Gui Gui Sui Sui - Write Me A Death Letter (2015)

Trying to get discipline back, gonna write stuff up. Or I am just joshing you all and I'll stay lazy and quiet, not sure yet. Did manage to get this done...

Another far flung submission from Hong Kong's Metal Postcard Records (you might recall them from a Grab Bag a whole ago, the band Napolleon). This time we've got an outfit from Beijing known by the assonance-heavy name, Gui Gui Sui Sui. The album does a good job at avoiding any genres for a prolonged time, causing it to sound like an erratic exploration. This is something I totally approve of, by the way. Perhaps the most immediately noticeable quality of Gui Gui Sui Sui is how they sound like a bluesy noise rock outfit from Memphis or Texas rather than hailing from the Chinese capital. These musicians have studied up on their delta blues and 90s garage rock revival for sure. Even neater yet, they've thrown in some 8-bit sounds and bizarre electronic squeals and hums, making everything all the more beautifully muddled and hard to place.

To be had here:
Gui Gui Sui Sui - Write Me A Death Letter

Shakey Graves - Roll The Bones (2011)

Shakey Graves is the music project of Alejandro Rose-Garcia. The music is country-influenced lo-fi folk. Looking at his bandcamp page, which features several booking and publicity contacts from all over the world, I feel like Shakey Graves is a bit bigger than bands normally posted on Spacerockmountain. This Austin musician is also on an extensive tour of North America, and will soon be playing Portland's Crystal Ballroom in May - that's no small feet for someone I've never heard of, considering this is a venue where bigger names play while visiting the "Rose City".

I really enjoy the music on Roll The Bones. It's got an old-timey folk vibe throughout. It's his earliest post to bandcamp, though I imagine he's been writing and recording prior to 2011 judging by the quality of his musical abilities. The tunes are bold, but not overbearing. There's a good pace from song to song ... hills leading easily into valleys rhythmically, and the harmonies are minimal but lush. Roll The Bones is that rare record you could easily play while commuting or making dinner... anywhere where silence can be filled with a record that's easy on the ears.

I'm not one to quickly subscribe to this sort of music, either, a testament to the quality of this music. That said, I'm always a sucker for a good voice, and Alejandro definitely has one.

It's pay what you want for 10 songs, including a fantastic cover of Johnny Chash's "I'm On Fire", done with only an acoustic bass guitar and vocals.

Listen and download here: Shakey Graves - Roll The Bones

Buy the vinyl: HERE

Like him on Facebook: HERE

Scenes of a City, Vol. 10: Zagreb, Croatia

Often I find myself hyper-focused on a particular place. Not one I have ever been to nor will get to any time soon judging by my near constant lack of funds. However, this doesn't hold me back from taking as much of the culture of that locale I can manage from here. Croatia has been this place as of late, particularly their capital and largest city, Zagreb. Suppose it started as these usually do with for me when I began reading a novel written by a Croatian writer, Miroslav Krleža's On The Edge of Reason. Not that the book is especially Croatian in outlook so much as my mind works geographically thus leaving me reading steadily of the history of the Balkan country. Building this my momentum, I went out and bought bottles of dry white wine made of welschriesling grapes grown in Croatia. Finally, if one is reading Croatian literature and drinking Croatian wine, perhaps it is a good time to dig deeper into Croatian music as well.

I do have a tiny bit of familiarity with Croatia's musical output just from submissions to the blog, including some absolutely stellar albums from East-Ra, Pridjevi, Lizards Exist and from the great Zagreb-based indie label, Doomtown Records, the punk outfit Modern Delusions. None of these should be ignored and what I'm aiming for with this look at Zagreb is to inflate that list with even more notable Croatian musicians and bands.

To be had here:

Peak XV - La Première Ascension (2015)

Peak XV is a kindred soul describing who's himself as an "armchair explorer," which if that's not what I'm doing here what am I doing at all? La Première Ascension is an electronic ambient album, done in a sort of modern classical style. Nearly completely instrumental, it is a fantastic album to hear repeatedly while multitasking, allowing it to fade in and out of your senses, always being pleasantly surprised by whole beautiful is whenever you take a moment to pay attention. That said, my first listen was without distraction and I thoroughly enjoyed every moment.

