Entries tagged with “Easy Baby”.



ARTISTSONGALBUM
Joel HopkinsGood Times Here, Better Down The RoadJoel & Lightnin' Hopkins
Joel HopkinsI Ain't Gonna Roll For The Big Hat Man No MoreJoel & Lightnin' Hopkins
Lightnin' HokinsLook Out Settegast, Here Me And My Partner ComeJoel & Lightnin' Hopkins
Lightnin' HokinsWhiskey, Whiskey Joel & Lightnin' Hopkins
Snooks Eaglin Give Me The Old Box-Car Message From New Orleans
Snooks Eaglin Every Day Blues Message From New Orleans
James BrewerI'm So Glad Good Whiskey's BackBlues From Maxwell Street
Arvella Gray Have Mercy Mister PercyBlues From Maxwell Street
Daddy StovepipeMonkey and the Baboon Blues From Maxwell Street
King David Fanny MaeBlues From Maxwell Street
The Black Ace'Fore Day Creep The Black Ace
The Black AceYour Legs' Too Little The Black Ace
Buster PickensJim Nappy Buster Pickens
Buster Pickens The Ma Grinder No. 2Buster Pickens
Joe Carter Treat Me The Way You Do Mean & Evil Blues
Big John Wrencher Special Rider BluesMaxwell Street Alley Blues
Blind Joe Hill Boogie In The Dark Boogie In The Dark
Jimmy s & Little Walter Little Store Blues (Take 1) Chicago Boogie
Sleepy Johnny EstesHarlem Hound Chicago Boogie
Billy BranchHoochie Koochie ManBring Me Another Half-A-Pint
Kansas City Red K.C. Red's In TownBring Me Another Half-A-Pint
Robert RichardMotor City BluesBanty Rooster Blues
Easy Baby So Tired Sweet Home Chicago Blues
Lyin' Joe Holley So Cold in the U.S.A. So Cold in the U.S.A.
Coy “Hot Shot” LoveHot Shot Boogie45
Boll Weevil Blues TrioThings Ain't What They Used To BeSouthside Screamers! Chicago Blues 1948-1958
Dixie Boy & His Combo One More DrinkSouthside Screamers! Chicago Blues 1948-1958
Birmingham Jones I'm GladBirmingham Jones / Kid Thomas: Blues! Harp! Boogie! 1957-1965
Wooddrow AdamsSeventh Son Down South Blues 1949-1961
Little SonnyI Hear My Woman Callin' Harp Suckers: Detroit Harmonica Blues 1948
Elder R. Wilson Better Get Ready Harp Suckers: Detroit Harmonica Blues 1948

Show Notes:

Read Liner Notes

Just about all the artists featured on this program have passed, so it's not often I do tributes of that kind anymore. Lately the notable passings have been the early generation of blues historians, writers, scholars, label owners, producers and promoters who added immeasurably to our knowledge of the blues. We have lost several such men recently including Mack McCormick and Steve LaVere who I paid tribute to last year. This time out we pay tribute to two more, Tony Standish who passed  December 17th of last year and belatedly, George Paulus who passed on November 14, 2014. I never had any interaction with either men, but their recordings on their respective labels were certainly and influence on me and have been featured on several past programs.

Standish ran the short-lived, but influential, Heritage label in the late 50's and early 60's. The label was groundbreaking in being one of the earliest reissues outfits, making available recordings by Papa Charlie Jackson, Blind Lemon Jefferson and Charlie Patton among others.  These recordings have been reissued countless times since and are not the ones we will feature today. Heritage was also groundbreaking in releasing some fantastic field recordings captured by Paul Oliver, Mack McCormick and Henry Oster and those are the recordings we will spin today.

George Paulus was a noted record collector who ran the Barrelhouse label from 1974 through the early 80's as well as it's successor, the St. George label which operated from the early 80's through the early 2000's and issued primarily modern blues and rockabilly. He also released a few bootlegs and one off labels that issued a single releases such as Delta Swing, African Folk Society, Floatin' Bridge and Negro Rhythm. All the labels had an emphasis on spotlighting unheralded Chicago and Detroit blues artists. Both Standish and Paulus were also writers (Standish was the assistant editor of Jazz Journal), not only writing the liner notes to their own releases, but contributing liners to others sets and articles in various periodicals. Some of their writings can be found at the bottom of today's show notes.

