Key to the Highway KSCU
103.3FM
2019-07-24 2-5PM
Luther Allison
Cannonball Adderley
The Four Blazes
*************************
I tell ya, this University atmosphere is having an
effect on me. I seem to think I’ll be
able to defy the basic tenets of Quantum Physics by stretching the boundaries
of time itself. As I was several months
ago assembling this playlist, which will be my first new show at KSCU, I was
also considering it as a podcast with extended time beyond the normal three hours. Podcasting is still in the back of my mind,
although grabbing onto new technology is not my strongest point. I think I have the software sufficient for
the task and I purchased a headset for the voice recording, but learning how to
put it all together is, for some reason, not a top priority. However, the summer situation here at KSCU
might allow the extra air time. There is
no one scheduled after 1PM so I might stop in early for an extra hour or so (might being the operative word) and, if
nobody shows up at 5PM as occurred last show, there might be time to stick
around for maybe another half hour. I
just might be exhausted after that (d’ya think?), but today’s show features a
couple of favorite artists worthy of the extended airplay.
The Jakester, head of KSCU’s Blues Department and a
great help in my acceptance at the station, gave me these suggestions for
online listening: For listening to KSCU on a
computer, you need to use iTunes or WinAmp for the media player.
To listen to KSCU on a smafon use either
the NextRadio or TuneIn apps.
The studio phone number is (408) 554-KSCU or, for the
digitally inclined 554-5728 but, as always, make sure no one is speaking on the
air before you dial.
All
my writings going back to 2014 are still available at key2highway.blogspot. I do have an emailing list and, for those of
you who are not yet on it, I would be happy to add you to it if you email me at
coyledon@yahoo.com (my computer’s
autocorrect adds a letter t, so if that shows up here please remove it before
trying to contact me; apparently, cotyledon is some kind of botanical term).
*************************
On last show’s posting, I mentioned the passing of Blues
DJ par excellence Curtis Jay and it evoked responses from a few friends telling
fond memories, but a while back I had to divide my email list in two because it
was too large so they reached only half of you.
I would like to post them here for everyone to see and, hopefully, add
your own new ones to the mix. I’ll
likely send a separate email for these rather than including them on the show
emails.
From Jim Dandy
and his son Dan, DJ Toast, both at KKUP:
Two fine times come to mind...
The three of us (CJ, Don and Me) going to
an afternoon Giant Game at the Stick against the Cincinnati Reds. We sure
enjoyed that day and talk for years about doing it again but never got around
to it. Wish we had.
CJ and I drove to Seattle via camping on
Mount Rainier for The Bumper-shoot Music Festival. Such a great time and
we camped near Seattle at place recommended by Mike Meyers who joined us from
Eugene. Also my son Dan (DJ Toast) flew up and joined us.
There was a memorable performance by Luther
Alison who put out so much that he could not do an encore. I think he passed a
few months later unfortunately. Coming back, we drove into the night and
remember throwing our sleeping bags on the grass at a nice Oregon park. Yes, at
about 0530, the sprinklers came on and we made a mad dash to the car and got
the hell out of Oregon making good time that day.
He was a great guy to travel with and sure
remember some of his blues interviews. One in particular was at KFJC and Jimmy
McCracklin of the old Blues Blasters and how Jimmy boxed against Archie Moore
back in the day.
Ron was a great guy...
And Dan added,
I was remembering the Bumbershoot trip too,
camping with my Dad and CJ. Was so enjoyable. Camping then hitting the music.
Sitting around the fire. Relaxing after a day of music. Mapping out what we
wanted to see. Good memories!
Thanks guys. Ron
Butler was CJ’s real name and, with all the radio people having air names, I
still have always called them by their real names except for Curtis; that was
how he introduced himself to me and somehow nothing else ever seemed
appropriate, just Curtis Jay or CJ the DJ.
I sure remember that day at Candlestick even though it was way back in
the early 90s. Aside from a couple of
trips with Johnnie Cozmik to see my Reds play his A’s, I don’t believe I have
done anything non-music related with any of my radio cohorts.
Obviously, we’re on the same thought wave, Jim; Jimmy
McCracklin is on my short list of ready to go shows likely to air over summer
and I’ll be speaking more of Luther Allison today as well as playing much of a
concert from the fourth of July just before his passing.
And from George
Byrd, also at KKUP:
Ron and his girlfriend lived a couple blocks from me in Menlo
Park for a few years in the early 2000s. She was a ham radio operator, and
an
engineer by profession. I chatted with them both around the neighborhood many times during those years.
