Title: Black Cat Blues...Memphis Minnie
Description: Chicago Blues, Memphis Blues

Title: Down In The Alley...Memphis Minnie
Description: Memphis Minnie Chicago Blues Memphis Blues Prostitute whore

Title: Playa Fly - MooLah
Description: New single off Mafia All Day! Chorus: Hustler, Paper chasing, Money getting mobster, Mama should've named me, Chase that dollar, If you getting money, Then let me hear you holler, Moo-lah, Moo-lah, Moo-lah, Moo-lah, (Repeat: 2Xs) 1st Verse: Up early in the morning, Chasing that money, Ibn gotta get it, Cause the whole mob hungry, Naw we ain't starvin, Bitch we been mobbin, And I know some niggaz, Into kick doe robbin, If I said I never done it, I'll be flodgin, I-B-N the baby bear, But still want his porridge, If money grow on trees, Minnie Mae left me a forest, Why I charge so much, Playa Fly gonna bump the hardest, So much mo the mob get, We been stacking large chips, Ugly ass box, Just stanking up my closet, Stanking up Ruth Chris, Smellin like cannabis, Veal chop, Plates hot, Watch how you handle this, Spinach and potato, Au grautin are the sidekick, Racing out the doe to drank, The purple drank right behind it, Tito where the kush go, Some one help me find it, And get me back to the track, So I can get back to grindin, Chorus: Hustler, Paper chasing, Money getting mobster, Mama should've named me, Chase that dollar, If you getting money, Then let me hear you holler, Moo-lah, Moo-lah, Moo-lah, Moo-lah, (Repeat: 2Xs) 2nd Verse I said Fly got juice maine, Fly ain't thirsty, Fly gone Fly by, Any where the purse be, Fly like a work bee, Fly over d.u.e, Fly still bump, Cause Fly fans don't desert me, Fly do a song with me, Fly do a song with him, Fly bump with anybody, For the right amount of M, Fly paper stuck to me, Ain't goin' no where, Fly paper may kill me, Fly don't care, Fly gone play a way straight, Clean up outta here, Fly got back, Pay comin 15 years, Fly come like Lebron, Cause he run with cavaliers, Fly money so sick, It take 9 different pills, Fly won't give a dog a bone, Make Scrooge catch chills, Fly heart so cold, You would think its made of steel, Fly don't owe, One single sap suckin soul, Fly say take it how you wanna take it, Say no mo, Chorus: Hustler, Paper chasing, Money getting mobster, Mama should've named me, Chase that dollar, If you getting money, Then let me hear you holler, Moo-lah, Moo-lah, Moo-lah, Moo-lah, (Repeat: 2Xs) 3rd Verse: All money really ain't good money, No lie, And I don't want it, If the name on it ain't mine, If it look like it belong to me, I want every dime, If my money in a lions den, Then I'm a try a lion, Yo ain't no place for, Anything to come between me and my paper, Gotta get green, I'll hustle everyday for dead presideez, Yo call me lasagna, Fly got cheese, If you smoking 87, Please pass over me, Cause my octane tank, Only take 93, I'll spend my money, I don't ask for it free, You can never give H1 enough, To satisfy me, Make cash real fast, Then I make cash faster, A five foot something, Lil' money getting bastard, Getting money in the street, My mafia done mastered, And you can't see me lemon, I'm a ghost like Casper, Chrous: Hustler, Paper chasing, Money getting mobster, Mama should've named me, Chase that dollar, If you getting money, Then let me hear you holler, Moo-lah, Moo-lah, Moo-lah, Moo-lah, (Repeat: 2Xs)

Title: When The Levee Breaks.. Kansas Joe, Memphis Minnie
Description: Memphs blues, bottleneck guitar, Memphis Minnie, Chicago Blues

Title: Ain't No Use Tryin To Tell On Me....Memphis Minnie
Description: Memphis Minnie, Chicago Blues, Memphis Blues,

Title: Memphis Minnie " Looking The World Over " (1941)
Description: Memphis Minnie ( born June 3, 1897 )was one of the greatest blues guitarists of all time. She recorded this song for the Okeh label(6707)in 1941. This is the actual 78rpm record. I think you will find the sound remarkable. For more "Great 78s" visit http://www.youtube.com/group/great78s

Title: The Appellations : Me & My Chauffeur Blues
Description: The Appellations live in October 2006, performing "Me & My Chauffeur Blues" by the great Memphis Minnie. Vocals: Erica Shellenberger (in disguise - it was a Halloween gig!) ; guitar: Will Markley; slide guitar: Dave Crane; upright bass, Jon Mertz. Filmed by Gregg Specht & Marc Auker, edited by Artpig. Dave, Erica and Jon are also in the Digs; Will is a solo artist and performs with Nathaniel Hoho and the Click Clack Boom.

