A little video jukebox to end a Saturday night: "Horns? wee don't need no steenking HORNS!!"

The Jones Boys

Four Toppers

Charioteers

Mills Brothers 

Mills Brothers with Dick Powell

Cats and the Fiddle

Timi Yuro Part 6.............

 

And here's Part 6.................

Non e'  come te  (Get out of my life)-

A mother's love-w/ Johnny Ray

A Place In The Sun (Alternate Take)-from 'Live at P.J.s'

A Place In The Sun (Reprise)-from 'Live at P.J.s'

A Place In The Sun-from 'Live at P.J.s'

Make The World Go Away 2-

Make The World Go Away-from 'Live at P.J.s'

Maybe You'll Be There-

Medley: For Once In My Life/ Stand By Your Man-from 'Live at P.J.s'

Medley: I've Been Loving You Too Long/  When Something Is Wrong With My Baby-from 'Live at P.J.s'

Only you-

Medley What's A Matter Baby  Why (Am I Treated So Bad)-from 'Live at P.J.s'

Medley Yesterday  I Believe-from 'Live at P.J.s'

medley-Just a matter of time (Italian)-Herida (Hurt-Spanish)- It'll never be over for me (Spanish)-

Mientras estes tu-

Misty-

My Dearest Darlin'-

My Foolish Heart-

My Prayer-

Nothing Takes The Place Of You-

Nunca Sera Terminado Para Mi-

Once a day-

Once in a while-

Only love can break a heart-

Only Love Me-

Our love (unreleased)-

Permanently Lonely-

Pretend-

Put Them Aside -

http://www.megaupload.com/?d=FA4NA9PE

For you Mabel Lee fans....she's still a-dancin' in her mid 80's :)

A little Mabel Lee lunch break........... :)

And still dancin"!!!

Gigliola Cinquetti Y Trio Los Panchos 1968 En Mexico

Guilty as charged!! Going through an occasional obsession with Trio Los Panchos! (not a bad obsession, trust me :) 

Sharing a bit of my favourite listening of the moment..........Gigliola Cinquetti Y Trio Los Panchos from 1968 "En Mexico"

Candles, dinner...wine...dancing...Boleros Classicos...deep breath...day is over...enjoy!

 

Adios Pampa Mia

Maria Elena

Amapola

Lisboa Antigua

Johnny Guitar

La Mentira

Adios Mariquita Linda

Negra Consentida

Amar Y Vivir

Salud, Dinero Y Amor

Quizas, Quizas, Quizas

Besame Mucho

http://www.megaupload.com/?d=XUU5VG87

Just a question....any probs on recent downloads??

I just had a question via email on some difficulty accessing files.....do let me know if you've encountered any....Thanks!! (It's never a problem to correct any of these issues, if it's something within my ability....especially with older posts that may have links that have expired over time) :)

Alix Combelle Part 1...........

Alix Combelle

Alix Combelle (15 June 1912–2 March 1978) was a French swing jazz tenor saxophonist, clarinetist and bandleader, born in and performing in Paris for most of his life. He was well known on the Continental Jazz scene of Europe, active mostly in the 1930s and 1940s. He performed or featured in his bands such musicians as Arthur Briggs, Ray Ventura, Michel Warlop and Gregor et ses Gregoriens, among others. During the 1940s his popularity eased off somewhat, though he did perform with some American musicians at the time, such as Jonah Jones and Buck Clayton.

From http://keepswinging.blogspot.com:

In the early European jazz history, especially the 1930s in France, the years of the foundation of the Hot Club du France and the birth of the famous record label Swing, you will often find the name of Alix Combelle mentioned in combination with other great musicians like Stéphane Grappelli (written as ‘Grappelly’ in those days), Django Reinhardt, Louis Vola and André Ekyan. This versatile musician played the tenor saxophone, the clarinet, was a vocalist, director of his orchestra, composer and arranger. The French nicknamed him: “Le premier négre du jazz, made in France” (= The first “black” French jazz musician).

