The fifth volume in this series, which features both rocking rhythm & blues and rousing gospel, is titled ‘All Aboard’. We're more than happy to take that title to heart, as we'll be dedicating ample time to the entertaining rhythm & blues that give meaning to Saturday evening, as well as the contemplative Sunday gospel that follows.
Compiler Mark Armstrong has once again delved into the bulging treasure trove of both genres and has once again selected 28 tracks that provide the ideal soundtrack for both Saturday evening and Sunday morning.
This album kicks off as it should on a Saturday evening, with Big Bill Broonzy's blues ‘Jacqueline’ inviting you to order your first drink. The song dates from 1953, and on washboard, you'll hear another legend, Washboard Sam. Broonzy is followed by Little Milton with ‘Hold Me Tight’, a swinging rhythm & blues that also contains a dose of soul.
Muddy Waters provides the title track of this compilation. The song may list ‘Muddy Waters & His Guitar’ as the featured artist, but several now-legendary artists participated in the recording. You hear Little Walter and James Cotton on blues harp, Otis Spann on piano, Pat Hare and Hubert Sumlin on guitar, Willie Dixon on upright bass, and Fred Below on drums. In short, all extremely talented musicians. Incidentally, Otis Spann will later be featured under his own name with the instrumental ‘Five Spot’. Here too, a host of familiar names are featured, such as guitarists B.B. King and Robert Lockwood, and Fred Below and Willie Dixon again. The latter also returns with his own group, Four Jumps Of Jive, for the aptly named ‘It's Just The Blues’. B.B. ‘Blues Boy’ King returns on ‘Shut You Mouth’. A well-known drummer, Sam Carr, is present on Frank Frost's bluesy ‘Pocket Full Of Shells’. Spreckled Red provides a nice piano blues a little later with ‘The Dirty Dozen’.
Arthur ‘Big Boy’ Crudup is well-known. He delivers a beautiful piece of down-home blues on ‘Come Back Baby’. A fun anecdote can be found in ‘Drive Drive Drive’ by Thomas and The Tomcats. Jimmy Hendrix played in this band but was drafted into the army just before this single was recorded. Slide guitar and Elmore James are inseparable. James's mastery of this instrument is demonstrated again on ‘Can't Stop Lovin'‘. Sonny and Jaycee also offer some nice up-tempo harmonica blues on ‘You Keep Doggin' Me’.
More top-notch blues presents itself on ‘My Baby Left Me’ by the lesser-known B. Brown & his Rockin' McVouts. For a fine example of rocking rhythm & blues, skip to ‘Evil Hearted Woman’ by Drifting Charles.
Little Richard focused more on gospel later in his career. A taste of this can be found in ‘Joy, Joy, Joy (Down In My Heart)’. Produced by none other than Quincy Jones. Little Richard later returns as pianist and backing vocalist on Christine Kittrell's ‘Lord Have Mercy (I'm So Lonely)’. Radio Four's follow-up, ‘I Feel The Spirit’, is authentic gospel. More trance-like gospel comes with The Nightingales and ‘Somenwhere To Lay My Head’, as well as ‘I Know My Jesus Is The Light Of The World’ by The Christland Singers. The grand dame of gospel is undoubtedly Mahalia Jackson. You can enjoy her fantastic voice on ‘Didn't It Rain’.
‘More Like Jesus’ by Bessie Griffin is a beautiful fusion of rhythm & blues and gospel. Earl Palmer is the drummer. The album closes with Buster Brown on the brilliant harmonica rhythm & blues ‘I'm Going – But I'll Be Back’, featuring Wild Jimmy Spruill on guitar.
Just like his previous four volumes, this fifth in the ‘Sin On Saturday, Pray On Sunday’ series is one to cherish. The interplay between searing rhythm & blues and faith-filled gospel is phenomenal. With exceptionally high sound quality, you get the very best of both worlds.

