Key to the Highway KSCU
103.3FM
2020-02-16 6-11PM
Johnny Copeland
Junior Parker
Amos Milburn
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Another five hour show. I really don’t expect anyone to stick around
for the full shows or even read the entire blogs, just that you find enjoyable
what you have time for since it gives me a feeling of accomplishment to present
a more complete package.
I began
to think this particular show was jinxed!
For one reason or another, probably mostly because it is a five hour show
and that opportunity did not come up, it never made the airwaves despite how
eagerly I was anticipating it. The
writing was complete and the playlist needed just a bit of winnowing yet it lay
fallow for about four months. It is
sourced from my old desktop which I refuse to hook to the internet or its media
player would become corrupted to the point of uselessness just like my newer
one. An interesting aspect to using the
older computer is that the libraries vary extremely since I rarely ripped CDs
that I had previously entered, creating two significant differences: that I
once again have easy access to many of the artists I consider to be the basic
foundations of the Blues but that it lacks the CDs representing my increased
interest in Jazz that I might occasionally overplay. We shall see how these play out as the shows
continue their own path, so please, enjoy.
*************************
It
wasn’t until the middle of writing today’s essays that I realized Texas
guitarists had recently supplanted Chicago axe men as a dominant part of my
last few shows with Clarence “Gatemouth” Brown and Frankie Lee Sims holding
prominent positions recently, and today we lead off with another favorite,
Johnny “Clyde” Copeland. It seems to me
I never hear about Junior Parker anymore and I’d like to remedy that with a
lengthy sampling of his Blues and R&B vocals. And when it comes to Boogie Woogie piano you
cannot go wrong with a master like Amos Milburn, another Texas musician.
*************************
Although he was known as a Texas guitarist, Johnny Copeland was born in Louisiana,
either Homer or Haynesville depending on the source, on March 27th
1937, then moved on to Magnolia, Arkansas.
His parents were sharecroppers but split up when Johnny was six months
old. He only saw his father a few times
before he died when Johnny was young but left him his guitar. At the age of 13 he moved to Houston where
T-Bone Walker and Lightnin’ Hopkins became his earliest local influences. As Johnny put it, “born in Louisiana and trained
in Texas”
Regarding his admiration for Walker, Copeland
explained, “I was always inspired by him.
I liked his music and I liked him as a man, too. He dressed good and he was a hell of a gentleman. I have and always will respect this gentleman
‘til the day I die.”
“A lot of
players used the clamp (capo) … But I went to see T-Bone one night and he
didn’t have that thing on his guitar. So
I went right on back home and threw that clamp away. I said, ‘If T-Bone ain’t got it, I don’t want
it either.’”
Later on, in the late 50s and early 60s, Johnny often
backed his idol. Copeland describes his
first visit to New York City: “It was the last time me and him were together,
and he gave me the grand tour. He was
playing the Apollo up in Harlem. After
his last show, we walked on down the street to Small’s Paradise and heard King
Curtis play. We hung around there for a
while, then T-Bone took me down to the Village Gate to see Muddy Waters play. And after his show he introduced me to
Muddy. That’s like an everlasting memory
for me.”
As a teenager, at the same time that he was acquiring
bar gigs in Houston like Shady’s Playhouse and the Eldorado Ballroom, Johnny
was 23-0 as a prizefighter, earning his lifelong nickname “Clyde”. He formed the Dukes of Rhythm with his friend
and fellow guitarist Joe Hughes. It
wasn’t long before they were touring with Sonny Boy Williamson, Big Mama
Thornton, Albert Collins, and Freddie King in the 50s.
Copeland’s recording debut was in 1956 and he signed
on to Houston-based Duke Records in 1957.
His first release came in 1958, Rock ‘n’ Roll Lily on Mercury, with
other early singles Down on Bended Knee and Please Let Me Know showing up on
labels like Golden Eagle and All Boy.
