Fresh Biscuits! New Releases July 24, 2015

It’s time once again for new releases. There are a few interesting items this week. First up is a hot new record from Albert Cummings. The first time I heard this guy I didn’t know any of his songs. He arrived at Bluestock without his band, grabbed a couple volunteers to back him up and took the stage by storm (kinda like what the hurricane did to Bluestock). I was floored. I’ve been a fan ever since. For his new disc Someone Like You on Blind Pig, he worked with famed producer David Z and labelmate Jimmy Vivino who leads the Conan show’s Basic Cable Band and has spent time in Butterfield Revisited. Don’t miss this one, especially if you’re a fan of guitar driven blues.

Celebrating Muddy Waters’ centennial is Muddy Waters 100, an official and authorized tribute album featuring pretty much everyone ever. It has John Primer, Billy Branch, Gary Clark Jr., Shemekia Copeland, James Cotton, Bob Margolin, Keb’ Mo’, Derek Trucks, Johnny Winter, Vincent Bucher, Leanne Faine, Tim Gant, Khari Parker, James Teague, Steve Gibons, Keith Henderson, and the Living History Band which includes Matthew Skoller, Billy Flynn, Johnny Iguana, Felton Crews, Kenny “Beedy Eyes” Smith. I haven’t heard it yet but there’s a rumor that electronic drums were used on some of it. Why they would do such a horrible thing I don’t know, but hopefully it’s just a rumor. I thought I’d warn you anyway.

The latest Girls With Guitars dropped a little while back but we missed it, so in case you did too we included it this week. These are usually fun albums and spotlight talented young women making their mark in a male dominated world of guitar worship. I am one of those guitar worshipers and I always look forward to these sets. Eliana Cargnelutti, Sadie Johnson, and Heather Crosse are featured on this latest edition. Eliana Cargnelutti is an award-winning singer and guitarist. She has already shared the stage with the Crème de la Crème of the Italian blues scene and has also collaborated with renowned American jazz and blues guitarist Scott Henderson. At 18, Sadie Johnson may be the youngest musician ever on the Blues Caravan. This native of Bloomington, Indiana has proven equally adept at playing classic old-school country blues to modern-day blues-rock. Leading female artists like Samantha Fish and Susan Tedeschi have encouraged her commitment to the blues. Heather Crosse is also from the USA. She is a respected bassist from Clarksdale, Mississippi and her band Heavy Suga‘ & the SweeTones has appeared frequently at the world-famous Ground Zero Blues Club. This superb trio has upped the ante on future Girls With Guitars new releases for sure.

Beyond these, we have a new disc from Andra Faye & Scott Ballantine called Coulda Woulda Shoulda and the album Mighty Sam McClain was working on at the time of his death – Tears Of The World – with Knut Reiersrud. Lots of good stuff this week so I hope you find something interesting for your ears.

Albert Cummings

Albert Cummings Someone Like You

Andra Faye & Scott Ballantine

Andra Faye & Scott Ballantine Coulda Woulda Shoulda

Mighty Sam McClain

Mighty Sam McClain & Knut Reiersrud Tears of the World

Various Artists

Various Artists Muddy Waters 100

Eliana Cargnelutti, Sadie Johnson, Heather Crosse

Eliana Cargnelutti, Sadie Johnson, Heather Crosse Girls With Guitars

Hump Day! Risque Tunes For Your Midweek Blues – May 20, 2015

Happy Hump Day everyone! With the sad news in the Blues world recently, it’s important we celebrate the good times and the true meaning of the Blues, which is of course, Seduction. Sweet, sweet seduction. For a hundred years the blues singers have been seducing mates by boasting of their sexual prowess, directly and through metaphor. They sing of their experiences, what they knew and what they could do, for you, to you, and with you. However, Willie Dixon came along and made this power congenital. That sounds dirty. Yes, Willie (which also sounds dirty) wrote about being born a sexual dynamo. He was so powerful the gypsy woman showed up to warn his mother. I’m not sure what she hoped to accomplish with that. Maybe it was her recommendation to keep him away from the Little Schoolgirls. We’ll probably never know. One thing we do know is that singing about this natural born condition was contagious.

Pretty much everyone has sung this song, even the ladies. Etta James famously adapted the song as “Hoochie Coochie Gal.” Just in case you’re not sure, she’s gonna tell you what it’s all about. Now, since we’re a Blues website we’ll stick to mostly Blues artists but “Hoochie Coochie Man” has been done by rockers like Steppenwolf and the Rolling Stones and jazz masters like Jimmy Smith, to guys like Lou Rawls and Steven Seagal.

