Harvard Square Musician David Johnston

David Johnston plays a steel guitar on the upper-level sidewalk outside of Hidden Sweets, next to the red line stop. He is a fantastic musician and a reliable presence. On most nice days, he can be found in his usual spot, sitting on the street, playing the blues. On weekends, he gathers crowds, right there on the sidewalk, as the original bluesmen did. Johnston is a fine street musician, and honestly, I think he should be much more than that. I would hire this guy for gigs all the time. Johnston is fantastic with the slide and has a classic blues voice. I might classify his style as swamp blues, but I'm not sure. I am sure, however, that he is great. I could rave about him all day and night, but really, you need to get out to 25 Brattle St. in Harvard Square and see for yourself. If you can't make it out there to see him, buy a CD online. All I have electronically for you right now is this YouTube video. Johnston is the white guy on the right of the screen. The song is Muddy Waters' Honey Bee. The black guy's voice is excellent, but unfortunately, I have no idea who he is. When I get more info I'll update this post.

Check out Johnston's MySpace page.

Offthechart's New Tracks of the Day

Too many ill songs came out today to make posts for each of them, so I threw them all in this post. If you're only gonna download one of these, make sure to check out the Jay Electronica track. Dude is crazy. Also of note, this Sunday, be on the lookout for a collection of the best tracks from the past weeks. This is for all of you who don't have time to check hip-hop blogs on a daily basis and just want your quick fix of good music once a week.

Download: Ghost of Christopher Wallace-Jay Electronica

Download: Made-Big Sean feat. Drake

Download: The Edge-Young Chris

Download: Lose Control-Novel

Download: NewMGMGrand-Blu

Download: The Search-Drake feat. Saukrates

Offthechart's Random Tracks of the Day

From the 3-disk Mixtape Messiah 1, 'Call some Hoes' features Kanye West and Stat Quo, as well as an awesome chorus. Although Chamillionaire didn't see any mainstream success until over a year later with his single 'Ridin', this song makes it clear that Chamillitary Mayne has always been killing it. Fun fact to know and tell: Chamillionaire's music has been completely profanity free since his 2007 album, Ultimate Victory.

Download: Call Some Hoes feat. Kanye West and Stat Quo

Off of KiD CuDi's first mixtape, A Kid Named Cudi. In my opinion, this tape was stronger than the album. With songs like 'The Prayer', 'Cudi Get' and '50 Ways to Make a Record', KiD CuDi had to have made one of the strongest debut mixtapes in history. Looking forward to his upcoming CD, The Legend of Mr. Rager.

Download: Is There Any Love? feat. Wale

This song is an absolute banger for your car. Released to build up hype for Slim Thug's latest CD, Boss of All Bosses, the beat on this is insane. Slim Thug consistently drops some incredible tracks, so expect to see some more of him on my random track posts. Fun fact to know and tell: Lupe Fiasco's 'Hip-Hop Saved My Life' is based Slim Thug's life.

Download: Aj's

Bluestone's Track of the Day: Pride and Joy

Stevie Ray Vaughan was born in Dallas, Texas, in 1954.  He began playing guitar at an early age and dropped out of high school to move to Austin, Texas with his first band, Blackbird.  He was heavily influenced by Albert King, Otis Rush, Eric Clapton, and Jimi Hendrix, but he said, "Lonnie Mack really taught me to play guitar from the heart."  Vaughan died in a helicopter accident in 1990.

Pride and Joy was released as a single in 1983 and is on his double platinum album Texas Flood.  It's a Friday, so I wanted to post an upbeat tune.  SRV plays a fast paced, heavily electrified style in this track, as in most of his hits.  Pride and Joy has a distinct rhythm section, with a good baseline and fast SRV style lead.  He plays a great turn around, as well (following "She's my sweet little baby, I'm her little lover boy").  Basically, this blues makes you jump up, it's an all around great song.

