Etta James - 'Tell Mama' (2026 Acoustic Sounds Remaster)

 

'Tell Mama' was recorded at FAME Studios in Muscle Shoals, Alabama between August 22, and December 6, 1967.  It was produced by Rick Hall, and released in February 1968 by Cadet Records subsidiary of the Chess label.

Etta had spent recent times detoxing at the USC County Hospital and also had spells at Sybil Brand, the women’s prison in Los Angeles, for drugs offenses. Amid such turmoil, no one, not even Etta James, could have predicted that she was on the verge of recording 'Tell Mama', one of the finest soul albums of the 60s.

As the summer of 1967 approached, things did not look auspicious for 29-year-old.  In August, she arrived in Muscle Shoals, and in her words "I had tons of confusion and anger stored up inside...and ready to blow the doors off the studio."

In FAME Studios (where deep-fried Southern soul was the order of the day in '67) Rick Hall brought in his core "Swampers" rhythm section of Jimmy Ray Johnson and Albert "Junior" Lowe on guitar, Roger Hawkins on drums, Barry Beckett and Spooner Oldham on keyboards and David Hood on bass.  He also brought in a brass section of Gene "Bowlegs" Miller on trumpet, James Mitchell and Aaron Varnell on saxophone, and Floyd Newman on baritone saxophone.

The longest song on 'Tell Mama' lasts two minutes and thirty-four seconds.  Obviously, it’s a compilation of attempts to get an AM radio hit, like all R&B LPs were in those pre 'What’s Going On?', 'Music Of My Mind', and 'Dance To The Music' days.  

The record shouldn’t be a masterpiece, but Etta James made it one. She idolized Billie Holiday and learned from her that the deepest sadness and greatest despair could be found in the silliest, most cheerfully inane songs.  The pain’s in the singer, not the song. No one who listens to 'Tell Mama' could think that Etta, singing with such terrible heartbroken rage is really singing about mothers-in-law and dancing on Saturday night.

There's not a track on "Tell Mama" that isn't worthwhile, but the highest points are the propulsive, brass-heavy title song (a gender-shifting remake of Clarence Carter's "Tell Daddy") and the unfathomably deep "I'd Rather Go Blind." Though its single release exiled it to the B-side of "Tell Mama," this is clearly Etta's finest moment. The guitar intro immediately whets the listener's appetite. Once Etta comes in with "Something told me it was over when I saw you and her talking," it's time to dim the lights and immerse yourself in the depths of her despair.

When released the album successfully revived her career and marked her return to the Billboard 200 chart for the first time since 1964.

Etta James went on to make many more fine recordings, but none surpass "Tell Mama" for sheer quality.

Today's freeload is 24-bit/192 kHz (180-gram) vinyl rip of the Chess Acoustic Sounds Series, released this past March.  This is the best 'Tell Mama' has ever sounded.

For the freeload, who's your favorite female R&B/Soul singer?

Lester Young, Roy Eldridge and Harry Edison - 'Laughin’ To Keep From Cryin'

 

Laughin’ To Keep From Cryin' was recorded on February 8, 1958, 

at Fine Sound Studios in Manhattan.  It was produced by Norman Granz, engineered by Robert Fine, and released on Norman's Verve Records label in the summer of 1958.

This is great little Verve session from the late 50s, and one that Norman Granz did so well at the time – taking some top-shelf musicians into the studio, and providing them with ample studio space to explore their musical abilities and engage in solos that were previously unattainable during the earlier era of jazz on 78-rpm records.

This album blends small-group swing with an introspective, relaxed atmosphere. Roy "Little Jazz" Eldridge on trumpet brings a fiery drive while Harry "Sweets" Edison also on trumpet contributes a smooth, bluesy restraint, using muted horns so as not to overpower a softer-toned Lester "Prez" Young.  This is a master class in differences in phrasing and tone.  The rhythm section is Hank Jones on piano, Herb Ellis on guitar, George Duvivier on bass and Mickey Sheen on drums, whom are all jazz heavy weights, in their own right.