Don’t worry, Steven Seagal’s version didn’t make our list, but you might hate one of them just as much! See? You have something to look forward to. You should definitely look forward to a live rendition from Buddy Guy. He messes with the crowd and they deserve it too. Some of them wouldn’t shut up during the quiet intro. We’ve got Muddy Waters doing a version from a 70s TV special, Junior Wells’ studio recording, the man himself Mr. Willie Dixon performing with Stephen Stills, a smoking 1970 live version from The Allman Brothers Band, and Walter Trout laying waste to everything holy with a blazing five-alarm guitar fire.

Since the song made the Rock and Roll Hall of Fame’s list of the “500 Songs That Shaped Rock and Roll” we have to include at least one Rock & Roll version so we’re jumping way off the deep end where Lemmy is dressed in a leather and denim bathing suit and floating in a lounge chair with a Jack & Coke in one hand and a Marlboro in the other reminiscing about his legendary exploits. Yes folks, even Motorhead did a version of “Hoochie Coochie Man.” Don’t make assumptions! Give it a listen. It features the short lived early 80’s line-up with former Thin Lizzy guitarist Brian Robertson and is a pretty good Blues jam. Maybe it will seduce you into a life of Rock & Roll sin. Whatever you do, enjoy the rest of your week. Lemmy remind you, there’s still time to throw a Hump into it.

Etta James Hoochie Coochie Gal

Buddy Guy

Muddy Waters

Junior Wells

Willie Dixon with Stephen Stills

Allman Brothers Band

Walter Trout Band


Hump Day! Risque Tunes For Your Midweek Blues 3/25/15

Hump Day this week is brought to you by Muddy & The Wolf. Inspiration came in the form of Joe Bonamassa’s new live album Muddy Wolf At Red Rocks. Joe Bonamassa seems to inspire extreme feelings on both ends of the spectrum in the world of Blues fans. But love him or hate him, we should be happy he’s introducing his fans to the legends of Blues. If he steers just one kid away from Justin Bieber we can call it a win! It’s always a good thing when people acknowledge their influences and shine a light on their artistry.

This week, like Mr. Bonamassa, we celebrate the artistry, wit, humor, and machismo of the late greats Muddy Waters and Howlin’ Wolf. Since we’re shining a light, I tried to steer off the main drag onto the seedy side streets of their catalogs. Of the two, I’d say Muddy was the more prolific womanizer in both song and real life. He loved the ladies and the ladies loved their Hoochie Coochie Man right back, especially when he got his Mojo Workin’. For Hump Day, Muddy is singing a warning to those Big Legged Women out there. Don’t be showing off the goods if you don’t want the attention ladies. It’s a public service announcement. Yeah, that sounds about right. In fact, Muddy cares so much about your well being he has become your doctor. He’s a got a powerful prescription and he’d like you to take it as often as possible. He’ll fill it for you any time you call. That sounds dirty.

Now, Howlin’ Wolf, on the other hand, was not as much of a ladies man as Muddy. He may have been your Back Door Man, but he was on your Evil ways of doggin’ him around. Where Muddy professed his powers of seduction, Howlin’ Wolf was keenly aware of the power of women. He took a skeptical view of their feminine wiles and their manipulations. For Hump Day, Wolf is singing about his Country Sugar Mama. She’s got sweet, sweet sugar and he needs it three times a day, but he wants to know where she got sugar that good. Her sugar is the best in town and everybody knows it, and everybody wants it. Wolf knows it’s too good for her to be true to him or anyone else and he’s got questions. Howlin’ Wolf was a thinker and often this part of his personality came into his songs. He’s definitely been thinking about where you were last night, spread out all over town doing the All Night Boogie. He knows exactly what you’ve been up to. You’ve been celebrating Hump Day all week long!


Muddy Waters Big Legged Woman

Muddy Waters I’m Your Doctor

Howlin’ Wolf My Country Sugar Mama

Howlin’ Wolf All Night Boogie

Here’s a little Hump Day bonus:

Joe Bonamassa You Shook Me from Muddy Wolf At Red Rocks

Check out Joe’s new album at music retailers everywhere.