Buy Album off Amazon.com: Texas Flood

Update: Changing File Hosts

Champagne n' Reefer will now be using Supashare to host all downloads rather than Mediafire. This now allows visitors the ability to listen to the song before downloading it. Just click the download link and the track will stream. To celebrate, I've put up one of Lupe's most under appreciated songs: 'Hustlaz Song' off the RBK Spotlights mixtape. Enjoy!
Download: Hustlaz Song

Attack of the Featured Artist

This piece is my take on the whole phenomenom of "featured" artists appearing on nearly every track nowadays. I wrote it a couple months ago, though it becomes more relevant every day.Whether it's an up-and-comer trying to attract some attention with some big names, or an established star just bringing some old friends along, it's hard not to take notice of how important "featured" artists have become.
    Basically, Hip-hop is suffocating with featured artists Last year, 22 of the 25 best selling rap singles contained the word “featuring.” On the top 15 rap CDs selling right now, 136 of the 222 tracks (61%) on them have featured artists. (And as I'm reposting this piece now, the numbers are 92 out of 160 which is 64%. Does that mean things are continuing to get worse?) Rappers are no longer expected to get by solely on their own abilities. Instead, their songs are judged on the value of their featured artists—whomever they can pay enough to join them on a track.
    It’s widely accepted that the late 1980’s and early ‘90’s were the “Golden Age of Hip-Hop.” Lyrical masters such as KRS-one, Eric B, Rakim, and Big Daddy Kane rocked the mic, and hip-hop classics such as Illmatic, Enter the Wu-Tang (36 Chambers), and Southernplayalisticadillacmuzik were released. Even as we progressed into the late 90’s, single artist tracks were still the dominant force in the industry. Jay-Z and Nas produced incredible chart-topping albums on a near-yearly basis by their own merit, proving that artists could still climb the charts carrying their own weight.
    The early 2000’s saw the rise of the era of glamour. Hip-hop slowly started to merge with pop-music as Cam’ron donned pink fur coats and Sean Comb a.k.a. P. Diddy a.k.a. Puff Daddy a.k.a. Puffy a.k.a. Diddy started his Sean John clothing line and held his infamous “white parties” (named for the rule requiring all guests to wear only white). Yet artists were still able to move their singles to millions across the world without burdening their tracks with featured artists.
    As we’ve pushed into this era of the featured artist a rapper has become almost nothing but a brand name. Any big name rapper can bring enormous success to a song simply by allowing their name to appear next to it. Slapping Lil Wayne onto an unknown track and labeling it as a “remix” can bring it from obscurity to number one on iTunes. Relatively unknown artists such as M.I.A. and Estelle can shoot to instant stardom after years of anonymity simply because of a single song with Jay-Z or Kanye West.
    Going further into the decade, the number of “featured” tracks only grows. “Swagga Like Us,” a single from T.I.’s latest album, Paper Trail, featuring Kanye West, Jay-Z, and Lil Wayne, has shown exactly how dominant the featured artist has become. What could have previously been an unnoticed track with an unremarkable beat on became the most talked about rap song in years, shooting to the top of the charts. Purely by having three of the most recognizable rappers in the industry on his track, T.I. created such a popular song.
    So the question is: are features good for hip-hop? Absolutely not. There are some benefits to the trend. For example, consumers are getting more bang for their buck with each song. Instead of paying for a single with one artist, you get to listen to four for the price of one. It also gives new artists a chance to get recognized, since a feature from a successful artist serves as a co-sign to any new talent, assuring consumers that the artist is worth their time and money.
     On the other hand, the role as a featured artist lowers the expectations for many rappers. Quantity has become valued over quantity, with the most well-known rappers jumping on every remix they possibly can. Lil Wayne is easily the worst offender. In 2008 alone, Lil Wayne was featured on 22 tracks, and the quality of his verses has been steadily decreasing, as his rhymes become repetitive and irrelevant. Gone are the days of Da Drought 3 when each line packed a punch and every track was guaranteed to impress. No matter what anyone says, the lines on No Ceilings don't even compare to Da Drought 3.
     Yet, somehow, consumers continue to buy Lil-Wayne-featured tracks. He has almost transcended ability, and is now entirely defined by his name. The name “Lil Wayne” carries enough weight to sell tracks, regardless of quality, and this can only be a bad thing for hip-hop.
     T-Pain is equally guilty. Since his first top 10 single (“I’m Sprung”), T-Pain has not done a single thing to advance his sound. As the pioneer of the auto-tune sound, which Kanye West, Lil Wayne, and the rest of the rap community so readily adopted, he has continued to be the most popular artist to grace a song’s chorus. From “Good Life” with Kanye West to “Low” with Flo-Rida and “Blame It” with Jamie Foxx, T-Pain is amazingly limited in his musical abilities, yet he continues to have his name attached to the most popular songs on the radio. Even a bad hip-hop video parody (“I’m on a Boat”) can’t slow T-Pain down.
    Features are smothering hip-hop. A lower caliber of lyricism is now acceptable, hurting the genre in the long run. If the over-saturation of low quality remixes continues, the future of the rap industry looks bleak.