Title: Blues Legends Diaporama
Description: Blues Legends Diaporama Soundtrack: "As The Years Go Passing By" Albert King & Rory Gallagher - Montreux 1975 158 Blues Artists. William Christopher Handy,Gus Cannon,Mamie Smith, Jim Jackson,Ma Rainey,Frank Stokes,LeadBelly, Charley Patton,Mississippi John Hurt,Blind Blake, Blind Lemon Jefferson,Furry Lewis,Lonnie Johnson, Bessie Smith,Mance Lipscomb,Tommy Johnson, Reverend Gary Davis,Memphis Minnie, Blind Willie Johnson,Big Bill Broonzy,Sippie Wallace, Rice Miller,Blind Willie Mc Tell,Kokomo Arnold, Son House,Skip James,Big Joe Williams, Scrapper Blackwell,Mississippi Fred McDowell, Sleepy John Estes,Tampa Red,Leroy Carr, Big Maceo Merriweather,Roosevelt Sykes,Victoria Spivey, Bukka White,Blind Boy Fuller,Champion Jack Dupree, Robert Nighthawk,Henry Townsend,Yank Rachell, Homesick James,T-Bone Walker,Howlin' Wolf, Robert Johnson,Big Joe Turner,Sonny Terry, Lightnin' Hopkins,Pinetop Perkins,Josh White, Robert Pete Williams,Sonny Boy Williamson I,Eddie Boyd, "Sister" Rosetta Tharpe,Robert Lockwood Jr, Muddy Waters,Billie Holiday,Hound Dog Taylor, Johnny Shines,"Honeyboy" Edwards,Willie Dixon, Memphis Slim,Brownie McGhee,Big Walter Horton, John Lee Hooker,Elmore James,Jimmy Witherspoon, Lowell Fulson,Snooky Pryor,Charles Brown,Albert King, Slim Harpo,Clarence "Gatemouth" Brown,Jimmy Rogers, Dinah Washington,Johnnie Johnson,Jimmy Reed,BB King, RL Burnside,Guitar Slim,Big Mama Thornton, Alexis Korner,Koko Taylor,Earl Hooker,JB Lenoir, Matt "Guitar" Murphy,Otis Spann,Little Walter, Junior Kimbrough,Ray Charles,Hubert Sumlin, Junior Parker,Albert Collins,John Mayall,Byther Smith, Lonnie Brooks,Earl King,Otis Rush,Freddie King, Little Milton,Junior Wells,Johnny "Guitar" Watson, James Cotton,Fenton Robinson,Sam Myers,Buddy Guy, Jimmy Dawkins,Johnny Copeland,Magic Sam,Magic Slim, Bobby Parker,Etta James,Luther Allison,Roy Buchanan, Dr John,Lonnie Mack,Taj Mahal,Son Seals,Jimi Hendrix, Paul Butterfield,John Hammond,Mike Bloomfield, Janis Joplin,Tony Joe White,Charlie Musselwhite, Johnny Winter,Stephen Stills,Eric Clapton,Danny Gatton, Duane Allman,Peter Green,Ry Cooder,Rory Gallagher, Calvin Russell,Duke Robillard,Bonnie Raitt, Patrick Verbeke,Joe Louis Walker,Billy Gibbons, Paul Personne,Walter Trout,Sonny Landreth, Jimmie Vaughan,Eric Bibb,Keb' Mo',Robben Ford, Coco Montoya,Gary Moore,Tom Principato,john Campbell, Debbie Davies,Ronnie Earl,Jimmy Thackery,Robert Cray,

Title: Islamic Teachings with Public Domain Music
Description: Well Nick Gisburne made this nice video displaying quotes from the Islamic Holy Book and got into some trouble over it. At first it was removed due to its "inappropriate nature" but then Youtube changed their story and said it was a copyright violation issue with the music the movie had. So I found some public domain music and put it in instead. I hope you won't mind Nick. All of the songs are in the public domain and were obtained from http://www.publicdomain4u.com/ The included songs are: Memphis Minnie "Where is My Good Man At?" Hattie Hart "Won't You Be Kind" Paul Whiteman and his Orchestra "Doo Wacka Doo " So eat it Party Control Commission.

