP3 @ 320K/s
Released: 2024
Styles: Chicago Blues
Art: Front

01. Slow Instrumental (Atlanta Live April 3rd. 1973) [Restauracion 2024] (Feat. Carey Bell) (7:12)
02. After Hours (Atlanta Live April 3rd. 1973) [Restauracion 2024] (Feat. Lafayette Leake) (4:16)
03. Trouble (Atlanta Live April 3rd. 1973) [Restauracion 2024] (Feat. Lafayette Leake) (5:46)
04. Everyday I Have The Blues (Atlanta Live April 3rd. 1973) [Restauracion 2024] (Feat. Buster Benton) (3:57)
05. Spider In My Stew (Atlanta Live April 3rd. 1973) [Restauracion 2024] (Feat. Buster Benton) (5:00)
06. Crazy 'Bout My Baby (Atlanta Live April 3rd. 1973) [Restauracion 2024] (4:01)
07. Rock Me Shook Me (Atlanta Live April 3rd. 1973) [Restauracion 2024] (6:03)
08. I Don't Trust Nobody (When It Comes To My Girl) (Atlanta Live April 3rd. 1973) [Restauracion 2024] (Feat. Carey Bell) (5:50)
09. Wang Dang Doodle (Atlanta Live April 3rd. 1973) [Restauracion 2024] (5:41)
10. Fast Instrumental (Atlanta Live April 3rd. 1973) [Restauracion 2024] (6:26)
11. Everything's Gonna Be Alright (Atlanta Live April 3rd. 1973) [Restauracion 2024] (5:07)
12. It's Easy To Love (Atlanta Live April 3rd. 1973) [Restauracion 2024] (Feat. Buster Benton) (7:52)
13. Good To The Last Drop (Atlanta Live April 3rd. 1973) [Restauracion 2024] (Feat. Buster Benton) (3:58)
14. Sweet Sixteen (Fades Out) (Atlanta Live April 3rd. 1973) [Restauracion 2024] (Feat. Buster Benton) (3:12)

Willie Dixon's life and work was virtually an embodiment of the progress of the blues, from an accidental creation of the descendants of freed slaves to a recognized and vital part of America's musical heritage. That Dixon was one of the first professional blues songwriters to benefit in a serious, material way -- and that he had to fight to do it -- from his work also made him an important symbol of the injustice that still informs the music industry, even at the end of the 20th century. A producer, songwriter, bassist, and singer, he helped Muddy Waters, Howlin' Wolf, Little Walter, and others find their most commercially successful voices.

By the time he was a teenager, Dixon was writing songs and selling copies to the local bands. He also studied music with a local carpenter, Theo Phelps, who taught him about harmony singing. With his bass voice, Dixon later joined a group organized by Phelps, the Union Jubilee Singers, who appeared on local radio. Dixon eventually made his way to Chicago, where he won the Illinois State Golden Gloves Heavyweight Championship. He might have been a successful boxer, but he turned to music instead, thanks to Leonard "Baby Doo" Caston, a guitarist who had seen Dixon at the gym where he worked out and occasionally sang with him. The two formed a duo playing on street corners, and later Dixon took up the bass as an instrument. They later formed a group, the Five Breezes, who recorded for the Bluebird label. The group's success was halted, however, when Dixon refused induction into the armed forces as a conscientious objector. Dixon was eventually freed after a year, and formed another group, the Four Jumps of Jive. In 1945, however, Dixon was back working with Caston in a group called the Big Three Trio, with guitarist Bernardo Dennis (later replaced by Ollie Crawford).

During this period, Dixon would occasionally appear as a bassist at late-night jam sessions featuring members of the growing blues community, including Muddy Waters. Later on when the Chess brothers -- who owned a club where Dixon occasionally played -- began a new record label, Aristocrat (later Chess), they hired him, initially as a bassist on a 1948 session for Robert Nighthawk. The Chess brothers liked Dixon's playing, and his skills as a songwriter and arranger, and during the next two years he was working regularly for the Chess brothers. He got to record some of his own material, but generally Dixon was seldom featured as an artist at any of these sessions.

Dixon's real recognition as a songwriter began with Muddy Waters' recording of "Hoochie Coochie Man." The success of that single, "Evil" by Howlin' Wolf, and "My Babe" by Little Walter saw Dixon established as Chess' most reliable tunesmith, and the Chess brothers continually pushed Dixon's songs on their artists. In addition to writing songs, Dixon continued as bassist and recording manager of many of the Chess label's recording sessions, including those by Lowell Fulson, Bo Diddley, and Otis Rush. Dixon's remuneration for all of this work, including the songwriting, was minimal -- he was barely able to support his rapidly growing family on the 100 dollars a week that the Chess brothers were giving him, and a short stint with the rival Cobra label at the end of the '50s didn't help him much.

During the mid-'60s, Chess gradually phased out Dixon's bass work, in favor of electric bass, thus reducing his presence at many of the sessions. At the same time, a European concert promoter named Horst Lippmann had begun a series of shows called the American Folk-Blues Festival, for which he would bring some of the top blues players in America over to tour the continent. Dixon ended up organizing the musical side of these shows for the first decade or more, recording on his own as well and earning a good deal more money than he was seeing from his work for Chess. At the same time, he began to see a growing interest in his songwriting from the British rock bands that he saw while in London -- his music was getting covered regularly by artists like the Rolling Stones and the Yardbirds, and when he visited England, he even found himself cajoled into presenting his newest songs to their managements. Back at Chess, Howlin' Wolf and Muddy Waters continued to perform Dixon's songs, as did newer artists such as Koko Taylor, who had her own hit with "Wang Dang Doodle." Gradually, however, after the mid-'60s, Dixon saw his relationship with Chess Records come to a halt. Partly this was a result of time — the passing of artists such as Little Walter and Sonny Boy Williamson reduced the label's roster of older performers, with whom he had worked for years, and the company's experiments with more rock-oriented sounds (especially on the "Cadet Concept" imprint) took it's output in a direction to which Dixon couldn't contribute. And the death of Leonard Chess in the fall of 1969 and the subsequent sale of the company brought about the end of Dixon's relationship to the company.

By the end of the 1960s, Dixon was eager to try his hand as a performer again, a career that had been interrupted when he'd gone to work for Chess as a producer. He recorded an album of his best-known songs, I Am the Blues, for Columbia Records, and organized a touring band, the Chicago Blues All Stars, to play concerts in Europe. Suddenly, in his fifties, he began making a major name for himself on-stage for the first time in his career. Around this time, Dixon began to have grave doubts about the nature of the songwriting contract that he had with Chess' publishing arm, Arc Music. He was seeing precious little money from songwriting, despite the recording of hit versions of such Dixon songs as "Spoonful" by Cream. He had never seen as much money as he was entitled to as a songwriter, but during the 1970s he began to understand just how much money he'd been deprived of, by design or just plain negligence on the part of the publisher doing its job on his behalf.

Arc Music had sued Led Zeppelin for copyright infringement over "Bring It on Home" on Led Zeppelin II, saying that it was Dixon's song, and won a settlement that Dixon never saw any part of until his manager did an audit of Arc's accounts. Dixon and Muddy Waters would later file suit against Arc Music to recover royalties and the ownership of their copyrights. Additionally, many years later Dixon brought suit against Led Zeppelin for copyright infringement over "Whole Lotta Love" and its resemblance to Dixon's "You Need Love." Both cases resulted in out-of-court settlements that were generous to the songwriter.