Heritage 1001, the first full-length album, was a self-titled split album between Joel Hopkins and Lightnin' Hopkins. The recordings were made by Mack McCormick in 1959 in Houston. Joel was Lightnin's older brother and first gave him a guitar. Joel traveled the south with tent shows and traveling caravans. Lightnin's other brother, John Henry also played guitar. The three were recorded together in Waxahatchie, TX in 1964. The results were issued on Arhoolie under the title Hopkins Brothers: Lightnin', Joel, & John Henry.

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After releasing a series of EP's devoted to reissuing artists like Papa Charlie Jackson, Memphis Minnie and Charlie Patton, Heritage issued new recordings by Snooks Eaglin; there was an EP titled Snooks Eaglin's New Orleans Blues with all these track appearing on the full-length album, Message From New Orleans. These were field recordings  made by Harry Oster circa 1961 in New Orleans. As far as I know these recordings have never been reissued on LP or CD since.

Heritage 1004 was titled Blues From Maxwell Street. Back in 1960 Bjorn Englund, Donad R. Hill and John Steiner documented the blues on Maxwell street by recording some of the street's stalwarts including Arvella Gray, Daddy Stovepipe, King David and James Brewer. The sessions were organized by Paul Oliver who wrote the notes to the original album. The recordings were reissued a few years back on the Document label.

Heritage 1006 was titled The Black Ace with these sessions stemming from two sessions at his Fort Worth home in 1960.The recordings were subsequently issued on Arhoolie. The Ace's real name was Babe Kyro Lemon Turner. "I throwed the 'Lemon' away", he told Paul Oliver," and just used the initials of Babe Kyro – B.K. Turner." Back in the the 1930's and 40's he was well known, at least among black audiences, in Texas, Louisiana and Oklahoma for his regular slot on station KFJZ out of Fort Worth. He cut two sides for the ARC label in 1936 which were never issued but had better luck the following year cutting six sides for Decca in 1937 all of which were released.

In the summer of 1960 Paul Oliver came to the United States with the aid of a State Department grant and BBC field recorder to record blues. As Oliver's journey progressed west he teamed up with Chris Strachwitz and Mack McCormick who had been roaming around Texas looking for blues singers. The recording of Buster Pickens was a result of this collaboration. Pickens lone album for Heritage, the self-titled Buster Pickens, was recorded over several sessions in 1960 and 1961 and released in 1962. It was reissued on album by the Flyright label in 1977. Three years ago I persuaded Document Records to reissue the album (Edwin "Buster" Pickens: The 1959 to 1961) and I had the pleasure of writing the liner notes.

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George Paulus released the first two Barrelhouse albums in 1974: Washboard Willie's Whippin' That Board and Big John Wrencher's Maxwell Street Alley Blues. By the mid 1940's Wrencher had arrived in Chicago and was playing on Maxwell Street and at house parties with Jimmy Rogers, Claude "Blue Smitty" Smith and John Henry Barbee. In the 1950's he moved to Detroit. In 1958 Wrencher lost his left arm as a result of a car accident outside Memphis, Tennessee. By the early 1960's he had settled in Chicago, where he became a fixture on Maxwell Street Market. During the 1960's Wrencher recorded for the Testament label backing Robert Nighthawk, and as part of the Chicago String Band. In 1969 he was recorded by George Paulus and Dick Shurman, backed by guitarist Little Buddy Thomas and drummer Playboy Vinson, who formed his Maxwell Street band of the time resulting in his Barrelhouse debut.