Hump Day! Risque Tunes For Your Midweek Blues 3/4/15

MagicSlimPABluesFest2011February 21, 2015 marked the second anniversary of the passing of Magic Slim. Slim was a true living legend and one of the last purveyors of the raucous variety of Chicago Blues. The first time I saw Magic Slim was on March 13, 1994 at the New Regal Theater in Chicago where he was opening for Pearl Jam. Yes, that Pearl Jam. Before you cry heresy, remember that Pearl Jam were arguably the biggest band in the world at the time and could have picked anyone to open the show. They chose a man who represented the musical history of the city and introduced him to their fans. Magic Slim’s set was filled with powerhouse blues and boogie and he surely rocked the house.

So with all this in mind, I have found my listening choices drifting back to Magic Slim over the last two weeks. Therefore, I am dedicating this week’s Hump Day installment to Magic Slim and his band The Teardrops which always had talented musicians playing the leanest, meanest, groovingest, movingest blues in town. Now, Slim didn’t really get down and outright dirty, but that’s half the fun sometimes right? He sang a few tunes where the metaphors are solid as a rock and ready to get hammered. Slim put his indelible stamp on Muddy Waters’ “Can’t Get No Grindin'” and with lines like “One had a bush and one had a peck” you know they aren’t really talking about a mill.

Now ladies, if your mill is broken down and you can’t get no grindin’, maybe you should meet up with Magic Slim. He may not be the man you want, but he is damned sure “The Man You Need.” When it comes to getting your lovin’ Slim says all you need to do is “Wake Me Up Early.” He’ll have a breakfast sausage all ready for you, if you know what I mean. The last song we have for this week’s Hump Day is Slim’s cover of Bobby Rush’s “Chicken Heads.” What in the name of Sam Hill is a chicken head? Apparently it’s a woman. A woman whose head is bobbing up and down like a chicken head. You can guess what she’s bobbing up and down on. Maybe it’s a creamscicle.


I hope you enjoy our Hump Day tribute to Magic Slim & The Teardrops. If Slim and his band can’t get you grinding and binding you may be in a coma. Tell me if you feel this…

Magic Slim & The Teardrops Can’t Get No Grindin’

Magic Slim & The Teardrops The Man You Need

Magic Slim & The Teardrops Wake Me Up Early

Magic Slim & The Teardrops Chicken Heads

Hump Day! Risque Tunes For Your Midweek Blues 11/12/14

BluesBiscuitsHumpdayHave you got the Hump Day blues? Feeling down? Feeling low? A little sluggish? Need to put a little spring in your step? Forget the Snake Oil salesmen. It’s time to call on your doctor – your special doctor who loves to make house calls and give you a thorough exam. He’s got the cure for all your ills and guarantees to make you feel good. Real good.

That’s right. Even in Blues playing doctor is a popular game. Today we have Muddy Waters with “I’m Your Doctor.” The tune is the B-side of Muddy’s 1960 Chess single “Read Way Back.” Muddy has his mojo working overtime on this one and Little Walter is writing harmonica euphoria prescriptions. Muddy knows he can cure your headache with a double dose of love so please strip down and get ready to be probed. Who’s ready for the rectal exam?

Next we have George Thorogood & The Destroyers performing “Love Doctor” from their album The Hard Stuff (that sounds dirty). He proudly declares “the doctor is IN!” after offering to operate on you and kiss it where it hurts. Now that’s bedside manner!

Finally we have Johnny Winter and “Medicine Man” from his album Let Me In (that also sounds dirty). This is low down and grooving with guitar licks to soothe your aches and pains but this medicine man has other ideas about how to maintain your happiness and well-being. He’d also like to remind you that “your g.p.’s got cold hands” and “Dr. Quincy’s much too old” just in case you were thinking maybe Quincy was available for the evening’s examinations. Don’t suffer alone, let Johnny Winter in – he’s the warm-handed medicine man.

Happy Hump Day friends. Go forth and operate…


Muddy Waters I’m Your Doctor

George Thorogood & The Destroyers Love Doctor

Johnny Winter Medicine Man

Hump Day! Risque Tunes For Your Midweek Blues 10/29/14

BluesBiscuitsHumpdayHappy Hump Day folks. This week we’re looking at a song that has become a staple in Rock and Blues. “Good Morning Little School Girl” has been done by hundreds of artists over the years. It is possibly the most popular song every written about pedophilia. The song was first recorded by John Lee “Sonny Boy” Williamson in 1937 as “Good Morning, School Girl.” In true blues fashion the tune is borrowed and in this case, the melody is from Son Bonds’ “Back And Side Blues.” I couldn’t find a clip of it to share but you can find audio out there on Spotify and other retailers if you want to compare them.