The 1980s saw Dixon as the last survivor of the Chess blues stable and he began working with various organizations to help secure song copyrights on behalf of blues songwriters who, like himself, had been deprived of revenue during previous decades. In 1988, Dixon became the first producer/songwriter to be honored with a boxed set collection, when MCA Records released Willie Dixon: The Chess Box, which included several rare Dixon sides as well as the most famous recordings of his songs by Chess' stars. The following year, Dixon published I Am the Blues (Da Capo Press), his autobiography, written in association with Don Snowden.

Dixon continued performing, and was also called in as a producer on movie soundtracks such as Gingerale Afternoon and La Bamba, producing the work of his old stablemate Bo Diddley. By that time, Dixon was regarded as something of an elder statesman, composer, and spokesperson of American blues. Dixon eventually began suffering from increasingly poor health, and lost a leg to diabetes. He died peacefully in his sleep early in 1992.

Willie Dixon Live At Richard's Atlanta April 3rd. 1973 (Restauracion 2024) MP3
Willie Dixon Live At Richard's Atlanta April 3rd. 1973 (Restauracion 2024) FLAC

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Stanley Behrens & Willie Dixon - The Stanley Behrens-Willie Dixon Project

Album: The Stanley Behrens-Willie Dixon Project
Size: 118,3 MB
Time: 51:03
File: MP3 @ 320K/s
Released: 1988/1992
Styles: Blues, harmonica blues
Art: Full

1. L.A. Is The City (3:34)
2. Every Girl I See (5:04)
3. Fine Stack (3:35)
4. I Need More (3:55)
5. Wigglin' Worm (3:36)
6. Baby Buns (4:23)
7. Don't Let That Music Die (5:39)
8. I Think I Got The Blues (6:11)
9. Hot To Trot (2:58)
10. After Five Long Years (2:57)
11. Heart Attack (4:03)
12. When I'm Lovin' You (5:03)

Stan met Willie Dixon in 1988, while working for a limo service. Stan managed to get the job taking Willie to the Grammy Awards. Willie liked to ride in the front seat, and while driving down the highway they talked about the blues. Stan mentioned that he played the harmonica and Willie said "Ya gotcha harp with ya". Stan said yes and began to play driving with one hand and playing harp with the other.

Willie seemed impressed and said "You must be playing that harp a long time". Stan said "Why's that". Willie said "Because you got the tone. You can't get that tone unless you've been playing a long time. Here is my phone number, you're welcome to call me anytime". Stan and Willie became best friends which led up to the recording of this album. /Liner notes by Marie Dixon

(For personnel details, see artwork included.)

The Stanley Behrens-Willie Dixon Project mc
The Stanley Behrens-Willie Dixon Project zippy

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Memphis Slim & Willie Dixon - Songs Of Memphis Slim & Willie Dixon + At The Village Gate (Remastered)

Size: 172.6 MB
Time: 73:06
File: MP3 @ 320K/s
Released: 2015
Styles: Piano Blues
Art: Full

01. Joggie Boogie (3:28)
02. Stewball (3:36)
03. John Henry (2:28)
04. Kansas City No1, 2 & 3 (7:50)
05. Have You Ever Been To Nashville Pen? (2:32)
06. Roll And Tumble (2:58)
07. Beer Drinking Woman (2:33)
08. Chicago House Rent Party (5:00)
09. 44 Blues (2:36)
10. Unlucky (2:46)
11. Crazy For My Baby (2:42)
12. My Baby Don't Stand No Cheating (3:26)
13. Stewball (Feat. Pete Seeger) (3:24)
14. Slop Boogie (2:53)
15. Misery Falls Like Rain (2:07)
16. Wish Me Well (2:13)
17. T For Texas (Feat. Pete Seeger) (4:24)
18. I Just Want To Make Love To You (4:07)
19. I'll Try To Find My Baby (3:25)
20. One Mor Time (2:59)
21. Nobody Loves Me (2:24)
22. We Are Going To Rock (3:07)

Combining powerful vocals with their considerable instrumental skills on piano and double bass, Memphis Slim and Willie Dixon made a formidable duo. These two albums were made for Folkways, thus presenting them to a white audience who were enthusiastically discovering the blues. The second LP was a live session from Greenwich Village s famous venue The Village Gate where they were joined on two songs by Pete Seeger.

Definitive remastered CD edition. Detailed booklet with rare photos.

Songs Of Memphis Slim & Willie Dixon + At The Village Gate (Remastered) MP3
Songs Of Memphis Slim & Willie Dixon + At The Village Gate (Remastered) FLAC

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Big City Blues & Howlin' Wolf - Big City Blues & Howlin' Wolf In Warsaw

Size: 138,5 MB
Time: 59:06
File: MP3 @ 320K/s
Released: 2015
Styles: Chicago Blues
Art: Full

01. Intro (Willie Dixon) (1:38)
02. Weak Brain And A Narrow Mind (Willie Dixon) (4:58)
03. God's Gift To Man (Willie Dixon) (3:55)
04. Be My Baby (Sunnyland Slim) (2:53)
05. Devil Is A Busy Man (Sunnyland Slim) (4:22)
06. Everytime I Get To Drinking (Sunnyland Slim) (3:24)
07. Dust My Broom (I Believe I'll Dust My Broom) (Howlin' Wolf) (6:22)
08. Spoonful (Howlin' Wolf) (4:12)
09. Goin Down Slow (Howlin' Wolf) (5:56)
10. Howlin' For My Darling (Howlin' Wolf) (3:37)
11. Smokestack Lightning (Howlin' Wolf) (5:05)
12. Killing Floor (Howlin' Wolf) (5:29)
13. Bye, Bye Baby (Baby Goodbye) (Sunnyland Slim & Howlin' Wolf) (2:47)
14. Dust My Broom (I'll Believe I'll) (Howlin' Wolf) (4:20)

Personnel: Howlin 'Wolf, singing, harmonica; Sunnyland Slim, piano; Hubert Sumlin, guitar; Willie Dixon, double bass, guitar, singing; James Clifton, drums.
This album surprised me extremely. Recordings saw the light of day, the existence of which I admit, I had no idea! The concert of the Big City Blues band and the legend of Chicago blues, Howlin 'Wolf, took place in the Warsaw Philharmonic Hall as part of the Jazz Jamboree '64 festival. It's hard to believe that this Blues Festival took place in Poland, exactly 50 years ago!

It was the first concert of a blues band from the USA in Poland. And what kind! The brightest stars themselves are included in the team. A separate article could be written about each of the musicians performing then. The great blues pianist Sunnyland Slim played the piano and also sang some songs. Right hand on guitar, the main pillar of Howlin 'Wolf's band, Hubert Sumlin. The legendary composer of many blues themes played to this day, court musician and arranger of the Chicago Chess Studio, Willie Dixon, played and sang on the double bass, as well as in two songs on the acoustic guitar. On drums a musician who plays with the leading American bluesmen, James Clifton. As if that was not enough, Howlin 'Wolf himself was at the head of this splendid ensemble.

Immediately, at the beginning of the concert, it was noticeable how powerful the blues message is. I was amazed to see that the reception (and the performance) was absolutely unaffected by the fact that Willie Dixon started the evening singing to himself on a completely out of tune guitar! The blues flowed, and it was only at the end of the song that Willie slowly tuned the instrument.

