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Genre Free Music and Mirth

A collection of whatever blows my hair back gathered from all over the Internet...and beyond!

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And we should consider every day lost on which we have not danced at least once. And we should call every truth false which was not accompanied by at least one laugh.
Friedrich Nietzsche

Todd Snider - Vinyl Records

Absynth Quintet

 Couch Burnin' Song


Blog Posts

Yank Rachell

Posted by madeline burke on March 16, 2015 at 8:54am 4 Comments

James "Yank" Rachell was the primary exponent of blues mandolin, although he also played guitar, violin, harp and sang expertly well. Born on a farm outside Brownsville, Tennessee, Yank Rachell picked up the mandolin at the age of eight, mainly teaching himself; an early encounter with "Hambone" Willie Newbern early on helped him as well. Rachell began to work dances with singer and guitarist Sleepy John Estes in the early '20s. In early 1929, he co-formed the Three J's Jug Band with Estes and pianist Jab Jones. The Three J's Jug Band were an instant hit and managed to work the dances during the lucrative jug-band craze in Memphis and traveled often to Paducah, Kentucky. The group recorded 14 sides credited jointly to Estes and Rachell for Victor for 1929 and 1930.

After the record business was flattened by the depression, the Three J's broke up. Estes and harmonica player Hammie Nixon went on to Chicago to seek their fortune in the nightclubs, but Yank Rachell decided to try his hand at farming and also worked for the L&N Railroad. Ironically, it was Rachell who was next to record -- during a stopover in New York Rachell teamed up with guitarist Dan Smith and laid down 25 titles for ARC in just three days, though only six of them were issued.

Shortly before the ARC date, Yank Rachell had discovered a kid harmonica player that he believed had real talent, John Lee "Sonny Boy" Williamson. They worked together at the Blue Flame Club in Jackson, Tennessee starting in 1933. In 1934 Williamson went north to Chicago. With the success of Williamson's first Bluebird dates of 1937, Rachell decided to join Sonny Boy in Chicago for sessions in March and June of 1938. Yank Rachell also contributed four sides of his own to each session, and then 16 more in…


Yank Rachell’s Tennesse Jug-Busters – Mandolin Blues 1963

Posted by madeline burke on March 16, 2015 at 8:52am 0 Comments

Yank Rachell’s Tennesse Jug-Busters – Mandolin Blues 1963

By madshoes

People have a lot of strange ideas about the blues--Believe it or not, there are quite a few folks out there who actually think that Keb Mo' is the real deal! Serious fans of this often misunderstood art form probably already know that Yank Rachell is one of the great unsung heroes of the blues. This collection of his work ranks among the very best of hardcore acoustic blues recordings, bar none. Mandolin, guitar, and harmonica wail as if with one voice, and what an intensely satisfying voice it is! Rachell and his small band evoke both the joy and the pain of human experience, often at the very same moment in a single heartfelt tune. The music is somewhat reminiscent of the pre-electrified Muddy Waters, before his country roots began fading under the harsh lights of Chicago sophistication. For blues fans who are chiefly familiar with the Mississippi styles of Robert Johnson and his followers, the Tennessee-rooted sound of Yank Rachell will come as a breath of fresh air. I like this album a lot better than most of what I've heard of Rachell's recordings with Sleepy John Estes. If you care at all about country blues, you can't go wrong with this one!

Recorded March 1963

Vouti O Roonie McVouti O Zoot! - Slim Gaillard

Posted by madeline burke on January 4, 2015 at 8:59am 0 Comments



Slim Gaillard was a charismatic, jive-talking carnival of a man who was the quintessential bebop-era hipster in the 1930s and 1940s. Gaillard's frequent use of his own invented hip language was at once dizzyingly funny and warmly inviting. Gaillard, a multi-instrumentalist and composer, crossed musical paths at one time or another with countless bop heavies, from Ben Webster to Charlie Parker. In his compositions, he utilized humour not for cheap laughs, but rather for surprising and often surreal juxtapositions of sounds. Far from being slight, the results are richly humane, and have inspired everyone from the '50s Beat authors to '90s neo-swing bands.

"One of the most eccentric vocalists ever to hit the jazz scene, Slim Gaillard became a legendary cult figure thanks to his own privately invented jive dialect "vout," a variation on hipster slang composed of imaginary nonsense words ("oreenie" and "oroonie" being two other examples).noted for his vocalese singing and word play in a language he called "Vout". (In addition to speaking 8 other languages)

African Jive…


Happy Birthday Screamin' Jay Hawkins - At Home With Jay

Posted by madeline burke on July 18, 2014 at 2:51pm 1 Comment



Screamin' Jay Hawkins - At Home With Jay In The Wee Wee Hours

Screamin' Jay Hawkins (1929-2000) was a true original. A former opera singer and boxing champ, he was also one of the innovators of rock and roll who often gets overlooked today. I like to say he was the Little Richard who could kick your ass. "At Home With Jay" is an incredible and intimate live album, obviously recorded in a very small venue, and reveals him as the entertainer that he was. No band, just Jay and a piano with a little singalong help from the crowd. I hadn't heard this in years until the other day and I can't stop listening to it. This is a record that just really makes you feel good and appreciate that kind of talent. To just be able to fucking entertain like that. I mean I would put this in the same category of live album as Sam Cooke's "Live at the Harlem Square Club". Difference is that Sam had a rockin' band to go with his voice on that record. Here Jay has only his piano and his sense of humor. There's actually another great Screamin' Jay live record that I almost posted. It's Jay with The Fuzztones backing him up. I'd recommend that one next to this one.

