Wed 21 May 2014
|Victoria Spivey||My Debt||Buddy Tate Invites You To Dig A Basket of Blues|
|Hannah Sylvester||Basket of Blues||Buddy Tate Invites You To Dig A Basket of Blues|
|Lucille Hegamin||Number 12||Buddy Tate Invites You To Dig A Basket of Blues|
|Victoria Spivey||Grant Spivey||Victoria Spivey & Her Blues|
|Victoria Spivey||New York Moan||Victoria Spivey & Her Blues|
|John Henry Barbee||Early In The Morning||Chicago Blues -A Bonanza All Star Blues|
|Homesick James||Queen's Rock||Chicago Blues -A Bonanza All Star Blues|
|Victoria Spivey||Brown Skin||Three Kings And The Queen|
|Big Joe Williams||No Partnership Woman||Three Kings And The Queen|
|Roosevelt Sykes||This Is A New World||Three Kings And The Queen|
|Lonnie Johnson||Mr Johnson's Guitar Talks||Three Kings And The Queen|
|Lonnie Johnson||Four Shots Of Gin||Three Kings And The Queen|
|Shortstuff Macon||Moanin||Introducing Mr. Shortstuff|
|Shortstuff Macon||Great Big Legs||Introducing Mr. Shortstuff|
|Victoria Spivey||Every Dog Had Its Day||Queen and Her Knights|
|Victoria Spivey||We Both Got To Die||Queen and Her Knights|
|Victoria Spivey & Memphis Slim||I'm A Tigress||Queen and Her Knights|
|Little Brother Montgomery||West Texas Blues||Queen and Her Knights|
|Otis Spann||Ain’t Nobody’s Business||The Bluesmen of the Muddy Waters Chicago Blues Band|
|Victoria Spivey||Trouble Hurts||The Bluesmen of the Muddy Waters Chicago Blues Band|
|Luther Johnson||Creepin’ Snake||The Bluesmen of the Muddy Waters Chicago Blues Band|
|George Smith||Lookout Victoria||The Bluesmen of the Muddy Waters Chicago Blues Band|
|Roosevelt Sykes||Dresser Drawers||Victoria Spivey Presents The All Stars BLUES WORLD of Spivey Records in Stereo
|Victoria Spivey||Black Gal||Victoria Spivey Presents The All Stars BLUES WORLD of Spivey Records in Stereo
|Smokey Hogg||Bells Are Toning||Victoria Spivey Presents The All Stars BLUES WORLD of Spivey Records in Stereo
|Walter Horton||Inter-Mision State||Spivey's Blues Parade|
|Sippie Wallace||I'm A Mighty Tight Woman||Spivey's Blues Parade|
|Victoria Spivey||Jet||Spivey's Blues Parade|
|Lonnie Johnson||Lonnie's Traveling Light||Spivey's Blues Parade|
Spivey Records was a blues record label, founded by blues singer Victoria Spivey and her partner and jazz historian Len Kunstadt in 1961. The label was originally called Queen Vee Records, changing the name to Spivey records the following year. I believe only a couple of 45's were issued under the Queen Vee imprint. Spivey Records released a series of blues and jazz albums between 1961 and 1985. Most sessions took place at New York’s famous Cue Studios, some happened late at night at Victoria and Lenny's home studio while others took place at informal setting like hotel rooms or even at Willie Dixon's home in Chicago. Spivey put out some very eclectic records, with varying quality but through Spivey's connections she managed to get top notch artists to record for her including Big Joe Williams, Lonnie Johnson, Roosevelt Sykes, Otis Spann, Memphis Slim among many others. Spivey died in 1976 but the label continued until the death of Len Kunstadt in 1996. The whole catalog included some forty albums. Today is part one of our selective look at the Spivey label, focusing on the records and sessions done before Spivey passed away. The bulk of the Spivey catalog has never been issued on CD.