After two lesser-known numbers of Dixon, Sunnyland Slim took over the baton and with the accompaniment of the entire band, he performed three of his compositions, including Everytime I Get to Drinking . The time has finally come for the star of the evening. The front of the stage was taken over by the legendary, charismatic singer and great harmonica player, Chester Burnett, better known as Howlin 'Wolf. One by one, well-known themes, blues standards such as Spoonful, Goin 'Down Slow, Dust My Broom . Then those associated with Wolf, Killing Floor, Howlin 'for My Darling, Smokestack Lightning . The artists finished the concert with the appropriate Bye, Bye, Baby (Baby Goodbye)Bob Crewe. The theme of Robert Johnson once again appeared for the encore, but played in the Elmore James convention, Dust My Broom . The album was released as the 19th volume of the Polish Radio Jazz Archives series signed by Polish Radio. The fact of its release cannot be overestimated. Actually, next to the recordings of the concert by Muddy Waters at Jazz Jamboree '76, it is the only record of the performance of such eminent blues artists in our country. Their artistic and historical value cannot be overestimated. The album should be a must-have item in the collection of every bluesfan and not only. ~Zbyszek Jedrzejczyk

Big City Blues & Howlin' Wolf In Warsaw MP3
Big City Blues & Howlin' Wolf In Warsaw FLAC

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Howlin' Wolf - Killing Floor: Live '64 & '73

Size: 251,8 MB
Time: 107:50
File: MP3 @ 320K/s
Released: 2015
Styles: Chicago Blues
Art: Full

CD 1:
01. Shake For Me (4:12)
02. Love Me (6:29)
03. Dust My Broom (5:01)
04. I Didn't Mean To Hurt Your Feelings (5:36)
05. Rockin' The Blues (5:18)
06. All My Life (4:10)
07. Going Down Slow (6:20)
08. Howlin' For My Baby (4:24)
09. Forty Four Blues (7:33)

CD 2:
01. Instrumental (5:05)
02. I Can't Stop Loving You (4:41)
03. Little By Little (5:27)
04. Baby Work Out (3:22)
05. How Blue Can You Get (6:49)
06. What'd I Say (5:33)
07. Little Red Rooster (4:50)
08. Going Down Slow (9:31)
09. Killing Floor (4:28)
10. Shake For Me (5:13)
11. Back At The Chicken Shack/Goodbyes (3:39)

Personnel CD 1: American Folk Festival, Wiesbaden, Germany, 16/11/1964
Howlin' Wolf: Guitar, Vocals
Sunnyland Slim: Piano
Willie Dixon: Bass
Hubert Sumlin: Guitar
Clifton James: Drums

Personnel CD 2: Ebbet's Field, Denver, CO, 23/08/1973
Howlin' Wolf: Guitar, Vocals
Detroit Jr.: Piano, Vocals
Hubert Sumlin: Guitar
S.P. Leary: Drums
Andrew McMahon - Bass
Eddie Shaw: Tenor sax, Vocals

Killing Floor MP3
Killing Floor FLAC

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Willie Dixon - Live In Chicago, 1974

Size: 145,9 MB
Time: 62:06
File: MP3 @ 320K/s
Released: 2018
Styles: Chicago Blues
Art: Full

01. Intro Boogie (11:05)
02. Crazy 'Bout My Baby ( 4:28)
03. Rock Me ( 7:09)
04. I Don't Trust Nobody ( 5:05)
05. 29 Ways ( 3:17)
06. Wang Dang Boogie ( 6:45)
07. Hoochie Coochie Man ( 4:40)
08. Little Red Rooster ( 4:59)
09. I Think I Got The Blues ( 5:20)
10. My Baby ( 3:35)
11. Spoonful ( 4:14)
12. Closing Boogie ( 1:24)

Willie Dixon was one of the great giants of Chicago blues, both physically and creatively. An originator and a forefather, Dixon was a songwriter responsible for penning such iconic classics as 'Hoochie Coochie Man', 'Spoonful' and 'Wang Dang Doodle'. He was both a huge physical and musical presence.

'Live in Chicago, 1974' was recorded for a Chicago radio station. It is a crack set, backed by Dixon’s regular band, before a receptive audience.

The concert opening 'Intro Boogie' is solid and propulsive with a fine harmonica line and a resonant electric guitar.

'Crazy ‘Bout My Baby' is rollicking from the get go - a solid train of the blues. Dixon is less known as a singer and more legendary as a songwriter, but this one is a compelling vocal with lots of personality. Along with Muddy Waters and Howlin Wolf, Dixon is one of the great early creators from Chicago in the post World War II era of the blues.

On 'Rock Me', the lyric is “She rocked me, she rocked me all night long/Lord, she messed up my happy home.” Dixon’s voice is very much that of this gentle giant which he was with a voice strong and solid. “She moved me,” Dixon sings, “just like a hurricane.”

“I Don’t Trust Nobody” features some stinging electric guitar and a steamroller of a beat, pulsating with momentum.

'Wang Dang Doodle' is something of an iconic classic. “Tell Automatic Slim, Tell Razor Toting Jim/ We gonna pitch a wang dang doodle all night long” - a rocking tour de force here with powerful full band instrumentals.

An absolute concert album highlight here is 'Hoochie Coochie Man'. A solid, heavy beat. Harmonica reverberates. “Gypsy woman told my mama before I was born, you got a boy child coming/Gonna be a son of a gun.” This one is among the greatest of all blues classics and a fine well rendered version here. “On the seventh hour, on the seventh day… He’s born for good luck, I know you’ll see.”

Another blues classic, 'Little Red Rooster' has a sharp Dixon vocal. “If you see my little red rooster, somebody please drive him home.”

'Spoonful' is another deep blues and one of the iconic numbers adopted by the younger generation of blues based rock and roll bands that came up in the 1960s. “One little spoonful/Satisfy my soul.”

Finally 'Closing Boogie' rocks out. It is a solid Dixon set and a window into one of the legendary figures of Chicago blues. ~Carl Bookstein

Live In Chicago, 1974

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Memphis Slim - The Real Honky Tonk + The Blues Every Which Way (Remastered)

Size: 177,6 MB
Time: 76:59
File: MP3 @ 320K/s
Released: 2019
Styles: Piano Blues
Art: Front

01. The Bells (2:36)
02. The Lord Have Mercy On Me (2:49)
03. My Baby Don't Love Me Anymore (3:19)
04. I Left That Town; Harlem Bound (2:18)
05. Boogie After Midnight (3:26)
06. The Train Is Gone (3:34)
07. Pinetop Boogie (4:11)
08. Whiskey Drinking Blues (3:14)
09. San Juan Blues (2:22)
10. In The Evening (3:01)
11. How Long Blues (2:02)
12. Sail On Little Girl (3:12)
13. John Henry (Solo) (3:28)
14. Choo Choo (With Willie Dixon) (3:01)
15. 4 O'Clock Boogie (With Willie Dixon) (3:17)
16. Rub My Root (With Willie Dixon) (4:12)
17. C Rocker (With Willie Dixon) (3:18)
18. Home To Mama (With Willie Dixon) (4:57)
19. Shakey (With Willie Dixon) (3:36)
20. After Hours (With Willie Dixon) (3:48)
21. One More Time (With Willie Dixon) (2:47)
22. John Henry (Duo) (With Willie Dixon) (2:32)
23. Now Howdy (With Willie Dixon) (5:51)

Personnel:
Memphis Slim: Vocals, Piano
Willie Dixon: Vocals, Bass

An amazingly prolific artist who brought a brisk air of urban sophistication to his frequently stunning presentation, John "Peter" Chatman -- better known as Memphis Slim -- assuredly ranks with the greatest blues pianists of all time. He was smart enough to take Big Bill Broonzy's early advice about developing a style to call his own to heart, instead of imitating that of his idol, Roosevelt Sykes. Soon enough, other 88s pounders were copying Slim rather than the other way around; his thundering ivories attack set him apart from most of his contemporaries, while his deeply burnished voice possessed a commanding authority.

