Best of Gospel - Glory Glory Hallelujah is a spectacularly soulful, deeply passionate, and masterfully curated musical document highlighting the roots of American spiritual and secular music, released in 1998 by the esteemed German historical archiver Delta Music. Spanning over 56 minutes across 16 beautifully dynamic tracks, this high-fidelity compilation seamlessly bridges the roaring, gritty blues of legendary Crescent City powerhouse vocalist Marva Wright—the acclaimed "Blues Queen of New Orleans"—with the soaring, synchronized choral architecture of The First Revolution Gospel Singers. The album unfolds as an incredible alternating showcase; Wright delivers earth-shaking, raw rhythm and blues standards like Got My Mojo Working, I'd Rather Go Blind, and Let The Good Times Roll, while the First Revolution ensemble provides a masterclass in classic hand-clapping, deep-South jubilee devotion. Together, they trace the shared bloodline of New Orleans street tradition and sanctuary fire on definitive tracks like Down By The Riverside, Wade In The Water, and Jesus Hits Like The Atom Bomb. Exceptionally preserved in pristine lossless audio quality with complete booklet scans, this rare collection stands as an absolute mandatory cornerstone and a prized collector's holy grail for global purists of vintage traditional gospel history, deep southern soul, and elite blues vocal legacy.

Recordings 1980-1988, featuring Memphis Slim, Louisiana Red, Axel Zwingenberger, Mickey Baker, Monty Sunshine's Jazz Band, Kenn Lending Blues Band.
A formidable contender in the ring before he shifted his focus to pounding the piano instead, Champion Jack Dupree often injected his lyrics with a rowdy sense of down-home humor. But there was nothing lighthearted about his rock-solid way with a boogie; when he shouted "Shake Baby Shake," the entire room had no choice but to acquiesce.

Recorded in London in 1971, this is Champion Jack Dupree with a small group of unknown British blues musicians. Sonet, begun in the '50s as a company to issue and distribute American jazz records in Sweden, had grown considerably by 1970. They approached blues historian and documentarian Samuel Charters to produce blues records for them - Charters, who had done blues records in the '60s, had been producing rock artists at the time. Nonetheless, this Sonet Blues Story session is 15 tunes strong and presented here in 24-bit remastered glory. Dupree is playing piano and singing, with Hughie Flint on drums, bassist Benny Gallagher, guitarist Peter Curtley, and harmonica player Paul Rowan. Dupree is in amazing form here. His playing is brilliant, deep in-the-pocket, carrying much of his native, New Orleans stride in his style. Curtley is a little busy and high in the mix, but it's clearly Dupree who carries the day…

“Let The Good Times Roll” is a 2002 compilation featuring 20 classic R&B tracks from New Orleans, highlighting the rich musical heritage of the city. The album brings together influential artists and timeless recordings that helped shape the sound of rhythm and blues, soul, and early rock ’n’ roll. With upbeat grooves, piano-driven rhythms, and infectious melodies, the collection captures the distinctive “New Orleans sound.” Featuring legendary performers like Shirley & Lee, Professor Longhair, Little Richard, and Aaron Neville, this compilation serves as both an introduction and a tribute to one of the most important musical scenes in American history.

This killer little set features the great Earl King doing what he does best, playing R&B-oriented blues and jump tunes. Recorded in 1977 for the Sonet label - a label that imported American blues greats to play with British and European session players - this volume is ragged but right. There is an exercise in funky blues on "Trick Bag." But it's the more driving, soul-oriented tunes that work best, as evidenced by "Always a First Time," "Time for That Sun to Rise," and "The Picnic's On."

Recorded in 1974, this album almost never saw the light of day. Fortunately, the master tapes were found and the album was released posthumously. Professor Longhair was a giant in the New Orleans music community, but had not recorded in over ten years when he was convinced to start playing again. From the opening riffs, one can understand the stature of Professor Longhair as a great pianist - he demonstrates that he is equally at home playing rhumba boogie, blues songs, and calypso. He plays New Orleans standards (many penned by himself), but what makes this recording a classic is the chance to hear him play with guitarist Clarence "Gatemouth" Brown. The interplay of these music veterans is mesmerizing. The piano playing is breathtaking, and has a percussive quality unlike any other player before or since…

Sonny Landreth's screaming slide guitar plows right into you and carries you along on its feral journey. This CD opens going for your guts and never quits, though at times its touch is more caressing than careening, as in "Cajun Waltz." This CD got a lot of airplay yet never got tiresome, the true test of good music. A wide variety of slide guitar styles, backed by an extremely tight rhythm section and various other New Orleans musicians adds to the pleasure of the album. This music combines the best of zydeco, New Orleans R&B, Cajun, and rock & roll into one mood-elevating experience. Listen to "Mojo Boogie" next to "C'est Chaud," then go on to "Shootin' for the Moon"; there is no letdown, but there is great variety. A must-buy.

The veteran New Orleans singer remains a contemporary force to be reckoned with. Guitarist Snooks Eaglin, bassist George Porter, Jr., and saxist Kaz Kazanoff help Ridgley out on what's easily his finest contemporary release. There are a handful of remakes of his earlier triumphs, but for the most part, he is commendably living in the present, incorporating funk-tinged rhythms into his delectable musical gumbo.

New Orleans pianist who was a master of hard-driving boogie and blues. A formidable contender in the ring before he shifted his focus to pounding the piano instead, Champion Jack Dupree often injected his lyrics with a rowdy sense of down-home humor. But there was nothing lighthearted about his rock-solid way with a boogie; when he shouted "Shake Baby Shake," the entire room had no choice but to acquiesce.

Champion Jack Dupree’s expressive voice and natural feel for the piano made him one of the greatest of the barrelhouse blues genre, the New Orleans native making a name for himself on the Chicago music scene, his stage name acquired after a stint as a champion boxer in Detroit, encouraged by Joe Louis. Dupree spent time in Europe in the late 1950s, which resulted in collaboration with a number of noteworthy British blues men, and following the success of From New Orleans To Chicago, featuring John Mayall and Eric Clapton, Mike Vernon brought Dupree onto his Blue Horizon label for When You Feel The Feeling You Was Feelin,’ another excellent set from 1968, this time with guest contributions on the B-side from guitar god Paul Kossoff and drummer Simon Kirke of Free, Pretty Things bassist Stuart Brooks and Fleetwood Mac associate, Duster Bennett on harmonica…

Although Dupree seldom paused at any one label for very long, the piano pounder did hang around at Cincinnati-based King Records from 1951 to 1955 - long enough to wax the 20 sides comprising this set and a few more that regrettably aren't aboard. By this time, Dupree was a seasoned R&B artist, storming through "Let the Doorbell Ring" and "Mail Order Woman" and emphasizing his speech impediment on "Harelip Blues" (one of those not-for-the-politically correct numbers). Most of these tracks were done in New York; sidemen include guitarist Mickey Baker and saxist Willis Jackson.

The New Orleans barrelhouse boogie piano specialist's earliest sides for OKeh, dating from 1940-1941 and in a few cases sporting some fairly groundbreaking electric guitar runs by Jesse Ellery. Dupree rocks the house like it's a decade later on two takes of "Cabbage Greens" and "Dupree Shake Dance," while his drug-oriented "Junker Blues" was later cleaned up a bit by a chubby newcomer named Fats Domino for his debut hit 78 "The Fat Man."