Alix was born in Paris on the 15th of June, 1912. His father was an alto saxophone player in the band of the Garde Républicaine, the Republican Garde, so ….. like father, like son. His first instrument was the drum, but soon he started to play the tenor saxophone although he also studied the alto and baritone saxophone as well as the clarinet. During the second half of the 1920s he wanted to become an engineer, but, fascinated by the music played in the Parisian dance halls, he stopped his study and became a fulltime jazz player.

He was often to be found at the l’Abbaye de Théléme, one of the first Parisian venues where Jazz was played. The pioneers of jazz, like trumpet player Alex Renard, Pierre Allier and Philippe Brun, trombone player Guy Paquinet, alto saxophonist André Ekyan, violin player Stephane Grappelli, guitar player Roger Chaput and the bass players Roger Allier and Roger Grasset played often in that venue.

In 1931 Combelle became part of the Bruno Orchestra and a year later he was one of the members of the Krikor Kelekian band. Krikor Kelekian, better known as the founder of the famous French band: Grégor et ses Grégoriens. Enjoy one of the records by Gregor et ses Gregoriens, titled Doin’ The Raccoon featuring Alix Combelle as part of the saxophone section.


He played in that band for one year and performed in other bands like Le Jazz du Poste Parisien from Lucien Moreweck, “Le Jazz Patrick” directed by trombone player Guy Paquinet and the Orchestre de Michel Warlop, which recorded for the new Swing label.

Hugues Panassié and Charles Delaunay from the Hot Club de France asked Alix to accompany some US musicians, Freddie Johnson, Benny Carter, Coleman Hawkins and Bill Coleman to record as part of a quintet. In March 1935 Alix recorded two tunes with the new born Quintette du Hot Club de France, titled Crazy Rhythm and The Sheik of Araby.

In 1937 and 1938 Alix visited the States where he met Tommy Dorsey who invited him to join his band; it proofs his quality as a saxophone player.

Returned to France he became a member of the band of Ray Ventura; a great band that needs to be spotlighted later.

During the German occupation he was the director of one of the best French jazz bands, labelled as Le Jazz de Paris, featuring some skilled trumpet players like Aimé Barelli and Christian Bellest. In the early 1940s he founded his own band, which would be active until the 1950s and featured a lot of skilful musicians. After the liberation from the German he accompanied some Americans visiting Europe like Buck Clayton and Lionel Hampton.

In the 1950s and onwards Jazz is for Alix no longer the only music to make a living. During the 1960s and 1970s he composed and arranged music for films, radio and tv. His son Phillipe becomes a well known and active drummer in the Parisian jazz scene.

Alix Combelle passed away in Mantes, a place near Paris. He is, together with André Ekyan, one of the best saxophone players of the European jazz scene.

Alix Combelle was in the 1930s inspired by the white Chicagoan jazz style, but later he became fascinated by the black saxophone players Benny Carter, Chu Berry and especially Coleman Hawkins. He is one of the first European musicians to hold his own with the American musicians of those days. He is compared with musicians like Hawkins and Carter; a great compliment.

In the late 1930s his style of playing has been changed, due to the first Count Basie records with musicians like Herschel Evans and, of course, Lester Young.

After the war he tried to bring, like Don Byas, both Hawkins and Young together.
All these influences mentioned above gave him his own personal style of playing his instrument; lively, sometimes a bit rough, with short phrases, but always with fresh ideas.

Georg Lankester - keepswinging@live.nl

Soooo.....even though some of these selections are part of the Django Reinghardt lists that I have been posting, and you may already have: Alix Combelle...Part 1. Enjoy :)

Al's Idea-Alix Combelle's Hot Four 1937

Alexander's Ragtime Band-Alix Combelle Et Son Orchestre 1937

All Of Me-Quintette Du Hot Club De France 1940

Avalon-Alix Combelle Et Son Orchestre 1937

Ca s'fait pas-Alix Combelle Et Son Orchestre 1943

Cascades-Trio De Saxophones Alix Combelle w/ Django Reinhardt 1940

Crazy Rhythm-Alix Combelle Et Son Orchestre w/ Django Reinhardt 1935

Deux Pieds Gauches-Alix Combelle And His Swing Band w/ Django Reinhardt 1940

Don't Get Tired-Alix Combelle's Hot Four 1937

Exactly Like You-Alix Combelle Et Son Orchestre 1937

Fantasie Sur Une Danse Norvegienne De Grieg-Quintette Du Hot Club De France 1940

Fast, Slow, Medium Tempo-Alix Combelle And His Swing Band w/ Django Reinhardt 1940