Spivey's companion Len Kunstadt was the editor and publisher of Record Research magazine, which he founded in the late 1950's and was Spivey's agent, manager and long time partner. In an interview with Norbert Hess he had this to say: "Victoria knew the musicians and scouted for new talent. This went on for 16 years. In my opinion, from 1961 up to her death in 1976, she was more creative than ever before. Her fantastic way of winning over Willie Dixon and Muddy Waters for our company, and her concern for Bob Dylan. Sometimes I thought she was crazy. I could tell a lot of stories. The musicians would have killed for her. At first, they didn't like her, but after a split second they became her fans up to the very end. She was sometimes a little difficult because she was a genius."
|One of the many ads featured in Record Research magazine. Spivey had a semi-regular column called Blues Is My Business.|
Before summarizing today's featured albums it's worth giving some background on Spivey's career. Spivey learned to play piano and sing when she was quite small, and by age twelve she was performing at the Lincoln Theatre, until the manager discovered she couldn’t read music. She continued to play at house parties and clubs, learning from local musicians such as John Calvin, and occasionally sharing a gig with Blind Lemon Jefferson. By age twenty, she had moved to St. Louis, where she made her first record for OKeh, the legendary "Black Snake Blues." The year 1928 saw Spivey teaming up with Lonnie Johnson to record a number of double-entendre vocal duets that sold quite well, but she continued to write songs and record for OKeh until she took time off to appear in King Vidor’s film Hallelujah in 1929. When she returned to the recording studio in late 1929, she was under contract to Victor. Spivey continued to record throughout the 1930s, for both Decca and Vocalion, and as her recording career ended, she hit the road, traveling with the Olsen and Johnson’s "Hellzapoppin’" troupe, owning a club in East St. Louis, and finally retiring to work in the church. But in the 1960's she came out of retirement to appear at clubs such as Gerdes Folk City. Before forming her label she reunited with Lonnie Johnson appearing on his album Idle Hours for Bluesville in 1961, he in turn backed her on her album Woman Blues and she also appeared on Songs We Taught Your Mother alongside Alberta Hunter and Lucille Hegamin. There was also a session for Folkways in 1962. Beginning in 1962 Spivey wrote a semi-regular column in Record Research called Blues Is My Business.
|Read Liner Notes|
Buddy Tate Invites You To Dig A Basket of Blues, issued in 1962, was the first album on the Spivey label. As Len Kunstadt wrote in the liner notes: "This may well be the very first record company ever organized and owned by a Negro vintage blues queen." The album featured 1920's blues queens Hannah Sylvester, who first recorded in 1923 and Lucille Hegamin who in November 1920 became the second African-American blues singer to record, after Mamie Smith. This is an excellent album with all three ladies in fine form backed by a good band with a horn section that included Buddy Tate, Eddie Barfield and Dick Vance
Victoria Spivey & Her Blues is the second Spivey album, recorded in 1962, and featuring Spivey backed by Eddie Barfield and Pat Wilson who both appear on the previous record. According to the notes: "When Miss Spivey entered the recording studio in February of 1962 she demanded absolute freedom, 'to sing the way she damned please.' …She really had the blues that day and she wanted the recording engineer to capture all of it on tape. Without reservation, she was granted all her demands. This recording session was on the tail end of a tough year for Miss Spivey where sickness, disappointment (both personal and in business) and loneliness had taken its toll. She wrote hundreds of blues in 1961 because she really had them. These were not thought of as for commercial exploitation but were blues written as an escape mechanism for a troublesome world." The Queen is in excellent form on a set of very personal songs; "Grant Spivey" is a dedication to her father, "Talk About Moanin'" is about her early Texas mentor Robert Calvin while "Buddy Tate" is dedicated to her longtime musical friend.
|Read Liner Notes|
According to the notes from Chicago Blues -A Bonanza All Star Blues: "All these blues sounds you will hear were luckily captured at a reunion in honor of Quenn Victoria Spivey by many of he old blues buddies at a real down-to-earth romping blues party with all the clamor of merriment, clinking glasses, shuffling feet, knocks at every door." The recordings were done in Chicago on Spivey's first visit to the city in 25 years and put together by Willie Dixon. The album features great artists like Homesick James, Willie Dixon, St. Louis Jimmy, Sunnyland Slim and others but suffers from poor recording.