Always in tune with the times, in 1965 he did a version of Bob Dylan’s
Blowin’ in the Wind for Wand.
Johnny had an active touring schedule during the 80s
including the 1983 Long Beach Blues Festival, the 1985 Montreux Jazz Festival
where he made a guest appearance with Stevie Ray Vaughan and Double Trouble (he
also was on the song Tin Pan Alley on Vaughan’s Blues at Sunrise album),
Houston’s 1987 Juneteenth Festival and the 1988 San Francisco Blues Festival
among his noteworthy dates. I might have
seen him at the SF Fest, not sure, but I did catch him playing at the Monterey
Blues Festival in the early 90s.
As the club scene in Houston was hit hard by the oil
recession of the 70s, Johnny moved to New York City in 1975 and began playing
clubs that were ripe for established Blues musicians in the eastern cities such
as Washington, Philadelphia, and Boston as well as closer to home throughout
New Jersey and New York, particularly Harlem and Greenwich Village. For a while, he worked days at a Brew ‘n’
Burger restaurant while performing his Blues at night. Around 1979, he met record producer Dan Doyle
who helped get him signed to Rounder Records, producing the 1981 Grammy winner
Copeland Special; I’m not sure, but Doyle likely had a hand in his other
Rounder albums which included Make My Home Where I Hang My Hat, 1984’s Texas
Twister, and Bringing It All Back Home from 1985. Rounder also recorded him in Abidjan, Ivory
Coast, on the live Ain’t Nothin’ but a Party in 1988, otherwise all his
sessions for the label were held in New York City, including his final Rounder
album Boom Boom in 1989.
Alligator Records’ Showdown! album, winner of the 1987
Grammy Award for Best Traditional Blues, was essentially an Albert Collins
disc, but he took the opportunity to include two of the guitarists he had
mentored. Collins had met Copeland back
in the late 50s and Robert Cray decades later.
Of the album’s nine songs, Johnny plays three songs with Albert and
another three with both Albert and Robert.
Johnny provides vocals on all songs he plays on with the obvious
exceptions of the two instrumentals. The
three guitarists were backed by Collins’ Icebreakers: Johnny B. Gayden on bass,
Casey Jones behind the drums, and Allen Batts at the organ.
One of the songs on 1993’s Catch Up with the Blues,
his second Verve CD, included Grammy Song, written about his experiences in Los
Angeles for Showdown! and then again for his live Ain’t Nothin’ but a Party the
next year. As Johnny put it, but not in
the song, “I went out there to California in 1987 with Albert Collins and
Robert Cray and we won the darn thing!
The next year I went back there again and I lost out to Willie
Dixon. So I got a chance to look at both
sides of it. The winners go home happy,
the losers be sitting over in the corner all mad.”
Another song on the album, Life’s Rainbow (Nature
Song), was written while first visiting Africa, as Johnny explains, “When I got
to Africa I was thinking, ‘Now how can I explain to the general public what
Africa is like?’ I wanted it to be
something real simple so anybody could understand it, so it could reach the
most people. I put those words to that
verse of music I had learned, and when we play it live it always seems to touch
somebody. My daughter even used this as
a poem in her high school competition and won first place.” Both of Copeland’s albums for Verve were done
in New York City, although his Flyin’ High from 1991 also included material
recorded in Brussels. I’ve also seen
mention of a 1995 release, Jungle Swing.
Because of his limited time spent with his father,
Johnny only found out he had inherited a congenital heart defect late in 1994
in the midst of one of his stressful tours, when he was diagnosed upon checking
into a Colorado hospital. He ultimately
required several expensive heart surgeries and was in and out of New York
City’s Columbia Presbyterian Medical Center while in line for a
transplant. He became hooked up to a
special device for patients with congenital heart conditions when, in 1995, he
appeared on CNN and ABC’s Good Morning America wearing the L-AVD, giving the
device much needed publicity. After
living with the device for twenty months, the longest anyone had used it, he
finally received his transplant on New Year’s Day 1997 and it all worked fine
for a few months as he continued to tour, but he required surgery to repair a
defective heart valve and died from complications related to the surgery on
July 3rd 1997 at the age of sixty.