Bluestone's Track of the Day: Om Shakti Om

Om Shakti Om was realeased on Trevor Hall's 2008 album This Is Blue. Trevor was born in South Carolina in 1986; he's a youngin for a bluesman. Well, he's not really a bluesman, but he has the voice and guitar chops for it, as seen in Om Shakti Om. Trevor's first record deal was with Geffen records, who dropped him before This Is Blue was released. He is, now, however, coming into more success than ever before. He has toured with artists including Matisyahu, Colbie Caillat, Ziggy Marley, and the Wailers. Trevor has taken a particular interest in India, to which he donates some of his profits, and has been inspired through meditation. His style is unique, an Ellis Island where reggae meets folk, percussion, and blues. Om Shakti Om is as basic of a blues tune as you will ever hear, but it's done perfectly; a simple, feel-good blues.
Trevor was schooled in classical guitar at Idyllwild Arts Academy in California, and you hear some of the fingerstyle techniques in his music today.
Listen to Om Shakti Om.
Buy this album on Amazon.com: This Is Blue

Offthechart's Random Tracks of the Day

This has gotta be one of my favorite new songs. I first heard it on HBO's show 'How to Make it in America' and have yet to find a person that doesn't love it. This is off Aloe Blacc's upcoming album, Good Things. I don't know a whole lot about this kid but have been so impressed by the few of his songs that I've heard that I'm hoping to do a full feature on him. Be on the lookout. Download link below.

Download: I Need a Dollar
Off of Bun B's latest solo effort, II Trill, this song definitely goes in. In honor of his deceased friend, Pimp C, Bun B chose to leave all talk of syrup (the drink that killed Pimp C) off of the CD. With a catchy hook and some hard hitting verses, I'd recommend picking this one up.


Another banger from the Slaughterhouse squad. This was the first street single off their self-titled debut and boasts some of the cleverest lyrics I've heard in a long time. Crooked I, in particular, shreds his verse apart:
I'm the one who wants to spear Brittany
Give Pink some black, put it near her kidneys
I'm the one who always cause an affair
So every time your bitch burp
You smell my balls in the air.

Jimi Hendrix: Blues (Track 1 of 11)

Eventually, I will try to post all 11 tracks of Hendrix's album Blues.  Unfortunately, I can no longer post free downloads, so we'll see.  I'm only letting 1 slip at a time because this album is one to savor.
In 1994, MCA Records produced a posthumous compilation album of Hendrix's blues recordings from the late 1960s. Six of the eleven tracks had never been released. Why, I do not know. It reached #4 on the top blues albums in 1995, but in my humble opinion, it is one of the best ever. Hendrix, the greatest guitarist ever, takes blues to another level. He includes covers of Muddy Waters and Albert King, plus some of his own stuff. As a kid he was influenced mainly by B.B. King and Muddy Waters, but the cover the album Blues depicts Robert Johnson, Lightnin' Hopkins, and many more.
The first track I'm going to post is my personal favorite, Bleeding Heart. It is a 3 minute, 27 second gem, littered with many of my favorite licks, and incredible, classic Hendrix vocals. His voice holds up well enough on its own, but he often complements his lyrics with heavy licks that seem to say almost the same thing he is; it's incredible how his guitar sings. This tune is played in B-flat and it goes like this:

Peoples, peoples, peoples,

You know what it means to be left alone.

Nobody today, Lord not even called on my telephone.

Understand it, Lord a little love is all in the world I need.

A little love and understandin' baby, is all in the world I need.

Yes a misunderstandin' and a no good woman,

Lord they both have caused my heart to bleed.

Every mornin', the willows weep and moan for me,

The birds sing the love song, and my baby

Has caused my heart to bleed.

Stay posted for the next track off Blues!

Listen to Bleeding Heart.

Buy this album on Amazon.com: Blues

Eminem-Not Afraid (produced Boi 1da)

First single off of Em's upcoming CD, Recovery. Aside from the awkward singing bridge about halfway through, this song goes in. As a bonus, I've tossed in Em's freestyle over Drake's 'Over' and Lloyd Bank's 'Beamer, Benz or Bentley.' Enjoy
Download: Not Afraid
Bonus-Despicable Freestyle feat. Royce Da 5'9"

Bluestone on CHAMPAGNE AND REEFER

The site is called Champagne n' Reefer so I figured I should fill you in. Champagne and Reefer was recorded by Muddy Waters and came out on his 1981 album King Bee.