They knew I was a ham operator in the 1950s, so as a joke one day they gave me an exquisite little Japanese FM band to American FM band frequency converter. I still have it. I'll always treasure their joke gift because it reminds me of Ron's offbeat sense of humor.
Ron's girlfriend died young, of cancer I think. He left Menlo Park and moved back to Los Altos.
I last saw Ron a few years ago at the Koll Circle studio early one Sunday morning. He had just done an overnight shift. He had a helper who
drove his car for him and helped him get around. He still had his sense of humor.
engineer by profession. I chatted with them both around the neighborhood many times during those years.
They knew I was a ham operator in the 1950s, so as a joke one day they gave me an exquisite little Japanese FM band to American FM band frequency converter. I still have it. I'll always treasure their joke gift because it reminds me of Ron's offbeat sense of humor.
Ron's girlfriend died young, of cancer I think. He left Menlo Park and moved back to Los Altos.
I last saw Ron a few years ago at the Koll Circle studio early one Sunday morning. He had just done an overnight shift. He had a helper who
drove his car for him and helped him get around. He still had his sense of humor.
Gotta agree with ya about his sense of humor,
George. It was common knowledge that
Blinky had been a longtime friend of mine when I got him to host KKUP’s 1993
Blues marathon live performance in his bar.
Some time later, maybe a coupla years, a Blinky’s tee shirt appeared in
my mail slot with a note attached saying, “Thanks for the support. Blinky”.
I knew it wasn’t real because he would have signed his true name,
Dick. Apparently, CJ had seen the shirt
at a yard sale or something and figured he could prank me. It did have me wondering for quite a while, though,
what scallywag had done it!
When
I heard about CJ’s passing, I tried to set up a going away party at the Fourth
Street Bowl, a place most of CJ’s friends would know, but was warned there
would be a parking problem since bowling season was in full swing and could not
in good conscience ask folks to come from all parts of the area and not be able
to find parking. That was in April, I
believe, and I had a particularly full list of things to do in May (including
getting on here at KSCU) so I could not follow it further. Perhaps this will reignite the momentum and
someone will suggest an appropriate venue and get it all back on track,
appropriate being somewhat close to KKUP because if one could travel there for
a show it wouldn’t be too distant for such a tribute among friends. CJ must have set some indelible and timeless
memories sufficient for this to still work.
Please reply back with suggestions and memories.
*************************
Okay, now it is time to get down to the business at
hand. For the longest time, since the
late 60s, I have said that the triumvirate of my favorites was Freddie King,
Howlin’ Wolf and Magic Sam and it took almost a half century before realizing I
had another name to add, Luther Allison,
and I believe he jumped right to the top of the list.
Indeed, it was when I was just getting into Magic Sam
that Delmark put out an LP, Sweet Home Chicago, featuring four tracks by Magic
Sam and his sax player Eddie Shaw, that I was first exposed to Luther from his
included two songs. But before I get engrossed
in his albums, a biography would seem appropriate. I am always fearful of writing bios of
artists I admire so much because my personal expectations are so high that it
must be the unattainable perfect, but here we go. Luther was born in Arkansas in 1939, one of
at least twelve children. His earliest string
instrument was a diddley bow where a wire, usually taken from a screen door,
was nailed to the wall, then plucked as the pitch was changed by running a
bottle up and down the string.
The Allison clan had been a farming family until they moved
to Chicago 1951, and Luther was singing with the family’s Gospel group, The
Southern Travelers, well before picking up the guitar in his teens. One of Luther’s schoolmates was Muddy Waters’
son and meeting the man must have had an effect on the young Allison. Luther’s brother Ollie had a Blues band, the
Rolling Stones, who played the West Side from 1954 to 1957. “By the time I got home from school they were
into their practice. It sounded good to
me. One day, I said, ‘Hey, please show
me how to play boogie woogie on the guitar.’
He said, ‘Sit down on my lap and let’s go.’ Two years later, I said, ‘Hey, this is what I
want to do.’”
After a preacher taught Luther how to do shoe repair, learning
the cost of setting up in that business brought about his decision to go
fulltime into music, starting out on bass in his friend Jimmy Dawkins’ group. By 1957, Luther had his own band going,
playing a year at the Bungalow on Chicago’s West 15th Street, then
on to Argo, Illinois where he first met Freddie King.