A major talking point of the record is Lester Young's return to the metal clarinet [something he hadn't done in years! - Ed.], on the first two tracks, "Salute to Benny" (a tip of the hat to Benny Goodman) and "They Can't Take That Away from Me", which was Side A of the original album's release.  Sadly, the album captures "Prez" just 13 months before his death in March 1959.  Some critics and fans often debate the overall technical strength of the date due to Young's fading physical health and weakened wind.  Be that as it may, to me this session remains an emotionally resonant musical conversation among the three jazz legends.

As I previously mentioned, this album was recorded at Fine Sound Studios which was located in the Great Northern Hotel (owned by world heavyweight champion, Jack Dempsey) on West 57th Street here in Manhattan.  The studio was in a former ballroom that had been converted into a recording studio.  

Studio owner/engineer Robert Fine, was vital to Verve's crisp high-fidelity acoustic output.  In many ways Robert Fine was to Verve, what Rudy Van Gelder was to Blue Note.  Robert is an unsung hero in Jazz.

The freeload is a reissue from 2000, as part of Verve Record's Master Edition CD series.  This series is known for its meticulous restoration of the original master tapes, in a high resolution, 96 kHz, 24-bit digital transfer.  Track 6 (Ballad Medley: "The Very Thought Of You"/"I Want A Little Girl"/"Blue And Sentimental") and track 7 ("Mean To Me") are bonus tracks from the original CD issue: 'The Complete Lester Young Studio Sessions On Verve'.

For the freeload, tell us who consider to be an unsung hero of music.

Nina Simone and Gregg Allman

 What's the connection you ask?

The cover of Nina's 'Little Girl Blue' was taken in Manhattan's Central Park in 1959, near Central Park South (59th Street).

That exact spot brings back a very cool memory.  So let’s take a trip down memory lane to 1974.  My husband Jerry and I along with Denise "The Grease" and her then boyfriend "Little Benny", went to Carnegie Hall to see Gregg Allman.

Inside Carnegie Hall waiting for the show to start the people next to us lit a joint and passed it to us, "The Grease" sparked one up, and we passed it to them, and we started talking.  Jerry had a bottle Jack Daniel’s he smuggled in, and we shared it all round.  They were very nice people and told us there was going to an after party in Central Park at midnight at the benches by the duck pond that faces the bridge.  This was a popular spot I knew well, and five-minute or so walk from Carnegie Hall on West 57th Street. 



I should point out, unlike today, Central Park in 1974 reflected the severe economic and fiscal crises of New York City.  It was unkempt, graffiti was everywhere, heroin was openly sold, it became even more dangerous after dark and the NYPD didn’t bother patrolling it.



After Gregg’s show we went to nearby bar, to kill time before the after party.  When arrived at the party it was underway, there were cans of beer in coolers, a constant stream of joints being passed around, someone even brought a charcoal grill and was cooking hotdogs and hamburgers.  The festivities went on till around 3AM.  These were the very last days of "Hippie New York".  Every time I see Nina Simone’s 'Little Girl Blue' I think back to that night.



'Little Girl Blue' (subtitled Jazz as Played in an Exclusive Side Street Club) is Nina's 1959 debut album.  Recorded in late 1957 for the Bethlehem Records label, the album beautifully showcases her distinctive blend of classical piano technique, jazz improvisation, and soulful vocal phrasing.  It includes her first major chart hit, "I Loves You, Porgy", along with the timeless classic "My Baby Just Cares For Me".

The freeload is a 24bit/174.4kHz SACD rip of the Analogue Productions reissue from 2015

Little did we know that night at Carnegie Hall, the show was recorded, and parts of it would be released as 'The Gregg Allman Tour' later in 1974.

For this tour, Gregg Allman deviated from the usual Allman Brothers Band lineup.  He was accompanied by a 24-piece orchestra, along with the band Cowboy, a Capricorn label-mate who had been a personal favorite of his late brother, Duane Allman.

Originally released as a double LP, the album blends Southern rock, Blues, R&B, honky-tonk, and Gospel music.

The freeload is a sweet sounding, remastered limited edition SHM-CD, that was reissued for the Japanese domestic market (a "JDM" to music collectors) in 2008.

