Blues Unlimited Show – AddictedToRadio.com – Blues Classics channel

Blues Unlimited Show – Blues Classics channel on AddictedToRadio.com and ON DEMAND

CHANNEL: BLUES CLASSICS
BROADCAST TIMES: Sun 5AM & 5PM / Mon 11AM & 11PM / Weds 3PM / Thur 7AM / Fri 8PM (All Times Eastern)
ON DEMAND: Click The Player above each episode’s playlist

About The Show
Sleepy Boy Hawkins has been a blues fanatic for almost 30 years. His radio shows draw not only upon his extensive knowledge, but also his vast collection of CDs, LPs, 45s, and 78s. Each show features a different theme, presented in two one-hour segments. The Radio Show, is dedicated to the memories of Mike Leadbitter and Simon Napier (who founded “Blues Unlimited,” the world’s first magazine devoted solely to Blues), and to Peter Aschoff and Dee ‘Cap’n Pete’ Henderson, Blues radio programmers extraordinaire.

Search for any song heard on the show, or any other song that comes to mind and if its available
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More Gems and Rarities from Genesis – Part 1

More Gems and Rarities from Genesis – Part 2

Gems and Rarities from Genesis – Part 1

“Genesis” was a legendary series of albums compiled by British Blues experts Mike Leadbitter and Mike Rowe between 1972 and 1975. They were a lengthy celebration of the Chess catalog — each volume was a box set that held four different LPs, complete with lavish illustrations and extensive notes about the music and the performers. Over the last 40 years, the Chess catalog has been extensively reissued, but some of the cuts off of “Genesis” remain rare and hard to find even today. Although “Genesis” volume one stuck largely to material that had previously been issued on 78, volumes two and three opened up the gates with rare unissued cuts and alternate takes that had not seen the light of day since they were first recorded. It’s those cuts off of “Genesis” that we’ll be focusing on most with this program — along the way, giving us a chance to highlight these critically acclaimed series of LPs, while hearing some great nuggets from the Chess vaults all at the same time. Although 12 volumes were originally slated for the “Genesis” anthology, it was sadly not to be. Critically acclaimed at the time they came out, it was either due to lack of sales, or perhaps due to co-compiler Mike Leadbitter’s untimely death in 1974 that saw the series grind to a halt after just three installments. The third and final volume, compiled by Mike Rowe, was dedicated to Mike Leadbitter when it came out in 1975. Today, they’re prized collectors items, holding a special place of honor among those who are lucky enough to have them in their collection.

Gems and Rarities from Genesis – Part 2

The Ann Arbor Blues & Jazz Festival ’72 (and ’69) – Part 1

The Ann Arbor Blues & Jazz Festival ’72 (and ’69) – Part 1

Tribute To Chance Records – Down Home Blues – Part 1

Tribute To Chance Records – Down Home Blues – Part 2

Movin’ To The Hammond B3 – Part 2 – Segment 1

Movin’ To The Hammond B3 – Part 2 – Segment 2

Movin’ To The Hammond B3 – Part 1

Movin’ To The Hammond B3 – Part 2

R. Crumbs ‘Heroes Of The Blues’ Part 3 – Hr. 1

R. Crumbs ‘Heroes Of The Blues’ Part 3 – Hr. 2

R. Crumbs ‘Heroes Of The Blues’ Part 2 – Hr. 1

In 1980, the good folks at Yazoo Records issued a box set of 36 trading cards called “The Heroes of the Blues,” with drawings by legendary illustrator and cartoonist R. Crumb, and text by noted researcher and author Stephen Calt. They’ve long been favorites with Blues fans, and on this program (the second of three) we continue our exploration of “The Heroes of the Blues.” Among the featured artists on this program are Furry Lewis, Big Bill Broonzy, The Rev. Gary Davis, Cannon’s Jug Stompers, the Memphis Jug Band, Skip James, and many more.