Yeah bring me champagne when I'm thirsty,

Bring me a reefer when I want to get high. Well you know when I'm lonely, Bring my woman set her right down here by my side. There shouldn't be no law Against people that wanna smoke a little dope. It's good fo' your head, and it relax yo' body, don't you know?

Muddy sang this back in 1981. A Delta bluesman, growing old, singing about the same things we're hearing in hip-hop and rap today. Muddy preferred Piper Heidsieck champagne. Today, the label on the drink may have changed, but not much else has. It's been a while since the blues were born, but the way the hip-hop industry has evolved, it looks like they'll never be forgotten. My Home is in the Delta might as well be Jenny from the Block, and Champagne and Reefer isn't far off Sean Paul's We Be Burnin'.

Drake-Find Your Love (Produced Kanye West)

This is the second single off of Drake upcoming album, Thank Me Later. When I saw the title of the track this morning, I figured that this would be another one of Drake's R&B focused tracks and, sadly, I was right. I'm not saying Drake's a bad singer, I would just much rather hear him rap. At least Yeezy is finally back behind the 808's again pounding out beats. Maybe we'll be luck enough for him to drop a verse in the future so we can hear some real rapping over this beat. Lemme know what you think and leave your comments below.
Download: Find Your Love

Offthechart's Random Tracks of the Day

First up, is the best (and probably only) song to sample the theme song from The OC: 'I Wish I Knew Natalie Portman' by K-Os, Saukrates and Nelly Furtado. This track was initially going to be called 'On the Run', but due to an issue with the album's publisher, K-Os quickly threw together the songs current name. Shout out to Will Kaupilla for sending me this track.

Download: I Wish I Knew Natalie Portman feat. Saukrates and Nelly Furtado

My personal favorite song off T.I's fourth album, King, 'Bankhead' didn't receive a whole lot of attention due to being shown up by 'Top Back', 'What You Know' and 'Why You Wanna'. This song features T.I.'s group, P$C (Pimp Squad Click) and is about the neighborhood in West Atlanta, in which they all grew up. The beat on this song is ill and perfect for cruising around to. Definitely worth throwing on your driving playlist if you've got one.

Download: Bankhead

Though I usually regard Lupe Fiasco pretty highly, Joell Ortiz and Novel absolutely tear apart his beat from 'Fighters' in this remix of the song. Despite the fact that Novel generally regards himself as a singer, he goes in on his verse (as well as the hook). And Joell, as usual, tears up his bars. Spitting at a mile a minute, Ortiz still manages to flow perfectly alongside the beat. This is off Novel's mixtape 808's and Mixtapes, which I would suggest picking up. All current links are down but I'll re-up the mixtape if anyone wants. Just comment below.

Download: The Fighters (Remix)

Distant Relatives
Another 2 tracks from Nas and Damian Marley's upcoming CD, Distant Relatives, leaked today. So far 6 of the total 14 tracks have leaked 3 weeks in advance of the official release date, which is definitely not a good sign. I'm predicting the rest will drop by the end of the weekend.

Bluestone on Chris Thomas King

In 1964, Chris Thomas King was born to swamp blues artist Tabby Thomas, in Baton Rouge, Louisiana, where he is still keeping the blues alive today. In 1984, he released his first album, Blue Beat, and in 1994, his 21st Century Blues From Da Hood became the first "rap/blues" album. He also has had a decent acting career, appearing in O Brother, Where Art Thou, and the movie Ray.
Chris Thomas King is a good artist, but let me say a few things about him. 1) He is a force. With album names like Dirty South Hip-Hop Blues and It's a Cold Ass World, it's hard to take him seriously. 2) I, honestly, do not see this supposed fusion between rap and blues in any of King's songs. I have seen him perform with a scratch DJ and I have heard some upbeat drumbeats behind basic blues tracks. It's all still blues though. The guy is just a bluesman, not a rapper. He can claim that he's onto some sort of fusion, but really, you can't truly embody both genres. I'm happy he went with the blues. He begins this performance of Da Thrill Is Gone by saying, "We still got the blues right here in Baton Rouge."