Title: Roots of Blues -- Memphis Slim „Me, Myself And I"
Description: „Me, Myself and I" (P. Chatman) Recorded: no details available John "Memphis Slim" Chatman (born September 3, 1915, Memphis, Tennessee; died February 24, 1988, in Paris, France) was a blues pianist, singer, and composer. He led a series of bands that, reflecting the popular appeal of jump-blues, included saxophones, bass, drums, and piano. His 1952 composition "Every Day I Have the Blues" was recorded by Joe Williams, and Lowell Fulson, B. B. King, Ray Charles, Eric Clapton, Natalie Cole, Ella Fitzgerald, Jimi Hendrix, Mahalia Jackson, Sarah Vaughan, Carlos Santana, Lou Rawls, John Mayer to name a few. He cut over 500 recordings and influenced blues pianists that followed him for decades. His birth name was John Len Chatman, although he claimed to have been born Peter Chatman. His father Peter Chatman sang, played piano and guitar, and operated juke joints.[1] It is commonly believed, though, that he took the name to honor his father, Peter Chatman Sr., when he first recorded for Okeh Records in 1940. Although he performed under the name Memphis Slim for most of his career, he continued to publish songs under the name Peter Chatman. He spent most of the 1930s performing in honky-tonks, dance halls, and gambling joints in Memphis, Arkansas, and southern Missouri. He settled in Chicago in 1937, shortly after teamed with Big Bill Broonzy in clubs. In the late 1940s he recorded two songs for Bluebird Records that became part of his repertoire for decades, "Beer Drinking Woman," and "Grinder Man Blues," which were released under the name "Memphis Slim," given to him by Bluebird's producer, Lester Melrose.[2] Slim became a regular session musician for Bluebird, and his piano talents supported established stars such as John Lee "Sonny Boy" Williamson, Washboard Sam, and Jazz Gillum. In particular, many of Slim's recordings and performances until the mid-1940s were with guitarist and singer Broonzy, who had recruited Slim to be his piano player after Josh Altheimer's death in 1940. Starting in the mid-1940s, Slim led a series of bands that, reflecting the popular appeal of jump-blues, generally included saxophones, bass, drums, and piano. Arthur "Big Boy" Crudup, Big Bill Broonzy, Lonnie Johnson, and Memphis Minnie, the newly dubbed "Memphis Slim and the Houserockers" and introduced a new sound to the evolving South Side blues, a seven piece ensemble that added horns in place of harmonica parts of traditional blues.[3] During a successful period, he recorded many of the songs which he was associated, including "Messin' Around" (which reached number one on the R&B charts in 1948, "Harlem Bound," and, most notably, "Nobody Loves Me." In 1947, the day after producing a concert by Slim, Broonzy, and Williamson at New York City's Town Hall, folklorist Alan Lomax brought the three musicians to the Decca studios and recorded with Slim's on vocal and piano. Lomax presented sections of this recording on BBC radio in the early 1950s as a documentary titled The Art of the Negro, and later released an expanded version as the LP Blues in the Mississippi Night." Memphis Slim's 1952 masterpiece composition "Every Day I Have the Blues," was recorded by Lowell Fulson, and B. B. King, Ray Charles, Eric Clapton, Natalie Cole, Ella Fitzgerald, Jimi Hendrix, Mahalia Jackson, Sarah Vaughan, Carlos Santana, Lou Rawls, just to name a few.[4]. The 1956 version by Joe Williams (Count Basie Swings, Joe Williams Sings) was inducted in the Grammy Hall of Fame in 1992.[5] "Every Day I Have the Blues" is also seen in John Mayer's, Where The Light Is, a DVD (and CD) live recording in Los Angeles' Nokia Theatre featuring Steve Jordan (drums) and Pino Palladino (bass). In 1959 he recorded with guitarist Matt "Guitar" Murphy such as Memphis Slim at the Gate of the Horn, twelve of his compositions, includes songs "Mother Earth," "Gotta Find My Baby," "Rockin' the Blues," Steppin' Out," and "Slim's Blues