Two years ago, the third volume, titled ‘Shake That Thing’, appeared in the ‘Sin On Saturday, Pray On Sunday’ series. It took a while for this fourth volume to arrive, but it was worth it. Compiler Mark Armstrong once again selected 28 breathtaking tracks. Rhythm & blues were the preferred genres for Saturday nighttime entertainment, while gospel music in the local church on Sunday was meant to neutralize the sins committed the previous night.
Numerous legendary blues and rhythm & blues artists populate the fourth volume, which opens with the rocking ‘Cool, Calm And Collected’ by Guitar Gable and King Karl, who provides the vocals. The great Lightnin' Slim treats you to a beautifully bluesy ‘Too Close Blues’. On harmonica, you'll hear none other than Lazy Lester. Lightnin’ Slim is immediately followed by the country blues of Big Bill Broonzy on ‘Five Feet Seven’, recorded in 1949. Be sure to note the beautiful guitar work. Broonzy returns on the final track with Washboard Sam. We get our first gospel performance with Sister Wynona Carr and Brother Joe May on ‘It’s All Right’. A duet where their voices blend beautifully. This beautiful blend of voices also applies to the male vocal group The Stars Of Hope on ‘Where Shall I Go’, a catchy gospel number. Many blues artists left the Mississippi Delta in the hope of making a career in Chicago. One who certainly succeeded was Magic Sam. You hear him here on ‘Love With A Feeling’. On upright bass, you hear grandmaster Willie Dixon, who also recorded brilliant songs under his own name. Lee ‘Shot’ Williams also moved to Chicago, the blues mecca of its time. You hear him on the sublime guitar work of ‘Hello Baby’. Elmore James was also a great guitarist. ‘Rock My Baby Tonight’ is a wonderful example of his skill. Pay attention to the piano part, because Ike Turner was behind the black and white keys. Blues musicians often backed each other up during recordings. This was also the case when Sonny Boy Williamson II recorded ‘I Cross My Heart’. You can hear Sonny Boy on vocals and blues harp, of course. Willie Love was on piano, and Elmore James was one of the guitarists. An impressively convincing gospel comes with Rev. Julius Cheeks and ‘Turn Your Radio On’. Julius achieved his greatest success with The Sensational Nightingales. They would later appear with ‘I Want To Go’, on which Julius is the lead singer. Yes, it was a small world of artists back then. More beautiful gospel is yet to come with ‘Let Your Will Be Done’ by the Fairfield Four, as well as with The Pilgrim Travelers and their ‘Good News’. Besides guitar, Louie Meyers also played bass and harmonica. On the instrumental ‘Bluesy’, he leaves the harmonica to Junior Wells. On drums, you hear the renowned Fred Below, and brother Dave Meyers takes care of bass. Louie shines again on the equally instrumental ‘Just Whaling’. More impressive harmonica can be discovered on Sidney Maiden's ‘Hand Me Down Baby’. Expect a collaboration of talented musicians on the swinging ‘Glad I Don't Worry No More’ by The Fat Man. No, not Fats Domino, but drummer and singer Alfred Wallace. The members of the Sunnyland Slim Trio accompanied him. Besides piano, Slim also provided backing vocals, and guitarist was none other than Robert Lockwood. You can hear Sunnyland Slim himself performing under his own name on the follow-up, the classy blues ‘It's You Baby’. Julius King serves up a brilliant ‘one-man blues’, accompanying himself solely on guitar on ‘One O'Clock Boogie’.
A rousing, rocking rhythm & blues follows with ‘Yeah Baby’ by Stella Johnson, the title track of volume four. Because of his creative guitar playing, Jody Williams was one of the most sought-after session musicians in Chicago in the mid-1950s. Under the name ‘Sugar Boy’ Williams, he recorded ‘Little Girl’. Willie ‘Big Mama Thornton’ Mae was a leading figure in the blues scene. Here, she performs the well-known and raw ‘I Smell A Rat’. Brownie McGhee is no stranger. His recordings with Sonny Terry are well-known. Here, he takes a gospel approach with ‘I'm 10,000 Years Old’. The album ends with the swinging, down-home blues of Washboard Sam on ‘Washboard Swing’, featuring his apparent half-brother Big Bill Broonzy on guitar.
It's a tradition, but we can't help but conclude that the KokoMojo label has delivered yet another bull's-eye with the fourth volume in the 'Sin On Saturday, Pray On Sunday' series. Congratulations!