R. Crumbs ‘Heroes Of The Blues’ Part 2 – Hr. 2

R. Crumbs ‘Heroes Of The Blues – Part 1 – Hr. 1

In 1980, the good folks at Yazoo Records issued a box set of 36 trading cards called “The Heroes of the Blues,” with drawings by legendary illustrator and cartoonist R. Crumb, and text by noted researcher and author Stephen Calt. They’ve long been favorites with Blues fans, and on this program (the second of three) we continue our exploration of “The Heroes of the Blues.” Among the featured artists on this program are Furry Lewis, Big Bill Broonzy, The Rev. Gary Davis, Cannon’s Jug Stompers, the Memphis Jug Band, Skip James, and many more.

R. Crumbs ‘Heroes Of The Blues – Part 1 – Hr. 1

#1 R&B Hits Of The Late 1940′s – Part 1

#1 R&B Hits Of The Late 1940′s – Part 2

Recycling The Blues – Part 1

Recycling The Blues – Part 2

More Blues For Christmas – 2 Parts

Part 1

Part 2

The Blues For Christmas Show (2 Parts)

Part 1

Part 2

The R&B and Blues Christmas show (2 Parts)

Join us as we dust off some of our favorite Holiday-themed Blues and R&B Christmas classics. From Lightnin’ Hopkins, Freddie King, and Sonny Boy Williamson, to vintage masterpieces from Leroy Carr, Blind Lemon Jefferson, Walter Davis, and more, join us for two hours of Christmas Blues and R&B classics! Pictured: Leroy Carr, sporting some holiday cheer!

Part 1

Part 2

Deep Delta Blues: The Life and Music of Son House – Part 1

Son House may very well have been the greatest Blues singer that ever lived. Mind you, there was nothing fancy or complicated about his music or his guitar playing. But coming, as it did, from the very heart of the Delta, there is something about his music that is irreducible. It is such a part and parcel of the very essence of what we call the Mississippi Delta Blues, that it is hard to imagine anyone breaking it down into pieces more fundamental or elemental than what Son House brought to the table. You wouldn’t necessarily point to his music and say, “There’s a good example of what Delta Blues sounds like.” His music is the Delta Blues, and he, in turn, is the very essence of what the Blues is all about. A former preacher and farmer who spent some time at Parchman Farm, Son House was born in the early days of the 20th century, and took up guitar relatively late in life. It was, in fact, the push and pull between the earthly desires of his physical being, juxtaposed against the soul’s yearning for redemption that largely informs his music. For instance, in the early days, he was known to sing the Blues all night long in a juke joint on Saturday night, and on Sunday morning, wipe the beer bottles off of a table, get up on it and start preaching a hellfire and brimstone sermon. After he was done, according to legend, he would get down off the table, and he and his musical partner Willie Brown would go right back on playing the Blues for the hungover — and we can only imagine somewhat startled — patrons. He made his debut recording session in the summer of 1930 for Paramount Records, but thanks to the Great Depression, they pretty much went nowhere. Out of the four issued 78s, two of them are so rare that only one copy of each is known to exist. One of them was found lying on the floor of an abandoned home in rural Virginia, while the other one didn’t turn up until 2005 — some 75 years after the fact! Of the other two, only a few copies of each are known to exist. In 1941, Alan Lomax came knocking on behalf of the Library of Congress, and further sessions were held — this time, with one of the most exciting groups of Delta musicians ever assembled — Son House on guitar and vocals, Leroy Williams on harmonica, Fiddlin’ Joe Martin on mandolin, and the legendary Willie Brown on second guitar. Sadly, Lomax had to pack up his equipment after recording only a few numbers, thanks to interference from the local authorities who put a stop to the proceedings. The few numbers that Lomax did capture, however, are priceless. Alan Lomax came around again in 1942, recording further numbers with Son House, this time just solo. One of the standout pieces was a version of “Jinx Blues,” a tune associated with his musical partners Charley Patton and Willie Brown. Sometime after this, he relocated to Rochester, New York, where he worked as a chef, and also as a porter on the New York Central Railroad. In 1964, three young Blues enthusiasts — Nick Perls, Phil Spiro, and Dick Waterman — came knocking on his door after a journey involving some 16 states and 4,000 miles. He no longer owned a guitar, however, and wasn’t sure he could sing again. Alan Wilson, later to go onto fame and recognition with Canned Heat, was employed to help Son “relearn” his music. Son, apparently, appreciated the help and support that the young man gave him. When they played together, Wilson was never showy or flashy, only complementing what Son was already playing. And others observed that Alan’s presence had a calming effect on Son when he was with him — perhaps due to the fact that when he wasn’t playing his beloved steel-bodied National guitar, his hands trembled. People who saw him live in concert tell stories about him going to another place — essentially leaving the building — during his intense, extended pieces — with everyone drained and exhausted at the end of each show. Quite frankly, they wondered how he was able to pour every ounce of his energy, every part of his being, so totally into his music. And yet he did, time and time again. Thankfully, footage from that era has survived, and it gives us an ever so brief glimpse in to the sheer power and passion of his live performances. His last “great” public appearance came in the summer of 1970, in London. It was supposed to be his final European tour prior to a proposed retirement. However, retirement didn’t really come for another five years. His last recordings were made in April 1975, and are housed at an archive at Indiana University, remaining unissued. He died some 13 years later, in October 1988, at the age of 86. In a 1970 interview, John Lennon offered this observation — that the Blues were a chair. He said: “[The Blues] are not a design for a chair, or a better chair… it is the first chair. It is a chair for sitting on, not chairs for looking at or being appreciated. You sit on that music.” Although John had the right idea, he may have missed the mark just slightly when choosing his metaphor. The Blues aren’t so much a chair, as they are, perhaps, a house. Or in this case, Son House. It goes without saying that Blues singers like Son House only come along once. And fortunately for us, we have his incredible body of recorded work that lives on. Join us then, as we celebrate the life and music of one of the greatest Blue singers that ever lived. Photo of Son House at the 1965 Newport Folk Festival by John Rudoff, M.D

