Sonny Terry & Brownie McGhee - 'Sonny & Brownie'

In 1939, Sonny Terry & Brownie McGhee started a partnership that would last for forty years, probably longer than any working blues or folk duo or group.  The style of blues that Sonny and Brownie play is called "Piedmont Blues"; a term coined by American folklorist, writer, record producer, and ethnomusicologist, Peter B. Lowry.

Sonny and Brownie's sound has been called the perfect blues duo, characterized by Brownie's clean, tasteful guitar work, and vocals, along with Sonny's distinctive harmonica and vocal "whoops".

The duo, surfed different trends, becoming stars of the 60s blues revival and also transcended the blues genre by including American folk songs and ballads in their repertoire.

In 1982 Sonny Terry and Brownie McGhee were named National Heritage Fellows in recognition of their distinctive musical contributions and accomplishments.

On the surface of things, they appeared to be the closest of friends, but in truth, they couldn't stand the sight of each other. (Or rather, each other's presence, as Sonny Terry injured his eyes as a child, and was blind by the age of 16.)

'Sonny & Brownie' was recorded at Paramount Recording Studios in 1973, and released the same year.  The album was co-produced by Hal Winn and Mo Rodgers.

Along with Sonny Terry, Brownie McGhee, is an all-star backing band, that includes John Mayall, Arlo Guthrie, John Hammond Sugarcane Harris, Michael Franks, Clydie King, Jackie Ward, Venetta Fields, and others.   

The material performed is some original Sonny and Brownie songs, and covers written by Sam Cooke ("Bring It On Home To Me"), Curtis Mayfield ("People Get Ready") and Randy Newman (finally, a cover of "Sail Away" that gets it right).  While this may not be a "pure blues" album, it is a helluva lot of fun.

The freeload, is the 1995 Mobile Fidelity Sound Lab reissue from their Ultradisc II series, and it sounds pretty great.

For the freeload tells us who some of your favorite duos, musical or otherwise, are.

Sonny Rollins - 'Complete Sonny Rollins In Japan'

 

'Complete Sonny Rollins In Japan' was recorded on September 30, 1973, at Nagano San-Plaza, Tokyo.  It was originally released as ''Sonny Rollins In Japan' in 1973 on the Victor label.

In September 1973, Sonny Rollins, along with guitarist Yoshiaki Masuo, bassist Bob Cranshaw, drummer David Lee and percussionist James Mtume went to Japan on tour, and recorded a live album that has only ever released for the Japanese domestic market.

The album's opener, "Powaii" is named for the Indian city where Sonny studied yoga and meditation during his sabbatical. It’s a nearly 19-minute piece played with fierce intensity, and it sets the tone for the entire record. We are also treated to Sonny's classics, "St. Thomas", the theme from "Alfie", and "Moritat" aka "Mack the Knife".

Today's freeload is a 2CD version from 2008, and is also a Japanese domestic market only release.  It features a full hour’s worth of bonus material.  It has a 29-minute version of "Sais", also included are "Hold Em Joe" and "God Bless The Child".

The recording quality excellent, and the music unique blend of traditional jazz with 70s funk/fusion elements, making it a standout from Sonny's mid-70s period.  The band is on fire throughout.

This is rare and essential, Sonny Rollins, and to my ears, is one of Sonny's best albums of the 1970s. .

For the freeload, what was the last live show you attended?

The Grateful Dead - The Warfield, San Francisco, California, Oct 4 & 6, 1980 Acoustic Sets - Black Friday Record Store Day 2025 Release

The Grateful Dead's 1980 Fall Tour celebrated the Grateful Dead's 15th Anniversary, and was famous for a series of "residency" runs:

• The Warfield, San Francisco, with 15 shows, from September 25 to October 14.
• The Saenger Theatre, New Orleans, with 2 shows on October 18 and 19.
• Radio City Music Hall, New York City, with 8 shows from October 22 to 31.  I was lucky enough to see the entire1980 Radio City Music Hall run. 