I praise King for carrying on the legacies of so many musicians, even during a time of change. Here, of course, he plays B.B. King's The Thrill Is Gone. It's not as good as B.B.'s many versions, but it has the same vibe (and they have the same last name...) Chris Thomas King also brings back Albert King's piercing licks in I'll Play the Blues For You and plays a decent country-style version of Come on in My Kitchen. His take on Born Under a Bad Sign even has a certain 1960s Motown feel to it. In Chris Thomas King, I hear a little B.B. King, a little Funk Brothers, some Sonny Terry, and much more. He is not a perfect immitation of anyone, nor do I personally believe he is very innovative, but he is playing an incredible variety of blues and keeping the music alive. Take a look at his range here from Ghetto Child to Red Mud, played with a slide.
(I'm not a fan of Ghetto Child, but it is a testament to his versatility and willingness to take risks.)

Review of "B.o.B. Presents: The Adventures of Bobby Ray"

So I’ll admit, I was not a huge fan of B.o.B. I’d listened to all of his mixtapes and regularly bumped ‘I’ll be in the Sky’ and ‘On Top of the World’ in my car, but for the most part, didn’t find a whole lot to like. The samples were often awkwardly placed rock samples and most of the songs attempted to tread a thin line between dirty south rap and rock, usually without success. However, after listening to his new CD, B.o.B. has finally hit the mark and completely won me over.
Basically, The Adventures of Bobby Ray is what Lil Wayne’s Rebirth could have been if Lil Wayne knew how to play a guitar and stopped searching for rhymes at the bottom of his cup of codeine. But I digress. With the exception of ‘Bet I’, every song on the CD deviates from the dirty south style that B.o.B. had previously been trying his hand at and settles into a nice medium between pop, rock, and rap with remarkable success.
B.o.B. also managed to pull a pretty impressive lineup of features, including Weezer, Eminem, Lupe Fiasco, and label-mate T.I. And, perhaps even more impressive than the guests performing alongside him, B.o.B. manages to hold his own against his star-studded guests, proving that he can match the cool swag of the King of the South and wit of Lupe Fiasco (though I will concede that Eminem gets the better of him. Really, though, who can hold a candle to Marshall Mathers these days?) And while it becomes clear that he does have some singing talent, B.o.B. generally leaves that up to his guests, such as Bruno Mars, Hayley Williams and Rivers Cuomo. It’s nice to see B.o.B. relinquishing some of his time in the spotlight and refraining from belting out a couple verses in song, a trend many rappers are becoming fond of (i.e. The Game, 50 Cent, Kanye West, Lil Wayne).
Another gripe I’ve had with a lot of recent rap CD’s is that every song seems runs together and are essentially indistinguishable from each other save the track name. This is not the case with The Adventures of Bobby Ray. Nearly every single track has it’s own feel, as well as a distinct beat and rapping style. ‘Magic’ features a catchy chorus from Weezer and a quick snare during the verses. ‘Satellite’ is heavy on the synths and auto-tune effects. And, as most people know, ‘Nothing on You’ is just pure radio gold.
All in all, B.o.B. has put together one of the most impressive freshman outings in years. He bravely ventures into the oft-attempted, rarely conquered territory of pop-rock-rap and gives us one of the best CD’s of the year so far.

Offthechart's Random Tracks of the Day: Detroit Edition

This song is off Obie Trice's final album, Second Round's on Me, while with Eminem's label, Shady Records. Dropped in 2006 after over a year of delays, Obie's album was easily one of the most under appreciated of the year. With some ill songs like 'Wanna Know', 'Ghetto', and 'All of my Life' (below), Second Round's on Me is definitely worth checking out. Fun fact to know and tell: Obie Trice still has a bullet lodged in his head from a shooting on New Years Eve in 2005.


This track is off of Eminem's second release, 1997's The Slim Shady EP. This CD served as a precursor to his following effort, the enormously popular Slim Shady LP. In fact, the majority of the songs on the EP were given higher production values and used again on the LP. The below song, 'No One's Iller' featured the introduction of Eminem's alter ego, Slim Shady, which has gradually become the dominant figure in his lyrics, vividly describing rape, murder, excessive drug use, and random acts of violence. Fun fact to know and tell: 'No One's Iller' samples Hank Crawford's 'Wildflower', using the same looping beat as Kanye West's 'Drive Slow'.


