Annie's answers are below, and we note in particular her very detailed comments on the differences between Green Bullet and Astatic mics (a subject of great interest to many blues players), as well as her favorite records, a virtual catalog of blues must-haves. We thank Annie for this gift to harmonica players everywhere.

1) Little Walter: The Essential Little Walter

2) Big Walter Horton: Offer You Can't Refuse

3) Sonny Boy Williamson (eponymous double LP)

4) Jimmy Rogers: Chicago Bound
Jimmy Rogers was a guitarist and vocalist but the harmonica playing of Little Walter and Big Walter on this album is supreme. Also supreme is Kim Wilson's playing on Rogers's live album, Ludella. Muddy Waters's The Best of Muddy Waters is another great album, with Little Walter showing us how it's done.

5) Slim Harpo: Best of Slim Harpo (The one with "Tip On In", "Ti Na Ni Na Nu", "Good Thing" and "Keep What I've Got.")
This album is a primer of position laying, demonstrating simple, catchy melodies in a laid-back style.

6) Charles Leighton: Old Standard Songs
This is available only on cassette, so far as I know; contact F&R Farrell. [Richard Hunter note: see the link to F&R Farrell on our harmonica links page ]. Charles Leighton is my all-time favorite chromatic player, and one of my favorite musicians to listen to. His tone is unbelievable - even, round, and superbly resonant. He conveys beautiful melodies like "Please" and "Stardust" with pure reverence. (Richard Hunter notes: in mid-1999 I attended a meeting of the New York Top Brass harmonica club, a loose aggregation of players hosted by Wade Schuman and Rob Paparozzi, at which Annie Raines and Charles Leighton were also in attendance. Leighton played "Body and Soul" that night more beautifully than I have ever heard it played by anyone, regardless of instrument.)

Studio: In the studio I use a Fender "brown" Princeton or a 2x10 tweed Super (actually a '54 Bassman head, hooked up to 2 blue Jensen speakers in a tweed cab. The electronics for the early Bassmans and Supers were identical). For effects I use a tube-driven Echoplex (tape delay) and some reverb off the board. This effect is nearly duplicable with a Boss RV-3 (reverb) pedal, which I use on live gigs.

Microphones:
Acoustic: Onstage, usually a Shure SM58 for acoustic playing, and I don't know what all in the studio.
Amplified: On my new CD with Paul Rishell, I used a Shure Green Bullet for some songs ("Moving to the Country", "Good Women Have Bad Days") and an Astatic JT-30 (worked on by Dennis Gruenling, who did a fantastic job) on the instrumental "Sweet Tooth". On Paul's and my last CD, I Want You To Know, I had a beautiful Astatic 200-S (gold, long-stemmed with an on/off switch) that died right after we finished recording. The Green Bullet is good for a raunchy, in-your-face sound, but in my opinion it gets boring after awhile because the tone of it never changes. I prefer Astatics with crystal elements. Although they are more vulnerable to breakage than Green Bullets, they have a milkier, warmer sound that is kinder to the ears. Also, their sound changes as your body temperature changes, giving you more dramatic range throughout the show. If you want a sound with balls, use a green bullet. If you want a sound with soul, use an Astatic.