In
addition to his two Grammy appearances, Johnny also received the 1983 Blues
Foundation’s Blues Entertainer of the Year award and the 1987 Grand Prix du
Disque de Montreux for Blues, Soul & Gospel. In 2017, Johnny Copeland was inducted into the
Blues Hall of Fame. Despite all these
accolades, surely among his proudest achievements must have been his daughter,
Shemekia Copeland, who began a successful career of her own as a Blues
singer. He also left behind his wife,
son, and another daughter.
*************************
Starting out in Memphis as an urban Blues singer and
harmonica player in the early 50s, then transitioning into one of the early
Soul singers mid-decade, Little Junior
Parker never strayed too far from his Blues beginnings. Born Herman Parker Jr. on March 27th
1932 in West Memphis, Arkansas to Willie and Jermeter Parker, Junior had a
standard Blues man’s youthful background of singing in church and even picking
cotton. Another neighborhood kid was
Amos Blakemore, who would later establish himself as Junior Wells, and he
recalled, “I met Junior Parker when I was about ten or eleven years old. He used to live right across the street from
my father’s auntie in West Memphis … me and him used to practice on the harp
together and all these things.” After
having listened to Sonny Boy Williamson II (Rice Miller as opposed to John Lee
Williamson) and using his vocal and harmonica stylings as a main influence, our
Junior gained the opportunity to meet his hero at the age of sixteen and join
Sonny Boy’s band, even fronting the group when its leader went on tour.
By 1949, Parker became part of Howlin’ Wolf’s touring
band although not in the studio, and he joined Wolf and Sonny Boy on fifteen
minute broadcasts emanating from Forest City, Arkansas’ KWEM radio. WDIA’s David James Mattis who, partnering
with Bill Fitzgerald, formed Duke Records in Memphis, became aware of Junior at
this time, commenting, “They used to come over and buy fifteen minutes once a
week. They’d pay for this time. That was the standard thing in black radio. They’d make all that noise and leave
happy.” It was then up to the artists to
find business sponsors to buy advertising time, all the while giving the acts
about the best regional promotion possible.
While with Wolf, Parker became paired with Matt “Guitar” Murphy, as the
guitarist explained, “Little Junior Parker and I helped Wolf a lot, because his
timing was rather off … While I was playing with Wolf, Junior Parker used to
come around and sit in with us. People
started liking us together, so they almost demanded that we play together. This became a real nice little thing. Junior would play harmonica for an hour or so
and then Wolf would take the harmonica.
We’d get into contrasting styles: whereas Junior was like an idolizer of
Roy Brown at that time, doing things like ‘Corn Bread’, boogie things, and
shuffles, when it came down to the real lowdown dirty Blues, Wolf would take
it. That made it really fill out.”
Junior would put together his Blue Flames in 1951,
featuring guitarists Floyd Murphy and Pat Hare (apparently Murphy, Matt’s
brother, in the pre-Duke years and Hare on the early Duke sessions) and pianist
Bill Johnson. Shortly afterward, Ike
Turner got them a recording session with Modern Records, Parker’s first (Turner
replacing Johnson on piano), which created the 1952 release pairing You’re My
Angel and Bad Women, Bad Whiskey. Parker then signed with Sam Philips’
Sun Records in 1953 and in October Feelin’ Good (b/w Fussin’ and Fightin’
Blues) hit the charts as high as #5, leading Matt Murphy to comment, “Philips
wanted that raw stuff. But it ended
being a hit!” Sun only had time to put
out one other Parker single, in November, Love My Baby b/w Mystery Train.