The name Teddy ‘Mr. Bear’ McRae might not immediately resonate with you. You've probably already heard his compositions, or on the recordings of the well-known artists he accompanied. Fortunately, labels like KokoMojo promote these artists, allowing you, as a reviewer, to discover impressive music. Theodore McRae, as his ID states, was also known simply as Mr. Bear, in addition to Teddy ‘Mr. Bear’ McRae. Teddy was an exceptionally versatile individual. Not only was he a tenor saxophonist, bandleader, arranger, composer, and producer, but he also owned Rae Cox Records.
McRae was born in Waycross, Georgia, on January 22, 1908, but grew up in Philadelphia. He began his musical career as a family, along with his brothers, guitarist and trumpeter Bobby and Dave on alto and baritone saxophones. He later moved to New York. In the 1920s and 1930s, he worked with Chick Webb and Artie Shaw, among others. After Webb's death, Teddy became the musical director of the band behind Ella Fitzgerald. McRae composed Shaw's most successful songs, namely ‘Back Bay Shuffle’ in 1938 and ‘Traffic Jam’ a year later. He played with, arranged, and wrote for some of the greatest artists, such as Billie Holiday, Benny Morton, Teddy Wilson, Red Allen, and Count Basie. In the 1940s, Teddy worked with the orchestras of Cab Calloway, Jimmie Lunceford, Lionel Hampton, and Louis Armstrong, for whom he also served as musical director. In the 1950s, McRae was active in rhythm & blues, composing songs such as ‘All She Wants To Do Is Rock’ for Wynonie Harris, ‘Love, Love, Love’ for The Clovers, and ‘Person To Person’ for saxophonist Eddie ‘Cleanhead’ Vinson. In the late 1950s, Teddy, along with jazz pianist and arranger Eddie Wilcox, founded Rae Cox Records and its subsidiary Enrica Records. Their recordings ranged across jazz, rhythm & blues, blues, doo-wop, gospel, and eccentric instrumentals. In 1958, McRae released his most sought-after 45, the formidable rocker ‘Hifi Baby’. A track you can, of course, hear on this album.
A staggering list of achievements, but let's talk about the album's 27 tracks. Teddy's worthy of the name ‘Mr. Bear’ is immediately apparent from the opening track, ‘I'm Gonna Keep My Good Eye On You’, which he recorded as Mr. Bear & His Bearcats. He growls and declaims the lyrics, accompanied by a beautiful bluesy, honky-tonk piano. That masterful piano playing is once again evident on the follow-up, the primarily instrumental ‘Daybreak Rock’, fueled by Mr. Bear's screams. A song he recorded with legendary pianist Jack Dupree. You'll hear the duo again later on ‘Lonely Road Blues’, where they complement each other vocally in the call-and-response style.
Teddy shines bluesy again on the emotionally charged ‘How Come’, and be sure to pay attention to the lyrics. Another blues highlight is ‘Hold Out Baby’, where his raw voice gives the song an extra boost.
McRae rocks with class on ‘Mr. Bear Comes To Town’ and, of course, on the aforementioned ‘Hifi Baby’. Teddy elaborates on the potential consequences of excessive speed in ‘Radar’, with great humor. His sense of novelty surfaces again on ‘Peek-A-Boo’.
Teddy and his orchestra were excellent accompanists, as can be heard on The Empires' doo-wopper ‘Zippety Zip’. The Serenaders' ‘My Girl Flip Flop’ also falls within the same genre. Teddy and his musicians repeat this on The Butanes' ‘Don't Forget I Love You’, as well as with The Revelons on their ‘I Promise Love’. The orchestra of Rae Cox Records co-founder Eddie Wilcox shines on The Sunsets' ‘Sittin' And Cryin'‘. The Carnations serve up more beautiful doo-wop on ‘Gimme Gimme Gimme’.
It's a fact that Rae Cox Records and Enrica Records have recorded a wealth of impressive material.
For example, gospel sets the tone for The Satellite Wanderers' ‘Meet Me In Zion’. A gem of an instrumental surf rocker arrives on The Demotrons' ‘Rockaway Special’. More brilliant instrumental work comes from Fender Guitar Slim on the rocking ‘Tender Rock’.
Screamin' Jay Hawkins appears twice. First, in his signature thunderous style, on ‘I Hear Voices’. The second time around, with the flipside ‘Just Don't Care’, Jay takes a more refined and calmer approach.
The album closes gospel-style with ‘What A Fellowship’ by Heavenly Gates Gospel Singers.
Teddy ‘Mr. Bear’ McRae passed away of natural causes at the age of 91 on March 4, 1999.
As you can see, Mr. Bear was a virtuoso at blending elements of rhythm & blues, jazz, rock 'n' roll, and the novelty genre. He also had an ear for the brilliant achievements of fellow artists, which he immortalized in his recordings for Rae Cox Records and Enrica Records. Unwittingly, he thus laid the groundwork for the upcoming legendary rockers and pioneers of the Motown sound. And pay close attention to his lyrics, because they're just as sublime as his melodies. A truly fantastic release!

