two hard-edged dancefloor r&b killers back to back from one of the true blues greats, elmore james, with his unique, uptempo rendition of the delta standard rollin and tumblin backed up with the equally frenetic stranger blues

all time great, evergreen r&b dancer from the legendary johnny guitar watson. with its call and response vocals and snappy riff, on i say i love you watson comes across a little like ray charles with more casual, streetwise attitude. and don t let the middle tempo fool you, this is about as infectious as it gets and a guaranteed floor filler every time. on the flip, sweet lovin mama is another cool r&b side that watson cut for king records in the early 60s - slightly less known than i say i love you but ripe for a little more exposure.

two all-time classic, seminal rumba-laden r&b sides backed together for the first time. texan born guitarist and vocalist clarence garlow first cut >bon ton roula< in 1950 for local label macys. a unique piece of music laced with cajun slang (bon ton roula translates to good times roll, as in let the...) and set to a heavily played, clattering rumba drum track. the song became a regional hit and perhaps garlows signature piece. originally a 78 only release, this appears on 45 for the first time. such was the songs popularity that he returned to it a number of times with his own answer records. we thus feature >new bon ton roulay< on the a-side, a jazzier, less frenetic version, originally cut in 1953 for the aladdin label in la, and sounding just as cool and hep all these years later.

one of the most in demand r&b records of recent years and not for no good reason. >if you aint got no bread< is a quirky dancer full of character and charm built around a simple but ridiculously infectious horn riff. hamlins vocal, drawled and laced with a humorous tone is the perfect vehicle for the smart, sharp lyrics, which tell a familiar tale of financial woe and mounting bills.

!!! limited run - only 500 copies pressed !!! this is a floor-rocking, roof-raiser of a record.

new from jukebox jam comes something else - a wild carib-jazz flavoured r&b gem flipped with a big and brash big city jump blues number! a neat pairing of two of chris powells hottest sides! the top side i come from jamaica is a totally unique early exotic rnb jam, whilst country girl blues, is a delicious rnb dancehall mover aimed at shakin hips & shufflin feet! bandleader chris powell was a relatively busy in philly through the late 40s and 50s, cutting a raft of jump sides and a number of crooning big-band ballads for the columbia, okeh and grand labels. amidst his releases for okeh lies this curious novelty - i come from jamaica, unlike anything else powell recorded and similarly out of sorts with much of the contemporary r&b sounds of the day. from the off, as we hear odd percussive sound effects over an off kilter latin rhythm, its clear that we are in experimental territory. what follows is a sheer delight - an exotic, jazzy, caribbean themed dancer which always turns heads! this also showcases the first known recorded work of the influential jazz trumpeter clifford brown.