If Nina and Gregg made an album together, I'll bet it would have been a pretty cool Jazzy Bluesy affair.

For the freeload name a male and female artist living or deceased, who you think should or should have collaborated on an album.

'Bo Diddley' (2026 Acoustic Sounds Remaster)

Bo Diddley’s self-titled debut album, released in 1958 on The Chess Records label, is a compilation of singles recorded between 1955 and 1958.

This album is an even dozen of Bo Diddley's greatest recordings.  There are songs about the man himself on "Diddley Daddy" and "Hey! Bo Diddley", an atypical exercise in credit-sharing on "Bring it to Jerome", some straight-up Chicago blues on "I'm a Man,", "Before You Accuse Me"and "Say Boss Man", the first rock 'n' roll song with more or less psychedelic lyrics on "Who Do You Love?", the guttural growls of "Dearest Darling," and the outright sexism of "Hush Your Mouth" and "Pretty Thing."

Bo Diddley didn’t invent his signature beat; it’s an ancient African rhythm that had been used in American music for at least a decade before Bo transformed it into his own.  He became synonymous with this rhythm because most of his best songs feature it, and the entire rock world adopted it to some extent due to these songs. 

Without Bo’s early singles, a significant portion of rock music wouldn’t exist.

The so-called "Bo Diddley Beat" (a two-measure syncopated feel often counted as shave-and-a-haircut, two-bits, or mathematically as a 3-2 clave accent profile), was also the forerunner of disco, funk, hip-hop, house, techno, and every other beat-crazed genre that has dominated U.S. popular music since the middle 1970s.  Bo's penchant for naming songs after himself has paved the way for countless rappers.

Bo Diddley's influence is immeasurable.

Ellas Otha Bates a.k.a. "Bo Diddley" let Elvis be the King, Little Richard be the Queen, and Jerry Lee Lewis and Chuck Berry be prancing princes looking for underage "skirts".  Bo didn't give a flying squirrel he namechecked himself in his songs all he wanted to — he knew he was the man.

Today's freeload is 24-bit/192 kHz (180-gram) vinyl rip of the Chess Acoustic Sounds Series, released this past March. 

For the freeload, tell us who's your favorite first-generation rock and roll star?

Miles ’56: The Prestige Recordings

 My cataract surgery went well, and my eye is healing nicely.  I want to express my deepest gratitude to everyone for their heartfelt wishes and support.



The 2026 Newport Jazz Festival was a blast — so many great acts, so much great music.  As always, Newport blended tradition with innovation, as the festival's headliner, Herbie Hancock was a living testament to.


At the1955 Newport Jazz Festival Miles Davis (who was not even listed in the official festival program), played a 23-minute set with an ad-hoc group featuring Thelonious Monk on piano, Gerry Mulligan on baritone saxophone, Zoot Sims on tenor saxophone, Percy Heath on bass, and Connie Kay on drums.  They were introduced by Newport Jazz Festival founder George Wein as 'The Miles Davis All-Stars'.

The unexpected brilliance of Miles' performance caught the jazz world and music critics completely off-guard. Columbia Records producer George Avakian was so impressed that he got Miles' a recording contract with Columbia Records and secured him with a $4,000 advance, which adjusted for inflation would be worth around $50k in 2026.

Just one problem, Miles' still owed Bob Weinstock’s indie jazz label Prestige Records four albums, so his new Columbia recordings were held until that contract ended, leading to his iconic label debut, 'Round About Midnight'.  

To fulfill his Prestige contract Miles put together a group consisting of Red Garland on piano, Paul Chambers on bass, "Philly Joe" Jones on drums, and a not well known John Coltrane who was recommended to Miles by "Philly Joe".  This lineup would go on to be known as the "First Great Quintet".

Miles Davis and his quintet entered Rudy Van Gelder’s studio for two intense marathon sessions in May and October 1956.  There was little preparation beforehand. Miles treated both sessions as if he were playing a gig, calling out the song titles and counting in the band.  They quickly went from one song to another without any fuss or second takes, and they recorded enough material for four albums.