Elvis would have turned 90 this year. This inspired the German Bear Family Records to release the fourth volume in the series ‘The Elvis Presley Connection’. The first volume in this series focused on the 1950s, the second covered the late 1950s up to and including 1962 and the third contained the period 1963-1966. The fourth volume puts the period 1967-1969 in the spotlight. In the 1960s, Elvis mainly concentrated on his film career in Hollywood, but he reclaims his place on stage in 1968 with the grandiose ‘Comeback Special’. This volume also contains 28 impressive tracks. Both original songs that Elvis covered, as well as covers of original Elvis songs. That Presley had a nose for great songs is beyond dispute. In addition, he was also extremely creative in the period 1967-1969 and recorded many timeless hits. Think of ‘Guitar Man’, ‘Big Boss Man’, ‘Hi-Heel Sneakers’, ‘U.S. Male’, ‘In The Ghetto’ or ‘Suspicious Minds’, of which you get all the original versions here. A fun fact is the following. ‘Guitar Man’ is here in the original version by Jerry Reed, although Bob Luman’s version inspired Presley more. On the version that Elvis recorded, Jerry Reed played lead guitar. Incidentally, he also did that on Presley’s version of Jimmy Reed’s ‘Big Boss Man’. That song is also here in the faster version by Charlie Rich, clearly the version that inspired Elvis. Jerry Reed was a great source of inspiration for Presley, because ‘U.S. Male’ was also written by him. A classic within rhythm & blues is Tommy Tucker’s ‘Hi-Heel Sneakers’. In addition to Elvis, José Feliciano, Jerry Lee Lewis and Jeff Beck also covered the song. In 1967 Elvis recorded the magnificent ‘You Don’t Know Me’, a song performed here by Ray Charles. Elvis’ musical interests were very broad. He also covered ‘You’ll Never Walk Alone’, now the theme song of Liverpool’s Football Club, here in the version of crooner Andy Williams. This song is also performed by the formidable Conway Twitty. The version of ‘A Little Less Conversation’ by Mac Davis, who wrote the song together with Billy Strange, also sounds wonderful. As is known, Elvis was a fan of gospel, including the song ‘Saved’, which he performed in a medley on the ‘Comeback Special’. The original version by LaVern Baker graces this compilation. Presley often preferred to record songs that had made a great impression on him, rather than using the new songs that were presented to him. For example, he often sang ‘Tiger Man (King Of The Jungle)’ live in a medley with ‘Mystery Train’. ‘Tiger Man (King Of The Jungle’ is the original version by Rufus Thomas who recorded it in 1953 in Sam Phillips’ Sun studios. You experience a touch of country in ‘Long Black Limousine’ by Vern Stovall. It was Elvis’ first song that he recorded in the American Sound Studio in Memphis in 1969. Bobby Bare’s version, which you can also hear here, sounds ‘country to the top’ and has more connection with Elvis’ version. Ned Miller scored worldwide with ‘From A Jack To A King’. Elvis previously sang the song with a gospel slant, which made Miller decide that Presley’s version was better than his own. ‘In The Ghetto’ was one of the many monster hits for Elvis. Here you hear the version by Mac Davis who was also a co-writer, although it must be said that Elvis added more empathy to the song. ‘Suspicious Minds’ is a composition by Mark James, who also recorded the song as a single. James’ producer Chips Moman and also owner of the aforementioned American Sound Studio, offered the song to Presley after James’ single flopped. Not surprising when you hear his version. James clearly lacked a connection with the song. Before Presley made the second take of Johnny Tillotson’s ‘It Keeps Right On A-Hurtin’’, he jokingly sang ‘Only The Lonely’ by Roy Orbison. When Elvis was asked why he didn’t record an Orbison song, he replied that Roy’s songs couldn’t be sung better.
A rarity on this album is certainly the Elvis-inspired Vince Chu from Singapore, with his version of Carl Perkins’ ‘Blue Suede Shoes’.
In the 38-page booklet, you get, in addition to rare photos and illustrations, extensive information about the recorded tracks and the artists. The King was inspired by rhythm & blues, soul, country, rock-‘n-roll, gospel and pop and he always managed to make those songs immortal thanks to his beautiful voice and empathy. Great album!