Deep Delta Blues: The Life and Music of Son House – Part 2

Playing W/ Food Episode (Thanksgiving Special) – Part 1

Playing W/ Food Episode (Thanksgiving Special) – Part 2

In The Blues Quarters: Mid 60′s Chicago Classics – Part 1 – Hour 1

In The Blues Quarters: Mix 60′s Chicago Classics – Part 1 – Hour 2

In The Blues Quarters: Mix 60′s Chicago Classics – Part 2 – Hour 1

In The Blues Quarters: Mix 60′s Chicago Classics – Part 2 – Hour 2

In The Blues Quarters: Mix 60′s Chicago Classics – Part 3 – Hour 1

In The Blues Quarters: Mix 60′s Chicago Classics – Part 3 – Hour 2

Motor City Blues Masters Of The 50′s & 60′s – Part 1

Motor City Blues Masters Of The 50′s & 60′s – Part 2

Motor City Blues Masters Of The 40′s & 50′s – Part 1

Although not as well known as other locales famous for their Blues — such as New Orleans, Chicago, or Memphis — the Motor City had plenty of talented songwriters and Blues musicians. It’s just that, for the most part, the record labels that operated out of Detroit were either local labels that had little or no distribution, and/or quite often lacked proper ‘hi-fi’ recording equipment. In spite of these odds, however, some of Detroit’s greatest Blues musicians did manage to find their way into a recording studio — some of which were no more than a tape recorder and a mic or two in the back room behind someone’s storefront — to make some of the finest Down Home Blues of the Post-War era. Rare, classic and legendary performances from John Lee Hooker, L.C. Green, Baby Boy Warren (pictured), Eddie Burns, Walter Mitchell, Robert Henry, Eddie Kirkland, Detroit Count, and many more

Motor City Blues Masters Of The 40′s & 50′s – Part II

Detroit was home to a thriving Blues scene in the years immediately following World War II. On this episode of Blues Unlimited, we showcase some of the finest talent to come out of the Motor City, from the late 1940s to the early 1950s. Pictured: A real Detroit classic from one of the finest songwriters to come out of Detroit, Baby Boy Warren.

East Coast Slide Guitar – Part 1

When you think of slide guitar, you probably think of Muddy Waters, Elmore James or Son House — but did you ever stop to think about some of the bottleneck practitioners from the Eastern Seaboard? Join us for an illuminating look at the art and artistry of East Coast slide guitar, including classics from Blind Willie McTell, Curely Weaver, Barbecue Bob, Peg Leg Howell, Sylvester Weaver, Kokomo Arnold, Tampa Red, Blind Boy Fuller, Dan Pickett, John Lee, and more

East Coast Slide Guitar – Part 2

Killer Rhythm Rockin’ Blues Part 1

Join us for a grab bag of uptempo, hot and fast Blues and R&B. Rock on down to classics from Elmore James, Jimmy Reed, Eddie Taylor, Lightnin’ Hopkins, Hop Wilson, Sam Price, Cal Green, and many more. Get your dancin’ shoes on! This one’s all killer and no filler!