Duke was having issues when Parker signed with them late
in 1953. Mattis and Fitzgerald had been
essentially the subject of a hostile takeover by Don Robey, already the owner
of a Houston musical conglomerate including Peacock Records, the Buffalo
Booking Agency, and the Bronze Peacock nightclub. Robey and Philips also had tensions over Sun’s
artist Rufus Thomas recording Bear Cat, essentially a reply tune to Big Mama Thornton’s
Hound Dog on Peacock, so when Duke signed Junior, Philips sued and was awarded
$17,500 and half the writer’s credits to Mystery Train, which he promptly had
Elvis Presley record as half of his debut 45.
Mystery Train was also included on the first Paul Butterfield Blues Band
album, and each of their first three LPs would feature a Parker creation.
Robey acquired a reputation for less than fair dealings
with his musicians and other business associates, often accompanied by a .45
caliber if a band didn’t draw to his expectations. As Mattis explained in a 1984 interview, “I
went to Houston and said, ‘I’m here to exercise my partnership,’ and he said, ‘They’ll
be nothing like that.’ That’s when the
forty-five came out.” Robey was also
skilled at the practice, not uncommon throughout the music industry but
particularly prominent when dealing with black artists, of glomming onto as
much of their musicians’ writing credits as they could possibly get away
with. His “Deadric Malone” moniker was
kin to Modern’s use of the names “Taub”, “Ling” and “Josea” or King’s “Sally
Nix”, but at least Specialty did it with a sense of humor by using the name “W.E.
Buyem”.
Under Robey’s Buffalo Booking Agency, Junior toured with
Little Richard before co-headlining with Bobby “Blue” Bland as Parker not only
did his own set but his harmonica and probably his Blue Flames backed Bland in
what was billed as the Blues Consolidated Revue, a teaming that lasted until
April of 1961. In spite of this, Parker
did not play harmonica in studio sessions until 1965. Four of Junior’s eleven R&B hits for Duke
between 1956 and 1966 (the year he left the label) made the top ten.
In 1963, Canned Heat guitarist Henry Vestine reported
about Junior, “He said that he always liked Roosevelt Sykes … His favorite
Blues singers are Muddy Waters and B.B. King.
His favorite ‘Pop’ artist is Arthur Prysock … Junior says he much
prefers Blues to the R&R numbers the A&R men have made him do
lately. In fact he intensely detests
R&R.” Both Parker and Bland chose
recording away from Houston whenever possible, mostly to avoid the meddling of
Robey. From 1960 on, Junior held
sessions in Chicago, Nashville, New Orleans, Detroit and Memphis. Whomever Kiel is, he made the comment in 1966
that, “Junior Parker foresees the day when he will give up the fast world, like
a number of Bluesmen before him, for the more secure and sedentary profession
of preaching, although Parker is not sure at present whether he will become a
Black Muslim or Baptist minister.”
After Duke, Parker recorded for Mercury and their
subsidiary Blue Rock, Minit, Capitol, United Artists, and Groove Merchant,
averaging one label a year up to his death at the St. Francis Hospital in his
hometown of Chicago on November 18th 1971, almost eight months prior
to his fortieth birthday. A brain tumor
was discovered when he was hospitalized due to bleeding in his eyes and he died
during surgery. He was laid to rest in
West Memphis, Arkansas.
Junior had one
last charting in 1971 with Capitol’s Drowning on Dry Land, which reached #48 on
Billboard’s R&B list. In 2001,
Junior Parker made it into the Blues Hall of Fame. Of course, he was spoken highly of. One of his guitarists, Pete Mayes, said, “He
was a quiet person, a real straight guy … Say, if he caught anybody in the band
messin’ with drugs or somethin’ like that, they’d be gone.” Or saxophone player Little Bobby Neely: “I
just liked him because of his disposition … I liked his style … he could really
sing. He was always a sharp
dresser. He had a good stage
presence.” Chicago DJ and promoter
Purvis Spann said that “Most of the entertainers loved him. I don’t know of anyone who might have had any
animosity or disliked him. Far as I’m
concerned he was a very likable individual … you know, he was a rational-type
individual, and a good businessman … He was one of the greatest Blues singers
of them all, and he never minded performing … He loved music. He loved Blues. I
heard him say a couple of times that singing was the only thing he knew how to
do. And he loved it.” In Al Green’s opening to his song Take me to
the River, he mentions Junior as “a cousin of mine who’s gone on, and we’d
kinda like to carry on in his name.” In
Junior’s own words, “Anybody can boil up some greens, but a good cook – a good
one – has a special way of seasoning ‘em that ain’t like nobody else’s. So anybody can do it, but its only somebody
who can do it their own way.”