These recordings were eventually sequenced by Bob Weinstock into four different albums:

"Cookin' with the Miles Davis Quintet" released in 1957

'Relaxin' with the Miles Davis Quintet released in 1958

"Workin' with the Miles Davis Quintet" released in 1959



"Steamin' with the Miles Davis Quintet" released in 1961 

This set also has a few tracks featuring Sonny Rollins, that would be released on the Prestige album, 'Collector's Items'.

Today's freeload, 'Miles ’56: The Prestige Recordings' was released on June 19, 2026, by Craft Recordings, as a limited-edition 4-LP, a 3-CD box set and a 24bit/192kHz digital album.

The sound quality on this set is in a word: superlative, and is without doubt the best I've ever heard these recordings sound.  It was mastered from the original analog tapes by Grammy-winner Paul Blakemore and restored using Plangent Processes (see below) alongside lacquers cut by Kevin Gray.  The result is pristine audio clarity, vivid instrument presence, and a robust, warm low-end "thump".

The Plangent Process, an analog-to-digital audio transfer and restoration technology developed by Jamie Howarth, addresses tape transport speed errors like wow, flutter, and scrape flutter.  It achieves this by capturing the ultrasonic bias tone recorded on the original magnetic tape and utilizing it as a timing reference to stabilize pitch and clarity.

I do have one minor quibble, this set is in chronological order.  I would have much preferred them as the individual albums the way they were released, as the running order of "Cookin'", "Relaxin'", "Workin'", and "Steamin'" are entrenched in my psyche.

On June 19th, UPS delivered a box to the Button Factory containing promotional versions of the 4-LP, and the 3-CD box set.  Also in the box was an envelope with card that read "With the compliments of Craft Recordings" (I have low friends in high places).  In the envelope was also a card with a code to get the 24bit/192kHz digital album, which will be today's freeload.  If Cookin', Relaxin', Workin', and Steamin' are deeply entrenched in your psyche, do what I did, and re-tag the files.

For the freeload, let's do another "Ask Babs".  Ask me anything (tasteful), and I'll answer your questions.

I'm Taking A Short Break

Another summer, another Newport Jazz Festival.  This will be my 50th Newport weekend.  Back in 1975, a group of friends my husband Jerry and I knew from the Manhattan Jazz clubs and after-hours jam session joints decided to go to the 1975 Newport Jazz Festival together.  At the time we all lived in Greenwich Village and we called ourselves "The Lucky Thirteen."  We’ve been going to Newport every summer since (except for 2020, which was canceled due to the COVID-19 pandemic).  In 2026, we’re down to six members.

 
On Thursday, August 6th, I'm having cataract surgery.



I'll be back to posting, sometime during the week of August 9th to the 15th, depending on how it all goes.

So here's something to keep you busy in my absence.  

'The Complete Live at the Plugged Nickel 1965' is an 8CD set that was recorded on December 22 and 23, 1965, at the Plugged Nickel nightclub in Chicago.  Teo Macero produced the original sessions, Buddy Graham and Frank Bruno were the recording engineers.  It was released July 18, 1995, on the Columbia/Legacy Records label. Michael Cuscuna produced the reissue.

This is Miles' "Second Great Quintet" with Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums.  [This is my all-time favorite group of any genre - Ed]

These eight CDs capture seven sets of music spread across 39 tracks for over seven and a half hours of music.  Don't let the repeating song titles fool you, no two performances sound even remotely alike.  There is sublime creativity on display here, and is a master class in the art of improvisation.

Play this LOUD, close your eyes, and you'll be right in the middle of Plugged Nickel in 1965.

Tracklist

CD 1
December 22, 1965 - 1st Set
01. If I Were A Bell
02. Stella by Starlight
03. Walkin'
04. I Fall In Love Too Easily
05. The Theme

Please Note: The second set from the first night (December 22) ran too long for a single standard disc slot in certain US pressings, so Legacy split it across two discs labeled 2A and 2B inside the same package, even though the total run time could technically fit on one.