Flots Bleus-Aimé Barelli et son orchestre 1941

Hang Over Blues-Alix Combelle Et Son Orchestre 1937

I Can't Give You Anything But Love-Alix Combelle And His Swing Band 1937

If I Had You-Alix Combelle's Hot Four 1937

Jonah's Wail-Jonah Jones & Alix Combelle's Sextett 1954

Joyeuse fumee (Holy Smoke)-Alix Combelle And His Swing Band w/ Django Reinhardt 1940

Jumpin' At The Woodside-Alix Combelle And His Swing Band w/ Django Reinhardt 1940

Les Yeux Noirs(Dark Eyes)-Quintette Du Hot Club De France 1940

Liebesfreud-Quintette Du Hot Club De France 1940

Mabel-Quintette Du Hot Club De France 1940

Nerves And Fever-Alix Combelle And His Swing Band w/ Django Reinhardt 1940

Nuages (version 2)-Quintette Du Hot Club De France 1940

Oiseaux Des Iles-Quintette Du Hot Club De France 1940

Onze heures vingt-Trio De Saxophones Alix Combelle w/ Django Reinhardt 1940

http://www.megaupload.com/?d=YTULZZ8H

Buster Bailey Part 1.........

Buster Bailey

William C. "Buster" Bailey (19 July 1902 – 12 April 1967) was a jazz musician specializing in the clarinet, but also well versed on saxophone. Originally from Memphis, Tennessee, Bailey was one of the most respected session players of his era.

Buster Bailey was a master of the clarinet and was educated on the instrument by classical teacher Franz Schoepp, the man who taught Benny Goodman. Bailey got his start with W.C. Handy’s Orchestra in 1917 when he was just fifteen years old. After two years of touring with Handy, Bailey quit the orchestra while the band was in Chicago. In 1919, Bailey joined Erskine Tate’s Vendome Orchestra and remained with Tate until 1923 when he joined up with Joe "King" Oliver. As a member of King Oliver’s Creole Jazz Band, Bailey met and became friends with Louis Armstrong, who was also a member of the band at that time. In 1924, Armstrong left King Oliver’s Jazz Band to join Fletcher Henderson’s Orchestra in New York. Within a month Armstrong extended an invitation for Buster Bailey to join him as a member of Henderson’s band. Bailey accepted and moved to New York City.

In New York during the late 1920s, Buster Bailey became a highly respected sideman with Perry Bradford and others, and appeared on numerous recordings playing both the clarinet and the soprano saxophone. Most notably Bailey performed on a number of Clarence Williams albums. In 1927 he left Fletcher Henderson and undertook a tour of Europe with Noble Sissle’s Orchestra. After his return, Bailey performed with several other jazz greats, including Edgar Hayes and Dave Nelson. He rejoined Sissle’s orchestra in 1931 and continued with the group through 1933. In 1934, Bailey was back briefly with Fletcher Henderson, but by the end of the year he had settled down as a member of the John Kirby Band. Bailey remained a member of Kirby’s band until 1946, but that didn’t stop him from performing with other artists. In 1934 and 1935, Bailey was playing with the Mills Blue Rhythm Band and in 1937 he was a session player for Midge Williams and Her Jazz Jesters. He also recorded music during this time as Buster Bailey and His Rhythm Busters.

In 1946, Buster Bailey went independent and led his own band, but his group lasted for only the year. In 1947 he joined Wilbur de Paris and performed with him until 1949. During the early 1950s Bailey was with Big Chief Russell Moore, but for most of the decade Bailey played with Henry "Red" Allen. From 1961 to 1963 he performed with Wild Bill Davison. Bailey was with the Saints And Sinners from 1963 to 1964, and in 1965 he rejoined his old friend Armstrong and became a member of Louis Armstrong and His All-Stars.