Title: Naggin' Blues - Blues MAMA Original
Description: LYRICS BELOW ~ Naggin' Blues ~ A Blues MAMA Original ~ This is a delta blues style tribute to all the great blues artists that have so richly influenced music as we know it today. The following list of greats make an appearance (or two =o) in our video. See how many you can pick out! ~ Memphis Minnie ~ Honeyboy Edwards ~ Furry Lewis ~ Robert Johnson ~ Muddy Waters ~ Hound Dog Taylor ~ Charlie Christian ~ B.B. King ~ John Lee Hooker ~ Big Bill Broonzy ~ Mississippi Fred McDowell ~ Blind Lemon Jefferson ~ Ma Rainey ~ Buddy Guy ~ Freddie King ~ Brownie McGhee ~ Big Joe Williams ~ Lonnie Johnson ~ Lee Jackson ~ K.B. Peetie ~ Leadbelly ~ Rev. Gary Davis ~ Buddy Moss ~ Sonnyboy Williamson ~ Mississippi John Hurt ~ Bessie Smith ~ Albert Freddy King ~ Henry Townsend ~ Son House ~ CeDell Davis ~ Blind Arthur Blake ~ Dem Naggin' Blues - lyrics Harp Key C [just remember - the violent subject matter is very tongue-in-cheek ~ NOT to be taken seriously! We don't even kill bugs!] Ooooooooh Wooowoowoo Ooooooooh Wooowoowoo ooooooooh Hoooooooh --- You're always callin' me baby, Ringing on the telephone Ooooooooh whoa whoa You're always callin' me baby, Ringing on that telephone If I say I need a minute I wanna be left alone You're always tellin' me, baby I could be takin' care of you Ooooooooh whoa whoa You're always tellin' me, baby I could be takin' care of you Oh but if I feel like doin' nothin' That's what you better let me do Don't rush me, baby 'Cause I hate to be nagged Ooooooooh whoa whoa Don't rush me baby, 'Cause I hate to be nagged - If I hasta kill ya It's gonna hurt real bad I'm gonna get me a shovel, Bury you down in the yard Ooooooooh whoa whoa I'm gonna get me a shovel, Bury you down in the yard I don't wanna hafta kill ya, baby I don't wanna work that hard. I got me a bad case Of dem naggin' blues Ooooooooh whoa whoa Ooooooooh whoa whoa ooooooooooooooooh oooooooowoooowooo Sonny Boy's smoking tonight If ya rush me baby I'm gonna feel real sad Cause if I hasta kill ya... I gotta get me a new man © 2008 Blues MAMA Raven Cusson / Tyler Cusson www.bluesmamamusic.com www.myspace.com/bluesmamamusic