One of the truly great unsung heroes of the Chicago club scene of the 1950's, Joe Carter was a slide-playing disciple of Elmore James. Arriving in Chicago by 1952 it was Muddy Waters who lent Carter the money to purchase his first electric guitar. Shortly thereafter, Joe started up his first group with guitarist Smokey Smothers and Lester Davenport on harmonica, quickly establishing himself as a club favorite throughout Chicago. Carter didn't end up being documented on record until he returned to active playing in the '70's, recording his lone solo album, Mean & Evil Blues, for Barrelhouse in 1976.

Robert Richard learned the guitar and the harmonica with his uncle. Like a lot of other southerners, came to work in the automobile industry in 1942. With his brother Howard he began playing the  Hastings Street clubs. He recorded with Walter Mitchell and pianist Boogie Woogie Red in 1948, then as a sideman on many Detroit recording sessions, particularly with Bobo Jenkins. He waxed some sides under his name for Chess in Chicago but those titles were never issued. Richard gave up music but was rediscovered by George Paulus who recorded him in 1975 and 1977 for the album Banty Rooster.

Alex “Easy Baby” Randle was born in Memphis in 1934. Both his grandmother and uncle were harmonica players. Easy Baby began playing professionally around Memphis as a teenager while doing odd jobs. Playing in the gambling houses and juke joints he befriended Howlin' Wolf, James Cotton, Joe Hill Louis and others. In 1956 he moved to Chicago and throughout the 50's, 60's and 70's played all over the Windy City while working as a mechanic. Easy Baby’s first recording appeared on the anthology Low Blows: An Anthology of Chicago Harmonica Blues with another track appearing on the anthology Bring Me Another Half-A-Pint. His full-length debut was Sweet Home Chicago issued on  Barrelhouse in 1977 (another full-length, Hot Water Cornbread and Alcohol, recorded for St. George in the late 90s, was never released).

Read Liner Notes

We featured a pair of tracks from the aforementioned Bring Me Another Half-A-Pint by the under-recorded Kansas City Red and early cut by Billy Branch. Also featured are some fine sides by little known artists such as Nate Armstrong, Sonny Boy McGhee and Earl Payton.

Blind Joe Hill was a one-man-band who recorded two albums under his own name: one on Barrelhouse (Boogie In The Dark) and one on the L+R label. Hill was part of the 1985 American Folk Blues Festival touring Europe.

There were two tantalizing albums that were titled with cover art completed by Robert Crumb but were never issued: Unknown Detroit Bluesmen Vol. 1 (BH-003) and Ain't No Stopper On My Faucet, Mama! Unknown Detroit Blues (BH-006).

Paulus had  a massive record collection (currently up for auction) filled with rare pre-war and post-war blues. Some of these rarities were issued on Barrelhouse and St. George. In 1969 Paulus, who had been a regular customer at Maxwell Street Record and Radio for several years, bought the surviving lacquers from the Bernard Abrams and his family. He subsequently released all 14 sides on an LP on his Barrelhouse label (in 1974) as Chicago Boogie, then, in improved sound, on his St. George label (1983). In the 1990's, P-Vine licensed the material for release in Japan, leading to an LP and a CD. There were also four albums of rare Detroit blues and gospel form the vaults of record producer Joe Von Battle that were issued on Barrelhouse, St. George and P-Vine..

In 1977-78 Paulus issued four various artist compilations on four different labels: After Midnight: Chicago Blues 1952-1957 (Delta Swing), Down South Blues 1949-1961 (African Folk Society), Birmingham Jones/Kid Thomas Blues! Harp! Boogie! 1957-1965 (Floatin' Bridge) and Going To Chicago: Blues 1949-1957 (Negro Rhythm). In addition there were also some similar unofficial recordings Paulus issued including an unnamed and unnumbered LP of Muddy Waters rarities that became the basis of Vintage Muddy Waters issued on Sunnyland in 1970, an album of Baby Boy Warren's complete recordings (BBW 901) and a 45 by Coy "Hot Shot" Love recorded  at Steve LaVere's Record Shop in Memphis in mid August 1973 ("Hot Shot Boogie, Foxchase Boogie b/w Freight Train Blues" issued as a 45 under the  Mr. Bo Weevil imprint). One other record Paulus produced was by Lyin' Joe Holley in 1977 titled So Cold In The USA issued on the JSP label with four other tracks from the sessions appearing on the JSP anthology Piano Blues Legends.