Buster Bailey died in April 1967 of a heart attack. He was living in Brooklyn, New York, at the time.

Buster Bailey appeared on film three times during his career. The first was in a film entitled That's the Spirit (1933) in which he played himself as a band member. The second was in 1961 on the television program The DuPont Show of the Week in an episode entitled "America's Music - Chicago and All That Jazz". His final appearance was with Louis Armstrong in When the Boys Meet the Girls (1965), again as a musician.

From www.redhotjazz.com :

Like many of the early Jazz musicians from Memphis, Tennessee, Buster Bailey got his start playing with W.C. Handy's Orchestra. He toured with Handy from 1917 to 1919 when he quit the orchestra while in Chicago and joined Erskine Tate's Vendome Orchestra. He stayed with Tate until 1923 and then spent about a year with King Oliver. When Louis Armstrong left King Oliver's Jazz Band in 1924 to join Fletcher Henderson's Orchestra in New York, Bailey followed a month later after being recommended by Armstrong. Bailey's fast smooth clarinet style made him a sought after session musician in the mid-1920s. He appeared on dozens of records by Blues singers, and on a great number of Clarence Williams sessions. He quit the Henderson Orchestra in 1927 and toured Europe with Noble Sissle's Orchestra. When he returned from Europe he played with Edgar Hayes and Dave Nelson before rejoining Sissle from 1931 to 1933. In 1934 he hooked up with Henderson again and then joined Mills Blue Rhythm Band for a year and then returned the Fletcher Henderson's Orchestra. In 1934 he joined the John Kirby band and stayed put until 1946. He led his own band briefly in 1946 and then joined Wilber de Paris from 1947 to 1949. Throughout the 1950s he played with Henry "Red" Allen and others. In the 1960s he worked with Wild Bill Davison from 1961 to 1963 and with the Saints And Sinners from 1963 to 1964. In 1965 he joined Louis Armstong and his All-Stars and continued to play with them until he died in 1967. 

A few selections as leader and sideman. I've been posting long enough now that many of these may be repeated on other lists with Bailey as sideman, but I just wanted to do a list today featuring his playing.....so enjoy. :)

Afternoon In Africa-Buster Bailey And His Rhythm Busters  1937

Am I Blue- from "Walk A Little Faster" - 1940-Buster Bailey And His Sextet

April In Paris-Buster Bailey And His Sextet 05-1940

Arkansas Blues-Teddy Grace 1939 

Call Of The Delta-Buster Bailey And His Seven Chocolate Dandies  1934

Cant We Be Friends-w/ John Kirby  1940

Chained To A Dream-Buster Bailey And His Rhythm Busters  1938

Chocolate to the Bone-Frankie 'Half-Pint' Jaxon/Harlem Hamfats 1937

Clarinet marmalade-Fletcher Henderson 1926

Copenhagen-Fletcher Henderson 1924

Coquette-w/ John Kirby 1941

Corrine Corrini-Wingy Manone & His Orch

Cushion Foot Stomp-Clarence Williams Washboard Band 1927

Dizzy Debutante-Buster Bailey And His Rhythm Busters  1937

Don t Start No Stuff-Harlem Hamfats 

Eccentric Rag-Buster Bailey And His Sextet 1940

Im Cuttin Out-  1940 Johnnie Temple

Ive Found A New Baby-1937 Teddy Wilson & His Orch

Jazzbo Brown From Memphis-Bessie Smith (Vocal) Buster Bailey (Clarinet) Fletcher Henderson (Piano) 1926

Kentucky-1930 Clarence Williams' Washboard Band

Knock-Kneed Sal-1938

Light Up-Buster Bailey And His Rhythm Busters  1938

The Bed Song-1937

The Blue Room-Buster Bailey And His Sextet 1940

The Fable Of The Rose-Buster Bailey And His Sextet 1940

http://www.megaupload.com/?d=J8MNRZR5

A beefcake break....Guy Madison (well, equal time...I post a lot of cheesecake...)

If the word 'pretty' could describe a man.......Guy Madison was one hella pretty man.