Title: Roots of Blues -- Memphis Slim „The Life I'm Living"
Description: „The Life I'm Living" (P. Chatman) Recorded: no details available John "Memphis Slim" Chatman (born September 3, 1915, Memphis, Tennessee; died February 24, 1988, in Paris, France) was a blues pianist, singer, and composer. He led a series of bands that, reflecting the popular appeal of jump-blues, included saxophones, bass, drums, and piano. His 1952 composition "Every Day I Have the Blues" was recorded by Joe Williams, and Lowell Fulson, B. B. King, Ray Charles, Eric Clapton, Natalie Cole, Ella Fitzgerald, Jimi Hendrix, Mahalia Jackson, Sarah Vaughan, Carlos Santana, Lou Rawls, John Mayer to name a few. He cut over 500 recordings and influenced blues pianists that followed him for decades. His birth name was John Len Chatman, although he claimed to have been born Peter Chatman. His father Peter Chatman sang, played piano and guitar, and operated juke joints.[1] It is commonly believed, though, that he took the name to honor his father, Peter Chatman Sr., when he first recorded for Okeh Records in 1940. Although he performed under the name Memphis Slim for most of his career, he continued to publish songs under the name Peter Chatman. He spent most of the 1930s performing in honky-tonks, dance halls, and gambling joints in Memphis, Arkansas, and southern Missouri. He settled in Chicago in 1937, shortly after teamed with Big Bill Broonzy in clubs. In the late 1940s he recorded two songs for Bluebird Records that became part of his repertoire for decades, "Beer Drinking Woman," and "Grinder Man Blues," which were released under the name "Memphis Slim," given to him by Bluebird's producer, Lester Melrose.[2] Slim became a regular session musician for Bluebird, and his piano talents supported established stars such as John Lee "Sonny Boy" Williamson, Washboard Sam, and Jazz Gillum. In particular, many of Slim's recordings and performances until the mid-1940s were with guitarist and singer Broonzy, who had recruited Slim to be his piano player after Josh Altheimer's death in 1940. Starting in the mid-1940s, Slim led a series of bands that, reflecting the popular appeal of jump-blues, generally included saxophones, bass, drums, and piano. Arthur "Big Boy" Crudup, Big Bill Broonzy, Lonnie Johnson, and Memphis Minnie, the newly dubbed "Memphis Slim and the Houserockers" and introduced a new sound to the evolving South Side blues, a seven piece ensemble that added horns in place of harmonica parts of traditional blues.[3] During a successful period, he recorded many of the songs which he was associated, including "Messin' Around" (which reached number one on the R&B charts in 1948, "Harlem Bound," and, most notably, "Nobody Loves Me." In 1947, the day after producing a concert by Slim, Broonzy, and Williamson at New York City's Town Hall, folklorist Alan Lomax brought the three musicians to the Decca studios and recorded with Slim's on vocal and piano. Lomax presented sections of this recording on BBC radio in the early 1950s as a documentary titled The Art of the Negro, and later released an expanded version as the LP Blues in the Mississippi Night." Memphis Slim's 1952 masterpiece composition "Every Day I Have the Blues," was recorded by Lowell Fulson, and B. B. King, Ray Charles, Eric Clapton, Natalie Cole, Ella Fitzgerald, Jimi Hendrix, Mahalia Jackson, Sarah Vaughan, Carlos Santana, Lou Rawls, just to name a few.[4]. The 1956 version by Joe Williams (Count Basie Swings, Joe Williams Sings) was inducted in the Grammy Hall of Fame in 1992.[5] "Every Day I Have the Blues" is also seen in John Mayer's, Where The Light Is, a DVD (and CD) live recording in Los Angeles' Nokia Theatre featuring Steve Jordan (drums) and Pino Palladino (bass). In 1959 he recorded with guitarist Matt "Guitar" Murphy such as Memphis Slim at the Gate of the Horn, twelve of his compositions, includes songs "Mother Earth," "Gotta Find My Baby," "Rockin' the Blues," Steppin' Out," and "Slim's Blues

Title: Statesboro Blues*Willie McTell*Blue Riders*gtr harp drums
Description: The Blue Riders: Ben Andrews guitars Tim Jarvis drums and percussion Hugh Feeley harmonicas The 71 other session youtube clips are at... http://www.youtube.com/results?search_query=tymjar&search=Search or just say hi, at: http://www.myspace.com/timothyjarvis "For over 20 years Ben has been playing the clubs & festivals along the Eastern seaboard of the USA. His picking on a variety of guitars ~ 12 string, Dobro, 6 string ~ is awesome!! He always gives a passionate display of virtuoso playing, whether it is the ragtime styles of Blind Blake or Willie McTell, the powerful driving rhythms of Huddie Ledbetter or the delicate slide of Mississippi John Hurt he just oozes authenticity. His rich voice perfectly compliments his playing. It is rare to get a combination of superb guitar, stunning vocals & natural swing but with Ben Andrews you get just that Ben also provides music scores for film, TV & radio. He has appeared at major festivals throughout the USA & Europe & has performed with many of the legends of blues including: - Muddy Waters, Bo Diddley, Brownie McGhee, John Hammond Jnr. and Robert Lockwood Jnr." From: www.bluefrontbluesroom.org/Artist%20biogs% I guess that in the early 1970s there was no Blind Willie McTell estate for the Allman Brothers to have payed copyrights to anyway...somebody was singin' the blues. This song swung hard; bouncing along, playing the drums with the brushsticks was a ball. If you like this, check out Ben Andrews Blue Rider Trio doing some Robert Johnson / Kokomo Arnold, Mississippi John Hurt, Brownie McGhee, Howlin' Wolf , Thomas A. Dorsey, Rev. Gary Davis, etc. If you like any of the harmonica or greats of country / folk blues artists, whether Mississippi Delta , Ragtime or Piedmont fingerstyle acoustic guitar: Henry "Mule" Townsend, Dr. Ross, Ramblin' Thomas, Sam Chatmon , Tampa Red, Scrapper Blackwell, Willie Doss, Doc Reese, Memphis Minnie, Tampa Red, Earl Hooker, Etta Baker, Elizabeth Cotten, Jesse Fuller, Son House. If you like any of the country folk blues artists, whether Mississippi delta , or just fingerstyle acoustic guitar ... please give this a listen: Mr. McTell´s music encompasses ¨Eastern Seaboard/Piedmont, with lighter, bouncier rhythms and a ragtime influence; and Deep South, with its greater emphasis on intense rhythms and short, repeated music phrases¨ A little history of the Virginia, Piedmont style: "In the mid-1920s, a form of guitar music evolved from African-American culture that echoed the soul and personality of African-American life. The style evolved from "rags," played with banjos, fiddles and percussion. As the guitar replaced the banjo as the lead instrument and songs were picked from the strings rather than strummed, an energetic voice emerged that began to sweep through the Southeast, and it was called Carolina blues, or Piedmont blues. Piedmont blues differed from the tradition blues that lulled a sad, longing story and picked up the pace, peppy enough for people to dance to it. The sound, because it was played with guitar and After World War II, the electric guitar began to replace the acoustic guitar, and the blues picked up an influence from the 1950 rock 'n roll." Alan Lomax , George Higgs and more at http://www.unctv.org/webcast/music/fw_piedmont_blues.html A world of thanks to a MAJOR inspiration of mine...David "Panama" Francis. I think Phish/Greatful Dead, Taj Mahal and Keb Mo listener might give this clip a listen. Cheers to THE 100 CLUB, London. Thanks to Thomson, Georgia for the Annual Blind Willie McTell Blues Festival and Bob Dylan, who memorialized him in a song. Blue Riders acoustic blues trio recorded in 1995 Here´s a doff of the hat to Warner Williams and Jay Summerour The Blue Riders recorded in Virginia, U.S.A., in 1995 - tymjar