CD 2A
December 22, 1965 - 2nd Set
01. My Funny Valentine
02. Four
03. When I Fall In Love

CD 2B
December 22, 1965 - 2nd Set continued
01. Agitation
02. 'Round Midnight
03. Milestones
04. The Theme

CD 3
December 22, 1965 - 3rd Set
01. All Of You
02. Oleo
03. I Fall In Love Too Easily
04. No Blues
05. I Thought About You
06. The Theme

CD 4
December 23, 1965 - 1st Set
01. If I Were A Bell
02. Stella By Starlight
03. Walkin'
04. I Fall In Love Too Easily
05. The Theme

CD 5
December 23, 1965 - 2nd Set
01. All Of You
02. Agitation
03. My Funny Valentine
04. On Green Dolphin Street
05. So What
06. The Theme

CD 6 
December 23, 1965 - 3rd Set
01. When I Fall In Love
02. Milestones
03. Autumn Leaves
04. I Fall In Love Too Easily
05. No Blues
06. The Theme

CD 7
December 23, 1965 - 4th Set
01. Stella By Starlight
02. All Blues
03. Yesterdays
04. The Theme

Enjoy, my friends, and I'll "see" you soon!

Link 1
https://workupload.com/file/dQuXRxc45PU

Link 2

https://workupload.com/file/NsZhSWVJCzD

Thelonious Monk – 'Big Band And Quartet In Concert'

'Big Band And Quartet In Concert' was recorded on December 30, 1963, at Lincoln Center's Philharmonic Hall in New York City.  It was produced by Teo Macero, recorded by Columbia Records' staff engineers Frank Laico and Fred Plaut, and released in March 1964 on the Columbia Records label.

This recording is split between Monk’s classic quartet and a full expanded orchestra:

The quartet is the "usual suspects": along with Monk's piano are, Charlie Rouse on tenor saxophone, Butch Warren on bass, and Frankie Dunlop on drums.

The additional big band musicians are Thad Jones on cornet, Nick Travis on trumpet, Eddie Bert on trombone, Steve Lacy on soprano saxophone, Phil Woods on alto saxophone and clarinet, and Gene Allen on baritone saxophone and bass clarinet.

You can't talk about this album without talking about Hall Overton’s (left on piano) arrangements that are the centerpiece of the album's success, which brilliantly translated Monk's complex idiosyncratic, jagged piano solos into rich, swinging orchestral charts.

Monk being Monk had to be pushed by Teo Macero into playing with the big band, and the musicians were unrehearsed, but it doesn't show a bit.

'Big Band And Quartet In Concert' is one of Monk's finest performance and recordings, but for some reason gets overlooked.

The freeload is a 2CD set released in 1994. This is the entire unedited concert, that adds "Bye-Ya," "Misterioso," and "Light Blue," and Frankie Dunlop's drum solos to the original 1964 release.

For the freeload let's talk about excellent albums, that for some reason get overlooked.

Charley Patton - 'Screamin' and Hollerin' the Blues'

"If I made records for my own pleasure, I would only record Charley Patton songs."
– Bob Dylan


Here it is, Charley Patton's 'Screamin' and Hollerin' the Blues: The Worlds of Charley Patton', the legendary 7-CD box set released in 2001 on the Revenant Records label.

Charley Patton was undoubtedly the most influential blues musician of his time.  His guitar skills were legendary, and he set a high standard of excellence.  Through his music, he captured the essence of his era.  Unfortunately, he has largely fallen into obscurity, except among dedicated fans of historic blues.

This collection is widely considered by blues fans and music critics alike as one of the most beautiful and complete historical music packages ever made.

The collection won three Grammy Awards in 2003.

• Best Historical Album: Awarded to producers Dean Blackwood and David Glasser.
• Best Boxed or Special Limited Edition Package: Awarded to designer Susan Archie.
• Best Album Notes: Awarded to blues historian and author David Evans.

The set was the dream project of the late musician John Fahey, who started the Revenant record label, sadly John did not live to see its completion. 

The first five CDs have every single song Charley Patton ever recorded.  

CD 6 has artists in Charley’s "orbit" like Ma Rainey, Howlin' Wolf, Poor Boy Lofton, Kid Bailey, Walter Rhodes, Rube Lacy, Blind Joe Reynolds (a newly discovered track!), Tommy Johnson and Roebuck "Pops" Staples.