Just for fun...the Chevrolet "pets" newsreels....mid-late 1930s

Early Sixto Rodriguez..........including the first single from '67

Sixto Rodriguez

Sixto Diaz Rodriguez (also known as Rodriguez or as Jesus Rodriguez) is an American folk musician, born in Detroit, Michigan on July 10, 1942(1942-07-10). He was named 'Sixto' (pronounced seex-tuh) because he was the sixth child in his family. Rodriguez's parents were middle-class immigrants from Mexico, who left in the 1920s. In most of his songs he takes a political stance on the cruelties facing the inner city poor.

In 1967 (under the name Rod Riguez) he released the single "I'll Slip Away" through the small label Impact. He did not produce anything for another three years until he was signed to Sussex Records; an offshoot of the Buddah label. It was after the move to Sussex that he changed his professional name to just Rodriguez. Rodriguez recorded two albums with Sussex—Cold Fact in 1970, and Coming from Reality in 1971. But after mixed reviews and low album sales he was dropped from the label, which later folded in 1975.

After failing to make an impact in America, he gave up his career as a musician. However, although he was relatively unknown in his home country by the mid 70s, his albums were starting to gain airplay in countries like South Africa, Rhodesia (now Zimbabwe), New Zealand and Australia.

After imported copies of his Sussex albums ran dry, an Australian record label, Blue Goose Music, bought the Australian rights to his back catalogue in the mid 70s. The label released his two studio albums plus a compilation album At His Best (featuring unreleased recordings from 1976 "Can't Get Away", "I'll Slip Away" (a re-recording of his first single), and "Street Boy"). Unbeknownst to Rodriguez, it went platinum in South Africa, where he achieved cult status.

With a new buzz around Rodriguez, in 1979 he toured Australia with the Mark Gillespie Band as support. Two shows from the tour were later released on the Australian only album Alive—the title being a play on the rumours caused by his public obscurity that Rodriguez had died years ago. After the '79 tour he returned to Australia for a final tour in 1981 with Midnight Oil before quietly slipping back into normal life.

In 1991 both his albums were released on CD in South Africa for the first time. His fame in South Africa was completely unknown to him, until 1998 when his eldest daughter found a website dedicated to him on the internet. In 1998 he played his first South African Tour. A documentary about the tour Dead Men Don't Tour: Rodriguez in South Africa 1998 was later screened on SABC TV in 2001. Later he played in Sweden before returning to South Africa in 2001 and 2005.

In 2002 his signature song, "Sugar Man", was added to DJ David Holmes' mix album Come Get It I Got It, gaining Rodriguez airplay again on Australian radio station Triple J. "Sugar Man" had previously been sampled in the song "You're Da Man" from rapper Nas' 2001 album Stillmatic. In 2007 he returned to Australia in April, to play the East Coast Blues and Roots Festival, as well as shows in Melbourne and Sydney. His song "Sugar Man" was in the 2006 film Candy, starring Heath Ledger. Cornish singer-songwriter, Ruarri Joseph, covered Rodriguez's song 'Rich Folks Hoax' for his third studio album. There has also been a film made about his life titled, Looking for Jesus. Rodriguez now continues to tour in various countries. South African band Just Jinger has also made a very popular cover version of Sugar man. His albums Cold Fact and Coming from Reality were re-released by Light in the Attic Records in 2009.

Wow....I've been a huge fan since I wore out the vinyl on the first two LPs. I've seen some stuff posted here and there, but never with the first single from '67....so here it is.....enjoy. :)

A Most Disgusting Song-1972 from 'Coming from reality'

Cause-1972 from 'Coming from reality'

Climb Up On My Music-1972 from 'Coming from reality'

Crucify your mind-1970 from 'Cold fact'

Forget it-1970 from 'Cold fact'

Gommorah (a nursery rhyme)-1970 from 'Cold fact'

Halfway Up The Stairs-1972 from 'Coming from reality'

Hate street dialogue-1970 from 'Cold fact'

Heikki's Suburbia Bus Tour-1972 from 'Coming from reality'

I Think Of You-1972 from 'Coming from reality'