All the shows featured a unique three-set format: one acoustic set followed by two electric sets.  These were the band’s first significant acoustic performances since the early 1970s, and a decade before "Unplugged" became a thing.

Material recorded during these runs was later released as two distinct live albums in 1981: 'Reckoning' compiled from the acoustic sets, and 'Dead Set' compiled from the electric sets.

I missed Black Friday Record Store Day this past November at my favorite local record stores in Manhattan, as I was in Los Altos, California, celebrating Thanksgiving with family.  

Disappointingly, upon my return home, The Grateful Dead's 'The Warfield, San Francisco, CA Oct 4 & 6, 1980' in the form of 180gm vinyl was completely sold out, everywhere, so I bought the 2CD set instead.  I eventually bought the vinyl online, but I would have much preferred to give my money to an independent record store.

The Dead's 'The Warfield, San Francisco, CA Oct 4 & 6, 1980' are the rare acoustic sets (not on 'Reckoning') that were recorded by Betty Cantor-Jackson.  They were widely bootlegged as what we Deadheads [if the head fits, wear it. — Ed] refer to as "Betty Boards", which are known for their high quality audio.

These two acoustic sets perfectly blend older cuts from Dead's extensive repertoire, these two sets include classics like "Bird Song", "Cassidy", "Dire Wolf" and "To Lay Me Down" amongst many others, with each set ending with "Ripple".

The freeload is the 2CD set, and sounds wonderful.

While I was never an MTV fan, I did however enjoy some episodes from their series, MTV Unplugged.

For the freeload, if you saw any of the Unplugged series, what were some of your favorites?

The Good Ol’ Grateful Dead - Fillmore West 1969: The Complete Recordings

 

'Fillmore West 1969: The Complete Recordings' is a 10 CD box set of every note played at the four Fillmore West shows from February 27th to March 2nd, 1969.

But wait, there's More!

If you pre-ordered (which I did) you received a bonus CD of previously unreleased live recordings from shows at the Carousel Ballroom/Fillmore West between 1968 and 1970.

The 'Fillmore West, 1969: The Complete Recordings' was a limited edition release of 10,000 copies.  It was mastered in HDCD. 51, and is around 10 hours of music.  There's also a very nice, 76-page booklet (included in the freeload — natch) 

For the freeload, post a verse from a few of your favorite Grateful Dead songs.

Various Artists - 'Conception'

 

'Conception' takes me be back to the summer of 1961, when one Saturday morning, I told my parents I was going to see a movie at our local library with Denise "The Grease".  But in reality, I went to three record stores that sold used records in Times Square.

Back then Times Square had a reputation as a sleazy, gritty, dirty and dangerous place especially at night, but figured I'd be safe on a Saturday morning (I hoped).  

The thing of it was, I was starting to meet Beatnik jazz fans who were older than myself.  The Beats had weird and wonderful stories of adventures filled with all kinds of characters, and super rare used record finds in Time Square.  I wanted to be part of that conversation, and recount my own adventures.

That Saturday, I took a Dexamyl (a mix of amphetamine and barbiturate), then the Number 2 subway train, from Brooklyn Heights to Times Square.  My first stop was the Times Square Record Shop, which was a cramped, basement-level store in the subway arcade.  The place was run by a guy named "Slim", and was known for Doo-wop 45s.  But I was there looking for jazz, and saw a few things of interest, but nothing I wanted to buy.  The Times Square Record Shop would go on to be THE place for Latin music in the 70s.

A few steps away in the subway arcade was Downstairs Records, there I found a few used things I wanted to buy.  Unfortunately, when the clerk test played them for me, they sounded like a bowl of Rice Krispies, if you catch my drift.

Downstairs Records

So I left the subway station, and went up to the street where it was sunny, hot, and humid.  My mouth was dry from Dexamyl and chain-smoking cigarettes, and I needed something to drink.  So I went into Nedick's which was an early fast-food chain, on the corner of 7th Avenue and 42nd Street.