Denis Katanec Okanagan LTD - Sve moje Laurie (2014)

Americana music sung in Croatian? Sold, immediately to yours truly. Denis Katanec Okanagan LTD plays alt folk, like we often hear coming from North America and does it exceedingly well, but unlike many European artists that make their way onto this blog he singing in his native tongue. No judgment, seriously, good tunes be good tunes in any language. That said, I did find hearing the Croatian compelling, especially in how he quickly spits it out at the being of "Listopad." The main point is that this is a throughly enjoyable EP regardless what you feel, or lack in feeling, about Croatian singing or Croatia overall.

Jastreb - Mother Europe (2013)

Naturally in the globalized world we now all get to inhabit there's little meaning to geographic styles of music, at least in cosmopolitan cities of which I'd include Zagreb. In the light a krautrock band with clear Eastern influence woven in putting out an album in Croatia's capital with a photo of a Alpine mountain as the album art makes sense, at least a bit of sense. Mother Europe makes a nod to all the internationalism that is inherent in being European and did not stop at its borders when it came to informing the style of the album. Pretty goddamn cool shit.

Beat Gates - Elements EP (2014)

A short EP of beats music, as if the name of the outfit didn't give that away straight off. Unrelated to Croatia per se, I have been getting increasingly into beats music, so I am quite pleased to find a good beats artist that crossed sectioned with the country I'd been obsessing about. The songs are a little loopy and ethereal a nicely aloof way and have science fiction spoken word bits laid within. All in all makes for a pretty trippy and interesting few minutes of listening.

Bebè Na Volè - Time of Great Depression (2015)

Here's something I really didn't expect to find looking into Zagreb, music that sounds like early Black Keys and delightfully a touch more gloomy than the Black Keys ever were. Yet there's more to Bebè Na Volè, for it doesn't retain bluesy tone for long, delving into stripped down folk by the fourth track, "Wait For You." At this point becoming similar to Denis Katanec Okanagan LTD but sung in English and weirder by several degrees. The songs become more acoustic yet what is maintained is the frequently nihilistic lyrics. Then it's back towards the electrified blues upon the eleventh track. Like a nice folk sandwich with bluesy bread. A motherfucking fantastic album all around.

The Lascope - Red Rough Fur (2015)

A few years back, I dug deep into the psychedelic sounds of Germany in the 60s and 70s. While the country is not the first to come to mind when considering the acid soaked genre, a fair share of classic bands came out of the country and influenced future sounds on the continent. The Lascope sound more like a bunch of American gents sitting around Santa Cruz to my ear, but the sound they create is worth a listen to even a passing fan of psych music. Just check out the title track; what starts off as an ethereal country ditty goes full on prog in its second half. Drunk motorcycle gangs grinding up lines of coke come to mind when the rustic bluesy riff of Speech for the Owls drops, and the outlaw status is completed when the distortion is turned up to 11. I would mix the vocals deeper into the rack if I were recording this bad boy, but it earned more than a few listens this morning. 

Get it here:

The Lascope - Red Rough Fur (2015)

C. M. Slenko - Rented Rooms (2014)

There are a many things I find displeasure in. I've had to pointed out to me repeatedly lately and throughout my life really. Means I am a grumpy and rather morose man typically, which I tell myself is the ideal temperament of a bookseller though I bet my bosses disagree. A few beers and a good rock album can smooth it all over most of the time, making me into an more animated and cheerful person, but at other times nothing but some old fashioned gloomy music and a history book on a sad event will serve as a salve. Misery loves company, even if that company is abstract example from of the humanities.

Here enters one C. M. Slenko with an album full of beautiful, somber songs. Slenko is on the Sioux Trails label, and like his labelmate that releases as Galápagos Finches he plays stripped down folk music. Perhaps more obviously influenced by the old blues and folk musicians that preceded him in that long tradition, he sings on topics they'd be familiar with, indeed that most anyone that sit around philosophizing for oneself should be aware of. The affects of a lonesome, melancholy mind setting upon itself, starkly analyzing one's own foolish habits and self-imposed restrictions while acknowledging the absolute human limitations that weigh on one wishing to live a fulfilling life while being unsure of any world beyond. It is creepy how many of these songs could have been written by a musician following me around with a guitar and harmonica as he described my day-to-day. It isn't glorious, but it is true.

I did warn you all that the autumn was gonna bring some less cheerful music with it. Sure, I won't go as far as to say Slenko has a hidden optimism, more of a dogged self-determination. However, like in the recently posts of Galápagos Finches, Slight Birching and The Pathetic and Elegant the camaraderie of knowing the songwriter is empathetic to your self-criticism and doubtful nature is a soothing experience in and of itself.