*************************
Another Texas musician, born Joseph Amos Milburn, Jr. in Houston on April 1st 1927 but
recording and earning his reputation on the West Coast, was one of his
construction worker father’s thirteen children.
At his sister’s wedding, Amos played Jingle Bells on a rented piano when
he was five years old.
When he was fifteen, Milburn lied about his age and
signed into the Navy early in WWII, seeing duty in the Philippines, Guadalcanal
and Bougainville, and receiving thirteen battle stars. Working mostly as a cook, he also found
occasions to play. “I didn’t entertain
in the Navy, but if we went to a base, we went to a club that had a piano and
my officers, they’d set me down at that piano, and then I’d go to play that
Boogie Woogie.”
Just before being discharged in 1945, Amos made port in San
Francisco where he discovered the bar and nightclub scene. “Ivory Joe Hunter
had a big hit with Sun is Rising. My
ship landed in San Francisco, and that was all you heard around the back places
… but I didn’t stay on the West Coast. I
came home ‘cause I had to come to Houston to be discharged and I was trying to
find something to do with my life.”
Life in Houston had changed considerably for Amos. Due to his father’s passing, the eighteen
year old Milburn was now the family’s breadwinner. He put together a sixteen piece ensemble that
worked Houston’s black neighborhood Blues and Jazz clubs with Amos taking home
as much as three dollars a night. He
made friends with a couple of jitterbug dancers, Mac and Ace, who invited him
to play as part of their act working the Keyhole Club in San Antonio.
It was there that Milburn impressed Blues fan Lola Ann
Cullum, who invited him to practice on her grand piano once he got back to
Houston and soon would be his manager.
It became her plan to get Amos back to the West Coast where there were
several record companies who she thought would be interested in him. She had him record a couple of demos and, in
the summer of 1946, they hopped on the train to Los Angeles, a hub of the
robust R&B recording industry. First
stop was Modern Records who expressed interest, but Collum was not impressed
with their offer.
Next stop was Aladdin Records, another of the new
startups, this one begun by Eddie and Leo Mesner in 1945. Collum brazenly approached Eddie in his
hospital room, the demos impressing him enough for him to ecstatically call his
brother Leo with the message, “Sign him up right now. He’s good, I like him.” It was an awkward start that lasted a healthy
eleven years, resulting in over seveny-five sides almost entirely recorded in
Los Angeles, fifty-two of them appearing on our source CDs, Proper’s two disc
Amos Milburn, The Chicken Shack Boogie Man, also the source of much of this
essay..
Amos’ first session, on September 12th 1946,
was full of Boogies, including my personal favorite Down the Road Apiece, while
his second three months later settled down with more mellow Blues. From these sessions all the way through his
tenure with Aladdin, Milburn often benefitted from the tenor sax of Maxwell
Davis.
“Maxwell was a very big inspiration for me when I first went
to Los Angeles to make records. He’d
arrange my sessions and directed the band and everything. … Being young I didn’t have any experience in
arranging for a band but I could tell him how I wanted it done, and Maxwell
would put it on paper.” From the
mid-forties on, Davis served as A&R man not only for Aladdin but
essentially for all the R&B labels in Los Angeles such as Modern, Swingtime
and Specialty, notably working with artists like Helen Humes, Jimmy
Witherspoon, Lloyd Glenn and Pete Johnson.