CD 7 has interviews with Howlin' Wolf, Rev. Booker Miller, H.C. Speir, and Roebuck "Pops" Staples...all of which are a pure treasure in and of themselves.

This set comes with a reprint of John Fahey's 1970 book on Charley Patton, plus 128 pages of new writing on Patton.  The slipcase also contains full-size reproductions of 1929 Paramount ads and a complete Paramount/Vocalion record label sticker set.

All tracks are fully remastered and pitch-corrected from the best possible sources, resulting in the definitive versions of this material (just don't expect audiophile quality).  

If you're a Blues fan, you'll find this box set nothing short of fascinating.

For the freeload lets talk about groups/artists who became hugely popular – but lost what made them special.

Hank Mobley - 'Workout'

 

"It must schwing!" 
—Alfred Lion

'Workout' was recorded on March 26, 1961, at Van Gelder Studio in Englewood Cliffs, New Jersey, and released in March 1962 on the Blue Note Records label.  It was produced by Alfred Lion, and recorded by Rudy Van Gelder (who else?).

Instead of going with a traditional hard bop two-horn (or more) setup, Hank used Grant Green's guitar to form the frontline. This allowed Grant Green's stinging, single-note phrasing to weave directly with Hank's saxophone,


This unique combination makes for an extraordinary dynamic that seamlessly blends straight-ahead swing with deep blues. 

For the rhythm section Hank uses pianist Wynton Kelly, bassist Paul Chambers, and drummer Philly Joe Jones, the powerhouse rhythm section from Miles Davis's first great quintet whom are universally noted for driving the record forward with door-rattling intensity.

Hank Mobley's 'Workout' is one of the finest Hard Bop albums in jazz history.

I was gifted 'Workout' for my 15th birthday in 1962, and it's a long time favorite.  It's one of those "soundtrack of my life" albums.

The freeload is a sweet sounding remastered SHM-CD, Japanese reissue from 2014, and is part of the Blue Note 75th Anniversary reissue series.  This reissue also has with two bonus tracks from the 'Workout' session, "Three Coins In The Fountain" (Take 21) and "Three Coins In The Fountain" (Take 19), both of which are sublime.

For the freeload, tell us about albums that are the soundtrack of your life.

Bab's Bootleg Bonanza - Tom Waits Edition

'Tales From the Underground Volumes 1-5' (1994-2000)

'Tales From the Underground' is a legendary, 5-volume, unofficial Tom Waits bootleg compilation series originally released in the 1990s and early 2000s on the PmS Records label.  It spans his rarities, alternate takes, unreleased tracks, and obscure collaborations from 1973 to 2000.  Some of the songs would be officially released on Tom's 'Orphans: Brawlers, Bawlers & Bastards' box set released in 2006.

Volume 1 was released in 1994 includes a mix of rare alternate masters and early radio sessions.

1 Blue Skies
2 Jersey Girl (Alternate Master)
3 Whistlin' Past The Graveyard (Alternate Master)
4 Mr Henry
5 Downtown Train (Alternate Master)
6 I'm Not Your Fool Anymore
7 Adios Lounge (Duet W/Bob Forrest)
8 Sea Of Love
9 Silent Night
10 Little Man
11 What Keeps Manking Alive
12 The Dwarfs Machine Song
13 The Piano Has Been Drinkin' (Live In Dublin, March 1981)
14 It's Alright With Me
15 Tommy The Cat (Duet W/Les Claypool)
16 Filipino Box Spring Hog
17 16 Shells From A Thirty Ought Six / Rain Dogs / Jesus Blood Never Failed Me Yet.

Volume 2 released in 1996 focuses heavily on live rarities, unique spoken-word pieces, and unreleased studio outtakes.