As befits his stage name, John "Peter" Chatman was born and raised in Memphis; a great place to commit to a career as a bluesman. Sometime in the late '30s, he resettled in Chicago and began recording as a leader in 1939 for OKeh, then switched over to Bluebird the next year. Around the same time, Slim joined forces with Broonzy, then the dominant force on the local blues scene. After serving as Broonzy's invaluable accompanist for a few years, Slim emerged as his own man in 1944.

After the close of World War II, Slim joined Hy-Tone Records, cutting eight tracks that were later picked up by King. Lee Egalnick's Miracle label reeled in the pianist in 1947; backed by his jumping band, the House Rockers (its members usually included saxists Alex Atkins and Ernest Cotton), Slim recorded his classic "Lend Me Your Love" and "Rockin' the House." The next year brought the landmark "Nobody Loves Me" (better known via subsequent covers by Lowell Fulson, Joe Williams, and B.B. King as "Everyday I Have the Blues") and the heartbroken "Messin' Around (With the Blues)."

The pianist kept on label-hopping, moving from Miracle to Peacock to Premium (where he waxed the first version of his uncommonly wise down-tempo blues "Mother Earth") to Chess to Mercury before staying put at Chicago's United Records from 1952 to 1954. This was a particularly fertile period for the pianist; he recruited his first permanent guitarist, the estimable Matt Murphy, who added some serious fret fire to "The Come Back," "Sassy Mae," and "Memphis Slim U.S.A."

Before the decade was through, the pianist landed at Vee-Jay Records, where he cut definitive versions of his best-known songs with Murphy and a stellar combo in gorgeously sympathetic support (Murphy was nothing short of spectacular throughout).

Slim exhibited his perpetually independent mindset by leaving the country for good in 1962. A tour of Europe in partnership with bassist Willie Dixon a couple of years earlier had so intrigued the pianist that he permanently moved to Paris, where recording and touring possibilities seemed limitless and the veteran pianist was treated with the respect too often denied even African-American blues stars at home back then. He remained there until his 1988 death, enjoying his stature as expatriate blues royalty. ~Bill Dahl

The Real Honky Tonk + The Blues Every Which Way

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Big Three Trio & Willie Dixon - Chicago Harmonisers: Their Greatest Recordings

Size: 184,8 MB
Time: 77:39
File: MP3 @ 320K/s
Released: 2019
Styles: Blues, Rock
Art: Front

01. You Sure Look Good To Me (2:42)
02. Signifying Monkey (2:45)
03. If The Sea Was Whiskey (3:06)
04. Money Tree Blues (2:46)
05. After While (Why Gonna Drink A Little Whiskey) (3:05)
06. Reno Blues (3:03)
07. I'll Be Right Some Day (2:27)
08. Just Can't Let Her Be (2:49)
09. Since My Baby Gone (3:01)
10. Big Three Boogie (2:34)
11. Evening (3:03)
12. 88 Boogie (2:34)
13. I Feel Like Steppin' Out (3:01)
14. Hard Notch Boogie Beat (2:46)
15. I Ain't Gonna Be Your Monkey Man No More (2:59)
16. Big Three Stomp (3:06)
17. No One To Love Me (2:52)
18. Don't Let That Music Die (2:39)
19. Appetite Blues (2:35)
20. It's All Over (2:39)
21. Tell That Woman (2:39)
22. Blue Because Of You (2:30)
23. Lonesome (2:22)
24. Violent Love (2:56)
25. Got You On My Mind (2:55)
26. You Don't Love Me No More (2:21)
27. Come Here Baby (2:26)
28. My Love Will Never Die (2:43)

The Big Three Trio were a hugely popular night club act who sold considerable quantities of records especially to jukebox operators. Although ostensibly a blues group they had, thanks to their three-part harmony singing a direct link to the jump jive vocal groups of the 1930s.

These recordings made between 1946 and 1952 predate Willie Dixon's emergence as Chicago's preeminent producer and writer of classic blues.
Includes their only chart entry "You Sure Look Good To Me" which was released in 1952.

Here then are The Big Three Trio and a collection of their influential recordings which can now be seen as an integral part of what would become known as Chicago Blues, a genre that would by the 1960s redefine rock music.

Chicago Harmonisers

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Magic Sam - Chicago Blues 1957-1960

Size: 107,8 MB
Time: 45:51
File: MP3 @ 320K/s
Released: 2012
Styles: Chicago Blues
Art: Front

01. Love Me With A Feeling (Willie Dixon) (2:10)
02. 21 Days In Jail (Odie Payne & Willie Dixon) (2:46)
03. My Love Is Your Love (The Four Duchesses) (2:43)
04. Every Night About This Time (Boyd Atkins) (2:08)
05. Look Whatcha Done (Mack Thompson & Willie Dixon) (2:15)
06. Mr. Charlie (Ammons Sisters) (2:38)
07. Roll Your Money Maker (Syl Johnson & Willie Dixon) (2:48)
08. All Your Love (Billie Stepney & Willie Dixon) (2:57)
09. Call Me If You Need Me (3:04)
10. You Don't Have To Work (Odell Campbell) (2:42)
11. All My Whole Life (Harold Burrage) (2:17)
12. Blue Light Boogie (The Four Duchesses) (2:39)
13. Love Me This Way (2:51)
14. Everything Gonna Be Alright (Little Brother Montgomery & Mack Thompson, Willie Dixon) (2:58)
15. Magic Rocker (Willie Dixon) (2:32)
16. All Night Long (2:49)
17. Easy Baby (Harold Burrage & Willie Dixon) (3:25)

No blues guitarist better represented the adventurous modern sound of Chicago's West side more proudly than Sam Maghett. He died tragically young (at age 32 of a heart attack), just as he was on the brink of climbing the ladder to legitimate stardom, but Magic Sam left behind a thick legacy of bone-cutting blues that remains eminently influential around his old stomping grounds to this day.

Maghett (one of his childhood pals was towering guitarist Morris Holt, who received his Magic Slim handle from Sam) was born in the Mississippi Delta. In 1950, he arrived in Chicago, picking up a few blues guitar pointers from his new neighbor, Syl Johnson (whose brother, Mack Thompson, served as Sam's loyal bassist for much of his professional career). Harpist Shakey Jake Harris, sometimes referred to as the guitarist's uncle, encouraged Sam's blues progress and gigged with him later on, when both were Westside institutions.

Sam's tremolo-rich staccato fingerpicking was an entirely fresh phenomenon when he premiered it on Eli Toscano's Cobra label in 1957. Prior to his Cobra date, the guitarist had been gigging as Good Rocking Sam, but Toscano wanted to change his nickname to something old-timey like Sad Sam or Singing Sam. No dice, said the newly christened Magic Sam (apparently Mack Thompson's brainstorm). His Cobra debut single, "All Your Love," was an immediate local sensation; its unusual structure would be recycled time and again by Sam throughout his tragically truncated career. Sam's Cobra encores "Everything Gonna Be Alright" and "Easy Baby" borrowed much the same melody but were no less powerful; the emerging Westside sound was now officially committed to vinyl. Not everything Sam cut utilized the tune; "21 Days in Jail" was a pseudo-rockabilly smoker with hellacious lead guitar from Sam and thundering slap bass from the ubiquitous Willie Dixon. Sam also backed Shakey Jake Harris on his lone 45 for Cobra's Artistic subsidiary, "Call Me If You Need Me."