Killer Rhythm Rockin’ Blues Part 2

Lowdown Memphis Harmonica Jam – Part 1

In 1976, the good folks at Nighthawk Records issued an LP by the name “Lowdown Memphis Harmonica Jam.” Using that as a jumping off point, we feature tracks off the original album, as well as a few of our own favorites. Find out why Memphis can lay claim to some of the finest harp blowers in the business, on this episode of Blues Unlimited. You’ll hear some of the finest harmonica players that graced the Memphis scene with their presence. Classics from Joe Hill Louis, Walter Horton, Doctor Isaiah Ross (pictured), Howlin’ Wolf, James Cotton, Coy “Hot Shot” Love, Woodrow Adams, Sleepy John Estes (featuring Lee Crisp on the harp), Junior Parker, and more.

Lowdown Memphis Harmonica Jam – Part 2

Windy City Mandolin – Part 1

Windy City Mandolin – Part 2

A Great Day In Aurora – Part 1

A Great Day In Aurora – Part 2

Greenville Smokin’: The Legendary Recordings Of Joe Bihari – Part 3 – hr. 1

Greenville Smokin’: The Legendary Recordings Of Joe Bihari – Part 3 – hr. 2

Greenville Smokin’: The Legendary Recordings Of Joe Bihari – Part 2 – hr. 1

About This Show: The History Of The Blues – Part 1

Part 2

About This Show: Greenville Smokin’: The Legendary Field Recordings Of Joe Bihari – Part 1 – Hour 1

Greenville Smokin’: The Legendary Field Recordings Of Joe Bihari – Part 2 – Hour 2

About This Show: West Coast Piano Blues

Part 1

Part 2

About The Show:
We present this as a rebroadcast ON DEMAND for you to listen to anytime. The show is hosted by Sleepy Boy Hawkins

CROSSING BOUNDARIES: The Blues In Country & Western Rock N’ Roll – Part 1

CROSSING BOUNDARIES: The Blues In Country & Western Rock N’ Roll – Part 2

JOHN LEE HOOKER AND HIS BUDDIES (Part 1)

Part 2

THIS SHOW – DOWN HOME SOUTHERN MEETIN’ Part 1
The gathering of four giants of the blues into one recording studio isn’t something that happens very often, if it all. Then take into account that each major geographical region of the blues was represented by those four individuals, and the odds of it happening even once get exponentially smaller. But that’s exactly what happened on July 6th, 1960, when Lightnin’ Hopkins (from Texas), Sonny Terry and Brownie McGhee (representing the East Coast Piedmont tradition), and Big Joe Williams (the Mississippi Delta) were all brought together in a Los Angeles studio to record an album, “Down South Summit Meetin’.”

It was an opportunity of sheer fate — Sonny and Brownie were finishing up an engagement at the Ash Grove, and Big Joe Williams, an intrepid wanderer, was there to take over for them. Lightnin’ Hopkins, who rarely enjoyed leaving the confines of his beloved Houston, was passing through town on his way to a music festival. Rehearsals were held one evening, and studio time was booked the following day. And while you would think that blues artists from three very different genres would have trouble connecting with one another musically, actually, quite the opposite happened. Something clicked, and after a few uneasy moments and a few missed guitar chords here and there, the musical magic that the four of them made was captured on tape, with a fine LP resulting. After completing six titles that make up “Down South Summit Meetin’” on the World Pacific label, further recordings were made, but quite curiously, no one seems to remember making them. Whether they were recorded live at the Ash Grove, or were further studio recordings made the same day, no one knows. Nevertheless, the magic continued, and by the time it was all over, nearly a dozen titles were captured (some have theorized that the audience applause heard on these additional recordings was overdubbed at a later date).