1 Waitin' For Waits
2 I'll Never Let Go Of Your Hand
3 Walk Away
4 Sleep Tonight
5 I'm Crazy About My Baby
6 Pontiac
7 Take Care Of All Of My Children
8 Serrano
9 The Fall Of Troy
10 Jesus Blood Never Failed Me Yet
11 Martin Goes And Does Where It's At
12 Eggs And Sausage
13 Date To Church (Reverend Backwash)
14 Metrotown
15 Thousend Bing Bangs
16 Down There By The Train
17 Sweet And Shiny Eyes
18 Fumblin' With The Blues / Drunk To The Moon / 20 Virginia Avenue
19 Encore The Lost Track From Part One

Volume 3 released in 1997 features collaborations (including duets), alternate takes, and deeper cuts from his Asylum-era catalogs.

1 Little Drop Of Poison
2 What Else Is New
3 (Slam On) Little Sheep
4 Jersey Girl
5 Suitcase I
6 Paradise Alley
7 Annie's Back In Town
8 Suitcase II
9 Strange Weather
10 Standing On The Corner
11 Movie
12 No One Can Forgive Me But My Baby
13 Playin' Hooky
14 A Nickel's Worth Of Dream
15 Mr. Henry (Early Version)
16 Smuggler's Waltz
17 Once More Before I Go
18 Straydog Help Yourself
19 Candy Mountain

Volume 4 released in 1999 centers on soundtrack contributions, covers of Tom’s songs by other artists, and notoriously difficult-to-find single B-sides.

1 Saving All My Love
2 What Else Is New
3 Chase The Clouds Away
4 Flash Pan Hunter
5 Memories Of What
6 Hang On St. Christopher
7 World Of Adventure / River Of Men
8 Empty Pockets
9 Old Time Feelin'
10 Ol' 55 Story
11 Louise
12 Just Another Dime Store Novel
13 Papa's Got A Brand New Bag
14 Brother Can You Spare A Dime
15 Eggs And Sausage / Invitation To The Blues
16 Temptation
17 Purple Avenue
18 Hang On St. Christopher (Instrumental)

Volume 5 released in 2000 highlights the later Island/Anti-era studio outtakes.

1 On The Road
2 Coattails Of A Dead Man
3 It Rains On Me
4 Do You Know What I Idi Amin
5 Putting On The Dog
6 It's Over
7 Book Of Moses
8 Babbachichuija
9 Highway Cafe
10 Helium Reprise
11 Home I'll Never Be
12 Fever / Whose Sportcoat Is That?
13 (My Baby Left Me On A) Trash Day
14 I'm Big In Japan
15 Old Blonde Gal / Big Ol' Moon
16 White Rabbit's Lament
17 'Til The Wheels Come Off 
18 Revival Revery

For the freeload, who is your favorite twentieth century pop culture figure (living or dead), who has taken on an almost mythical, legendary status similar to that of a traditional folklore character?

Albert King - 'I'll Play The Blues For You' (2026 Remaster)

 

'I'll Play The Blues For You' was recorded across the winter and spring months of 1972 at Stax Studios in Memphis, Tennessee.  It was produced by Allen Jones, and released in September 1972, on the Stax label.  This would go on to be Albert's biggest selling record. 

[I would have guessed, 'Born Under a Bad Sign' - Ed]

The iconic Albert King, is one of the single most influential bluesmen in history, he ushered blues into the modern era by combining his direct, urgent Mississippi blues style with contemporary soul rhythms.  He continually redefined the state of contemporary blues with his dry, husky voice and scorching razor-sharp guitar work, featuring the raw, searing, and incredibly fat tone he coaxed from his Gibson Flying V.

Instead of relying on a conventional blues backing group, Stax paired Albert with an elite roster of the label's house musicians. The rhythms were alternately provided by The Bar-Kays and The Isaac Hayes Movement, while the punchy, driving horn lines were arranged by the renowned Memphis Horns.  This unique combination created a dynamic, funk-infused "Soul-Blues" record that strips away predictable blues structures in favor of tight, syncopated grooves and rich sonic textures that allowed Albert's vocal delivery and dramatic string-bending technique to shine over deep, danceable grooves.

The freeload is a 24-bit/192 kHz vinyl (180G) rip of Craft Recordings (Bluesville Series), released on June 12, 2026.  The audio on this is phenomenal, preserving the tight, punchy bass and deep three-dimensional analog warmth of the original 1972 tapes. 

For the freeload, tell us a joke.