After Cobra folded, Sam didn't follow labelmates Otis Rush and Magic Slim over to Chess. Instead, after enduring an unpleasant Army experience that apparently landed him in jail for desertion, Sam opted to go with Mel London's Chief logo in 1960. His raw-boned Westside adaptation of Fats Domino's mournful "Every Night About This Time" was the unalloyed highlight of his stay at Chief; some other Chief offerings were less compelling.

Gigs on the Westside remained plentiful for the charismatic guitarist, but recording opportunities proved sparse until 1966, when Sam made a 45 for Crash Records. "Out of Bad Luck" brought back that trademark melody again, but it remained as shattering as ever. Another notable 1966 side, the plaintive "That's Why I'm Crying," wound up on Delmark's Sweet Home Chicago anthology, along with Sam's stunning clippity-clop boogie instrumental "Riding High" (aided by the muscular tenor sax of Eddie Shaw).

Delmark Records was the conduit for Magic Sam's two seminal albums, 1967's West Side Soul and the following year's Black Magic. Both LPs showcased the entire breadth of Sam's Westside attack: the first ranged from the soul-laced "That's All I Need" and a searing "I Feel So Good" to the blistering instrumental "Lookin' Good" and definitive remakes of "Mama Talk to Your Daughter" and "Sweet Home Chicago," while Black Magic benefitted from Shaw's jabbing, raspy sax as Sam blasted through the funky "You Belong to Me," an impassioned "What Have I Done Wrong," and a personalized treatment of Freddy King's "San-Ho-Zay."

Sam's reputation was growing exponentially. He wowed an overflow throng at the 1969 Ann Arbor Blues Festival, and Stax was reportedly primed to sign him when his Delmark commitment was over. However, heart problems were fast taking their toll on Sam's health. On the first morning of December of 1969, he complained of heartburn, collapsed, and died.

Even now, more than a quarter-century after his passing, Magic Sam remains the king of Westside blues. That's unlikely to change as long as the subgenre is alive and kicking. ~ Bill Dahl

Chicago Blues 1957-1960

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Willie Dixon & Johnny Winter - Spoonful Of Blues

Year: 2006
Bitrate: MP3@320K/s
Time: 46:09
Size: 106,6 MB
Styles: Blues, Chicago blues
Scans: Full

1. Sittin' And Cryin' The Blues (4:44)
2. Spoonful (4:54)
3. I Just Wanna Make Love To You (5:57)
4. Chicago Here I Come (2:34)
5. Tore Down (4:39)
6. You Know It Ain't Right (4:22)
7. Mean Mistreater/Baby What You Want Me To Do (9:17)
8. Roach Stew (5:42)
9. Killing Floor (3:55)

Lifted from a 1970s live set, this Willie Dixon album features the singer and bassist working with guitarists Johnny Winter and Lee Jackson, pianist Lafayette Leake, harp man Shakey Horton, and drummer Clifton James. Unfortunately, the sound isn't great, and while it's obvious the band was having a hot night, it all comes out like a big, muddled Chicago blues stew. Too bad, since there is some nice playing here. /Steve Leggett, AllMusic

(Note: These recordings were also released in 1995 as "Crying The Blues".)

Spoonful Of Blues mc
Spoonful Of Blues zippy

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Ike Turner - Ike Turner 1958-1959

Size: 114,7 MB
Time: 48:20
File: MP3 @ 320K/s
Released: 1991
Styles: Blues, Rock, R&B, Soul
Art: Front & Back

01. Matchbox (Version B) (2:23)
02. (I Know) You Don't Love Me (2:12)
03. You Keep On Worrying Me (2:28)
04. Box Top (1:59)
05. I'm Gonna Forget About You (2:25)
06. Down And Out (3:09)
07. You've Got To Lose (2:22)
08. Walking Down The Aisle (2:16)
09. Matchbox (Version B) (2:25)
10. Tell Me Darling (Feat. Betty Everett) (2:04)
11. I'll Weep No More (Feat. Betty Everett) (2:56)
12. Keep On Lovin' Me Baby (Feat. Otis Rush) (2:22)
13. (I Know) You Don't Love Me (2:11)
14. You Keep On Worrying Me (2:33)
15. I'm Gonna Forget About You (2:24)
16. You've Got To Lose (2:26)
17. Walking Down The Aisle (2:17)
18. Tell Me Darling (Feat. Betty Everett) (2:09)
19. I'll Weep No More (Feat. Betty Everett) (2:49)
20. Matchbox (Version A) (2:23)

Ever the hustler, Ike Turner found himself picking up some extra money on a road trip through Chicago recording for Cobra Records both as a bandleader and sideman. After contributing the sparkle to several Otis Rush classics (an alternate of one of them, "Keep On Loving Me Baby" is found here) and some early Buddy Guy sides, Turner also recorded a handful of sides, scant few of them seeing release until now. This CD collects them all up, including surviving alternate versions, and is a delightful fly on the wall invite to a 1950s Chicago blues session. ~by Cub Koda

Ike Turner 1958-1959 MP3
Ike Turner 1958-1959 FLAC

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Willie Dixon & The Chicago Allstars - Good Advice

Year : 1991
Bitrate : Flac
Total Time : 53:27
Total Size : 334 MB
Styles: Chicago Blues
Scans: Full covers

01. Chicago Allstars Boogie (Instrumental) (5:39)
02. Tellin' The Blues (2:40)
03. Good Advice (5:07)
04. Introduction (1:29)
05. Built For Comfort (4:27)
06. Rock Me (9:03)
07. I Don't Trust Nobody (3:20)
08. So Hard To Leave You Alone (Vocals – Carey Bell) (8:34)
09. You Don't Have To Go (5:39)
10. Rock The House (Instrumental) (7:28)

In 1970, Willie Dixon released an album entitled I AM THE BLUES. It was a brash claim, but if anyone in blues history could stand up to this bit of bravura, Dixon was the man. Over the course of his career, he penned a suitcase full of tunes that defined Chicago blues easily the most influential strand of the blues in the post-war era.

This 1971 live set apparently recorded for a radio broadcast from a club in Long Beach California finds him in fine form, backed by some younger Chicago musicians, including Carey Bell on harp and none other than Butch Dixon (a relation, of course) on piano. Dixon, who sounds like he's having a terrific time, lectures the highly appreciative crowd about the history of the blues and serves up fine versions of his classics "Built for Comfort" and "Rock Me."

Recorded 1991, Long Beach, California (Wolf Records – 120.700 CD)
Willie Dixon - vocals (tracks: 2 to 7),bass; John Watkins - guitar,voc. on 9; Carey Bell - harp,voc on 8 ;Butch Dixon - piano;Freddie Dixon - bass; C. Jackson - drums

Good Advice

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Willie Dixon & Jimmy Reed - Big Boss Men

Year: 2001
Bitrate: MP3@320K/s
Time: 63:53
Size: 147,3 MB
Styles: Electric blues, Chicago blues
Scans: Full

1. Sittin' And Cryin' The Blues (4:33)
2. Spoonful (4:49)
3. I Just Want To Make Love To You (5:57)
4. Chicago Here I Come (2:36)
5. Tore Down (3:53)
6. Roach Stew (5:39)
7. Big Boss Man (12:59)
8. Stop Light (7:02)
9. You Don't Have To Go (Down The Road I Go) (9:35)
10. Bright Lights, Big City (6:45)

The six live 1971 tracks by Dixon on this disc comprise only about half of the CD; the remainder consists of live 1972 material by Jimmy Reed, recorded at the same venue (Liberty Hall in Houston). Although Dixon offers strong vocal performances (as well as playing bass) on these cuts, the sound quality isn't so hot, and adequate at best. The band's okay, the name sideman being Walter Horton on harmonica. In addition to the familiar classics "Spoonful" and "I Just Want to Make Love to You," there's also the much lesser-known emotional, minor-key slow burner "Sitting and Crying the Blues," with uncredited piano, and the instrumental "Chicago Here I Come."