Nedick's sold hot dogs, hamburgers and its famous distinctive orange drink which was sort of a combination of orangeade and orange juice.  It had pulp, but also a ton of sugar, and was served ice-cold.  

While I was standing at the counter, with my orange drink (Nedick's had no seats) a creepy guy with pimples pretended to lose his balance, then bump into me and coped a feel of my butt.  I yelled "MASHER!" at the top of my lungs, the creepy guy went red in the face, and the guy behind Nedick's counter told him, "Get the hell outta here, before I bust your god dammed head open!", and then asked me, "Are you OK, Miss?".  I nodded my head, and told him, "I'm OK", and smiled.  He said to me, "Forget about that guy, and try to enjoy the rest of the day, OK sweetheart." and he then told the woman next to me, "I gotta daughter her age, ya know."  Then he refilled my orange drink, and said, "On the house."  
[Masher now archaic, was a popular buzz word back then for creepy and aggressive men, who harassed and groped women in public places. —Ed]

When I left Nedick's  I stopped at the newsstand and bought two packs of Gitanes (French cigarettes) that I couldn't get in Brooklyn Heights, and were considered très chic with the Beatnik crowd.  Then I headed up to Colony Records, on the corner of Broadway and 49th Street, in the legendary Brill Building.

On my walk to Colony Records, I passed adult book stores, dive bars, hookers, passed out drunks, homeless people, dirty movie theaters, and assorted other (what we used to call) "Low-lifes".  To my fourteen-year-old self, it was shocking, and simultaneously, fascinating, with my Dexamyl high making it seem all so dreamlike and surreal.

Colony Records was founded in 1948 by Harold "Nappy" Grossbart and Sidney Turk.  Colony stayed open til 2:30 a.m. seven days a week for decades, until its closing in 2012.

Inside the store, I was approached by an older gentleman, with an upper class British accent, who told me his name was Tony, and asked me if there was anything in particular I was looking for.  I told him I was looking for some used jazz LPs.  Tony asked me, "Would it be fair to say, you are new to jazz?" I told him I was, and he told me he had something that would be perfect for me.  Tony showed me a copy of an album called 'Conception', and told me, "This is a collection of music by Miles Davis, Stan Getz, Lee Konitz, Zoot Sims, Sonny Rollins and Gerry Mulligan.  The record is in mint condition, and it's smashing!"  I had never heard the word smashing used in that context before, but I knew what he meant and thought it was charming.  

We walked to the front of the store, where Tony put the album on the turntable.  It sounded great, and Tony said, "I can let you have it for seventy-nine cents." I said, "Sold!", Tony smiled and shook his head, approvingly.

Originally released in 1956, 'Conception' is a compilation album compiled from10 inch LPs, and 78rpm singles recorded for the Prestige Records label between 1949 and 1951.  This is a little known classic gem of an album, and belongs in every jazz collection.

The freeload is a 2013 Japanese reissue on an SHM-CD, remastered by Rudy Van Gelder, and seven bonus track, not on the original release.  

For the freeload, what kind of sneaky stuff did you get up to in your teen years?

Rest In Peace Bobby

 

Allman Brothers Band – Post-Gazette Pavilion Pittsburgh, PA July 26, 2003

 

Here's a very nice Warren Haynes/Derek Trucks era Allman Brothers show.

The show was captured by the state-of-the-digital-arts folks at Instant Live, who recorded shows off the soundboard, burned CDs and made them available to concertgoers a few minutes after the end of the show. A pretty cool trick.

Gregg Allman is in fine voice, and his organ playing is flawless.  Warren Haynes guitar is heard in the right channel, and Derek Trucks guitar is in the left, together they "knock the ball out of the park".  Oteil Burbridge is on bass, and to my ears, is the most proficient bassist the band has ever had.  The drums and percussion section of Butch Trucks, Jaimoe, and Marc Quinones is, as always, a powerhouse.  Saxophonist Karl Denson guests on "Good Morning Little Schoolgirl".

