‘The trance blues stylings of Otha Turner and his Rising Star Fife And Drum Band should be a music classification unto itself, a whole new primitive take on drum and bass. This music is the oldest still-practiced post-colonial American music, and Turner was one of its greatest artists of the 20th century. Blowing the cane fife with a band of drummers as back up, The Rising Star Fife And Drum band was legendary in the hills of Tate County, Mississippi, where they would perform during the yearly goat picnics on Turner’s farm. These tracks were recorded by Luther Dickinson during such picnics and released when Turner was ninety years old. Everybody Hollerin’ Goat shows firsthand the hypnotic and rhythmic style of fife and drum music at its best — raw and beautiful. It is every bit as essential a document of America’s folk-music heritage as anything Harry Smith or Alan Lomax ever offered up for posterity. This first ever vinyl release of Everybody Hollerin’ Goat contains a whole side of unreleased recordings from one night of the picnic and is intended to bring the experience of hollerin’ for goat in Senatobia, Mississippi to the living room. Dancing around the plants is recommended (but don’t eat the pickled eggs).’

Thrilling primitive gospel from Alabama. Fuzzy, loud, dissonant guitar somewhere between Pops Staples, John Lee Hooker and the outsider R ‘n B of Hasil Adkins. True testifyin’ magic, and highly recommended.

Bawdy, vaudevillian malarkey, both country and urban, with no messing musically. Stuff like Banana Man, You Put It In I’ll Take It Out, I Had To Give Up Gym, Elevator Papa Switchboard Mama. Crumb cover.

Perhaps his best LP, from 1975, with an ace band, including horns. Rough, raw, and emotionally gripping as ever, and slashed through with his unmistakable guitar sound, from the mean, rollicking opener Cut You Loose to the Diddleyesque, wigged-out, hard-shuffling finale Motoring Along.

Hot, party-hearty zydeco. In the great Clifton Chenier tradition — except for the killer Chic version, wrapping things up! ‘The Jackson 5 of Zydeco’ — aged 11 to 17.

Stone-classic country blues album recorded by Pete Welding for Testament in 1970. Just singing and slide guitar, still crackling and luminous with the time Shines knocked around with Robert Johnson in the mid-30s.
“Blues is like death. Blues is when you are lost. Blues is when you are depressed but don’t know why you are depressed.”
It’s a must.

Terrific collection of spiritual and gospel songs performed in informal non-church settings between 1965-1973 — mostly guitar-accompanied and performed by active or former blues artists.

Classic gospel soul from 1971, with the scorcher Hang On In There.
The Sisters were former Ikettes, who sang back-up for Norman Greenbaum on Spirit In The Sky, versioned here.

Rough, wild slide-guitar blues. “He couldn’t play shit, but he sure made it sound good,” was the guitarist’s verdict on himself.
Halfway through Sadie, his ex tells him straight: ‘Hound Dog, I can’t use you any more.’ Taylor cries his heart right out into three solos. Terrific.

A scorcher from the golden age of gospel, via its cardinal label.
From 1960, during the family’s second decade with Savoy, featuring Gertrude Ward, Christine Jackson, Mildred Means and Vermettya Royster — and Clara, totally riveting and in-your-face with evangelistic fervour and raw soul.
Plus a rambunctious, floor-filling Wade In The Water, by Jessy Dixon and his Singers.
Handsomely sleeved (showing a contemporary but slightly different Wards lineup).