The song has been done many different ways. Performers like Mississippi Fred McDowell, Lightnin’ Hopkins, and John Lee Hooker all did country blues versions. In 1965, Junior Wells and Buddy Guy recorded it for Hoodoo Man Blues giving it a distinctive guitar riff and bass line. That signature riff influenced nearly every future version of the song, especially in the Rock world. From The Yardbirds, Ten Years After, Johnny Winter, and ZZ Top, to the Allman Brothers Band and beyond, Buddy and Junior inspired an army of guitarists to whip out their big riffs and woo the school girls. It creeps me out.

As with many Blues songs, the more it’s covered the more it is changed. The words change a lot. the original were perhaps least creepy with only the first verse focusing on the underage object of his affection. Johnny Winter took the lechery to whole new levels with lines like “When I was twelve, baby when I was twelve years old – You know I was looking for a schoolgirl just to eat my jelly roll.” Alvin Lee from Ten Years After just wanted to ball you all night long, so at least you have that going for you. The only saving grace for this song is that in 1937 a lot of people got married well before the age of 18. And there’s that monster riff.

We present to you a few different versions for your amusement and/or horror.

John Lee “Sonny Boy” Williamson Good Morning, School Girl

Junior Wells’ Chicago Blues Band Good Morning Little School Girl

Buddy Guy Good Morning Little School Girl

Ten Years After Good Morning Little School Girl

Muddy Waters with Johnny Winter Good Morning Little School Girl

The Allman Brothers Band Good Morning Little School Girl



Hump Day! Risque Tunes For Your Midweek Blues 10/01/14

RoosterThere’s a famous story Mike Bloomfield used to tell about his natural confusion when he heard the Hoochie Coochie Man Muddy Waters proclaim his love for sucking cock. What young Mike didn’t realize was that the term “cock,” in early 20th Century southern black communities, referred to female genitalia. Mike was probably thinking of the what they called the “cock opener.” The term seems to have popped up from the verb “to cock,” which a lot of 17th Century English colonists used to refer to intercourse. As their slaves learned English, they of course learned the slang along with it. 150 years later, Muddy Waters is regaling his young white acolyte with tales of sucking cock. Thus we erect this week’s Hump Day installment. We dedicate the following blues licks to the ladies.

Louise Johnson was Charley Patton’s girlfriend and a barrelhouse pianist. At one point, Louise went with Charley, Son House, and Willie Brown to Grafton, Wisconsin to make records for Paramount. During those sessions, she cut her total recorded legacy: four sides. One of those four sides was a celebration of “cocking it on the wall” which was slang for sex against a wall outside a juke joint.

Her song “On The Wall” has this stanza:

Well, I’m goin’ to Memphis, stop at Church’s Hall
I’m gonna show you women how to cock it on the wall
I’m goin’ to Memphis, stop at Church’s Hall
I’m goin’ to show them womens, honey, how to cock it on a wall

Sometime in the mid 50’s, The Clovers, who brought you “Love Potion #9,” recorded a parody of Dixieland jazz standard “Darktown Strutters’ Ball.” They called their version “Rotten Cocksucker’s Ball.” We may never know if they meant it like Muddy, but it sure seems like it. I really hope they had a good time, they seemed to be looking forward to it.

Lastly, we have The Rolling Stones final kiss off to their record label Decca at a time the Stones wanted to start their own label. Decca was demanding a final song and the band was being bratty and indignant. The Stones turned in a low-key, mostly boring tune called “Cocksucker Blues.” Decca refused to release it and realized they weren’t getting a marketable song so they let the band go.

Hey, they got their name from a Muddy Waters tune and named a song after one of his favorite activities. It had to be included.

Louise Johnson On The Wall

The Clovers Rotten Cocksuckers’ Ball

The Rolling Stones Cocksucker Blues

Fresh Biscuits! Mud Morganfield & Kim Wilson – For Pops CD Review

ForPopsMudMorganfieldKimWilsonCDCoverMud Morganfield & Kim Wilson

For Pops: A Tribute To Muddy Waters

Severn Records

I have mixed feelings about tribute albums, and about children of legends attempting to carry on the legacy. I think it’s great that the heirs are interested in music, and it makes sense they would engage in music similar to their parents. However, if they try to clone the past work it often falls flat or comes off as dishonest because the music isn’t theirs. It is their parents’ music. Whether it is Muddy Waters, Luther Allison, Elmore James, John Lee Hooker, Lonnie Brooks, Johnny Copeland or a host of others, that music was theirs. It came from their experiences, their relationships, their toils, triumphs and tribulations. The children of these musicians had different experiences, and trying to re-create the music of their elders will never resonate as much as making music of their own. Luckily, Blues is a big tent and those who stick with the family business have plenty of space to stake out their own claim.