As all the record companies boosted their number of
waxings in preparation for the year end’s second Perillo recording ban, Aladdin
had Amos in the studio in October, November and twice in December 1947 and then
not until October 1948 when the company came to terms with the musicians’
union. From the November 1947 date came
the 1948 smash hit Chicken Shack Boogie, the first of nineteen times Milburn
would make Billboard’s Top Ten R&B listings.. It was on the charts for twenty-three weeks,
staying at #1 for five of those, and brought on a new name for his combo, the
Aladdin Chicken Shackers. “When I came
back from the service, you know, every little joint around Houston was
somebody’s chicken shack.” Another big
hit also came from that November series of recordings, as Hold Me Baby reached
#2 in April 1949. The two songs were
ranked #8 and #9 on Billboard’s R&B Bestsellers of 1949. From December, It Took a Long, Long Time
reached #6 a year after its waxing and Empty Arms Blues attained #4 in
September 1949.
Later in the year, from his first session following the
lifting of the ban, recorded in October in Chicago, his only 1948 date, Amos
laid down a much more subdued Bewildered, which topped the charts for three
weeks in its four month Billboard stay beginning December 1948, but it would
always be Milburn’s Boogies that brought most of the acclaim. Another track from the Chicago session was
A&M Blues, which made #9 in January.
Now back to a normal studio schedule after the ban ended,
Amos’ February session produced In the Middle of the Night, a #3 in June. That September it was surpassed by Roomin’
House Boogie from July, which became Milburn’s third #1. The last date in 1949 was in October and it
produced another Top Ten entrant in Real Pretty Mama Blues. This was also when Milburn started using a
larger horn section with two tenors and a baritone sax, led by tenor man Don
Wilkerson. “Donald was just like my
little boy. … I took him out of high
school to give him his first break. … He
was with my road band most of my career.”
Alternating time with the Milburn and Charles Brown bands, Wilkerson
moved on to Ray Charles’ group in 1954 where he was featured on such hits as I
Got a Woman, Come Back Baby and Hallelujah, I Love Her So. Amos’ production over the year earned him
awards as Top R&B Artist of 1949 by Billboard and Best Jazz and Blues Star
of 1949 by Down Beat magazine.
Amos started off the new decade with a January session,
the results including Sax Shack Boogie which climbed to #9 in September. Many of
Amos’ hits were about drinking, a subject Milburn would acquire more and more
personal knowledge as his career advanced.
They began in September 1950 with Bad, Bad Whiskey. “This was a time when there was a lot of
money about and people were really boozin’ it up heavy. Those writers just started handing me those
whiskey tunes.” The song was written by
Davis and his wife and saw him joining with the other three saxmen in the
session, ascending all the way to the top of the charts in November and not dropping
from the list for nineteen weeks.
Recorded at the same time was Tears, Tears, Tears, which reached #5 in
April 1951. Amos had four more hits with
drinking songs (Thinking and Drinking, Let Me Go Home Whiskey, One Scotch, One
Bourbon, One Beer and Good, Good Whiskey) between 1952 and 1954.
In 1952, Amos decided to take to the road as a solo
act, beginning that autumn on a Southern tour sharing the bill with his friend
and fellow pianist Charles Brown. He
remained touring solo for three years, mostly doing one-nighters, then returned
to Houston in 1956 to reconstruct his band.
But his hits had dried up and Aladdin terminated his contract in 1957,
not long before the label had to pack up their tent and terminate themselves.
Milburn made attempts with Ace and King in 1958 and
Motown in 1963 but, like many artists of his era, he was unable to stand up to
the competition of the youth oriented Rock ‘n’ Rollers. Alcohol took its toll as Amos suffered from
high blood pressure, strokes and even partial paralysis. He continued to play the occasional gigs
until 1970 when he had his second stroke.
In 1973 he had his last sessions for Johnny Otis’ Blues Spectrum label
but their release was delayed until 1977.