Anyway, here's another great feel good rock and roll record that strips it on down and gives you only the best of what it's about. Impossible to not tap your little wingtips to! Now "get yourself a fur burger" and download this…


Happy Birthday Wes Race!

Posted by madeline burke on June 22, 2014 at 5:30am 2 Comments

Thanks to Harry Hoggard for the above graphic !

Wes Race Showcase

I. Bright Boys Boogie -

Sumter Burton guitar and vocals, Jim Colegrove- bass, Mike Price - piano, Larry Reynolds - drums,Wes Race - vocals.

2. Hip Card Punched -

Wes Race - Vocal, Shawn Pittman - guitar, Matt Farrell - piano, Kaz Kazenoff - Sax, Vic Gerrard - bass

3. Stella Fayes Maineline -

 Shawn Pittman - guitar and vocal, Matt Farrell - piano, Kaz Kazenoff - Sax, Vic Gerrard - bass

Written by Wes Race

4. Cockroach Run -

Johnny Moeller - guitar, Jay Moeller - drums, Kaz Kazeroff - sax

5. Strange Stuff -

Homer Henderson - guitar and vocals, Mike Buck - drums.

6.Mate Like A Cheetah -

Homer Henderson - Guitar, Mike Buck Drums - Written by Nick Tosches

7. Ugly Woman -

James Hinkle - vocals and guitar, Nick Connolly - piano,…


VA – Chicago Blues Live At The ”Fickle Pickle”

Posted by madeline burke on May 2, 2014 at 8:00am 0 Comments

Chicago Blues – Live At The Fickle Pickle, a long out of print LP on the Flyright label. The Fickle Pickle was a club on Rush Street in Chicago managed at one time by Michael Bloomfield. Regulars included Big Joe Willies, St. Louis Jimmy, James Brewer, Billy Boy Arnold, Little Johnny Jones, J.B. Lenoir and others.

Genre: Blues Country: USA Year: 1979 Audio codec: MP3 Riptype: tracks Bitrate: 320 kbps Playtime: 40:34 Size: 94 MB


01. Johnny Jones & Willie Dixon – Johnny’s Boogie [00:02:39]

02. Maxwell Street Jimmy – Long-Haired Doney [00:03:09]

03. John Henry Barbee – Baby I Need Your Love [00:03:13]

04. Billy Boy Arnold & Johnny Jones – Sloppy Drunk [00:02:45]

05. Blind James Brewer – Big Road Blues [00:03:26]

06. Blind James Brewer – See What Poor Kelly Done [00:03:26]

07. Big Joe Williams – Sugar Mama [00:02:46]

08. Billy Boy Arnold & Johnny Jones – Early In The Morning [00:02:30]

09. Maxwell Street Jimmy – Make Some Love To Me [00:02:47]

10. Maxwell Street Jimmy – Smokestack Lightnin’ [00:02:43]

11. Billy Boy Arnold & Johnny Jones – My Little Machine [00:04:22]

12. John Henry Barbee – Tell Me Baby [00:03:25]

13. Billy Boy Arnold & Johnny Jones – Going To The River [00:03:14]


Beat Jazz - Pictures From A Gone World - Vol. 2

Posted by madeline burke on April 16, 2014 at 10:22pm 1 Comment

Released on the Pesky Serpent label after volume one was, as the saying goes, real real gone. Nonetheless a fingersnappin' set of goatee growers, bent bop tunes, slang poetry & crazy cookin' cats that're really on the stick. They're all here: Dexter Gordon's rival Wardell Gray (who improvised the melody that later became Annie Ross' 'Twisted'), lip-flapper Babs Gonzales (who wrote the song 'Oop Pop a Da' for Dizzy Gillespie), Nat Cole's slicker-n-shit guitarist Oscar Moore, psychiatry-lounge singer Katie Lee, Chicago-pianist-turned-sound-effects-freak Mel Henke.

"Beat poetry, hip Jazz and Be-Bop with the feel of a smoky club underground club in the early '60s, make this one of the coolest compilations you'll ever hear.