I wonder-1970 from 'Cold fact'

I'll Slip Away-1967 (as Rod Riguez)

Inner city blues-1970 from 'Cold fact'

It Started Out So Nice-1972 from 'Coming from reality'

Jane S. Piddy-1970 from 'Cold fact'

Like Janis-1970 from 'Cold fact'

Only good for conversation-1970 from 'Cold fact'

Rich folks hoax-1970 from 'Cold fact'

Sandrevan Lubally - Lifestyles-1972 from 'Coming from reality'

Silver Words-1972 from 'Coming from reality'

Streetboy-from 'At his best' 1977

Sugar man-1970 from 'Cold fact'

This is not a song, its an outburst-1970 from 'Cold fact'

To Whom It May Concern-1972 from 'Coming from reality'

You d like to admit it-1967 (as Rod Riguez)

http://www.megaupload.com/?d=1LNS65NS

Some selected Shuggie Otis...(sorta like the Reader's Digest Condensed book version)

Shuggie Otis

Shuggie Otis (born Johnny Alexander Veliotes; November 30, 1953) is an American R&B, soul, rock, blues, and funk singer-songwriter, record producer, and multi-instrumentalist. His composition "Strawberry Letter 23", recorded by The Brothers Johnson, topped the Billboard R&B chart and reached the top five of the Billboard Hot 100 chart in 1977. His 1975 single "Inspiration Information" reached number fifty-six on the R&B chart.

Born in Los Angeles, California, Otis is the son of rhythm and blues pioneer, musician, bandleader, and impresario Johnny Otis and wife Phyllis. The name 'Shuggie' (short for "sugar", according to his mother) was coined by Phyllis when he was a newborn. Otis began playing guitar at age two and performing professionally with his father's band at the age of twelve, often disguising himself with dark glasses and a false moustache so that he could play in after-hours nightclubs.

Otis, primarily known as a guitarist, also sings and plays piano, organ, drums, and bass. While growing up with and being heavily influenced by countless legendary blues, jazz, and R&B musicians in his father Johnny's immediate circle, Otis began to also gravitate towards the popular music of his generation such as Sly Stone, Jimi Hendrix, and Arthur Lee of the band Love. In 1969, Al Kooper asked Otis to be the featured guest on the second installment of the "Super Session" album series which had previously included Stephen Stills and Mike Bloomfield. Kooper and the then-fifteen-year-old Otis recorded "Kooper Session" over one weekend in New York. Immediately returning to Los Angeles, Otis, along with his father and singer Delmar 'Mighty Mouth' Evans on the album "Cold Shot", released in 1969 on the Los Angeles-based Kent label. Another oddly obscure album this three-man team recorded was the extremely rare and risque "Snatch & The Poontangs".

Otis then released his first solo album later that year entitled "Here Comes Shuggie Otis" on Epic Records. Countless musicians were his guests on this debut attempt, including Johnny, Leon Haywood, Al McKibbon, Wilton Felder, and many others. This further established his reputation and catapulted his fame into the attention of B. B. King, who was quoted in a 1970 issue of Guitar Player magazine admitting Otis was "his favorite new guitarist". Some of the artists Otis performed and recorded with during that time include Frank Zappa (having played electric bass on "Peaches en Regalia" on the album "Hot Rats"), Etta James, Eddie Vinson, Richard Berry, Louis Jordan, and Bobby 'Blue' Bland, among many others.

The album Otis received the most notoriety for was his second Epic Records release in 1971 entitled "Freedom Flight", which featured his famous hit "Strawberry Letter 23". Both the album and single reached the Billboard Top 200 and caught the attention of Brothers Johnson guitarist George Johnson, who then played it for music producer Quincy Jones. They covered the song and it instantly became a smash hit. Even though Otis played most of his own parts in the studio, the lineup on this album was quite extensive, including George Duke and Aynsley Dunbar of Journey and Whitesnake fame.