His infirmity was evidenced by the fact that Otis had to provide the
left hand work on the piano. Amos
Milburn passed away on January 3rd 1980 after complications set in
from the amputation of his left leg. He
was fifty-two.
In his heyday, when he wasn’t away on tour, Milburn
could be found playing the clubs along Central Avenue, one of the most popular
performers in Los Angeles’ Watts region.
I couldn’t locate a good quote from Fats Domino, but it was often stated
that he was one of several pianists who consistently credited Amos as a major
influence. However, an unnamed
commentator stated that, “Milburn excelled at
good-natured, upbeat romps about booze and partying, imbued with a vibrant
sense of humor and double entendre, as well as vivid, down-home imagery in his
lyrics."
*************************
For Your
Information
To listen to KSCU on a computer, use
either iTunes or WinAmp for the media player.
To listen to KSCU on a smart phone 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.
The
mailing address for sending CDs, et cetera, is:
KSCU
Local Music
500
El Camino Real
Santa
Clara, CA
95053
KSCU radio’s studio is located in the basement of
Benson Hall
KSCU’s Sunday morning Blues rotation has the Jakester,
Mister G, Dave the Blues Dude and the Bluesevangelist between 9AM and 1PM. Sherri Jones does her Blues show between
10:30AM and 12:30PM on Saturdays. And,
of course, me!
The
best way to reach me is by email 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). I do send out my blog
via email so, if you would like to be added to that list, just give me your
address and I’d be happy to do so, otherwise all my writings going back to 2014
are still available at key2highway.blogspot.
I do recommend the direct email to let you know when I will be on,
especially now that I will occasionally waiver from the second and fourth week
of each month format. Thank you all for
your continued support. Feel free to
call me during the show; it gets lonely in the dungeon.
*************************
Down on Bended Knee
Just One More Time
Working Man
Wella Wella Baby
That’s All Right
There’s a Blessing
The Night Time is the Right Time
Johnny Copeland 21mins
Feelin’ Good
Mystery Train
Love My Baby
Bad Women, Bad Whiskey
You’re My Angel
Fussin’ and Fightin’ Blues
Can’t Understand
Please Baby Blues
Little Junior Parker 21mins
Down the Road Apiece
Amos’ Blues
Operation Blues
My Baby’s Boogying
Blues at Sunrise
Nickel Plated Baby
Everything I Do is Wrong
Amos’ Boogie
Money Hustlin’ Woman
Real Gone
Amos
Milburn 28mins
Lion’s Den
T-Bone Shuffle
Bring Your Fine Self Home
Black Cat Bone
Albert’s Alley
Copeland,
Collins and Cray 23mins
I Wanna Ramble
Mother-in-Law Blues
Next Time You See Me
Pretty Baby
Sittin’ Drinkin’ and Thinkin’
Sweet Home Chicago
Wondering
Stranded
Dangerous Woman
You’re on My Mind
I’ll Forget about You
Little Junior Parker 29mins
Chicken Shack Boogie
Hold Me Baby
Train Time Blues
Wolf on the River
Pot Luck Boogie
Hard Driving Blues
I Love Her
I’m Gonna Leave You
Anybody’s Blues
It Took a Long, Long Time
Bye Bye Boogie
Amos
Milburn 30mins
Driving Wheel
Seven Days
In the Dark
Yonder’s Wall
Cryin’ for My Baby
I Feel Alright Again
These Kind of Blues
Little Junior Parker 19mins
Bewildered
Real Pretty Mama
A&M Blues
Roomin’ House Boogie
Walking Blues
Boogie Woogie
Driftin’ Blues
Sax Shack Boogie
Birmingham Bounce
Hard Luck Blues
Bad Bad Whiskey
Amos
Milburn 32mins
Catch Up with the Blues
The Grammy Song
Rollin’ with the Punches
Rain
Cold, Cold Winter
I’m Creepin’
Pedal to the Metal
Johnny Copeland 31mins
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