On the final two songs, it might be hard to even consider Dixon as the featured artist, since Johnny Winter (credited as "John Winter") takes the vocal and guitar on "Tore Down," and then lead guitar on an instrumental, the Winter composition "Roach Stew." If this was longer and in decent fidelity, it would be a good record, but its shortcomings limit its attraction to severely dedicated Chicago blues fans. And, unfortunately, the four Jimmy Reed tracks drag the album's worth to a lower level, with sluggish performances (featuring Winter on guitar throughout) and sadly past-his-peak vocalizing by Reed. /Richie Unterberger, AllMusic

Tracks 1-6 credited to Willie Dixon
Tracks 7-10 credited to Jimmy Reed

(For details on featured musicians, see booklet information.)

Big Boss Men mc
Big Boss Men zippy

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Willie Dixon - Walkin' The Blues: Leader & Songwriter

Size: 173,2+172,4 MB
Time: 74:04+73:25
File: MP3 @ 320K/s
Released: 2017
Styles: Chicago Blues
Art: Full

CD 1: Leader
01. Wang Dang Doodle (2:47)
02. So Long (2:11)
03. Violent Love (2:21)
04. Walkin' The Blues (3:02)
05. Crazy For My Baby (2:50)
06. The Pain In My Heart (3:19)
07. Twenty Nine Ways To My Baby's Door (2:10)
08. All The Time (2:34)
09. Nervous (3:16)
10. Sittin' And Cryin' The Blues (3:20)
11. Built For Comfort (2:33)
12. Move Me (3:22)
13. Rub My Root (4:15)
14. Home To Mamma (4:58)
15. Shaky (3:40)
16. Now Howdy (5:55)
17. Chicago House Rent Party (5:00)
18. Tail Dragger (2:58)
19. Wrinkles (2:37)
20. One More Time (2:57)
21. Stewball (3:33)
22. T For Texas (4:19)

CD 2: Songwriter
01. Muddy Waters - I'm Your Hoochie Coochie Man (2:55)
02. Muddy Waters - You Shook Me (2:43)
03. Little Walter - My Babe (2:40)
04. Little Walter & The Jukes - Mellow Down Easy (2:43)
05. Howlin' Wolf - The Red Rooster (2:27)
06. Howlin' Wolf - I Ain't Superstitious (2:53)
07. Howlin' Wolf - Back Door Man (2:49)
08. Lowell Fulson - Do Me Right (2:55)
09. Buddy Guy - Sit And Cry (The Blues) (3:02)
10. Eddie Boyd - Third Degree (3:15)
11. Dale Hawkins - My Babe (2:27)
12. Willie Mabon - Seventh Son (2:51)
13. Jimmy Witherspoon - When The Lights Go Out (2:51)
14. Otis Rush - You Know My Love (2:39)
15. Otis Rush - I Can't Quit You Baby (3:06)
16. Muddy Waters - I'm Ready (3:04)
17. Muddy Waters - Close To You (3:06)
18. Muddy Waters - You Need Love (2:45)
19. Junior Wells - Two Headed Woman (2:40)
20. Bo Diddley - You Can't Judge A Book By Its Cover (3:08)
21. Bo Diddley - Diddy Wah Diddy (2:29)
22. Bo Diddley - Pretty Thing (2:46)
23. Elmore James - Talk To Me Baby (2:16)
24. Jesse Fortune - Too Many Cooks (2:53)
25. Howlin' Wolf - Spoonful (2:44)
26. Etta James - I Just Want To Make Love To You (3:05)

A towering figure of the history and evolution of Chicago blues, the legendary Willie Dixon was indisputably the pre-eminent blues songwriter of his era, credited with writing more than 500 songs by the end of his life. In addition to his recording career as a leader, he produced, arranged and played bass on dates by such important figures as Chuck Berry, Muddy Waters, Howlin’ Wolf, Little Walter, Sonny Boy Williamson, and others. In no small way, Dixon served as a crucial link between the blues and rock & roll.

This remastered 2-CD set contains the bulk of Willie Dixon’s best-known compositions. The first disc showcases sensational tunes featuring Dixon on bass and lead vocals (in some cases as co-leader with Memphis Slim or The Big Three Trio). The second presents the most celebrated versions of Dixon’s tunes (many of which also feature him on bass), performed by the greatest Chicago bluesmen. These songs were later covered and popularized by such rock-stars as The Rolling Stones, Led Zeppelin, The Doors, Cream, Bruce Springsteen and The White Stripes. Without a doubt, this is the material upon which Willie’s legacy was built.

Walkin' The Blues CD 1
Walkin' The Blues CD 2

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Willie Dixon - Mr. Dixon's Workshop

Size: 135,8 MB
Time: 57:55
File: MP3 @ 320K/s
Released: 2001
Styles: Chicago Blues
Art: Front

01 Otis Rush - I Can't Quit You Baby ( 2:57)
02 Harold Burrage - I Don't Care Who Knows ( 2:26)
03 Charles Clark - Hidden Charms ( 2:37)
04 Jessie Fortune - Too Many Cooks ( 2:50)
05 George 'Wild Child' Butler - Axe And The Wind ( 2:29)
06 Willie Mabon - Just Got Some ( 2:36)
07 Magic Sam - Easy Baby ( 2:44)
08 Lee Jackson - Fishin' In My Pond ( 2:39)
09 Junior Wells - Two-Headed Woman ( 2:38)
10 Walter 'Shakey' Horton - Have A Good Time ( 2:17)
11 Buddy Guy - Sit And Cry (The Blues) ( 3:00)
12 Betty Everett - My Love ( 2:17)
13 Buster Benton - Spider In My Stew ( 3:30)
14 Harold Burrage - Satisfied ( 2:56)
15 Mickey Gilley - My Babe ( 2:15)
16 Magic Sam - All Night Long ( 2:45)
17 Junior Wells - She's A Sweet One ( 3:01)
18 Otis Rush - My Love Will Never Die (Alternate Take) (11:51)