“Freddie King, Magic Sam, Hubert Sumlin and I used to
hang out at backyard barbecues together on the West Side. We’d get out our guitars and play
together. We’d show each other little
riffs and grooves, so we could all play together at the same time and not get
in each other’s way.”
A 1958 studio session was found by Luther’s son
Bernard stashed away in his mother’s belongings and posthumously released in
2007 under the title Underground. Luther
was playing in bass player Bobby Rush’s band at the time (Robert Plunkett on
drums, Bobby King playing rhythm guitar and a guy named Mule provided much of
the bass while Rush was occupied in the producer’s role) and Rush had accrued
some recording time and shared it with the 18 year old Allison.
As Bernard says, “I look at this as discovering
something like Robert Johnson’s lost songs. I think a lot of Luther’s fans are
going to be so amazed at what he was playing at 18.”
Rush, himself only 25 at the time, recalled almost a
half century later, “He was playing in my band.
I think it was probably the first band he’d ever played in. We got together and went down to Wonderful
Records and just started fooling around with some songs . . . We’re just going
in there to do what we would do on the bandstand at night. . . At that time,
you just turned on the tape. If it was
wrong, you didn’t stop the tape. . . We cut the thing in one take because we
didn’t have the money to do things better.”
Bernard, again: “You definitely know its Luther when
you hear this. I hear a lot of where he
was headed. Once I got to Europe and got
into the band, I always told him to go back and listen because what he was
playing at 18 was amazing. Musically,
his guitar playing didn’t change much.
Over the years, it improved in that it’s more consistent and he worked
on his tone, but I hear where he was going.”
Four of the eight tracks on the disc were staples of
what you’d hear in any typical barroom at the time and a fifth was Hide Away,
two years before Freddie King would release the instrumental which has become a
Blues band anthem ever since. This tells
us Freddie must have been performing it around Chicago before getting the
opportunity to take it into the studio.
Once Freddie’s popularity made him road-ready, Luther
took over King’s band of T.J. McNulty and Big Mojo Elem and their long-standing
gig at Walton’s Corner where they stayed for five years before the Blues clubs
around Chicago began closing; then Luther moved to Peoria in 1967, playing
Birdland in front of a Soul-based organ trio.
On March 8th 1967, Bill Lindemann recorded four
tracks of the Allison / Elem / McNulty trio with additional guitar work
provided by Freddie Roulette (later to become a fixture in the East Bay),
Allison and Elem each singing a pair of tunes.
Lindemann had previously taped four numbers with Magic Sam (two with
saxophonist supreme Eddie Shaw) and later added two tracks by guitarist /
singer / harmonica man Louis Myers along with one more by Leo Evans (listed on
the LP cover as Lucky Lopez) and the Jazz Prophets. When the label Lindemann had hoped to start
never came to fruition, he provided the masters to Bob Koester’s fledgling
Delmark Records, who already had Magic Sam under contract, and the eleven
tracks were released in 1968 as the LP Sweet Home Chicago.
After hearing Lindemann’s masters, Koester went to see
the band at the Alex and immediately made the decision to add Luther to their
growing roster, but before a deal could be made Allison moved to Los Angeles
and was doing studio work for the short lived World Pacific’s Blues subsidiary. While on the West Coast, Luther got
opportunities to play with Blues artists like Sunnyland Slim, Johnny Shines,
Big Walter Horton and Big Mama Thornton and meet Blues rockers Carlos Santana,
Mick Taylor and Johnny Winter.
Delmark was strapped for cash as it was just beginning
to grow and become established and the cost of recording in L.A. was
prohibitive so it wasn’t until Allison eventually returned to the Midwest, playing
around Madison, Wisconsin, that he signed with the label, bringing out the
first album of his own, Love Me Mama in 1969.
The album was the best seller Delmark had by any artist without the help
of a previous R&B single. Luther was
making quite a name for himself in the Chicago vicinity and the college circuit,
including a widely acclaimed headlining appearance at the 1969 Ann Arbor Blues
Festival, his first of three times in a row at the annual event, so I find it
surprising that there was not a follow-up album.
Luther then made the unlikely move to Motown’s Gordy
branch, indeed one of the few Blues artists ever to sign on with the powerhouse
Detroit Soul label, and between 1972 and 1976 they put out three albums. The first two, 1972’s Bad News Is Coming and
Luther’s Blues from 1974, solidified my opinion that this was a man I wanted to
follow further. I must have heard the
third LP, Night Life, because I opted not to purchase the disappointing 1976
release. Something about the raw timbre
of his voice caught my attention and it only mellowed with age without
compromise.