Larry “Mud” Morganfield got started late in the game, but with his live shows and two critically acclaimed albums he has begun to develop his own version of traditional Chicago Blues. I was pleasantly surprised by his Severn Records debut, Son Of The Seventh Son. I was initially dubious of Larry Morganfield due to his “Mud” moniker and what I suspected was an attempt to cash in on his father’s legacy. However, the music changed my mind. At first I couldn’t tell if it was flattery or forgery; it was too damned good. The amount of care that went into the music could not come from anything other than the genuine article.

Apparently many people picked up on Mud’s sincerity and Severn was flooded with requests to get him and Kim Wilson on record together. According to Severn Records president David Earl, they “couldn’t ignore all the requests. After we released Mud Morganfield’s Son Of The Seventh Son album and The Fabulous Thunderbirds’ On The Verge disc, the phone was ringing off the hook and the inbox was flooded with emails. The topic was always the same: ‘You have to get Mud and Kim to do an album together!” Mud and Kim were in agreement and the duo set forth to commemorate the 100th anniversary of McKinley Morganfield’s birth, ambiguous as it is.

Mud captures the spirit of his father’s vocals, but even more so, he captures the tone and phrasing so well that if you close your eyes and listen close you’d swear it was Muddy reborn with his 21st Century mojo working. However, if you keep your eyes closed and ears open you’ll also hear Mud loud and clear. The variations are there and somehow they make me smile. I want to know Mud is in there, giving us his version of this treasured music. Mud’s partner for this outing, Kim Wilson, is a music legend in his own right. Wilson successfully evokes all of Muddy’s harp players from Little Walter and James Cotton to Junior Wells, Paul Oscher and Jerry Portnoy yet remains very much Kim Wilson. The rest of the band is also top notch and features Billy Flynn and Rusty Zinn on guitars, Barrelhouse Chuck on piano, Steve Gomes on bass and Robb Stupka on drums. The album was produced by David Earl and Steve Gomes and recorded at Severn Sound Studios in Annapolis, Maryland.

For-Pops-Mud-and-Kim-hi-res-by-Sam-HoldenMud Morganfield and Kim Wilson picked a great mix of songs, avoiding almost all obvious choices. They chose just enough hits to draw people in but then hit them with some equally great rarities. Muddy Waters had a vast reserve of songs and rehashing his biggest tunes would have been a major misstep. Instead we have Mud and Kim bringing you in with “I Just Want To Make Love To You” and capturing you with “My Dog Can’t Bark” and “Gone To Main Street.” The songs were recorded live with the band in one room and Mud in a vocal booth. The interplay and tightness of this band is incredible and their dedication to their craft is palpable. If Chess Records had modern equipment, this is how these tracks would have sounded. There is just enough mix of old and new to hold your attention and side by side comparisons will reveal the contributions of all involved.

“She’s Got It” has the classic “Mannish Boy” call and response riff with Mud’s hum over top. Wilson and the band have a raw edge that rocks this tune hard. “Just To Be With You” finds Wilson pushing the tune, going deep into his gut and bellowing the blues through his Mississippi Saxophone while Barrelhouse Chuck sublimely tickles the ivories, and Mud energetically and emphatically declares he would do anything, honey, just to be with you. On “I Love The Life I Live, I Live The Life I Love” Kim Wilson’s harp is howling like the highway wind around a tour bus heading South on I-55. Barrelhouse Chuck’s piano takes “I Don’t Know Why” into Chicago boogie territory and he burns up the 88’s with a lot more energy than the original and transforms this fairly obscure tune into a true contender.

“Nineteen Years Old” gives the guitar players some time to shine and again Barrelhouse Chuck steals the show with his ebullient fills. The liner notes don’t say which guitarist takes the slide leads but Mud calls Billy Flynn by name in the song so I suspect it’s him. He has the perfect tone and touch. Muddy’s slide playing was deceptively simplistic. He didn’t play a lot of notes but he knew exactly how to play them. Billy Flynn, if it was him, made Muddy proud for sure with his succinct, impeccable playing. The record closes with another slide guitar driven tune “She Moves Me.” This time, it’s a slow blues dirge and Wilson’s lonesome harp and the forlorn slide play unison runs that will make your hair stand on end.