As a handy compilation of the prolific producer/songwriter/musician/A&R man's work for his non-Chess label clients, Mr. Dixon's Workshop is a captivating exploration into how productive Willie Dixon was on the '60s Chicago blues scene. While many of these tracks have appeared on other anthologies, specifically The Cobra Records Story box set, and some, like Otis Rush's "I Can't Quit You Baby," are ubiquitous, others are far more rare, making this a terrific collection of some relatively difficult to find music from one of post-war blues' most essential musicians. Charles Clark's pre-Howlin' Wolf version of "Hidden Charms," along with Jessie Fortune's "Too Many Cooks" ---the latter featuring young guitarist Buddy Guy and Big Walter Horton on harp -- popularized later by Robert Cray, are just two of the dusty gems found here. Guy also shows up on an early, earthy 1958 solo recording of "Sit and Cry the Blues." The fascinating final track, a previously unreleased studio session, is comprised of three alternate takes and shows the development of Otis Rush's "My Love Will Never Die" from a stark, solo piano-based ballad to the raging slow blues with horns it became, which puts the listener in an intriguing fly-on-the-wall position. Magic Sam, Junior Wells, and even a young Betty Everette are here, but it's the deep catalog items from obscure bluesmen like Harold Burrage, Lee Jackson, and Buster Benton (whose fiery "Spider in My Stew," featuring Carey Bell on eerie harp, is one of the album's highlights) that are the most welcome finds. Interestingly, a very Jerry Lee Lewis-sounding Mickey Gilley romps through a rockabilly version of "My Babe." Dixon's own rubbery standup basslines, along with his distinctive songwriting, are the constants that tie these rather diverse artists together. Liner notes from the knowledgeable Bill Dahl provide pertinent background information; however, clear notation of who plays on each song is sadly missing. You have to search through the five pages of text in the poorly designed booklet. Otherwise this is a wonderful single-disc compilation exhibiting just how multifaceted and talented Willie Dixon was, even beyond his groundbreaking and better-known work for Chess. ~Review by Hal Horowitz

Mr. Dixon's Workshop

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J.B. Lenoir - Down In Mississippi

Bitrate: MP3@320K/s
Time: 31:54
Size: 73.0 MB
Styles: Chicago blues
Year: 1980/2014
Art: Front

[3:14] 1. Down In Mississippi
[1:32] 2. Slow Down
[2:58] 3. If I Get Lucky
[2:44] 4. Shot On Meredith
[2:50] 5. Round And Round
[2:22] 6. Voodoo Music
[3:45] 7. Born Dead
[1:35] 8. Leavin' Here
[3:02] 9. Vietnam Blues
[2:30] 10. How Much More
[2:18] 11. Tax Payin' Blues
[2:58] 12. Feelin' Good

Drums – Fred Below; Guitar, Vocals, Written-By, Composed By – J.B. Lenoir; Vocals – Willie Dixon (tracks: A1, B6). Recorded September 2nd, 1966.

Monticello area native J. B. Lenoir (1929-1967) was best known during his lifetime for his 1955 hit “Mama, Talk to Your Daughter,” but he also played an important role in blues history because of his political engagement. In the 1960s Lenoir recorded a body of topical songs in Chicago that addressed discrimination, the civil rights movement, and the Vietnam War. Lenoir’s cousin Byther Smith from Monticello also became a Chicago blues recording artist, noted for his cutting-edge lyrics.

J. B. Lenoir (pronounced and sometimes misspelled "Lenore") was a distinctive blues artist, in both his high-pitched singing style and the candid political critiques in many of his song lyrics. Born on his family's farm near Monticello on March 5, 1929, he learned to play guitar from his father, Devitt (or Dewitt) Lenoir, Sr.; as a youth he also played with his brother Dewitt, Jr. Lenoir decided to leave because of racial discrimination and later recalled, “After the way they treat my daddy I was never goin’ to stand that no kind of way.” Lenoir began traveling to play music in his teens. He lived in Gulfport and worked at the Splendid Cafe there at one point in the 1940s, and he said he later performed in New Orleans with Sonny Boy Williamson No. 2 (Rice Miller) and Elmore James. By 1949 Lenoir had settled in Chicago, where blues kingpin Big Bill Broonzy took him “as his son.” Lenoir also performed with Memphis Minnie, Muddy Waters, and Little Walter, and soon formed his own band, J. B. and his Bayou Boys, with Sunnyland Slim on piano.

Down In Mississippi mc
Down In Mississippi zippy

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Willie Dixon - I Think I Got The Blues / What Happened To My Blues

Album: I Think I Got The Blues
Size: 95,9 MB
Time: 35:50
File: MP3 @ 320K/s
Released: 1973/1998
Styles: Chicago Blues
Art: Full

01. Bring It On Home (2:46)
02. I Don't Trust Nobody (4:08)
03. God's Gift To Man (4:11)
04. Hoo Doo Doctor (2:29)
05. My Babe (3:03)
06. Wang Dang Doodle (4:36)
07. When I Make Love (3:04)
08. I Think I Got The Blues (4:02)
09. But It Sure Is Fun (3:02)
10. I Just Want To Make Love To You (4:23)

Album: What Happened To My Blues
Size: 97,9 MB
Time: 38:03
File: MP3 @ 320K/s
Released: 1976/1998
Styles: Chicago Blues
Art: Full

01. Hey Hey Pretty Mama (3:07)
02. Moon Cattin' (3:43)
03. What Happened To My Blues (3:54)
04. Pretty Baby (2:56)
05. Got To Love You Baby (3:14)
06. Shakin' The Shack (4:01)
07. Hold Me Babe (5:12)
08. It's Easy To Love (5:40)
09. Uh Huh Baby (3:03)
10. Put It All In There (3:09)

Willie Dixon's life and work was virtually an embodiment of the progress of the blues, from an accidental creation of the descendants of freed slaves to a recognized and vital part of America's musical heritage. That Dixon was one of the first professional blues songwriters to benefit in a serious, material way -- and that he had to fight to do it -- from his work also made him an important symbol of the injustice that still informs the music industry, even at the end of the 20th century. A producer, songwriter, bassist, and singer, he helped Muddy Waters, Howlin' Wolf, Little Walter, and others find their most commercially successful voices.

By the time he was a teenager, Dixon was writing songs and selling copies to the local bands. He also studied music with a local carpenter, Theo Phelps, who taught him about harmony singing. With his bass voice, Dixon later joined a group organized by Phelps, the Union Jubilee Singers, who appeared on local radio. Dixon eventually made his way to Chicago, where he won the Illinois State Golden Gloves Heavyweight Championship. He might have been a successful boxer, but he turned to music instead, thanks to Leonard "Baby Doo" Caston, a guitarist who had seen Dixon at the gym where he worked out and occasionally sang with him. The two formed a duo playing on street corners, and later Dixon took up the bass as an instrument. They later formed a group, the Five Breezes, who recorded for the Bluebird label. The group's success was halted, however, when Dixon refused induction into the armed forces as a conscientious objector. Dixon was eventually freed after a year, and formed another group, the Four Jumps of Jive. In 1945, however, Dixon was back working with Caston in a group called the Big Three Trio, with guitarist Bernardo Dennis (later replaced by Ollie Crawford).

During this period, Dixon would occasionally appear as a bassist at late-night jam sessions featuring members of the growing blues community, including Muddy Waters. Later on when the Chess brothers -- who owned a club where Dixon occasionally played -- began a new record label, Aristocrat (later Chess), they hired him, initially as a bassist on a 1948 session for Robert Nighthawk. The Chess brothers liked Dixon's playing, and his skills as a songwriter and arranger, and during the next two years he was working regularly for the Chess brothers. He got to record some of his own material, but generally Dixon was seldom featured as an artist at any of these sessions.

Dixon's real recognition as a songwriter began with Muddy Waters' recording of "Hoochie Coochie Man." The success of that single, "Evil" by Howlin' Wolf, and "My Babe" by Little Walter saw Dixon established as Chess' most reliable tunesmith, and the Chess brothers continually pushed Dixon's songs on their artists. In addition to writing songs, Dixon continued as bassist and recording manager of many of the Chess label's recording sessions, including those by Lowell Fulson, Bo Diddley, and Otis Rush. Dixon's remuneration for all of this work, including the songwriting, was minimal -- he was barely able to support his rapidly growing family on the 100 dollars a week that the Chess brothers were giving him, and a short stint with the rival Cobra label at the end of the '50s didn't help him much.