“I was very happy with the Motown trip. But let’s face it: Motown didn’t know what
they had. The Blues weren’t in. I think it was a miracle for them to choose
me. When they moved from Detroit to Los
Angeles, I just got lost in the shuffle.”
My opinion is that no one looking for Blues would look for a Motown
artist and vice versa. But for whatever
reason, Luther did not reach the status he deserved and by 1980 he had moved to
Europe, eventually settling in Paris in 1983, and was only heard stateside on some
of his dozen European albums.
Luther made his first European appearance at the 1976
Montreux Jazz Festival. The reason he
was so well accepted can be heard on Ruf’s CD Live in Montreux – Where Have You
Been (1976-1994), which features the introduction and four tracks, over 34
minutes of live Luther.
He impressed enough that the next year the Black and
Blue label sponsored a full European tour, culminating in a December 13th
1977 session producing Luther’s first European LP, Love Me Papa, the CD version
released on Evidence. He adds harmonica
to his musical arsenal on one song, Blues with a Feeling. The original liner notes quote manager Didier
Tricard: “Luther is a musician who gives the best of himself in every
concert. Once you have seen him
exhausted in his dressing room after a concert, you realize that he could not
possibly lie to his public; he lives the Blues intensely, almost to the point
of tearing himself apart, completely losing track of time.”
“I played the
same stuff in France as I did in Chicago, but it was much more accepted
there. I got to play in bigger places,
and I’ve been on the most popular television stations in Germany, France and
Switzerland. That’s the kind of real
good play a Blues player doesn’t get in the States.” At one point, before relocating to Paris,
Luther made an appearance on the French national television’s rock show, Chorus. A 1979 pair of LPs, Live in Paris and Live
(Part 2), appear to be combined on one CD, Live in Paris on Ruf Records,
Luther’s primary European distributor.
Either before he left or possibly on a return trip to
the States, Luther recorded a couple of LPs for Peoria’s Rumble label, Gonna Be
a Live One in Here Tonight and Power Wire Blues (Part 2), only the latter of
which I have in my collection as Sweet Home Chicago, part of Charly’s Blues
Masterworks series. My CD says it was
recorded in Chicago in 1976 but Luther’s web site lists the Rumble albums as
1979, likely the release date.
I should mention here that almost all of my discs were
purchased in the 90s and may be hard to find, and there are a half dozen albums
from the 1980s which I don’t have, all but one likely because they are no
longer available: Time (1980); Life is a Bitch (1984) which is available on
Blind Pig as Serious; Here I Come (1985); and three on Ruf, Rich Man (1987) and
both Let’s Try it Again and More from Berlin (1989).
Also in my collection is the 1992 acoustic album Hand
Me Down My Moonshine, which I’ll have to check again because my first instinct
was that a non-electric Luther was not something I was interested in, although
I still bought the disc. Luther also
made a cameo appearance on Otis Rush & Friends, Live at Montreux 1986,
where he joins Otis and his band with Eric Clapton, who had stepped on stage
three songs earlier, for a nine minute version of Every Day I Have the
Blues. This is my favorite release by
Otis so check out the whole thing.
So, when I first got involved doing radio in 1988 I
often asked my colleagues if they knew what was going on with Luther Allison
and, invariably, I would hear the response, “Who?” All that changed when Luther signed with
Alligator records and came out with his first recording done in the U.S. in
almost two decades, culminating in the 1994 release of Soul Fixin’ Man,
released in Europe on Ruf (as would be all the Alligator CDs) as Bad Love. Guitar Player’s review of the album was, "Fever
and chills performances, ferocious solos combine the wisdom of a master
storyteller with the elegance of B.B. King, the elasticity of Buddy Guy, and
the big sting of Albert King." Luther
himself said, “This is the album that I always wanted to make. . . I hope it will open up the eyes and ears of
people who know my music but may not have heard me in a while. . . I want people to know that I’m the same
Luther Allison that I was when I left for Paris – only better. I have the same musical menu: I’m just
looking for some more people who will let me cook up my Blues and serve it to them”
Luther played in front of 150,000 people at the 1995
Chicago Blues Festival as well as for those listening to the National Public
Radio broadcast. That was the year
Alligator released their follow-up Blue Streak album, and regarding their third
Allison release (1997’s Reckless) Guitar World said, "Reckless in the best
sense of the word, dancing on a razor's edge, remaining just this side of
out-of-control. Hard-driving, piercing West Side Chicago single-note leads with
a soul base and a rock edge." Luther played both standard and
bottleneck guitar and his musical choices were not only straight ahead Blues
but also from Soul and Gospel roots. The
three studio albums for Alligator won him a dozen highly coveted W.C. Handy
Awards, including for Blues Musician of the Year in 1997 and again posthumously
in 1998.