Related Articles

-Standish, Tony. “Sonny Terry & Brownie McGhee.”Jazz Journal 11, no. 6 (Jun 1958): 1–5.

-Standish, Tony. “Muddy Waters in London. Pt. 2.” Jazz Journal 12, no. 2 (Feb 1959): 3–6.

-Standish, Tony. Speckled Red: The Dirty Dozen. Denmark: Storyville SLP-117, c1960; Denmark: Storyville SLP 4038, 1985.

-Standish, Tony. “Champion Jack Dupree Talks to Tony Standish.” Jazz Journal 14, no. 4 (Apr 1961): 6–7, 40.

-Paulus, George. “Motor City Blues & Boogie.”Blues Unlimited no. 85 (Oct 1971): 4–6.

-Paulus, George. “Will Hairston: Hurricane of the Motor City.” Blues Unlimited no. 86 (Nov 1971): 21.

-Paulus, George. Robert Richard: Banty Rooster Blues. USA: Barrelhouse BH-010, 1977.

-Paulus, George. Blues Guitar Killers: Detroit 1950s. USA: Barrelhouse BH-012, 1977.

-Paulus, George. Easy Baby and His Houserockers: Sweet Home Chicago. USA: Barrelhouse BH-013, 1978; Japan: P-Vine PCD-5206, 1997.

-Paulus, George. Harp Suckers! Detroit Harmonica Blues 1948. USA: St. George STG-1002, 1983.

-Paulus, George. Southside Screamers: Chicago, 1948–58. USA: St. George STG 1003, 1984.

-Paulus, George. “Late Hours with Little Walter.” Blues & Rhythm no. 133 (Oct 1998): 10–12.

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ARTISTSONGALBUM
Garfield AkersCottonfield Blues Pt. 1 & 2Blues Images Vol. 14
Robert Jenkins TrioSteelin' Boogie Pt. 2 St. James' Infirmary Blues
Easy BabyGood Morning Mr. BluesGrab Me Another Half a Pint
Walter Horton Little Walter's BoogieSun Records The Blues Years 1950-1958
John Lee Zeiglar Used To Be Mine, But Look Who Got Her Now Georgia Grassroots Festival
Willie Guy Rainey Temper BluesGeorgia Grassroots Festival
Embry Raines All Night Boogie Georgia Grassroots Festival
Henry ThomasRed River BluesTexas Worried Blues
Josh White Blood Red River Blues Roots of the Blues
Frank EvansRed River BluesMississippi: Saints & Sinners
Little Boy Fuller (Richard Trice) Blood Red River Blues Acoustic Blues: The Roots of it all Vol. 2
Joe SavageTexas Is My HomeAmerican Patchwork
Roosevelt Charles Cane Choppin'Mean Trouble Blues
Robert Pete Williams Texas Blues–When I Was Young Sugar Farm
Eddie Mack w/Cootie Williams Orchestra Things Ain't What They Used To BeEchoes Of Harlem
Eddie Vinson w/Cootie Williams Orchestra Somebody's Gotta GoEchoes Of Harlem
Lucky Millinder & His Orchestra w/ Wynonie HarrisWho Threw The Whiskey In The WellRockin' The Blues
Frank PalmesAint Gonna Lay Ligion Down (TK 2)Blues Images Vol. 14
Blind Joe Reynolds Nehi BluesBlues Images Vol. 14
Big Bill Broonzy and The Western Kid Western BluesBlues Images Vol. 14
K. C. Douglas BluesDeadbeat Guitar And The Mississippi Blues
Big Joe Williams; Brownie McGhee; Lightnin' Hopkins If You Steal My Chickens, You Can't Make 'Em LayBlues Summit
James Brewer I Don't Want No Woman, She Got Hair Like Drops Of RainI Blueskvarter Vol. 1
Mississippi Fred McDowell Meet Me Down In Froggy BottomAnd His Blues Boys
Sylvia Mars Things About Comin' My WayBlues Walk Right In
Sylvia Mars Walk Right InBlues Walk Right In
Big Walter Price Better RunRhythm 'N' Bluesin' By The Bayou
Joe (Mr. 'G') August Strange Things Happening In The Dark Rhythm 'N' Bluesin' By The Bayou
Turner Junior Johnson When I Lay My Burden DownA Treasury Of Library Of Congress Field Recordings