To be had here:
C. M. Slenko - Rented Rooms

The Baudelaires - Be a Baudelaire! (2014)

While I am sure it wasn't their intention, this Australian four piece really played to me well by naming their band for a French poet that I have lost more hours than I'll ever confess to my boss reading when it got too hot to shelve books. What I bet they might've known when submitting is that they're from Melbourne and I have been fixated on exploring the lo-fi indie music from Australia as of late. However the circumstance, I have taken the bait and listened. As far as I can tell the name is all they share with eponymous poet, as I don't think he was making shoegaze and blues rock tunes (but, holy shit, think of what that would've been like). What these Baudelaires have put forth almost seems like two bands, with the first series of tacks on this six song release being dreamy shoegaze songs with shimmery guitar and mellow bass, with a seven minute plus drifting epic in there. In fact the psych-shoegaze tone hold true until the fifth track, "Samariterstrasse," during which the beat becomes markedly more bluesy, and this is even further delved into with the final song, "Broke Down Blues." For this last song they've made a music video of for all our enjoyment. It is like the Lazy Aftershow, from my other fixation nation of Greece, meet with the most influential blues rock band of my teenage years, the Soledad Brothers, but like oil and water they are sitting separated in the bottle. I suppose to nice things are better than what could have happened if they tried to force them together, and I sincerely liked all these tracks for what they are.

To be had here:
The Baudelaires - Be a Baudelaire!

Scenes Of A City, Vol. 1: Guayaquil, Ecuador

This is the first in a series I hope to develop where I pick a random city and post some musical examples of what's going on there. 

Guayaquil is a city close to the size of Houston. The largest city in Ecuador, it's a bustling port with plenty of delicious seafood, plenty of football fans, and strangely enough, plenty of great psychedelic rock bands. This is perhaps not so strange, except for the fact that, until now, the only Ecuadorian musician I knew of was the 1990's one hit wonder Gerardo, whose "Rico Suave" song was equally hilarious and terrifying for it's almost cartoonish machismo. But this garage/psych revival of today seems to be just as international today as it was in the 1960s, if these bands are any indication.

Espumita - Vacaciones Infinitas (2014)

Male and female vocals adorn this psychedelic garage EP by a band named after the sugary, light brown crema of a specially prepared espresso shot. These songs are more sweet than bitter, and more mid-tempo than one might expect from a caffeine-related band name, but a solid example of Ecuador's young bands dabbling in the mind-expanding production effects we've all come to love from the psychedelic genre.

The Stoneheads - S/T (2013)

Here we have a more stripped down garage band along the lines of Russia's Karova's Milkshake. The production reminds me of crisp, warm, and clean values of the late 1970s, giving these 4 songs an aura that they could almost be bluesy Soft Boys b-sides. They have a track called "The Ballad of Rita Jones", which I'd like to think is an homage to Os Mutantes member Rita Lee Jones, but that may be a stretch. Elements of the Kinks also. Super good EP, this one.

Macho Muchacho - Eme Eme (2012)

I threw this one in as a wild card... and wild it certainly is, showing that Ecuador's musicians are also making forays into the tangled experimental sounds of math rock. Bringing to mind bands like Don Caballero and Battles, these instrumental tracks are beautifully ordered chaos, displaying some the most fantastically inventive guitar playing I've heard in awhile. While some atmospheric psych is thrown in as well, this one might be for progressive music listeners.

De Pelucas - Al Boom (2014)

This one's a full length and probably the strongest offering of the bunch, if for no other reason that it's a psychedelic surf rock record with streaks of darkness throughout. Tracks 6 and 7 especially. Each has a moment where a strange instrument comes into the mix.. I'm pretty sure it's some sort of bowed string instrument, cello maybe, and the effect is haunting. Judging by pictures of the band, they're a trio and they're all young as hell. Which is always great to see, even if it makes me feel slightly like an old man who wasted his youth. Deserves repeated listens.

EP Grab Bag vol. 19

Excuses are all I've got still. No internet hookup to my place seems likely anytime soon, as I can't get the motherfuckers at Comcast to let me clear my name from identity theft and there's no damn phone line for DSL. Detroit's dishing out dick slaps to me like it is going outta style. However, these neat EPs got sent in.

To be had here:

Big T and the Diverse Curse - Demo (2012)

This is a lo-fi garage rock/blues band from Chicago. The drummer is the same fellla that plays in Snow Ghost and releases music under the name MaoTzu. The best comparison I've got for what it sounds like is the Black Keys debut album but with harmonica. Hope that find that a flattering suggestion, because I still like the earliest Black Keys songs the best.

