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Returning to the all-acoustic approach of his earliest recordings, Waters is joined by Buddy Guy on guitar and Willie Dixon on bass, with subtle drum accompaniment from Clifton James on select tracks including \"Good Morning Little Schoolgirl\" and \"Feel Like Going Home.\" Presented here in it's highly sought-after mono mix, Folk Singer has never sounded better. Bring home the sound of America's greatest blues label in high fidelity with the Chess Acoustic Sounds Series. These audiophile reissues of classic albums and compilations from the Chess discography are remastered from the original analog tapes and pressed on 180-gram vinyl at Quality Record Pressings (QRP). 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Comprised of four standards - 'Things Ain't What They Used to Be,' 'Body and Soul,' 'Pannonica,' and 'Round Midnight' - this set is one of Shepp's most enjoyable ever. The reasons are myriad, but it is in large part due to the fluid, loping bass of Richard Davis. Recorded in a club in front of a live audience, Shepp digs deep into his own history of influential tenor players and comes out not wanting, but on par with them, from Eddie 'Lockjaw' Davis to Sonny Rollins to John Coltrane. His playing here is big, meaty, and warm, full of subtle emotions as well as bleating cries. Davis' sense of time and melody is nearly incredible on the title track and on 'Round Midnight.' The interplay Shepp shares with him is tasty, coming from fragmentary elements in Monk's changes; Shepp and Davis move around the lyric and cut to the heart of the tune's color and ambiguity. It's a haunting version and one that offers a completely different reading of the tune over 17 minutes. On 'Pannonica,' Shepp's blues feeling comes out of Ben Webster as well as Eddie 'Lockjaw' Davis and his soloing is full of warmth, humor, and a ragged sort of elegance. 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There are perhaps few characters in the history of popular music who were as mysterious, as they were brazen than Aleck Ford, AKA Sonny Boy Williamson II. The true story of Sonny Boy Williamson II remains shrouded in mystery and uncertainty, and it seems this was Ford's intention, but to what ends, nobody can say. One thing is certain though - he was one of the all-time greats of the harmonica, a bone fide bluesman, talented and charismatic in equal measure. His influence cannot be overstated. The first incarnation of the band that would become the Rolling Stones was named after him: Little Boy Blue and the Blue Boys; B.B King described him as \"the King of the harmonica\"; and maybe there would have been no Howlin' Wolf, or Elmore James without Williamson's mentorship and support. The British Blues explosion of the late 1960s certainly owed much to Williamson and his compatriots. This carefully curated collection of this colourful and charismatic performer's work showcases just why he was one of the true legends of blues music. Interestingly, he was inducted into the Blues Hall of Fame in 1980, the same year as Sonny Boy Williamson I. It seems fitting that even in death and in honours they were inextricably linked. This collection hones in on his work that took the world by storm during his tenure with Trumpet and Checker in the 1950's and early 60's from his iconic \"Eyesight For The Blind\" through to \"One Way Out\". 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John Lee Hooker, known as \"The King of the Boogie\" and \"the Boogie Man\", was a true Blues icon. Quality rather than quantity is the key to Hooker's singular success. He did not have a huge number of hits in the R\u0026amp;B chart, but those that did make a major impact would provide some of the key musical architecture for future blues and rock artists. When he came to prominence in the late '40s, he was playing blues in a way that was regarded as somewhat spare, his dark repetitive vocals supported only by his amplified guitar and his stamping foot. His was no overnight stardom. Having paid his dues over many years, once he started recording, he did so prolifically. This fine collection of his earlier songs demonstrates Hooker's blues virtuosity while at the same time establishing his work as a signpost to a deeper understanding of the British Blues explosion. 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Blending his unmistakable guitar tone with freshsongwriting and beautifully crafted arrangements, the album delivers everything fans loveabout Ford while pushing his sound into new territory. 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Produced by Dave Edmunds, this album successfully aimed the band in a more mainstream direction than the four commercially released albums that had preceded it when the single Tuff Enuff hit number ten in the Billboard Top 100 singles chart. The track was featured in the films Gung Ho and Tough Guys, as was the follow-up single Wrap It Up. With Kim Wilson on vocals and harmonica, Jimmie Vaughan on guitar and Fran Christina on drums, it was the first studio recorded album to be released with Preston Hubbard replacing Keith Ferguson on bass. 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