‘Revival’ is the sixth full-length album from Kat Riggins, a Miami native whose gritty vocals and powerful singing style are peppered with generous hints of R&B, soul, gospel and rock ‘n’ roll – but deeply rooted in the blues.

In The Real World is the latest album from blues troubadour Eric Bibb, following his Grammy-nominated 2023 studio release, Ridin’ and Live at The Scala Theatre album, released earlier this year. Recorded at Peter Gabriel’s iconic Real World Studios and produced, arranged and mixed by Glen Scott, the new disc is a vivid representation of Bibb's musical and personal evolution, offering a glimpse into the world he's experienced and the hope he continues to foster through his music. It is a continuation of the vision that informs his artistry as a modern-day Blues troubadour. Grounded in the folk and blues tradition with contemporary sensibilities, Bibb’s music continues to reflect his thoughts on current world events and his own lived experiences, whilst remaining entertaining, uplifting, inspirational and relevant.

Gospel and soul legend Mavis Staples makes her Alligator debut with an inspired mixture of spiritual fervor, funky soul rhythms and rootsy acoustic instrumentation.
This 20th Anniversary vinyl LP version of one of the label’s most honored and beloved records: Have A Little Faith by our friend, the iconic soul and gospel legend Mavis Staples. We’ve created it for Record Store Day on April 20, to help celebrate the independent record stores that have been the staunch supporters of American roots music for so many years, as well as to celebrate the year of Mavis’ 85th birthday. As Mavis remembers in her liner notes for this Anniversary edition, “Have A Little Faith was the beginning of my solo career.” Upon the passing of Mavis' father -- family patriarch and Staple Singers leader Roebuck “Pops” Staples -- Mavis' future felt uncertain. She was unsure how to continue as a solo artist. She self-financed and recorded her own album, working with Chicago co-producer and songwriter Jim Tullio. (Jim and Mavis connected when he brought her a new song called In Times Like These, written after 9/11, and asked her to record it. That was the beginning of Have A Little Faith.) After being turned down by major labels, Jim and Mavis brought the album to Alligator. We immediately heard the magic of her soul-deep commitment in these tracks. Mavis’ performances were thrilling, and the choice of songs and Jim’s crystalline mixes were perfect. Twenty years later, the whole album is still inspirational. “Every song on Have A Little Faith is straight from my heart,” Mavis says. It's a stirring collection of timeless, uplifting songs, deeply rooted in Mavis’ faith and spirituality.