In 1999, some time after Luther’s passing, Alligator
gathered together three concerts from the time he was with the label and came
out with the double CD Live in Chicago.
All but one track of disc one came from that June 3rd 1995
Chicago Blues Festival, including the festival’s closing number where Allison
returned to the stage to join his old friend Otis Rush for a ten minute medley
of Gambler’s Blues and Sweet Little Angel.
Also included were forty-some minutes from a November 4th 1995
session at Buddy Guy’s Legends club and a May 7th 1997 date at the
Zoo Bar in Lincoln for the Nebraska ETV Network, represented by about 27
minutes.
I actually saw a concert from the Zoo Bar, enjoyed it
tremendously, and figure this is likely that show although I kinda thought what
I saw was earlier. There is also a seven
CD and four DVD limited edition box set that sounds very interesting except for
the fact that I already have the three Alligator studio CDs plus Hand Me Down
My Moonshine and all but three numbers on their full Live in Montreux 1976 disc;
the two CDs I don’t have are Let’s Try it Again and Life is a Bitch (Serious). What entices me are the four DVDs, two from
Germany (1987 & 1991, Live from East Berlin & Ohne Filter), and two
1997 concerts, one from the Indian Ocean (Live in Paradise) and supposedly one
from the Zoo Bar (Memories), although the playlist doesn’t match the Alligator
CD at all. The Paradise CD is the only
one I could find currently available online for about $50 new or $35 used.
So, at about $160 the collection A Legend Never Dies:
Essential Recordings 1976-1997 is way too pricey for me, and anyone willing to
spend that much on Luther probably also has a lot of it already, but one CD/DVD
combo I can recommend is Songs from the Road, ten CD tracks and two other songs
included among the eight DVD tracks.
Judge for yourself by our second Luther set. Recorded on the 4th of July 1997
in Montreal, six days before receiving a diagnosis of inoperable lung cancer that
ended his playing days and would ultimately take his life a month later in
August, it is both a visual and aural presentation of why Luther is my absolute
favorite artist. I see the pair now for
about $16 new or under $10 used.
I remember early in his time with Alligator Luther
played the San Francisco Blues Festival and, although I usually went at least one
of the two days, I was frustrated that for some reason I could not get there,
but I did finally get to see him at Moe’s Alley in Santa Cruz in 1997,
certainly my last chance. I was unaware
that Luther was noted for his long shows and indeed, this time, instead of the
45 minutes onstage / 15 off over four hours I think of as normal, it was two one
and a half hour sets with maybe twenty to thirty minutes in between. Moe’s had a back patio with picnic tables and
Mr. Allison filled most of his down time kinda holding court, telling tales to
a rapt group of fans (myself included), not only a genuine master musician but
an interesting story teller so generous with his time for those who wished to
listen. Truly a gentleman whom I am so
grateful to have heard on and off stage and I can only wish he had more time in
the 80s to make himself better known in North America. I’m not much for getting autographs but my
girlfriend at the time had the good sense to grab a local newspaper with a
short article and photo of Luther that she had him autograph for me. Even though I’m not sure exactly where it’s
stashed away, it is something I cherish.
I did see Luther’s son, Bernard Allison, at the San
Jose State Fountain Blues Festival in 2003 and he put on an exciting show,
still true to the Blues of his father but a little more Rock influenced as
should be expected from the next generation.
If memory serves me correctly, he even had the keyboard player, Mike
Vlahakis, I had seen behind Luther. I
think Luther used his old friend, guitarist James Solberg’s band on most if not
all of his American tours and recording sessions. I got to speak to Bernard briefly backstage
and he was a nice man, although he probably gets tired of people wanting to
talk about his dad. Anyway, I guess the
best way to sign off on this essay, since it was quoted in a few of the liner
notes, would be with Luther’s motto: “Leave your ego, play the music, love the
people.” So, as they say in Luther’s
chosen European home, fait accompli. Although a bit lengthy, this is an essay I
can be proud of!