Show Notes:

Blues Calendar 2017Lots of strange and interesting records on tap for today's mix show. We feature several great pre-war blues and gospel sides from the vaults of collector John Tefteller, we spin a batch of great harmonica blues, spotlight a couple of long-out-of-print albums, we trace the history of the blues classic "Red River Blues", play some big band blues, showcase some fascinating field records plus much more.

Every year around this time John Tefteller, through his Blues Images imprint, publishes his Classic Blues Artwork Calendar with a companion CD that matches the artwork with the songs. The CD’s have also been one of the main places that newly discovered blues 78’s turn up. This year marks the fourteenth year of the calendar and CD's and once again Tefteller has turned up some unheard gems. As Tefteller writes: "There are two songs on the CD by Blues legend Big Bill Broonzy – both had not been heard since they were first released in 1930. Because the original master of Gennett  7320, one of the earliest release in his long career, was destroyed decades ago, all that was known were the titles, as not even a single copy of "I Can't Be Satisfied"/"Western Blues" seemed to exist in the hands of any collector anywhere. …Not until and eagle-eyed expert from Europe spotted photographs of both sides of the record label on my own Blues Images website did I realize I had in my possession the one copy left in the whole wide world!"

Several years ago Tefteller uncovered a huge cache of Paramount promotional material. Paramount marketed their "race records", as they were called, to African-Americans, most notably in the pages of the Chicago Defender, the weekly African-American newspaper, and sent promotional material to record stores and distributors. In later years they created artwork to advertise their records for mail order. Tefteller bought a huge cache of this artwork from a pair of journalists who rescued them from the rubbish heap some twenty years previously and  has been reprinting the artwork in his annual calendars. Tefteller's reissue are not only noteworthy for the newly discovered records and ads but also for the quality of the mastering which make these old, often battered 78's sound so good. In the past the mastering was done by Richard Nevins of Yazoo records. Starting with last year a brand new method has been used to make these records sound even better. The method is a mix of using old equipment and new computer technology. This technology will also be used in  a series to air on PBS and BBC called American Epic which will be devoted to early American music and will be coming to the airwaves this year.

We spin a batch of great harmonica blues today by Walter Horton, Easy Baby and Robert Jenkins. The Jenkins sides were issued on Parkway, one of those small Chicago postwar blues labels that developed a legendary reputation based on a handful of recorded sides. In all, the label was in business for little more than 4 months and produced only 23 recordings, of which 14 were released at the time—four by the Baby Face Leroy Trio, four by the Little Walter Trio, two by Memphis Minnie, two by Sunnyland Slim, and two by harmonica-blowing Robert Jenkins. There's a fair bit bit of speculation that the harmonica player on these sides might be Little Walter. I'm no harp expert so I'll leave it up to the listener to decide.

The blues is littered with great albums that have never made to CD and likely will never be reissued. Today we play tracks from the album Georgia Grassroots Music Festival, a festival billed as "a celebration of the South's musical heritage" and which still goes on today. The recordings on this album were captured in 1976 and 1977 and produced/edited by George Mitchell. The other album we feature is Blues Walk Right In by a wonderful singer named Sylvia Mars. The recordings were made by folklorist Harry Oster in 1960. The album itself has never been reissued and no tracks that I know of have ever been anthologized.