The follow-up to his multiple award-winning, critically-acclaimed 2021 album, Dear America, Ridin’ is a continuation of the vision that informs Bibb’s artistry as a modern-day Blues troubadour. Grounded in the folk and blues tradition with contemporary sensibilities, Bibb’s music continues to reflect his thoughts on current world events and his own lived experiences, whilst remaining entertaining, uplifting, inspirational and relevant. 

​With 'Oh Lonesome Me' we have arrived at the eighth volume in the 'Rhythm & Western' series. The series that focuses on the recordings made by artists from the black community. Recordings that could be linked to country & western.
We immediately start with a swinging rhythm & blues version of 'Cherokee Boogie' by Bullmoose Jackson. Song that was also recorded by Hank Williams and Johnny Horton, among others. Another brilliant example comes from Dinah Washington with her version of ‘I Don't Hurt Anymore’, which gave Hank Snow a hit in 1954. Dinah turned it into a beautiful slow rhythm & blues with a somewhat jazzy slant.
The Olympics perform nice harmony vocals in the rousing 'Dooley', which even has some gospel in it. Gospel is undeniably also an ingredient of the classic ‘I'm A Pilgrim’ by the vocal group The Swanee Quintet. The song was also recorded by country artists, such as Merle Travis, Bill Monroe, Willie Nelson and Doc Watson, among others.
A moment Bo Diddley came closest to country & western in his entire career was during the recording of 'Put The Shoes On Willy'. Most of the time you hear Little Walter on the blues harp but in Eddie Wares blues 'Lima Beans', Walter is the guitarplayer. Another legend is Buddy Holly. He serves as guitarist on the cajun country classic 'Jole Blon', performed here by the young Waylon Jennings, w.o. is fantastically backed by saxophonist King Curtis. Grandmaster Fats Domino provides the necessary portion of New Orleans rhythm & blues with 'Lil' Liza Jane'. Closing is done with a wonderful instrumental guitar number by Sylvester Weaver on slide guitar in 'Guitar Rag'.
‘Oh Lonesome Me’ is a wonderful continuation of the path Little Victor took with the Rhythm & Western series. A recommended series!

​Blues has long been regarded as the 'devil's music' and the perfect genre to provide entertainment on a Saturday night. In other words, on ‘Shake That Thing’, the third volume in the ‘Sin On Saturday, Pray On Sunday’ serie, the genre is well represented. Would you like some examples?
Tender Slim, also known as Fender Guitar Slim, gets the Saturday night off to a glorious start with the rousing 'Don't Cut On Me'. With a nice example on the blues harp, Big Jack Reynolds keeps the tempo high in 'I Had A Little Dog'. For one of bassist Willie Dixon's most remarkable compositions, we have to turn to Bob Gaddy's 'Could I'. Partly due to the background choir, this song also has something gospel-like. By the way, we hear Dixon as bass player in 'Too Late' by harmonica player Little Walter. The other accompanists were also not the least, namely guitarists Robert Lockwood Jr. and Luther Tucker and drummer Fred Below.
We can certainly count on the great Mahalia Jackson for a pious Sunday. She shows her vocal qualities again in the 1953 released 'Said He Would'. Gospel and blues had something in common after all. Listen to 'Didn't It Rain' by Reverend Charles White, accompanied by bluesman James Butler. The Sensational Nightingales provide gospel in its purest form with 'To The End'. That also applies to 'This May Be The Last Time' by The Colemanaires. What a rousing harmony! In 1952, The Radio Four made their record debut with "Blood Done Signed My Name," a beautiful gospel song with minimal instrumental accompaniment.
Furthermore, impressive work by Little Richard, Jerry McCain, The Mello-Tones, Snooky Pryor, Howlin 'Wolf, Billy Boy Arnold, The Fairfield Four, J.B. Lenoir and Arthur 'Big Boy' Crudup can close this again magnificent volume with 'Dirt Road Blues', which bears a resemblance to 'That's All Right Mama'.