During the mid-'60s, Chess gradually phased out Dixon's bass work, in favor of electric bass, thus reducing his presence at many of the sessions. At the same time, a European concert promoter named Horst Lippmann had begun a series of shows called the American Folk-Blues Festival, for which he would bring some of the top blues players in America over to tour the continent. Dixon ended up organizing the musical side of these shows for the first decade or more, recording on his own as well and earning a good deal more money than he was seeing from his work for Chess. At the same time, he began to see a growing interest in his songwriting from the British rock bands that he saw while in London -- his music was getting covered regularly by artists like the Rolling Stones and the Yardbirds, and when he visited England, he even found himself cajoled into presenting his newest songs to their managements. Back at Chess, Howlin' Wolf and Muddy Waters continued to perform Dixon's songs, as did newer artists such as Koko Taylor, who had her own hit with "Wang Dang Doodle." Gradually, however, after the mid-'60s, Dixon saw his relationship with Chess Records come to a halt. Partly this was a result of time — the passing of artists such as Little Walter and Sonny Boy Williamson reduced the label's roster of older performers, with whom he had worked for years, and the company's experiments with more rock-oriented sounds (especially on the "Cadet Concept" imprint) took it's output in a direction to which Dixon couldn't contribute. And the death of Leonard Chess in the fall of 1969 and the subsequent sale of the company brought about the end of Dixon's relationship to the company.

By the end of the 1960s, Dixon was eager to try his hand as a performer again, a career that had been interrupted when he'd gone to work for Chess as a producer. He recorded an album of his best-known songs, I Am the Blues, for Columbia Records, and organized a touring band, the Chicago Blues All Stars, to play concerts in Europe. Suddenly, in his fifties, he began making a major name for himself on-stage for the first time in his career. Around this time, Dixon began to have grave doubts about the nature of the songwriting contract that he had with Chess' publishing arm, Arc Music. He was seeing precious little money from songwriting, despite the recording of hit versions of such Dixon songs as "Spoonful" by Cream. He had never seen as much money as he was entitled to as a songwriter, but during the 1970s he began to understand just how much money he'd been deprived of, by design or just plain negligence on the part of the publisher doing its job on his behalf.

Arc Music had sued Led Zeppelin for copyright infringement over "Bring It on Home" on Led Zeppelin II, saying that it was Dixon's song, and won a settlement that Dixon never saw any part of until his manager did an audit of Arc's accounts. Dixon and Muddy Waters would later file suit against Arc Music to recover royalties and the ownership of their copyrights. Additionally, many years later Dixon brought suit against Led Zeppelin for copyright infringement over "Whole Lotta Love" and its resemblance to Dixon's "You Need Love." Both cases resulted in out-of-court settlements that were generous to the songwriter.

The 1980s saw Dixon as the last survivor of the Chess blues stable and he began working with various organizations to help secure song copyrights on behalf of blues songwriters who, like himself, had been deprived of revenue during previous decades. In 1988, Dixon became the first producer/songwriter to be honored with a boxed set collection, when MCA Records released Willie Dixon: The Chess Box, which included several rare Dixon sides as well as the most famous recordings of his songs by Chess' stars. The following year, Dixon published I Am the Blues (Da Capo Press), his autobiography, written in association with Don Snowden.

Dixon continued performing, and was also called in as a producer on movie soundtracks such as Gingerale Afternoon and La Bamba, producing the work of his old stablemate Bo Diddley. By that time, Dixon was regarded as something of an elder statesman, composer, and spokesperson of American blues. Dixon eventually began suffering from increasingly poor health, and lost a leg to diabetes. He died peacefully in his sleep early in 1992. ~by Bruce Eder

I Think I Got The Blues
What Happened To My Blues

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Sonny Boy Williamson I - Bluebird Blues: The Secret History Of Rock & Roll

Bitrate: MP3@320K/s
Time: 72:22
Size: 165.7 MB
Styles: Chicago blues
Year: 2003
Art: Front

[2:58] 1. Good Morning School Girl
[3:03] 2. Blue Bird Blues
[2:57] 3. Sugar Mama Blues
[2:33] 4. Got The Bottle Up And Gone
[2:46] 5. Early In The Morning
[2:54] 6. Whiskey Headed Blues
[3:31] 7. Decoration Blues
[3:12] 8. Deep Down In The Ground
[2:46] 9. I Been Dealing With The Devil
[2:56] 10. My Little Machine
[2:50] 11. Jivin' The Blues
[2:59] 12. Western Union Man
[3:09] 13. My Baby Made A Change
[3:03] 14. Mattie Mae Blues
[3:13] 15. Sloppy Drunk Blues
[3:02] 16. Million Years Blues
[2:42] 17. My Black Name Blues
[2:36] 18. She Was A Dreamer
[2:45] 19. Sonny Boy's Jump
[2:38] 20. Elevator Woman
[2:54] 21. Hoodoo Hoodoo
[2:33] 22. Mellow Chick Swing
[2:26] 23. Polly Put Your Kettle On
[2:47] 24. Alcohol Blues
[2:56] 25. Better Cut That Out

Bluebird Blues focuses on 25 excellent performances by John Lee Williamson (aka Sonny Boy Williamson I, not to be confused with Rice Miller aka Sonny Boy Williamson II). These tracks were originally recorded between May 1937 through November 1947 for RCA Victor and include the staples "Sugar Mama Blues," "Blue Bird Blues," and one of the most recorded tunes in both blues and rock, "Good Morning, School Girl." Joining the versatile prewar harmonica wizard on numerous tracks are Big Joe Williams, Robert Lee McCoy, Henry Townsend, Yank Rachell, Blind John Davis, Big Bill Broonzy, Willie Dixon, and Eddie Boyd. If the only Sonny Boy you're familiar with is Rice Miller, give Sonny Boy I equal space in your collection. This is a great disc to start with. ~Al Campbell

Bluebird Blues: The Secret History Of Rock & Roll mc
Bluebird Blues: The Secret History Of Rock & Roll zippy

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Willie Dixon - Hidden Charms

Year: 1988/1991
Bitrate: MP3@320K/s
Time: 47:05
Size: 108,4 MB
Styles: Electric blues
Scans: Full

1. Blues You Can't Lose (5:48)
2. I Don't Trust Myself (4:25)
3. Jungle Swing (5:29)
4. Don't Mess With The Messer (7:12)
5. Study War No More (4:35)
6. I Love The Life I Live (3:12)
7. I Cry For You (4:42)
8. Good Advice (5:15)
9. I Do The Job (6:23)

Hidden Charms won a Grammy Award for Best Traditional Blues Recording in 1988. Featuring an all-star band of Chess session musicians Dixon had worked with from the 1950s and 1960s mixed with some newer talents like Sugar Blue (on harp). Jazz bassist Red Callender provides classy bass lines that provides tracks like "Don’t Mess With The Messer" and "I Don’t Trust Myself" with an old school swinging big band sound.

Personnel: Willie Dixon (vocals), Lafayette Leake (piano), Red Callender (bass), Earl Palmer (drums), Cash McCall (electric guitar, national steel, harmony vocals), T Bone Burnett (dobro), Sugar Blue (harmonica).

Hidden Charms mc
Hidden Charms zippy

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