Setlist
CD1

1. Trouble No More
2. Midnight Rider
3. Black Hearted Woman
4. Rockin' Horse
5. Heart Of Stone
6. Statesboro Blues
7. Every Hungry Woman    

8. Worried Down With The Blues



CD2
1. You Don't Love Me
2. Who To Believe
3. Woman Across The River
4. Hot 'Lanta
5. Stormy Monday
6. Good Morning Little Schoolgirl

CD3

1. Dreams
2. In Memory Of Elizabeth Reed
3. Revival

It's been my observation, that no matter which incarnation of the Allman Brothers Band you see live; they never disappoint.

For the freeload, what other bands have you seen several times live, and the shows were consistently excellent?

Sam Lightnin’ Hopkins - The Gold Star Sessions Volumes 1 & 2

 

The Gold Star Sessions Volumes 1 & 2 were recorded between 1947 and 1950, at Bill Quinn's Gold Star Studios in Houston, Texas.  These two volumes were released in 1990 and 1991 respectively on the Arhoolie Records label.

From the first chords he plays on his guitar, we know it's Lightnin', as his style is so distinct.  The Blues went through changes in styles while Lightnin' was on the scene, but his never did, and that's always been totally fine by me.

Lightnin' Hopkins was one of the most prolific blues artists of all time, recording hundreds of songs for literally dozens of labels.  The Gold Star recordings contain essential, raw, post-war Texas blues, and some of his greatest sides.

In 2010, Rolling Stone Magazine ranked Lightnin' number 71 on its list of the 100 greatest guitarists of all time.  My guess is, the "geniuses" at Rolling Stone didn't take into consideration just how influential Lightnin's guitar work is.  Remember when Rolling Stone Magazine was hip, knowledgeable, and relevant? <sigh>

For the freeload, tell us what are some of your favorite music magazines (print and online), past, and present? 

McCoy Tyner - 'The Real McCoy'

 

I've always been fond of the idiom, "The Real McCoy", to describe something genuine and of superior quality; not a fake or imitation.

Some claim the origin of "The Real McCoy" is linked to inventor Elijah McCoy, whose steam engine lubricants were so good that train engineers wanted his genuine product.

Others claim it comes from Prohibition bootlegger, Bill McCoy who smuggled in Canadian whiskey which was better than so-called "Bathtub Gin", so in speakeasies people asked for "the real McCoy", 

Another theory is that American boxer Norman Selby, known as "Kid McCoy," had a bar fight when someone questioned his identity, leading him to prove he was (you guessed it) the "real McCoy".

As an aside, and conversely Denise "The Grease" uses "Fugazi" (pronounced foo-GAH-zee, in Brooklynese) for something fake or knock off goods, as in "See that Rolex, Babs? It's a friggin' Fugazi. Foggetaboutit…".

Be that as it may.

McCoy Tyner's 'The Real McCoy' was recorded on April 21, 1967, at The Van Gelder Studio in Englewood Cliffs, New Jersey, and produced by Alfred Lion.  This was also McCoy's first release (of eleven) on the Blue Note Records label.

Along with McCoy's sublime piano are, tenor saxophonist Joe Henderson, bassist Ron Carter, and former Coltrane Quartet drummer Elvin Jones.  These are masters at work, and deliver intense interplay on this universally acclaimed jazz masterpiece.

Producer Alfred Lion recalls the recording session as a: 

"Pure jazz session. There is absolutely no concession to commercialism, and there's a deep, passionate love for the music embedded in each of the selections."

 McCoy Tyner's 'The Real McCoy', is the real McCoy.

The freeload is a 24bit/192kHz vinyl rip, done by my eldest grandson here at the button factory over the holidays.

For the freeload, what are some of your favorite idioms?

Holiday Announcement

The button factory is about to be invaded by family and friends for holiday celebrations, so I'll be taking a short break.

Posting will begin again on January 5th, 2026

Happy Holidays to one and all!