​On 'Screaming & Crying', volume 2 in the 'Sin On Saturday, Pray On Sunday' series, compiler Mark Armstrong continues his quest for dazzling rhythm & blues and trance-inducing gospel. Imagine, you live in America in the middle of the last century, you have worked hard for a whole week for a meager wage and you long for relaxation. Fortunately, there are the juke joints where alcoholic drinks flow freely on Saturday evenings and exciting rhythm & blues irrevocably sets your body in motion. You're having fun, but you know it's going to be labeled sinful.
Then it will be Sunday. With a serious hangover you make your way to church, where the 'reverend' addresses you in a penetrating and admonishing way. The gospel makes you jump up from your chair and you get in the right mood. The music has the same influence on you as the rhythm & blues of the night before and fills you with energy that is essential to get through the coming work week. Well, just like on the first volume, the second volume also contains 28 danceable tracks that perfectly reflect the atmosphere of that Saturday night and Sunday.
It goes without saying because the 'Sin On Saturday, Pray On Sunday' series is one that definitely deserves a place in your collection.

In the previously published volumes in the 'Rhythm & Western' series, we were already introduced to black artists who found their inspiration in the country & western, which until then belonged more to white artists. That trend also continues in volume 6 'I'm Moving On'. Country & Western, rhythm & blues, blues and gospel in 28 tracks by well-known and lesser-known black artists. The names known to the general public are certainly Little Richard, Lazy Lester, Clyde McPhatter, Lloyd Price, Ivory Joe Hunter, The Platters, Sam Cooke and Blind Willie McTell. But just as well let yourself be surprised by the artists that may not be so well known to you. You won't regret it!
With this compilation, compiler Little Victor aka 'The Mojo Man' has once again delivered a direct hit. Next month, the series will continue with 'Jambalaya', the number seven.

​With volume 1 of the miniseries 'Sin On Saturday, Pray On Sunday', compiler Mark Armstrong has again found a nice angle. Always on Saturday evening, the 'devils music' reigns supreme and provides loads of entertainment, but on Sunday the pub or at the time the juke joint is exchanged for the church. What can you expect on this album? First of all sublime rhythm & blues and blues for the entertainment on Saturday evening. On Sunday we take a more religious approach with infectious, rousing gospel.
Rhythm & blues, blues and gospel are alternately presented on the album.
Well-known names sure are Little Milton, Sonny Terry, Hound Dog Taylor, Slim Harpo, B.B. King, Memphis Minnie, Junior Wells, The Sensational Nightingales, The Golden Trumpets, Bells of Joy and Golden Gate Quartet.
With 'Sin On Saturday, Pray On Sunday' the KokoMojo label releases yet another high flyer. Volume two, entitled 'Screaming & Crying', will be released in February. Definitely one to look forward to!

​‘Revelation’ is a collection of eleven new tracks of traditional Gospel Blues, which includes four new originals penned by Hill. Joining the duo, who have been performing together for the past 15 years, are Hill’s daughter, Paulina, on vocals, Frank Pagano on drums and percussion, Steve Gelfand on bass, with Robert Hill on vocals, keys, harmonica, and his award-winning slide guitar.

​Carter has now also reached the blessed age of 89. Now he has decided to release a solo debut album with 'Blind Faith'. The nine original songs are produced by Ron Pullman and guests include Charlie Musselwhite, Alan Parsons, The Mendelson Choir of Pittsburgh and The Preservation Hall Jazz Band. Musically it is a melting pot between gospel, soul, jazz and blues.
Highly recommend..!

