Flyright Records is a British independent label specializing in the reissue of vintage blues, rhythm and blues, and related American roots music. Founded in 1970 by blues researchers and collectors Mike Leadbitter, Simon A. Napier, and Bruce Bastin, it emerged from the vibrant British blues revival scene of the 1960s and has remained closely associated with serious scholarship and regional documentation of African American music. Based in Bexhill-on-Sea, East Sussex, the label operates under the umbrella of Interstate Music Ltd., which also encompasses related imprints such as Magpie Records.
History and Ownership
Mike Leadbitter (1942–1974) and Simon Napier (1939–1990) were co-founders of the influential magazine Blues Unlimited (launched in 1963), which became a cornerstone of blues research in the English-speaking world. Bruce Bastin, a folklorist with deep expertise in Southeastern and Piedmont blues (gained partly through fieldwork in the American South and academic study at the University of North Carolina), joined as a key partner. The label was incorporated in 1970 with the aim of making scarce or previously unissued blues and R&B recordings available to collectors and scholars.
Leadbitter’s early death from meningitis in 1974 at age 32 was a significant loss, but Napier and especially Bastin continued the work. Bastin has remained the guiding force for decades, shaping the catalog around careful regional documentation rather than simply commercial “best-of” collections. Early releases focused on vinyl LPs of rare material; the label later transitioned successfully to CD while maintaining high standards of transfers, discographical notes, and contextual essays. Flyright also issued occasional contemporary recordings by British jazz and rock artists alongside its core historical program.
Notable Artists & Recordings
Blues forms the heart of the Flyright catalog. The label is particularly noted for documenting under-represented regional styles—especially Piedmont and Southeastern country blues, Louisiana swamp blues, and early postwar Chicago and New York R&B—often drawing on previously unissued masters, alternate takes, or field recordings.
One of the label’s most celebrated projects is The Legendary Jay Miller Sessions, a long-running series (beginning in the mid-1970s) that systematically reissued and compiled recordings produced by J.D. “Jay” Miller at his Crowley, Louisiana studio. These volumes capture the distinctive swamp blues and related sounds of the 1950s and 1960s. Key artists and examples include:
- Lightnin’ Slim (Otis Hicks) — volumes such as The Early Years (FLY 524) featuring tracks like “Rock Me Mama.”
- Slim Harpo (James Moore) — Blues Hangover and related sessions including the classic “I’m a King Bee” material.
- Lazy Lester (Leslie Johnson) — They Call Me Lazy (FLY 526) with sides such as “Lester’s Stomp” and “They Call Me Lazy.”
- Lonesome Sundown (Cornelius Green), Silas Hogan, Katie Webster, Clifton Chenier, and Rockin’ Dupsee across multiple volumes that document swamp blues, zydeco, and Louisiana R&B.
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Piedmont and Southeastern blues received special attention under Bastin’s guidance. Releases include field and studio recordings by artists such as Guitar Shorty (Carolina Slide Guitar), Lum Guffin (The Walking Victrola), Frank Hovington, Peg Leg Sam, and various North Carolina and Virginia performers. Compilations such as Carolina Blues, Southern Comfort Country, and Blues Come to Chapel Hill highlight the region’s fingerpicking guitar traditions and medicine-show styles that had been overshadowed by Delta-focused reissues.
Chicago and postwar electric blues are well represented. Important titles include:
- Magic Sam and Otis Rush material from the Cobra era (including alternate takes on sets such as Magic Rocker and The Other Takes 1956–58).
- Junior Wells — Messin’ with the Kid 1957–1963.
- J.B. Lenoir — His JOB Recordings 1951–1954.
- Johnny Shines and Robert Lockwood collaborations.
- Harmonica-focused collections such as Chicago Blues Harmonicas and King Cobras: Chicago Kings of the Harmonica.
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Country blues and pre-war artists appear throughout the catalog. Examples include Mississippi John Hurt (Avalon Blues), Tommy McClennan (Travelin’ Highway Man), Peetie Wheatstraw, Gabriel Brown (Mean Old Blues 1943–1948), Sam Chatmon, Scrapper Blackwell, Shirley Griffith, and Yank Rachell. Field-recording compilations such as High Water Blues (Mississippi and Louisiana material from the late 1960s) further expanded the documentation of rural styles.
New York and other regional R&B series (e.g., New York City Blues, New York Rhythm & Blues, New Orleans Rhythm & Blues volumes) feature artists such as Sticks McGhee, Louisiana Red, Larry Dale, Huey “Piano” Smith, Earl King, and Eddie Bo.
Other Musical Styles
While blues and R&B dominate, Flyright has issued material in related and adjacent genres:
- Jazz — traditional and swing-oriented releases including Ralph Sutton, Harry James, Wingy Manone, Hoagy Carmichael, and British traditional jazz groups (Harry Strutters Hot Rhythm Orchestra and others).
- Gospel — titles by groups such as the Five Blind Boys of Alabama.
- Rhythm & blues and vocal groups — doo-wop and early R&B acts including the Ink Spots, Del-Vikings, and Five Red Caps.
- Occasional contemporary British jazz, rock, and roots recordings, reflecting the founders’ broader interests.
Legacy
Flyright Records stands as one of the most respected specialist blues reissue labels to emerge from the British blues boom. By combining scholarly rigor (detailed notes, regional focus, and previously unissued material) with a collector-oriented approach, it helped correct the historical over-emphasis on Mississippi Delta blues and brought Piedmont, Southeastern, and Louisiana swamp styles to wider attention. The Legendary Jay Miller Sessions alone constitute a major archival achievement. Under Bruce Bastin’s long stewardship, and as part of Interstate Music, Flyright continues to serve researchers, musicians, and enthusiasts seeking authentic documentation of American blues and related vernacular music. Its catalog remains an essential resource for anyone exploring the breadth of mid-20th-century African American recorded music beyond the most famous names.