Breathing Patterns / Gills - Split EP (2012)

Two tracks each from Breathing Patterns and Gills, who've appearing in an prior Grab Bag. However, I think only one of Breathing Pattern's songs streams on the bandcamp. It is catchy shoegaze number, and the Gills have the same intense post-hardcore sort of math/punk rock. I've grown even fonder of them with this spilt.

Virgin Lung - EP 1 (2012)

Some very mathy post-rock from North Carolina.  The first track on the EP has a different sound than the rest (more soft and pop-like), so do make sure to keep listening even if that's song isn't your jam. As the EP carries on it gets fast and a bit harder. A pretty good beginning of something, but not a free download of it unfortunately.

Frank's Hard Drive - Frank's Hard Drive (2012)

A debut EP from a Polish indie pop band. At seven tracks it is tempting to think if it as an full album, but I'll go with what they call it. Musically they remind me, naturally enough, of Beulah and Apples in Stereo. Especially the use of horns and slight influence of country like the former. By far the most upbeat instrumentation in this pack of EPs.

Ray Charles - Ray Charles at Newport (1958)

If you read yesterday's post you might be able to guess why I've decided to put this album up. It is only album that's holding its own against Barra 69 in my regular listening, at least at work. While they mightn't be obviously similar, with Ray Charles being a prophet of soul music and Caetano Veloso being an instigating force in Tropicalia, there's the obvious connection of the power of live performance and excitingly fresh sounds (even if we're only receiving an audio recording thereof). The amazingly done versions of "I Got A Woman" and "Talkin' 'Bout You" are unforgettable, and the absolute skill in which every song is executed is astounding. I've gladly shave years off my life for the opportunity to go back and see such an event. Hope you've enjoyed my detour for these posts, for I think it is important to go and touch base with this sorta thing even if you're familiar as I am sure many of you are with this album.

To be had here:
Ray Charles - Ray Charles at Newport [320 kbps]

Memphis Slim - Beer Drinkin' Woman (1995)

Won't ever get over the blues. certainly not when it seems I've got some genuine reasons to have the blues lately. More important than my most recent hangups is this wonderful Dutch-released compilation of tracks by Memphis Slim. True to his moniker the man was born in Memphis, Tennessee and began his recording career way back in 1947 and maintained it thru into shortly before his death in 1988. He was a piano bluesman who played a sub-genre called jump blues. Although often accompanied by band that included a variety instruments, these songs are minimal, featuring little more than piano, harmonica and Slim's powerful crooning voice. He throws out a bunch of mentions to the blues figures that were influential in his career like Leory Carr and Big Bronzy Bill who are both totally worth checking out.

To be had here:
Memphis Slim - Beer Drinkin' Woman [256 kbps]

Lightning Slim - We Gotta Rock Tonight (1986)

Lightning Slim (often billed Lightnin' Slim) was a blues musician born in St. Louis but ended up in Michigan working in a foundry when not playing. This is a posthumous compilation of some of his songs that cross the divide of blues and rock and roll (yet obviously blues-heavy rock). Numbers like "It Been A Long Time" and "Solider Boy Blues" are great examples of electronic blues, and others like the titular song "We Gotta Rock Tonight" show this guy knew how to play rock as well. He was recorded later than many of the bluesmen I've posted, only get on a single in 1954 and he was dead 20 years later of stomach cancer in Detroit. Nonetheless, he seems to be of relatively small fame compared to contemporaries and predecessors, but this cannot be due to lack of talent. Plus he must have one of my favorite monikers of all the blues musicians I'm familiar with.

To be had here
Lightning Slim - We Gotta Rock Tonight [320 kbps]

Oxford American Music Issue #13-Mississippi

This year's music issue from the Oxford American came out in March. My brother gifted me a copy for my birthday, just as he gave me last year's issue that compiled Alabama musicians. As the title indicates this is on Mississippi musicians spanning from the 40s to present, but naturally enough heavily focused on the blues that had much of its genesis in the state. I've hardly gotten a chance to read any of the magazine which is filled with lengthy articles on the artists individually, and they're written far better than anything you can read on this blog. Basically, I am saying buy the fucking magazine because you'll fucking love it, which I say purely on the weight of how wonderfully done the previous music issue was. For real, it's got Bo Diddly, Guitar Slim, and some amazing cats called Leon Bass & The Keystones. So throw down the money and get something awesome to read instead of doing work.

