Nashville is not the first (or second, or third) place ordinary folks think about when you mention blues and R&B towns, and probably for good reason.

It’s sort of like asking Chicago about its jazz scene or New Orleans about its New Wave scene: they’ve had ’em, but they’re hopelessly overshadowed in the history books by better-known accomplishments. Music City is destined to be thought of as the place Roy Acuff sang “Wabash Cannonball.”

Or is it? The fine Dutch label Black Magic would like to change all that. They’re in the process of releasing some of the finest work done back in the 50’s and 60’s on legendary labels like Excello, Champion, Poncello, and Hit. First out of the box was Johnny Jones’ “I Was Raised On The Blues”, and now these two new releases shine further light on the town.

Earl Gaines’ 24 Hours A Day comprises nine scattershot singles from 1958-1962 and his long-out-of-print 1966 LP The Best Of Luck To You (released on Hanna- Barbera Records!). There’s an unmistakably sweet, slow, Southern stroll to these songs that put them right in line with the Louisiana R&B of the time. In addition, Gaines had a high, clear voice that put one in mind of a minor league Johnny Adams (not damning with faint praise there, either).

“Sittin’ Here Drinkin'” is a highlight-“Bartender, just bring the bottle” -and “If I Could Hold Back My Tears” is a minor classic, but the second, album half of this CD is marred (though not ruined) by overproduction. And the original masters to these songs, like so many in the South, are lost in time and space, so these songs were mastered from the finished product. Less-than-perfect sound notwithstanding, Gaines’ power comes through.

No such problem on Al Garner and the Roadrunners’ ironically titled Leavin’ Tennessee. This is a new release that reworks old Al Garner Trio hits with a smoking new band comprised of the best of the current Nashville scene. At times, it seems more like a Nashville reunion of sorts, as there’s a number of local celebs here as well. Sonny Tyler and Jimmy Birdsong take some nice vocal turns and Garner covers Gaines’ ‘Three Times Seven” as well as a few other tunes by Ted Jarrett (the Allen Touissant of Music City).

Garner works in many styles, but usually ping-pongs between the elegant shuffle and the smooth, suave ballad. Best of the former is the rogue’s boast “Real Good Man,” an original where AI figures he can’t get elected mayor only because the women in town are a minority. “Her Love Is Killing Me” is the best of the slow numbers, set off brilliantly by Gary Bohannon’s double-tracked leads. The circle completes itself, though, when Earl Gaines arrives for an older and wiser take on his epic “Crankshaft Blues.” No one would want to disavow the rich C&W legacy of Nashville and its environs, but if you want to hear how the other half lives it up, this is what you need.