This particular group of musicians, hand-picked by Mud Morganfield, Kim Wilson and David Earl, is one of the best tribute bands I’ve ever heard. I love this record, and I usually don’t give much attention to tribute albums after a few listens. They are usually superfluous and lacking understanding of the original music and/or musicians. I knew Mud’s style and sense of history already, and what can you say about Kim Wilson? Someday people will be making albums in tribute to him. Even still, I had only moderate expectations of For Pops – A Tribute To Muddy Waters. However, these two men and their band have served up an album that just might serve as the ultimate tribute to McKinley Morganfield. The familiar songs sound so authentic you’ll be digging out the originals in disbelief, and the wide variety of tunes on For Pops will expose listeners to the breadth of Waters’ catalog, hopefully opening their ears to other hidden gems from the late blues master. This is a fitting birthday present to Mud’s Pops and a great way to celebrate the 100th birthday of the father of modern electric blues. You will not find a better tribute to Pops Morganfield than For Pops – A Tribute To Muddy Waters.

Follow this link to hear the opening track on For Pops – A Tribute To Muddy Waters, courtesy of Severn Records:

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Fresh Biscuits! New Blues Releases For July 1, 2014

It’s a slow week for new releases, Biscuiteers. This happens around a holiday, especially one smack dab in the middle of a sunny summer with people thinking about beaches, hot dogs, and fireworks instead of new blues music. Where have our priorities gone?

There are a few new releases though. Shane Speal, the King of the Cigar Box Guitar released Holler on Sunday night, well ahead of the usual Tuesday release time. You can get the download or order a hard copy at his website. Another independent release comes from Jimmy Thackery. The legendary guitarist dropped the record labels a few years ago and has been offering his new music through direct marketing and CD Baby. Unfortunately we missed it in last week’s round-up but we just fixed that didn’t we?

There are a few more reissues this week including McKinley Morganfield – A.K.A. Muddy Waters, or is it Muddy Waters – A.K.A. McKinley Morganfield? That was the problem when it first came out in 1971. This then-comprehensive Muddy Waters collection looked like a record by McKinley Morganfield and many less-informed record store clerks miss-filed the album causing issues for consumers and businesses alike. The music leaves no doubt, this is Muddy Waters. A.K.A. McKinley Morganfield A.K.A. Muddy Waters. OK?

Lots of questions this week so here’s an answer to the question “What’s new this week?”:

Fresh Biscuits – July 1, 2014

Jimmy Thackery – Wide Open








Shane Speal’s Snake Oil Band – Holler









Dave FieldsAll In









The Levon Helm BandThe Midnight Ramble Sessions, Vol. 3









Muddy Waters – A.K.A. McKinley Morganfield









B.B. KingBlues Is King










That’s it Biscuiteers. I know Levon Helm Band is a stretch but Levon was reared in and around blues music and his band gave the world Chris O’Leary who is a damned fine bluesman, harp player, and songwriter. It’s safe to say blues fans might like Levon Helm and vice versa. The person in charge of complaints is Helen Waite.

Friday The 13th Hoodoo Moon Playlist Re-cap

This past Friday the 13th, with the Honey Moon about to loom large in the night sky, we hosted a Facebook Blues Jam. We jammed your news feed with thirteen songs of superstition, bad luck, and trouble. 

What blues songs had you moaning in the moonlight? 

Here’s a quick recap of ours:

1. Albert King – Born Under A Bad Sign

2. Albert Collins – The Moon is Full 

3. Beck, Bogert & Appice – Black Cat Moan

4. R.L Burnside – Bad Luck and Trouble

5. Samantha Fish – I Put A Spell On You

6. Jimi Hendrix – Voodoo Child

7. Willie Dixon – Seventh Son. I just realized “Seventh Son” was the seventh song.

8. Matt Hill – Hellz Bellz. Matt now plays in his wife Nikki Hill‘s band.

9. Moreland & Arbuckle – The Devil And Me

10. Robert Johnson – Me And The Devil Blues (Take 1)

11. Gov’t Mule with Derek Trucks & Oteil Burbridge – Superstition

12. Muddy Waters & Junior Wells – My Mojo Working 

13. Howlin’ Wolf – Evil