To be had here:
Oxford American Music Issue #13-Mississippi

Moon Mullican

It's no secret that I've really been into listening to blues, soul and old country music lately. Well, as I access the internet in short periods, and not even everyday at this point I've developed a habit of jotting down names of all sorts of musicians to look up whenever I've got a couple of hours to tool around online. One such musician is Moon Mullican, a figure that straddles various styles of music that'd consolidate into genres soon during his career. He was simultaneously a country musician and an early pioneer into rock and roll. Openly admitting his debt to black musicians, he used his piano to play blues and boogie numbers as skillfully as swinging western tunes. Perhaps it should make sense that is recordings are terribly hard to tell between rock, blues, or honky tonk if it wasn't for the habit of titling tracks with the style ("Rheumatism Blues," "Cherokee Boogie" or "Honolulu Rock & Roll" for example). I found a site that has a bunch of his tracks for free download, but they're not arranged in any official format. Something like a lesson in how a skilled pianist can play nearly anything they fancy and have it be mesmerizing. Sure they're low-quality copies, but it didn't bother me at all.

To be had here:
Moon Mullican

SexyWaterSpiders - Black Gold (2010)

When I moved to Portland, Oregon, one of the first things I noticed were the bumper stickers and signs everywhere that read "Keep Portland Weird". Over the course of that first year, Portland's weirdness revealed itself in many ways, usually in the form of costumed pub crawls and costumed (or naked) bike rides. At first I was intrigued by the weirdness; then proud. I even participated in a pub crawl dressed as a lumberjack in hot pants. But everyone gets to the point where Portland's weirdness becomes embarrassing and/or annoying, as it has for me 6 years later.

Listening to SexyWaterSpiders, though, I've become intrigued again. 

A Portland by way of Salem trio, SexyWaterSpiders play an adolescent, bluesy psych rock. They don't take themselves too seriously, and they don't want you to take them too seriously, either. This point is made evident by their 10 minute forays into new age psych pop and cheesy power metal. Actually, all the songs on Black Gold have a tongue in cheek sneer through which the tongue is more directed at the listener …almost to test your patience and ask "why so serious?"

First listen aside, they aren't just a weird Portland band. They're a breath of fresh air in a city that's nearly choking to death with conventional rock bands uninterested in testing the boundaries of their own "coolness". That said, there is something undeniably cool about them. Their songs are good and at times evoke the likes of Jon Spencer, Royal Trux, Railroad Jerk …even The Fugs. And while they may not be as garage or punk as those groups, the SexyWaterSpiders approach their music with a similar playfulness that escapes a lot of musicians these days.

Loosen your buttons.

SexyWaterSpiders - Black Gold

Sonny Boy Williamson II - Down and Out Blues (1959)

More blues, pilgrims. I've been dreaming the blues lately. Sonny Boy Williamson, real name Alex Miller, was actually the second of two blues musicians to go by the name. Hence he's often billed as Sonny Boy Williamson II. However he's called, he was a brilliant harmonica blues player that was a contemporary and colleague to many greats, including the recently shared Big Joe Williams and Robert Nighthawk (note: the Sonny Boy mentioned in the interview on Nighthawk's album was the first one). Similarly he was part of the blues revival of the 50s and 60s. Although he'd be recording since 1951, Down and Out Blues was his first full-length album, though really a compilation of earlier singles. While the harmonica playing is absolutely fantastic, I think his lyrics and soulful singing may even outshine his mastery of the blues harp. Notable musicians contributed such as Muddy Waters, Otis Spann, Willie Dixon and Robert Lockwood Jr. among others. Truly a blissful way to spend a touch over a half and hour.

To be had here:

Sonny Boy Williamson II - Down and Out Blues [256 kbps]

Robert Nighthawk - Live on Maxwell Street (1964)

With very little in the way of money and very much in the way of time I've been listening to a considerable amount of blues music to keep myself from just sleeping days away. Robert Nighthawk is a bluesman I'd heard of but had neglected to hunt down any recordings of for too long. Born Robert McCollum, he assumed the nickname Nighthawk after he released an album called Prowling Night Hawk. He was trained in part by his cousin, Houston Stackhouse, and in turn helped teach younger blues players including Muddy Waters. Nighthawk was a figure that helped move Delta blues to the Chicago style that became increasing popular. So fittingly he recorded this live album on the Maxwell Street in Chicago, where as the artist himself explains during the interview found at the end was a street favored by blues musicians. The street concert setting defines the album in many ways with the crowd shouting, the sound washing together from the outdoor recording, and the energy of the music the artist selected to please the particular audience one would find on Maxwell Street. Don't take my word for it, you can watch the first track being played on youtube. From what I read this is commonly held to be among the best live blues albums, and I must say I've no reason to disagree.