Tracklisting: Buddy Collette-Jungle Pipe, Kenyon Hopkins-Let Me Out, Amus Moore-The Hip Men, Wardell Greay-5 Star, Young Tiger-Calypso Be, Babs Gonzales-Lullaby of the Doomed, Muhamed Habeebalah-Sneaking, Ernie Andrews-Green Gin, Oscar Moore-Kenya, Early Zell-Aunt Woo Wa, Katie Lee-Sick Sounds, John Lewis Trio & Millie-Snake Hips, Bing Day-Mama's Place, Maxwell H Brock-Bucket of Blood, Joya Sherril-Desdemona's Lament, Mel Henke-Shock Treatment.…


On being. (or stoned again)

Posted by Grim Reefer on April 12, 2014 at 9:14pm 0 Comments

"You know, it's funny how people just want to believe what's convenient

Nothing happens on purpose, it's an accident if it happens at all

And everything that's happening to us seems like it's happening without our consent

But we're busy talking back and forth to our shadows on an old stone wall".


That my friends pours off the page like burning coals....or something like that.

.......Its a truism, i believe, that the work of the artist, whatever the medium of expression, is only half complete without a receptor, an entity capable of and compelled to bring something of themselves to the work.  .....the cosmic alchemy that transforms the prosaic mechanics of oil on canvas, word on paper, or music in the air...into a shared experience spanning boundaries of space and time..also provides a glimpse into the depths......that prove our humanity...and whisper of immortality.

   The performer walks a tightrope.

The poets and painters have fled the scene

The novelist hides between pages and pokes his thoughts into adjectives.......

The performer walks a tightrope.

"........See the man with the stage fright........"…


Remembering Hound Dog Taylor - (April 12, 1915 - December 17, 1975)

Posted by madeline burke on April 12, 2014 at 11:33am 0 Comments

When Theodore Roosevelt "Hound Dog" Taylor sat down on his battered folding chair, slipped his steel slide onto his six-fingered left hand and tore into one of his foot-stomping shuffles, supercharged boogies or a searing slow blues, he had one thing in mind--making people forget their troubles, either by dancing or by immersing themselves in the deepest of bottleneck blues. And whether he was playing for old friends at one of Chicago's inner-city bars or for thousands of college kids and hippies at clubs and campuses around the country, Taylor's music never changed. With just two guitars and a drum set, Hound Dog Taylor and the HouseRockers created a rocked-out, hypnotic, ultra-danceable sound that is as emotionally powerful and wildly energizing today as it was the day they produced it.

Perhaps the only polydactyl bluesman ever or, at least the most famous, Hound Dog Taylor is one of my favorite blues artists. Theodore Roosevelt “Hound Dog” Taylor was 55 when a young man by the name of Bruce Iglauer was at one of his shows. Iglauer was so impressed, he started Alligator records for the express purpose of releasing albums by Hound Dog Taylor and the Houserockers. I can’t say I blame him as I absolutely love Taylor’s raw, energetic blues.  Simple, gritty shake yer booty music and not the overly polished & honed stuff that I’ve heard around town. I first started listening to Hound Dog in the mid-90s after a girlfriend left me for another man. I think I played “She’s Gone” about a million times while drowning my sorrows in a glass. I’m sorry but local acts like Westside Andy and the Mel Ford Band just wouldn’t work – they can’t cut close enough…


Bob Geddins' Cava-Tone Records Story

Posted by madeline burke on April 11, 2014 at 1:20pm 0 Comments

Acrobat Records (UK) presents "Bob Geddins' Cava-Tone Records Story 1946-49," featuring 24 ground-breaking tracks from the Oakland, California blues, gospel and R&B producer.

1 Prison Bound - Fulson, Lowell

2 My Baby Left Me - Fulson, Lowell

3 Nobody's Business - Geddins, Bob Cavaliers & Jimmy Wilson

4 Ghost Riders - Geddins, Bob Cavaliers & Jimmy Wilson

5 Bad Luck And Trouble - McCracklin, Jimmy

6 Railroad Blues - McCracklin, Jimmy

7 Poor Boy - James, Ulysses

8 Stormin' And Rainin' - Fulson, Lowell

9 Jimmy's Blues - McCracklin, Jimmy

10 Lonesome Blues - Franklin, Emery

11 It's A Sin To Tell A Lie - Wilson, Jimmy & Scat Man Crothers

12 Mistake In Life - Wilson, Jimmy

13 Ain't No Fault Of Mine - Roy Hawkins

14 They Raided The Joint - Roy Hawkins

15 September Song - King, Saunders

16 Nobody Wants Me - King, Saunders

17 When Your Lover Has Gone - King, Saunders

18 Big Fat Butterfly - King, Saunders

19 Brother Moses - Rising Star Gospel Singers

20 While The Blood Is Running Warm In Your Veins - Rising Star Gospel Singers

21 I Trust In God - Rising Star Gospel Singers

22 Telephone Line - Rising Star Gospel Singers

23 I'm So Tired I Could Cry - Geddins, Bob Cavaliers

24 West Side Jump (Boogie Boy Boogie) - West Side Trio

Bob Geddins and sons, early 1980s…



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