Title: LaVern Baker - I Cried A Tear
Description: LaVern Baker was born Delores Baker in Chicago, Illinois. She is occasionally referred to as Delores Williams because of an early marriage to Eugene Williams. She was the niece of blues singer Merline Johnson and was also related to Memphis Minnie. She began singing in Chicago clubs around 1946, often billed as "Little Miss Sharecropper", and first recorded under that name in 1949. She changed her name briefly to "Bea Baker" when recording for Okeh Records in 1951, and then became LaVern Baker when singing with Todd Rhodes and his band in 1952. In 1953 she signed for Atlantic Records as a solo artist, her first release being "Soul on Fire". Her first hit came in early 1955, with the Latin-tempo "Tweedlee Dee" reaching #4 on the R&B chart and #14 on the national US pop charts. Georgia Gibbs scored the bigger hit with her version of "Tweedle Dee", for which Baker unsuccessfully attempted to sue her. LaVern did manage to get in a jab, however. When LaVern was flying to Australia, she took out flight insurance at the airport and sent it to Gibbs with a note: "You need this more than I do because if anything happens to me, you're out of business." Baker had a succession of hits on the R&B charts over the next couple of years with her backing group The Gliders, including "Bop-Ting-A-Ling" (#3 R&B), "Play It Fair" (#2 R&B), and "Still" (#4 R&B). At the end of 1956 she had another smash hit with "Jim Dandy" (#1 R&B, #17 pop). Further hits followed for Atlantic, including the follow-up "Jim Dandy Got Married" (#7 R&B), "I Cried A Tear" (#2 R&B, #6 pop in 1959), "I Waited Too Long" (#5 R&B, #3 pop, written by Neil Sedaka), "Saved" (#17 R&B, written by Leiber and Stoller), and "See See Rider" (#9 R&B in 1963). In addition to singing, Baker also did some work with Ed Sullivan and Alan Freed on TV and in films, including Rock, Rock, Rock and Mr. Rock & Roll. In 1964, she recorded a Bessie Smith tribute album, before leaving Atlantic and joining Brunswick Records, where she recorded as a duo with Jackie Wilson. In the late 1960s, she became seriously ill after a trip to Vietnam to entertain American soldiers. About that same time, a friend recommended that she stay on as the entertainment director at a Marine Corps night club at the Subic Bay Naval Base in the Philippines, and she remained there for 22 years. In 1988 she returned to perform at Madison Square Garden for Atlantic Records' 40th anniversary. She then worked on the soundtrack to Dick Tracy and appeared in Black & Blue, a Broadway musical, and released a comeback disc that sold moderately well. In 1991, she was inducted into the Rock and Roll Hall of Fame. Her song "Jim Dandy" was named one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll and was ranked #343 on the Rolling Stone's 500 Greatest Songs of All Time.

