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Blue Goose Records was an American independent record label set up in the early 1970s by Nick Perls. [1]
While on Blue Goose's sister label, Yazoo Records, Perls compiled rare 78 rpm recordings from the 1920s by Charley Patton, Blind Willie McTell, Memphis Jug Band, Blind Blake, and Blind Lemon Jefferson. On Blue Goose Records he recorded not only 'rediscovered' black blues artists like Sam Chatmon, Son House, Yank Rachell, Shirley Griffith and Thomas Shaw, but also younger blues and jazz performers, including Larry Johnson, Jo Ann Kelly, Woody Mann, John Lewis, Roy Book Binder, R. Crumb & His Cheap Suit Serenaders, Rory Block, Roger Hubbard, Alan Seidler, and Brett Marvin and the Thunderbolts' member Graham Hine.
Most of the Blue Goose Records albums were re-released in 2002 on CD by the Japanese record company, Air Mail Recordings.
Blues is a music genre and musical form that originated amongst African-Americans in the Deep South of the United States around the 1860s. Blues has incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads from the African-American culture. The blues form is ubiquitous in jazz, rhythm and blues, and rock and roll, and is characterized by the call-and-response pattern, the blues scale, and specific chord progressions, of which the twelve-bar blues is the most common. Blue notes, usually thirds, fifths or sevenths flattened in pitch, are also an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove.
Blind Willie McTell was an American Piedmont blues and ragtime singer and guitarist. He played with a fluid, syncopated fingerstyle guitar technique, common among many exponents of Piedmont blues. Unlike his contemporaries, he came to use twelve-string guitars exclusively. McTell was also an adept slide guitarist, unusual among ragtime bluesmen. His vocal style, a smooth and often laid-back tenor, differed greatly from the harsher voices of many Delta bluesmen such as Charley Patton. McTell performed in various musical styles, including blues, ragtime, religious music, and hokum.
Paramount Records was an American record label known for its recordings of jazz and blues in the 1920s and early 1930s, including such artists as Ma Rainey, Tommy Johnson and Blind Lemon Jefferson.
Albert George Hibbler was an American baritone vocalist, who sang with Duke Ellington's orchestra before having several pop hits as a solo artist. Some of Hibbler's singing is classified as rhythm and blues, but he is best seen as a bridge between R&B and traditional pop music. According to one authority, "Hibbler cannot be regarded as a jazz singer but as an exceptionally good interpreter of twentieth-century popular songs who happened to work with some of the best jazz musicians of the time."
Shanachie Records is an American, New Jersey–based record label, founded in 1975 by Richard Nevins and Dan Collins. The label is named for the Gaelic word seanchaí, an Irish storyteller.
Yazoo Records is an American record label founded in the mid-1960s by Nick Perls. It specializes in early American blues, country, jazz, and other rural American genres collectively known as roots music.
Fat Possum Records is an American independent record label based in Water Valley and Oxford, Mississippi. At first Fat Possum focused almost entirely on recording previously unknown Mississippi blues artists. Recently, Fat Possum has signed younger rock acts to its roster. The label has been featured in The New York Times, New Yorker, The Observer, a Sundance Channel production, features on NPR, and a 2004 documentary, You See Me Laughin. Fat Possum also distributes the Hi Records catalog.
Morris Holt, known as Magic Slim, was an American blues singer and guitarist. Born at Torrance, near Grenada, Mississippi, the son of sharecroppers, he followed blues greats such as Muddy Waters and Howlin' Wolf to Chicago, developing his own place in the Chicago blues scene.
R. Crumb and his Cheap Suit Serenaders are an American retro string band playing songs from, and in the style of, the 1920s: old-time music, ragtime, "evergreen" jazz standards, western swing, country blues, Hawaiian, hokum, vaudeville and medicine show tunes. Underground cartoonist Robert Crumb was the band's frontman and album cover artist. Other members of the band include fellow cartoonist Robert Armstrong and filmmaker Terry Zwigoff.
J. Nicholas Perls was an American audio engineer and the founder and owner of Yazoo Records and Blue Goose Records.
Stefan Grossman is an American acoustic fingerstyle guitarist and singer, music producer and educator, and co-founder of Kicking Mule records. He is known for his instructional videos and Vestapol line of videos and DVDs.
Donald Theodore Kent was an American collector of blues and bluegrass recordings, a founder and owner of record labels, and a much sought-after writer of liner notes not only on his own labels' issues but also on others', such as Yazoo Records. Many of the blues reissue albums of the 1960s and 1970s use 78-rpm records from his large collection.
Blue Horizon Records was a British blues independent record label, founded by Mike Vernon and Neil Slaven in 1965, as an adjunct to their fanzine, R&B Monthly, and was the foremost label at the time of the British blues boom in the mid to late 1960s.
Christine Perfect is the 1970 debut solo album by English keyboardist and singer Christine Perfect, later known as Christine McVie. The album was released just after Perfect had left British blues band Chicken Shack, but before she joined Fleetwood Mac. Released in 1970, the album was originally meant to be titled I'm on My Way as evidenced on copies of the pre-LP single release "I'm Too Far Gone ". The album was re-released in 1976 as The Legendary Christine Perfect Album, and in 2008 as Christine Perfect - The Complete Blue Horizon Sessions. Ironically, its name notwithstanding, the 2008 reissue is missing one song, her cover of "I'd Rather Go Blind", although it does also include several bonus tracks.
Brooks Williams is an American acoustic guitarist and singer-songwriter. His style combines roots, jazz, blues, classical, and folk. He has released albums of contemporary folk music, blues music, and of instrumental guitar music. In addition to his solo recordings and tours, he has frequently recorded and toured with many other musicians over the years, including Boo Hewerdine, Jim Henry, Guy Davis, Hans Theessink, Steve Tilston and Sloan Wainwright.
The Voice of the Turtle is the seventh album by American guitarist John Fahey. Recorded and released in 1968, it is considered one of his more experimental albums, combining elements of psychedelia, early blues, country fiddles, ragas, and white noise with folk music. The album had many reissues with various track listings, jacket designs and mismatched titles.
Document Records is an independent record label, founded in Austria and now based in Scotland, that specializes in reissuing vintage blues and jazz. The company has been recognised by The Blues Foundation, being honoured with a Keeping the Blues Alive Award in 2018. Document Records is the only UK-based recipient of the award.
"Outside Woman Blues" is a blues song originally recorded by Blind Joe Reynolds in 1929. It is one of few known recordings made by Reynolds, who used "Woman Blues" in several song titles, including "Cold Woman Blues", "Goose Hill Woman Blues", and "Third Street Woman Blues".
Blues in Trinity is an album by Jamaican-born England-based jazz trumpeter Dizzy Reece, recorded on August 24, 1958 and released on Blue Note the following year—his debut for the label.
Michael Addison Stewart, who performed and recorded as Backwards Sam Firk, was an American country blues singer, fingerstyle guitarist, songwriter, and record collector. Less well known than such contemporaries as Alan Wilson of Canned Heat and John Fahey, Backwards Sam Firk spent much of his music-based existence working with and supporting older blues artists. According to his friend Stephan Michelson, "He was, simply put, masterful. More than technique, he had taste. And more than technique and taste, he had originality. From his mentors and from records he did not so much copy notes as learn sounds and how to make them. He played old-time blues as if he was living in the 1930s, as if this was the music of his day. For him, it was."