The Red River made famous in song runs from Texas, where it forms part of Texas’ northern border with Oklahoma and Arkansas, into Arkansas, and from there into Louisiana. The earliest recorded version of “Red River Blues” is from 1924, and was recorded by Lottie Beaman. Charlie “Dad” Nelson recorded “Red River Blues” accompanying himself on 12-string guitar in 1926, Henry Thomas recorded it in 1928 and Buddy Moss recorded “Red River Blues” at his first solo session in 1933. Josh White’s 1933 version of the song, which he called “Blood Red River” was to prove very influential, especially among East Coast players. Richard Trice as Little Boy Fuller recorded "Blood Red River Blues" in 1947. One version we spin today is by Frank Evans, recorded in 1936 in the infamous Parchman Farm for the Library of Congress. Many other have recorded the song including Sonny Terry & Brownie McGhee, Leadbelly, Jesse Fuller, Lil Son Jackson, John Jackson and others.

Henry Thomas: Red River BluesAmong the field recordings today are selections from Joe Savage, Roosevelt Charles, Turner Junior Johnson and Lonnie Frazier. From 1978 to 1985 Alan Lomax traveled the American South and Southwest with a television crew to document regional folklore with deep historical roots. The resulting 500 hours of footage became the five-program series American Patchwork ,which aired on PBS in 1991. From that footage we hear Joe Savage who was a former muleskinner and Parchman Farm inmate. This was shot by Alan Lomax, Worth Long, and John Bishop, September 2, 1978, on the levee in Greenville, Mississippi. Savage recorded again in 1980 as part of the Living Country Blues series.

Roosevelt Charles was classified a habitual criminal and spend most of his adult life in prison. Charles was recorded extensively by folklorist Harry Oster both in Agola Prison and on the outside in 1959 and 1960. A full album of his recordings appeared on Vanguard (issued as Blues, Prayer, Work And Trouble Songs ? and Mean Trouble Blues) which is long out of print with other cuts showing up on various anthologies. Many of his sides remain unissued. Oster considered Charles one of his most gifted finds.

Turner Junior Johnson and Lonnie Frazier were both recorded for the Library of Congress. Johnson was a blind street singer and harmonica player recorded in 1942 for the Library of Congress.  It was during the same trip that Muddy Waters and Son House were recorded. I know nothing of Lonnie Frazier who Alan Lomax recorded in Detroit in 1938. I assume Frazier was related to Calvin Frazier who Lomax recorded in Detroit the same year.

Many blues singers and instrumentalists got their early experience working in big bands or employed these bands to back them on record. We spotlight two prominent bands today, with a full show sometime down the road; both Cootie Williams and Lucky Millinder were two such New York based bands that were very much blues based and  saw lots of talent flow their ranks. Cootie's band  employed Charlie Parker, Eddie "Lockjaw" Davis, Bud Powell, Eddie Vinson, Eddie Mack and other young players. Millinder worked with the likes of Sister Rosetta Tharpe, Bill Dogget, Wynonie Harris, Bull Moose Jackson, Tab Smith,  Eddie "Lockjaw" Davis and "Sir" Charles Thompson. Today we feature both bands with vocalists Eddie Vinson, Eddie Mack and Wynonie Harris.

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ARTISTSONGALBUM
Easy Baby Good Morning Mr. Blues Grab Me Another Half Pint
Easy Baby So Tired Sweet Home In Chicago
Easy Baby Madison Street Boogie Sweet Home In Chicago
Kansas City Red Standing Around CryingOriginal Chicago Blues
Kansas City Red K.C. Red's In TownGrab Me Another Half Pint
Big John Wrencher Tell Me Darling 45
Big John Wrencher Trouble Makin' Woman 45
Big John Wrencher Runnin' Wild 45
Joe Carter It Hurts Me Too Mean & Evil Blues
Joe Carter I'm WorriedMean & Evil Blues
Kansas City Red Lula Mae Old Friends
Kansas City Red Lightnin' Struck The Poor House Old Friends
Easy Baby Last Night Sweet Home In Chicago
Easy Baby Call Me Easy Baby If It Ain't One Thing, It's Another
Easy Baby If It Ain't One Thing, It's Another If It Ain't One Thing, It's Another
Kansas City Red Moon Is Rising Down On The Levee: The Piano Blues of St. Louis 2
Kansas City Red Mean Black SpiderOriginal Chicago Blues
Big John Wrencher Maxwell Street Alley Blues Maxwell Street Alley Blues
Big John Wrencher Can't Hold Out Much Longer And This Is Maxwell Street
Big John Wrencher I'm A Root Man Big John's Boogie
Joe Carter Anna LeeThat Ain't Right
Joe Carter Treat Me The Way You Do Mean & Evil Blues
Easy Baby She's 19 Years Old Sweet Home In Chicago
Easy Baby You Gonna Miss Me Sweet Home In Chicago
Big John Wrencher Conductor Took My Baby To Tennessee Maxwell Street Alley Blues
Big John Wrencher Rockin' Chair Blues Maxwell Street Alley Blues
Big John Wrencher Rough/Tough Boogie Maxwell Street Alley Blues
Chicago String Band w/ Big John Wrencher Don't Sic Your Dog On Me Chicago String Band