Title: Roots of Blues -- Memphis Slim „Beer Drinking Woman"
Description: „Beer Drinking Woman" (J. Williams - P. Chatman) Recorded: no details available John "Memphis Slim" Chatman (born September 3, 1915, Memphis, Tennessee; died February 24, 1988, in Paris, France) was a blues pianist, singer, and composer. He led a series of bands that, reflecting the popular appeal of jump-blues, included saxophones, bass, drums, and piano. His 1952 composition "Every Day I Have the Blues" was recorded by Joe Williams, and Lowell Fulson, B. B. King, Ray Charles, Eric Clapton, Natalie Cole, Ella Fitzgerald, Jimi Hendrix, Mahalia Jackson, Sarah Vaughan, Carlos Santana, Lou Rawls, John Mayer to name a few. He cut over 500 recordings and influenced blues pianists that followed him for decades. His birth name was John Len Chatman, although he claimed to have been born Peter Chatman. His father Peter Chatman sang, played piano and guitar, and operated juke joints. It is commonly believed, though, that he took the name to honor his father, Peter Chatman Sr., when he first recorded for Okeh Records in 1940. Although he performed under the name Memphis Slim for most of his career, he continued to publish songs under the name Peter Chatman. He spent most of the 1930s performing in honky-tonks, dance halls, and gambling joints in Memphis, Arkansas, and southern Missouri. He settled in Chicago in 1937, shortly after teamed with Big Bill Broonzy in clubs. In the late 1940s he recorded two songs for Bluebird Records that became part of his repertoire for decades, "Beer Drinking Woman," and "Grinder Man Blues," which were released under the name "Memphis Slim," given to him by Bluebird's producer, Lester Melrose. Slim became a regular session musician for Bluebird, and his piano talents supported established stars such as John Lee "Sonny Boy" Williamson, Washboard Sam, and Jazz Gillum. In particular, many of Slim's recordings and performances until the mid-1940s were with guitarist and singer Broonzy, who had recruited Slim to be his piano player after Josh Altheimer's death in 1940. Starting in the mid-1940s, Slim led a series of bands that, reflecting the popular appeal of jump-blues, generally included saxophones, bass, drums, and piano. Arthur "Big Boy" Crudup, Big Bill Broonzy, Lonnie Johnson, and Memphis Minnie, the newly dubbed "Memphis Slim and the Houserockers" and introduced a new sound to the evolving South Side blues, a seven piece ensemble that added horns in place of harmonica parts of traditional blues. During a successful period, he recorded many of the songs which he was associated, including "Messin' Around" (which reached number one on the R&B charts in 1948, "Harlem Bound," and, most notably, "Nobody Loves Me." In 1947, the day after producing a concert by Slim, Broonzy, and Williamson at New York City's Town Hall, folklorist Alan Lomax brought the three musicians to the Decca studios and recorded with Slim's on vocal and piano. Lomax presented sections of this recording on BBC radio in the early 1950s as a documentary titled The Art of the Negro, and later released an expanded version as the LP Blues in the Mississippi Night." Memphis Slim's 1952 masterpiece composition "Every Day I Have the Blues," was recorded by Lowell Fulson, and B. B. King, Ray Charles, Eric Clapton, Natalie Cole, Ella Fitzgerald, Jimi Hendrix, Mahalia Jackson, Sarah Vaughan, Carlos Santana, Lou Rawls, just to name a few.[4]. The 1956 version by Joe Williams (Count Basie Swings, Joe Williams Sings) was inducted in the Grammy Hall of Fame in 1992.[5] "Every Day I Have the Blues" is also seen in John Mayer's, Where The Light Is, a DVD (and CD) live recording in Los Angeles' Nokia Theatre featuring Steve Jordan (drums) and Pino Palladino (bass). In 1959 he recorded with guitarist Matt "Guitar" Murphy such as Memphis Slim at the Gate of the Horn, twelve of his compositions, includes songs "Mother Earth," "Gotta Find My Baby," "Rockin' the Blues," Steppin' Out," and "Slim's Blues