Bab's Bootleg Bonanza - Van Morrison Edition 'Catalog Strays 1965-2000'

The cover image, obviously photoshopped, shows
Van holding the 'The Genuine Philosopher's Stone' bootleg.

'Catalog Strays 1965-2000' is a 3CD, 51track collection set of various unreleased studio sessions, various guest appearances that Van has done on other artists' CDs over the years, and some of Van's CD singles.

The sound quality is exceptional throughout.

Disc One:
01. Little Girl
(with famous "fuck" fade)
02. Bring Em On In
(genuine stereo mix)
03. Turn On Your Love Light
(genuine stereo mix)
04. It's All Over Now Baby Blue
(genuine stereo mix)
05. I Gave My Love A Diamond
(accidental alternate mix to "Story Of Them")
06. Mighty Like A Rose
(from German only "Them Featuring..." CD)
07. Brown Eyed Girl
(instrumental B side)
08. Ro Ro Rosey
(single version with girl singers)
09. When The Evening Sun Goes Down
(single B side alternate take)
10. 4% Pantomine
(from "Cahoots" with The Band)
11. Never Get Out Of These Blues Alive
(with John Lee Hooker)
12. Redwood Tree
(single B side alternate mix)
13. You've Got The Power
(single B side)
14. Caledonia
(withdrawn single A side)
15. What's Up Crazy Pup
(unknown single B side)
16. Tell Me About Your Love
("Back On Top" CD single B side)
17. Mechanical Bliss
(unknown single B side)
18. Sax Instrumental
("Back On Top" CD single B side)
19. John Brown's Body 
("Back On Top" CD single B side)

Disc Two:
01. I'm Ready
("Back On Top" CD single B side)
02. Dead Girls Of London
(unreleased track with Frank Zappa)
03. Wonderful Remark
(King of Comedy Soundtrack)
04. Mr Thomas
(unknown single B side)
05. All Saint's Day (instrumental B side)
06. Send In The Clowns (with Chet Baker)
07. Moondance
(with Georgie Fame)
08. Cover The Waterfront
(with John Lee Hooker)
09. I Can't Stop Loving You
(with the Chieftains)
10. All Saints Day
(with the Chieftains)
11. Carrying A Torch
(with the Chieftains)
12. That's Where It's At
(with the Holmes Brothers)
13. Serves Me Right
(with John Lee Hooker)
14. Have I Told You Lately
(with the Chieftains)
15. Full Force Gale
(CD single B side)
16. Look What The Good People Done
(Japanese release"The Healing Game "CD single B side)

Disc Three:
01. Celtic Spring
(withdrawn CD single)
02. St Dominic's Preview
(1996 TV version with Van on acoustic guitar)
03. I Will Be There
(with Pee Wee Ellis and the NDR Band)
04. If You Love Me
(with BB King)
05. The Healing Game
(with John Lee Hooker)
06. Don't Look Back
(with John Lee Hooker)
07. Travellin' Blues
(with John Lee Hooker)
08. Shenandoah
(Long Journey Home soundtrack)
09. I Don't Want To Go On Without You
(unknown CD single)
10a. That Ol' Black Magic
(Days Like This CD single B side)
10b. Yo [Instrumental]
(Days Like This CD single B side)
11. At The End Of The Day
(Japanese release "The Healing Game" CD single B side)
12. The Healing Game
(withdrawn CD Single version)
13. Before The World Was Made
(unknown CD Single)
14a. Turn On Your Love Light
(with Howling Wolf)
14b. Ain't Nothing You Can Do
(with Howling Wolf)
15. Muleskinner Blues
(Jimmy Rogers tribute album)

This freeload has appearances by: The Band, John Lee Hooker, Frank Zappa, Georgie Fame, The Chieftains, Chet Baker, The Holmes Brothers, Pee Wee Ellis, BB King, Howlin' Wolf and more.

For the freeload, what other artists would you like to have seen, or see Van work with?