Show Notes:

Easy Baby: Sweet Home Chicago
Read Liner Notes

On today's program we spotlight a quartet of fine, if unheralded, bluesman who were active on the Chicago blues scene of the 1960's and 1970's Today we spotlight two superb harmonica men: Easy Baby and Big John Wrencher. Easy Baby was singing and playing the blues since the 50's, first in Memphis then Chicago, but didn't make his recorded debut until the mid-70's. He cut a small but impressive legacy which we feature today. Wrencher cut a few scattered sides in the 60's before making a a terrific album in 1969 and some strong sides in the 70's Much less documented on record are singer/drummer Kansas City Red who snag with Robert Nighthawk in the 40's but cut only a handful of sides staring in the 70's. Joe Carter was a powerful Elmore James inspired guitarist who cut a lone record in 1975 and a few other scattered sides. The artists featured today worked together in various combinations, all recorded in the 70's for George Paulus' Barrelhouse label and none achieved much in the way of star billing.

Alex “Easy Baby” Randle was born in Memphis in 1934. Both his grandmother and uncle were harmonica players. Easy Baby began playing professionally around Memphis as a teenager while doing odd jobs. Playing in the gambling houses and juke joints he befriended Howlin' Wolf, James Cotton, Joe Hill Louis and others. In 1956 he moved to Chicago and throughout the 50's, 60's and 70's played all over the Windy City while working as a mechanic.

Not long after Easy Baby wen to Chicago he meet his idol, Littltle Walter, at Ricky’s Show Lounge. After sitting in with Walter the two became friends and Walter showed him quite a bit on harp. Easy did a stint with Muddy Waters and had his own band which usually included Smokey Smothers on guitar,Baby Dimples on drums and George Austin on guitar. Over the years the personnel changed and included Jo Jo Williams and Willie “Big Eyes” Smith. Between 1962 and 1974 he worked in a band with guitarist “Big Red” Smith on Chicago’s West Side.

Easy Baby’s first recording appeared on the anthology Low Blows: An Anthology of Chicago Harmonica Blues with another track appearing on the anthology Bring Me Another Half-A-Pint. His full-length debut was Sweet Home Chicago issued on George Paulus' Barrelhouse label in 1977 with the band consisting of Eddie Taylor, el g; Mac Thompson, b; Kansas City Red, dr. Easy performed at the 1998 and 2000 Chicago Blues Festivals and recorded one more superb album, If It Ain't One Thing, It's Another for Wolf in 2000.He recorded a few more sides in 2001 that appeared on the anthology Harmonica Blues Orgy on the Random Chance label. He passed in 2009.

Big John Wrencher: Maxwell Street Alley BluesJohn Thomas Wrencher was born in Sunflower, Mississippi. He became interested in music as a child, and taught himself to play harmonica at an early age, and from the early 1940's was working as an itinerant musician in Tennessee, Missouri, Indiana, and Illinois. By the mid 1940's he had arrived in Chicago and was playing on Maxwell Street and at house parties with Jimmy Rogers, Claude "Blue Smitty" Smith and John Henry Barbee. In the 1950's he moved to Detroit, where he worked with singer/guitarist Baby Boy Warren, and formed his own trio to work in the Detroit and Clarksdale, Mississippi areas.