The fourth Spivey album was Three Kings And The Queen featuring pianist Roosevelt Sykes, guitarists Lonnie Johnson , Big Joe Williams, and Victoria Spivey on four vocal selections apiece. With the exception of the closing "Thirteen Hours" (which has Spivey joining Sykes for a piano duet) and a pair of Big Joe Williams tracks (which feature the harmonica of Bob Dylan), all of the performances are unaccompanied. This is a strong outing with everyone in good form. This was not Dylan's first recording session as he had already recorded his debut album Bob Dylan for Columbia Records on March 19, 1962. In in 1965 column in Record Research Spivey recollected back to her first meeting with Dylan: "I was just thinking about little BOB DYLAN. The years flashed backed to 1961 when I furst met him at Gerde's Folk City in Greenwich Village, New York City. He was the sweetest kid you would ever want to meet. He would say Moms, this Moms, that Moms, always trying to get my attention. He was a doll. I was so proud of him then because he really had some talent which was just ready to explode. And did it! Just a couple of years later he was on his way to becoming a world idol in his field. …Bob knew about my little record company SPIVEY and my plans to record Big Joe, and he wanted 'in too.' What a sight as little Bob was carrying Big Joe's unusual guitar to the studio! And did they play well together! …Yes, this is Bob before Dame fortune was to reward him for his great talent."
|Otis Spann, Victoria Spivey and Muddy Waters, 1964. Spann holds a copy of the Spivey album Chicago Blues.|
Regarding Short Stuff Macon the liner notes to his Folkways album (Hell Bound And Heaven Sent) had this to say: "Short Stuff has now begun traveling the sparse and fickle concert circuit with Big Joe Williams, who, in a trip back to Mississippi, 'discovered' him, liked his 'deep down' music, remembered his father and mother, and decided to take him with him.” The same year those recordings were made they cut sides for the Spivey label which were issued on the album called Introducing Mr. Shortstuff. He appeared one final time on the album Goin’ Back to Crawford alongside Big Joe and others on a 1971 session.
Queen and Her Knights was the sixth Spivey release, issued in 1965, and features Spivey alongside Lonnie Johnson, Memphis Slim, Sonny Greer and Little Brother Montgomery. This is another strong album featuring Spivey in fine form particularly on the playfully risque "I'm A Tigress", a duet with Memphis Slim. Slim delivers a fine rendition of 'TB Blues" amd Lonnie and Little Brother are in typically good form.
The Muddy Waters band cut two albums for Victoria Spivey's Spivey label: The Bluesmen of the Muddy Waters Chicago Blues Band (1966) and The Bluesmen of the Muddy Waters Chicago Blues Band Vol. 2 (1968). The Muddy Waters records are the only ones I know that have been issued on CD. These came out on the Japanese P-Vine label with several extra tracks. In a column in Record Research after Otis Spann died, Spivey had this recollection of the session: "One day I asked Otis if he would make an LP for my little company. And before I could catch my breath his answer was this, 'you are my mother and nobody better not try to stop me.' I was very happy so we set the date – and he got the band together. And the morning that the recording was to be, at 11 AM, I walked into the Go Go blub and there was my child sitting there with his little head on the table with his own coat over his shoulders. I heard he had been there all night long to make sure he would not disappoint me. Tears almost came to my eyes. We went to the studio with the rest of the boys. They gave me some session. Otis and the band were playing SOME blues and I mean THEY WERE PLAYING!"
Victoria Spivey Presents The All Stars BLUES WORLD of Spivey Records in Stereo was the eleventh record on the Spivey label. The album comprises of sessions recorded at Willie Dixon home in Chicago in 1969 and sessions done in New York in 1970. Dixon is helped out by hs Blues All Stars which include Sunnyland Slim, Johnny Shines, Clifton James and Cryin’ Marie Dixon. Accoring to the notes there's big news: "ATTENTION: SMOKEY HOGG IS NOT DEAD!!" At least that's what Victoria Spivey thought when she "rediscovered" him in Brooklyn, N.Y. and what Len Kunstadt thought when he penned the liner notes for the album. Smokey actually passed in 1960. The imposter was Willie Anderson Hogg. who calimed to have recorded in the pre-war era but these sides for Spivey are his only know legacy.
Spivey's Blues Parade was the twelfth album on the Spivey label recorded in a variety of locations: the Walter Horton track was recorded in an informal session in a New York hotel room while the track featuring Sonny Boy Williamson was recorded in Germany during the 1963 AFBF.