The 1st song below, entitled 'The Way I Be Pimpin' is the original version of Dr. Dre's Xxplosive, ghost written by and featuring a verse from Detroit rapper Royce Da 5'9". This was one of many songs that Royce collaborated on with the Aftermath team (Eminem and Dr. Dre) before beef with Eminem and his group, D-12. More recently, Royce has become a member of the hip-hop super-group alongside Crooked I, Joe Budden and Joell Ortiz. The 2nd song below, 'Gun Harmonizing' is, in my opinion, Royce's best song, featuring fellow Slaughterhouse member, Crooked I, as well as a hip-hop version of scatting to mimic a firing machine gun. Fun fact to know and tell: Jay-Z's verse from his song 'Renegades' with Eminem, was originally performed by Royce until their fued.

Bluestone's Track of the Day: My Home is in the Delta

McKinley Morganfield was born in 1915 in Rolling Fork Mississippi where he lived on Stovall Plantation, down in the Delta where the blues began. Morganfield's juke house was a hot spot for black farmers and white plantation owners alike; his fine moonshine may have had something to do with it, but nonetheless, he began to come across some success in his mid 20's (the early 1930s). Morganfield was first recorded by Alan Lomax. Lomax came through his town and offered $10 per song for recordings on aluminum discs. Morganfield took the offer; he played a steel guitar and used a true bottleneck as a slide. A broken bottle and cold, hard steel; this was the Delta. This was home to all of the early, great bluesmen, but the blues wouldn't stay there forever. Producers like Lomax brought the finest talent from the South up to Chicago for proper recordings. Charley Patton, Son House, and countless others were part of this movement, but in my opinion, none as influential as Morganfield. Morganfield first moved to Chicago in 1940, where he would eventually electrify and evolve the Delta blues without losing its raw quality. When Morganfield initially began recording in Chicago he played a reserved style, with no passion, and with no bottleneck. Chicago was intimidating. Morganfield said "I got off that train and it looked like this was the fastest place in the world." He quickly realized, however, that although he had left his home in the Delta, he could not leave his music; he had to stay true to it, which is exactly what he did. In 1947, he signed with Chess Records (called Aristocrat at the time) and played the way he always had. As the electric guitar evolved, so did Morganfield. He began recording music that would have a great influence on rock and roll, as well as blues, but he never forgot where he came from. Most of you probably know Morganfield better as Muddy Waters, christened by his grandmother for his messy play, and here is his My Home is in the Delta:
Listen to My Home Is In The Delta
Fun fact about Muddy: His MOJO that he so often speaks about comes from the Louisiana Mojo Hand. A Mojo Hand was a little red flannel bag pierced with needles that was used to curse your opponents in gambling. It could be purchased from a "doctor", and Muddy says he really believed in them.

This song has been played by many artists including Mississippi Fred McDowell. None play it better than Muddy, but many play it well. Here is another artist from YouTube: Scott Ainslie. Neither his playing nor his voice are perfect, but he plays with passion and, for a white guy, he is as close to capturing the Delta as you can find.

Bluestone's Track of the Day: St. James Infirmary

St. James Infirmary is a "New Orleansy" tune said to be based on an English folk song called The Unfortunate Rake, but has changed and evolved over the years. The real author of the song is unknown, although sometimes Joe Primrose (1894-1985) is credited with its current lyrics. There are, however, many verses which artists pick and choose. The song has been recorded most notably by Louis Armstrong, Allen Toussaint, Cab Calloway, and Bobby Bland. More recently, the Doors and the White Stripes have covered it, as well. A less well known version, but my personal favorite nonetheless, is that of Snooks Eaglin. Eaglin plays a one guitar arrangement of the song, but it can be led by a trumpet, as well, played with a full jazz band, or anything in between. Snooks Eaglin (1936-2009) was a versatile guitarist from New Orleans. Eaglin claimed that he could play some 2,500 songs off the top of his head. Eaglin's version of St. James was published on his New Orleans Street Singer album of 1959. His guitar playing is good and his vocals are even better for the song.

The St. James Hospital in London closed in 1532, but the song is still being recorded today. Here, I have also included a cover by Kane Muir. He plays a one guitar arrangement of the song on a classical guitar. Muir is an Englishman who apparently plays at open mics and does small gigs, but I have come across him on YouTube. Most of his music is not blues, but his rendition of St. James is dark and brilliant.