To be had here:

Robert Nighthawk - Live on Maxwell Street [192 kbps]

Big Joe Williams - Piney Wood Blues (1958)

I am watching my grandfather's house for a week and I'll say that being so used to not having the internet at home has made it so that now that I've got it unrestricted I hardly can figure what to do with it. So naturally I just started hunting down music day and night and while this started with erratic selections it's come to focus purely on the blues. Big Joe Williams has been my main fascination. An original Mississippi Delta bluesman this album was recorded in 1958, Williams in his mid-fifties by then, when labels were "rediscovering" the careers of blues musicians. Other than his remarkable voice, perfect for moaning out the blues, Big Joe was notable for his use of a nine string guitar. Really a six string guitar, with some of the cords doubled up, it does make a unique sound nonetheless. The tracks are largely Williams own, with some from Sleepy John Estes and one from each Sonny Boy Williamson and Charley Patton. Reminds me of the Honeyboy Edwards album I posted up, and it features a short interview in the middle just the same.

To be had here:

Big Joe Williams - Piney Wood Blues [320 kbps]

John Fahey - The Yellow Princess (1968)

It's been a while since I told everyone how much I enjoy John Fahey's guitar playing. A long bit ago I posted his The Voice of the Turtle, which remains one of my all time favorite albums. Fahey's personal story is nearly a dramatic and interesting as his music too. He was rather down and out for a period, having lost what I think was his third wife and being terribly ill, broke and nearly homeless. This was reversed in with a upswing in his popularity with a new generation of music fans in the final decade of his life. Though this didn't prevent him from writing a book entitled How Bluegrass Music Destroyed My Life. That book is gonna top my Christmas list this year for sure. The Yellow Princess actually came out the same year as The Voice of the Turtle, along with two other albums. It's likewise a golden example of of Fahey's steel-stringed brilliance as a master of folk music. Sometimes it is consider some of his more stunningly technical work. So yeah, dog, it is the bee's knees.

To be had here:
John Fahey - The Yellow Princess [192 kbps]

Elmore James - King Of The Slide Guitar: The Fire/Fury/Enjoy Recordings (1992)

The King of the Slide Guitar, that's some appellation to obtain. Any man that can earn that title deserves to be heard. Elmore James is one of those early bluesman to come up out of the deep south. He played with the likes of Sonny Boy Williamson it's very possible he played with Robert Johnson. Johnson influenced James's blues, along with slide guitarist Tampa Red and Kokomo Arnold. Hanging with those notable blues players really paid off. James's music is amazingly lively, and quite different from the last blues I posted up, Honeyboy Edwards. This is electric guitar, more often than not intensely amplified. He had a deep, crooning voice that can carry the blues right into your chest like smoke from a pipe. When I was kid and I'd yet to learn of the Robert Johnson, Son House or the other early Delta bluesmen, I had an idea of what the blues was and style of Elmore James is basically it. I don't think it is an overstatement to say that this sort of sound has a large share the responsibility in me being such a nerd about music. This is a compilation of songs James did 1959 to 1962 toward the end of his life. He's thought to have improved with age in his guitar playing, which isn't common among blues musicians. It's fifty tracks so I had to split it into two parts for the upload.

To be had here:
Elmore James - King Of The Slide Guitar: The Fire/Fury/Enjoy Recordings [224 kbps] disc 1
disc 2

Honeyboy Edwards - Mississippi Delta Bluesman (1979)

Honeyboy Edwards died recently, and he was the last of the bluesmen to come up out of the Mississippi Delta spread their music throughout North America and beyond. Edwards played with the likes of Robert Johnson and Son House and stuck true to the slower, simple style of making blues. NPR had a good story aired about his wherein he offers his opinion on how the blues ought to be done. They'll do a better job getting anyone up to speed on the significance of Honeyboy Edwards than I would. What I can tell you is that I can find myself sitting in a dark room at midnight listening to Delta blues not having realized five hours passed and I drank all my beer. If everything was that naturally conducive to that behavior my liver would've given out already, but it is a fine experience every now and again.

To be had here:
Honeyboy Edwards - Mississippi Delta Bluesman [320 kbps]