In 1958 Wrencher lost his left arm as a result of a car accident outside Memphis, Tennessee. By the early 1960's he had settled in Chicago, where he became a fixture on Maxwell Street Market, in particular playing from 10am to 3pm on Sundays. In 1964 he appeared in a documentary film about Maxwell Street, titled And This Is Free; performances by Wrencher recorded in the process of making the film were eventually issued on the three CD set And This Is Maxwell Street.

During the 1960's Wrencher recorded for the Testament label backing Robert Nighthawk, and as part of the Chicago String Band. In 1969 he recorded for Barrelhouse Records, backed by guitarist Little Buddy Thomas and drummer Playboy Vinson, who formed his Maxwell Street band of the time resulting in the album, Maxwell Street Alley Blues. Wrencher toured Europe with the Chicago Blues Festival in 1973 and with the American Blues Legends in 1974, and during the latter tour recorded an album in London for the Big Bear label, backed by guitarist Eddie Taylor and his band. During a trip to Mississippi to visit his family in July 1977, Wrencher died suddenly of a heart attack in Wade Walton's barber shop in Clarksdale, Mississippi.

Arthur Stevenson was born in Drew, Mississippi and owed his Kansas City sobriquet to a brief trip to that city after being rejected from the service in 1942. His first musical inspiration was David “Honeyboy” Edwards and by the early 1940’s he was hanging around with Robert Nighthawk. One night the band’s drummer took ill right before a gig and he offered to fill in despite never having played drums before. He ended up playing drums for Nighthawk until around 1946. After his split with Nighthawk he briefly hooked up with Honeyboy Edwards. He had uncanny knack for hustling gigs and began singing by this period. In the 50’s he formed a band with Earl Hooker and pianist Ernest Lane.

Kansas City Red moved to Chicago in the 50’s, occasionally sitting in with Muddy Waters. He formed a group with Walter Horton that included Johnny Young and Johnny Shines. During this period he played with Robert Lockwood Jr., Eddie Taylor, Jimmy Reed, Floyd Jones, Blind John Davis, Elmore James and others. Starting with the Club Reno, he managed a number of Chicago bars and owned a couple as well.

Bring Me Another Half-a-PintThrough the 70’s and 80’s Kansas City Red held down stints at a number of Chicago clubs. His recorded legacy is slim with a handful of sessions for Barrelhouse, JSP and Earwig. Sides by him appear on the above mentioned anthology,  Bring Me Another Half-A-Pint, a few tracks on the album Original Chicago Blues (the other sides by Joe Carter) and the album called Old Friends featuring Honeyboy Edwards, Walter Horton and Floyd Jones. His last major engagement was at the 1991 Chicago Blues Festival where he finally received some overdue recognition. He died of cancer on his 65th birthday May 7, 1991.

One of the truly great unsung heroes of the Chicago club scene of the 1950's, Joe Carter was a slide-playing disciple of Elmore James. Born in Georgia, Carter came under the early tutelage of local player Lee Willis, who showed the youngster various tunings and how to use a thumb pick. Arriving in Chicago by 1952 it was Muddy Waters who lent Carter the money to purchase his first electric guitar. Shortly thereafter, Joe started up his first group with guitarist Smokey Smothers and Lester Davenport on harmonica, quickly establishing himself as a club favorite throughout Chicago. Sadly, Carter never recorded with this group, or any other configuration, during his heyday. A contract with Cobra Records was offered (with a young Freddie King being added in the studio to his regular group), but Joe declined, as he felt the money would in no way equal what he was pulling down in club work.

Carter didn't end up being documented on record until he returned to active playing in the '70's, recording his lone solo album, Mean & Evil Blues, for the Barrelhouse label in 1976. Other sides appeared on the album Original Chicago Blues  and on an anthology of Ralph Bass recordings titled That Ain't Right. Carter retired from playing in the late '80's after a bout with throat cancer. He died in Chicago in 2001.

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