On this episode of Blues Unlimited, we hear classic selections from these one-of-a-kind, historic recordings (it was an experiment, sadly, that was never repeated), along with a few tracks from two of our other favorite LPs from the rediscovery period — “Mississippi Blues” by Bukka White on the Takoma label, and “I Do Not Play No Rock ‘N’ Roll,” by Mississippi Fred McDowell, issued by Capitol in 1969. Bukka White’s recordings for “Mississippi Blues” were made in 1963 after two enthusiasts, Ed Denson and John Fahey, sent a postcard to Bukka’s old home town of Aberdeen, Mississippi, saying that they were looking for him. Simply addressed to “Bukka White – Old Blues Singer c/o General Delivery,” the postcard was eventually forwarded to him in Memphis, and when the three of them connected, Denson and Fahey eagerly drove from their home in Washington, D.C., to Memphis, making them the first people to record Bukka White in the “rediscovery” period. The resulting album also became the very issue on the now-famous Takoma label. “I Do Not Play No Rock ‘N’ Roll,” Fred McDowell’s classic on the Capitol label, was made by Wolf Stephenson and Tommy Couch — if those names sound familiar it’s because they’re the founders of the Malaco record label — who brought Fred down to their studio in Jackson one day in September 1969. Fred was sporting an electric guitar now, instead of his old acoustic one, and all the haunting, biting, and stinging qualities in his slide guitar playing were only amplified along with it. Something in the record clicked with the music buying public, and it went on to become the biggest seller in Fred’s career. Together, these three LPs — “Down South Summit Meetin’” by Sonny Terry, Brownie McGhee, Lightnin’ Hopkins, and Big Joe Williams — “Mississippi Blues,” by Bukka White — and “I Do Not Play No Rock ‘N’ Roll” by Mississippi Fred McDowell — represent three high points of the rediscovery period, and we’re proud to present them on this episode of Blues Unlimited.

PART 2

THIS SHOW – RED HOT BLUES GUITAR
On this episode of Blues Unlimited, we jam out in style with some memorably hard rocking, searing and soaring, gut wrenching and spirit lifting, “get-out-your-air-guitar-and-play-along” all time Blues favorites. From Pee Wee Crayton and T-Bone Walker, to Elmore James, Pete Lewis, Chuck Berry, Robert Nighthawk, Wild Jimmy Spruill, Otis Rush, Hound Dog Taylor — and lots more — join us for two hours of Red Hot and Smokin’ electric Blues guitar.

Part 1

Part 2

THIS SHOW – DOWN HOME GOSPEL FAVORITES
As the great Big Bill Broonzy once opined, “There could be no Blues without the Spiritual.” In contrast, then, it also follows that without Blues, there could be no Spirituals or Gospel. On this episode of Blues Unlimited, then, we explore the other side of the Blues coin for two enlightening hours of raw, gritty, homespun and otherworldly Gospel favorites. From the greats — Sister Rosette Tharpe and the Soul Stirrers — to the down right obscure (Rev. Steward and His Family; Sister Mathews), as well as a couple of good old-fashioned hell-fire and brimstone sermons — plus a handful of our favorite Blues musicians performing down home Gospel classics — it’s two uplifting hours that you won’t want to miss.

Part 1

Part 2

THIS SHOW: Focus on The Bluebird Record Label
Classic Blues fans, you’re going to love this. Blues from the soul of the 30′s and beyond. Launched as a budget imprint during the height of the Great Depression, it quickly became home to blues icons like Tampa Red, Sonny Boy Williamson, Washboard Sam, Arthur “Big Boy” Crudup, and more. Blues from RCA Victor’s legendary Bluebird label.

Part 1:

Part 2

About This Episode:
On this episode of Blues Unlimited, the spotlight is on a a key transitional period in the history of post-war Chicago Blues, by focusing on the early recordings of three key figures: Muddy Waters, “Baby Face” Leroy Foster, and Little Walter Jacobs. Pictured: This re-recording of “Rollin’ And Tumblin,’” waxed by Muddy Waters a month or so after the first version with Leroy Foster and Little Walter, lacked the magical spark of the original, although still a solid performance from Muddy in every way.

Part I of WE THREE KINGS featuring the music of Muddy Waters, Leroy Foster and Little Walter

Part 2 of WE THREE KINGS featuring the music of Muddy Waters, Leroy Foster and Little Walter