About the
music: What I will be presenting to
you today is kinda the extremes for the Luther Allison timeline with selections
from the first two Motown albums (I actually had them before the prior Delmark
release) to the Songs from the Road concert, his final recording. If I do get the opportunity for some bonus
time, sandwiched in between two Cannonball sets will be three outtakes from the
Bad News is Coming CD followed by two more included on the Luther’s Blues disc. That’s almost four hours of music today, not
counting the time I bore you with my chatter!
Source
material for this essay was almost entirely taken from my many CD liner notes.
*************************
That
Luther write-up took most of my available time so there is insufficient time to
do justice to alto saxophone player Julian
“Cannonball” Adderley today, but I have plenty of good music of his to come
back another day. I became familiar with
Adderley through Paul Butterfield’s version of his Work Song, so that is our
opening number from his 1960 album Them Dirty Blues presented in this first
set. If I get the opportunity to put in more
than three hours, we then move backwards to his 1955 release Presenting Cannonball
Adderley and, time permitting, we wind everything up with some stuff from 1955’s
Julian “Cannonball” Adderley. These were
the first two albums by Adderley as a band leader and all are taken from the first
two (of three) four CD boxes titled The Complete Albums Collection
*************************
Every time I play something from the CD box set ABC of
the Blues I feel compelled to encourage you to buy it. With 52 CDs and twenty tracks on each one, it
is a bargain at around $60. All but a handful
have two artists per disc and, sure, there are a number of them that duplicate
what I already have in my library (actually, I feel that speaks well for their
similarity of taste), but the variety of the rest range from what I call the
front porch singers (just a guy and his guitar) to early R&B, to some of
the bedrock Bluesmen of the 50s and into early stuff by the 60s rockin’ Blues
guys I love so much. For the price you
shouldn’t pass it up if you are serious about the Blues. Definitely, at least check it out!
So, obviously the ten tracks by the Four Blazes came from that set, an
excellent example of what I otherwise would never have heard. Drummer Paul Lindsley “Jelly” Holt assembled
the group in 1940. Holt had been a
member of the Five Rhythm Rocketeers who joined Earl “Fatha” Hines for a
European tour in 1939, but upon returning that group broke apart and a new Chicago
ensemble was formed with guitarists Jimmy Bennett and William “Shorty” Hill and
bassist Prentice Butler. Floyd McDaniel
replaced Bennett in 1941 and his electric guitar gave the band a new sound. They
added pianist Ernie Harper in 1945, then signed up with Aristocrat Records in
1947 as the Five Blazes, becoming the second act signed by the label which
would soon become Chess Records.
Harper left to go solo in 1948 and, when Butler died
in 1951, Tommy Braden took over bass duties and became the lead vocalist. The band moved to United Records in 1952 and
often employed saxophonist Eddie Chamblee in the studio. They hit #1 on the R&B charts in August with
Mary Jo, their first single for the label, and follow-ups Please Send Her Back
to Me and Perfect Woman also made it into the top ten. Since two of these are included in today’s
set, I presume this is the ensemble we hear throughout.
Braden
left to try going solo in 1954, then returned for the studio sessions, but the
Blazes’ last session was in 1955. Holt
put together another group, the Four Whims, and McDaniel was with the Ink Spots
for a few years before he also went solo.
*************************
Little Red Rooster
Evil is Going On
Raggedy and Dirty
Bad News is Coming
Cut You a-Loose
Dust My Broom
Luther’s Blues
Someday Pretty Baby
Driving Wheel
Into My Life
Now You Got It
Luther Allison 50mins
Work Song
Jeanine
Them Dirty Blues
Dat Dere
Del Sasser
Cannonball Adderly 29mins
Stop Boogie Woogie
Snag the Britches
Raggedy Ride
Perfect Woman
Night Train
Never Start Living
Women Women
Drunken Blues
My Hat’s on the Side of My Head
Mary Jo
The
Four Blazes 26mins
Cancel My Check
What Have I Done Wrong
Living in the House of the Blues
That Ain’t the Way Things
Supposed to Be
You Can, You Can
Take My Love (I Want to Give It
All to You)
It Hurts Me Too
Serious
Low Down and Dirty
Luther Allison 53mins
Bonus material:
A Little Taste
Caribbean Cutie
Flamingo
Cannonball Adderly 19mins
The Stumble
Sweet Home Chicago
It’s Been a Long Time
San Ho-Zay
Bloomington Closing
Luther Allison 28mins
Cannonball
Willows
The Song is You
Fallen Feathers
Hurricane Connie
Cannonball Adderly 21mins