​Lady A has a sultry and sexy voice timbre that is so fitting for her intended sound. Lady A has recorded many styles of blues, funk, soul, and gospel, but for this album, she wanted to capture the authentic Seattle Blues-Soul sound that she delivers when she hits the stage. Lady A has truly lived up to her moniker as "The Hardest Workin' Woman in  Blues, Soul, Funk & Gospel"
Highly recommended release…!

​One of the most interesting debuts of the year.  Jaouad Alloul has made a statement: “Set Me Free, And Let Me Be” he sings in ‘Father’.  Inspiring album!

​From 1930 Chicago was a driving force in the development and evolution of modern gospel music. Someone who is also responsible for a modern approach to gospel is Reverend Robert Ballinger, who has recorded for United, Chess, Artistic and Peacock.
Bear Family bundled all this fine on this 2 CD compilation. What is immediately noticeable is that Ballingers way of singing is very closely related to those of the rhythm & blues shouters, in contrast to the gospel in the places of worship. Add to that his pumping and energetic way of playing the piano, backed by bass and drums, and you get fireworks. In the service of the Lord, Ballinger's powerful blues-inspired gospel recordings from the 1950s and early 1960s still sound enormously inspiring today.

​Black Patti is a German duo consisting of Peter Crow C. on guitar and harmonica and Ferdinand ‘Mr. Jelly Roll’ Kraemer on guitar, mandolin and mandola. Both gentlemen sing. For their repertoire, Black Patti goes back to the 1920s and 1930s. It was not uncommon at the time for musicians to have both blues and gospel songs on their playlists. Many of the songs made the listeners feel good. A nice melody, hopeful messages that symbolized the much-needed good news were parts of it. Topics that people crave in the currently odd time as well and where we would most like to banish the bad news, so does Black Patti.
And be sure to pay attention to the artwork of the famous Robert Crumb on the cover.
‘Satan’s Funeral’ radiates positivity, which is more than necessary in these times. Recommended!

​This Jasmine collector contains, besides the full Blue Note album ‘Face To Face’, three tracks from the also by Blue Note released ‘Stop And Listen’, four bonus tracks from Willette's earliest recordings. From the first track, ‘Baby Face’ Willette emerge as an extremely creative organist, who knows how to combine jazz, gospel and blues in a masterful way. Let's hope Jasmine will release the rest of the ‘Stop And Listen’ album soon as well. After all, music by extremely talented musicians should not stayed unheard, especially not that of ‘Baby Face’ Willette. An absolute must have!

​Initially he was part of mainly gospel-inspired groups. In 1959 Tarheel Slim took a tour de force with the release of the single ‘Wildcat Tamer’ with the flipside ‘Number 9 Train’, a 45 RPM with two A sides as it turned out. On this magnificent collector you can listen to the evolution that Tarheel Slim went through in chronological order.

​Born in Portsmouth, Virginia on January 30, 1928, Ruth Brown emerged as Rhythm & Blues Queen in the 1950s. A title that she deserved, but that actually did her a little bit too short, because in addition to her jazzy rhythm & blues style, she later also performed well in the then emerging rock and roll, teenager ballads, soul and gospel. All her well-known songs are on this compilation. But there is more! You will also find beautiful rare recordings of her, such as her live recordings  packaged as bonus tracks during the 'Rhythm and Blues Revue', which you will get on CD for the first time here. 'Mama He Treats Your Daughter Mean' is definitely recommended. 

​An album that gospel fans will love, with a dash of soul and jazz. 

​Little Joe Cook is best known for his song 'Peanuts'. That he was a very talented artist, who deserved more recognition than he received, can be heard on these 29 songs. Gospel, rhythm & blues, doo-wop and soul at its best!

Nice compilation of the Jasmine label that shows the evolution that gospel went through on the basis of known and lesser-known songs.