In 1974, Otis released "Inspiration Information". The album had taken almost three years to finish. All the songs were written and arranged by Otis himself, who played almost exclusively every musical instrument on the album (except for the horns and various stringed instruments). However, despite its long-awaited impact, "Inspiration Information" had but one single (the title track) reach the Billboard Top 200. After the album's release, Otis was approached by Billy Preston on behalf of The Rolling Stones, asking him to join the band for their upcoming world tour. He declined the offer, along with the chance to work with Quincy Jones in helping produce Otis's next album. After a series of similar refusals, Otis gained the reputation of 'taking his time', and his recording contract with Epic Records was nullified. During this time, Otis became much more noticeably private as he and his first wife Judith Peters (aka Miss Mercy of Frank Zappa's infamous all-girl group, the GTO's) had a son, Johnny III, who now goes by his middle name, Lucky. Otis' only credited works throughout the mid-1970s were done as a session musician for his father's recording projects. A few years later, Otis and Judith divorced. He then remarried Lillian Wilson, daughter of famed trumpeter bandleader and Latin jazz pioneer Gerald Wilson. They had a son Eric, whom Lillian named after her father Gerald's close friend and bandmate Eric Dolphy. Both Lucky Otis and Eric Otis are professional musicians and producers in their own right.

Otis' 1974 album, "Inspiration Information" was re-released on April 3, 2001, by David Byrne's independent label, Luaka Bop Records. This CD re-issue includes all 9 original album tracks plus four songs taken from Otis' 1971 album "Freedom Flight" and features new cover art, liner notes, and exclusive never-seen-before photos.

Otis is featured in every one of his father Johnny's books, as well as "Alligator Records Presents West Coast Blues", issued in August 1998.

Recently, Otis was heard in an exclusive radio interview claiming his extremely long-awaited fifth album (as yet untitled) will be released sometime in 2011 on his own recording label.

Here are some selections from his discography

1215 Slow Goonbash Blues-w/ Al Kooper-Super Session 1969

Aht Uh Mi Hed.-from 'Inspiration Information' 1974

Bootie Cooler-from 'Here comes Shuggie Otis' 1970

Bury My Body-w/ Al Kooper-Super Session 1969

Country Girl-w/ Johnny Otis-from "In Session: Great Rhythm and Blues 2002

Double Or Nothing-w/ Al Kooper-Super Session 1969

Freedom Flight-from 'Freedon flight' 1971

Funky Thithee-from 'Here comes Shuggie Otis' 1970

Gospel Groove-from 'Here comes Shuggie Otis' 1970

Happy House-from 'Inspiration Information' 1974

Hurricane-from 'Here comes Shuggie Otis' 1970

I'm The Midnight Creeper-from "In Session: Great Rhythm and Blues 2002

Ice Cold Daydream-from 'Freedon flight' 1971

Information Blues-w/ Roy Milton-from "In Session: Great Rhythm and Blues 2002

Inspiration Information-from 'Inspiration Information' 1974

Island Letter-from 'Inspiration Information' 1974

Jennie Lee-from 'Here comes Shuggie Otis' 1970

Knowing (That You Want Him)-from 'Here comes Shuggie Otis' 1970

Me and My Woman-from 'Freedon flight' 1971

Not Available-from 'Inspiration Information' 1974

One Room Country Shack-w/ Al Kooper-Super Session 1969

Oxford Gray-from 'Here comes Shuggie Otis' 1970

Purple-from 'Freedon flight' 1971

Rainy Day-from 'Inspiration Information' 1974

Shuggie's Boogie-from 'Here comes Shuggie Otis' 1970

Shuggie's Shuffle-w/ Al Kooper-Super Session 1969

Signifyin' Monkey 1&2-Snatch & The Poontangs 1968

Someone's Always Singing-from 'Freedon flight' 1971

Sparkle City-from 'Inspiration Information' 1974

Strawberry Letter 23-from 'Freedon flight' 1971

Sweet Thang-from 'Freedon flight' 1971

Texas Hop-w/ Pee Wee Crayton-from "In Session: Great Rhythm and Blues 2002

The Hawks-from 'Here comes Shuggie Otis' 1970

XL-30-from 'Inspiration Information' 1974

http://www.megaupload.com/?d=BTREQBG9

Janet Leigh..........