1970’s Blues


ARTISTSONGALBUM
Champion Jack DupreeReminiscin' With Champion JackChampion of the Blues
Champion Jack DupreeStoryville SpecialBoogie Woogie, Booze And Wild Women
Champion Jack DupreeDrive 'em Down SpecialTwo Fisted Piano From New Orleans: Blues Roots Vol. 8
Speckled RedI Had My FunBlues Masters 11: Speckled Red
Speckled RedFour O'Clock BluesBlues Masters 11: Speckled Red
Speckled RedEarly Morning Blues Blues Masters 11: Speckled Red
Lonnie Johnson & Otis SpannClementine BluesSwingin' with Lonnie: Blues Roots Vol. 5
Lonnie Johnson & Otis SpannSee See RiderSwingin' with Lonnie: Blues Roots Vol. 5
Sleepy John Estes with Hammie NixonDiving Duck BluesPortraits In Blues Vol. 10
John Henry BarbeeI Ain't Gonna Pick No More CottonI Ain't Gonna Pick No More Cotton
Sippie Wallace & Little Brother MontgomeryWoman Be WiseSippie Wallace Sings The Blues
Sippie Wallace & Little Brother MontgomeryI'm A Might Tight WomanSippie Wallace Sings The Blues
Big Joe WilliamsShake Them DownBig Joe Williams
Robert Pete WilliamsDoctor BluesRobert Pete Williams
Otis SpannT.B. BluesOtis Spann: I Have Had My Fun - Blues Roots Vol. 9
Otis SpannSpann's BoogieOtis Spann: I Have Had My Fun - Blues Roots Vol. 9
Big Bill BroonzyI Get The Blues When It RainsAn Evening With Big Bill Broonzy Vol. 2
Big Bill BroonzyBlack Brown And WhiteAn Evening With Big Bill Broonzy
Sunnyland SlimPrison Bound Blues Sunnyland Slim: Blues Roots Vol. 9
Roosevelt SykesThe Way I Feel Roosevelt Sykes: Portraits In Blues Vol. 11
Roosevelt SykesBoot That ThingRoosevelt Sykes: Portraits In Blues Vol. 11
Sonny Boy WilliamsonThe Sky Is CryingKeep It to Ourselves
Sonny Boy WilliamsonRebecca BluesPiano Blues
Little Brother MontgomeryI Must Get Mine In FrontDeep South Piano
Little Brother MontgomeryBob Martin BluesDeep South Piano
Sonny Terry with Brownie McGhee I'm Afraid Of FireWizard Of The Harmonica
Brownie McGhee My Last SuitThe Best Of Brownie McGhee
Memphis Slim This Is A Good Time To Write A Song Memphis Slim: Blues Roots Vol. 10

Show Notes:

Big Bill BroonzyOn today's program we spotlight a great batch of recordings from the Storyville label based in Copenhagen. Storyville managed to corral  many of the great blues performers who made their way to Europe staring in the latter end of the 1950's and which increased as the American Folk Blues Festival brought many more to European shores throughout the 1960's. I have always been impressed with the quality of the albums Storyville issued. Artists like Champion Jack Dupree, Memphis Slim and Sonny Terry & Brownie McGee, for example, recorded prolifically for many labels often churning out less than inspired recordings in their later years but Storyville had a knack for eliciting great performances from even the most jaded artists and the fact is that the Storyville albums maintain a consistently high level of quality. In addition to the original recordings, Storyville also released albums of recordings by Harry Oster and Pete Welding.

The year was 1950 when a group of jazz enthusiasts/record collectors often met at the home of Karl Emil Knudsen. Among those present were Heinrich Breiling and the young clarinet phenomenon Henrik Johansen. The label was launched in Copenhagen in 1952 with Knudsen eventually taking over full responsibility of the label. Storyville originally sold imported American records but when American jazz artists began to tour in Europe and Scandinavia Knudsen seized every opportunity to record them for the label. The label's first releases were 78 rpm reissues featuring Ma Rainey, Clarence Williams Blue Five, and James P. Johnson, but Storyville soon began releasing original recordings. Looking back on the period of 1956 to 1964, and to a lesser extant into the early 70's, Storyville’s recorded quite a bit of blues. The first great blues singer to arrive in Copenhagen was Big Bill Broonzy in 1956 and recorded by the label. Many blues artists toured Europe as part of the American Folk Blues Festival, which originally ran for a decade between 1962 and the early 70's. Storyville recorded the artists in the wee hours after they had played the evening concert. The label recorded many of the bluesmen who settled down and lived and performed in Europe including Memphis Slim, Champion Jack Dupree and Eddie Boyd. The label seemed to have a special affinity for piano players, cutting several albums by Champion Jack Dupree plus sessions by Speckled Red, Little Brother Montgomery, Memphis Slim, Roosevelt Sykes, Sunnyland Slim and Eddie Boyd. Others who recorded for the label include Robert Pete Williams, Big Joe Williams, Lonnie Johnson, Sonny Terry & Brownie McGhee, Sonny Boy Williamson and others. A good chunk of the material has been made its way to CD including the 7-CD set, The Blues Box. The Storyville discography can be a bit confusing as the label repackaged, and re-titled their albums through the years.

Champion Jack DupreeAs mentioned previously, there's a wealth of great piano blues recorded by the label.  Champion Jack Dupree moved to Europe in 1959, first settling in Switzerland and then Denmark, England, Sweden and, finally, Germany. He record prolifically for Storyville, British Decca, Blue Horizon, Sonet and others. Dupree moved to Europe in 1959, first settling in Switzerland and then Denmark, England, Sweden and, finally, Germany. He record prolifically for Storyville, British Decca, Blue Horizon, Sonet and others. Dupree cut 45's, EP's and several albums for Storyville including Champion of the Blues, The Best Of The Blues, Portraits in Blues Vol. 5, The Blues Of Champion Jack Dupree and several others.

Speckled Red first recorded in 1929, cutting his classic "The Dirty Dozens" among others. He did another session in 1930 and a final one in 1938. Charlie O'Brien, a St. Louis policeman and something of a blues aficionado had tracked down old bluesmen during the 1950s, including Speckled Red on December 14, 1954, who subsequently was signed to Delmark Records as their first blues artist. In 1960 he was booked to tour Europe. On June he toured Scandinavia where he recorded for Storyville.

Little Brother Montgomery saw his career pick up in the 1960's and he became a world traveler, visiting the UK and Europe on several occasions during the 1960's, cutting several albums there, while remaining based in Chicago. He cut one of his best latter day albums in 1972 for Storyville titled Deep South Piano. Montgomery can also be heard playing behind Sippie Wallace on the Storyville album Sippie Wallace Sings The Blues recorded in 1966 when when she was touring with the American Folk Blues.

Other piano players who recorded for Storyville were Otis Spann, Roosevelt Sykes, Memphis Slim, Sunnyland Slim and Eddie Boyd. Roosevelt Sykes was recorded for Storyville while on tour for the 1964 American Folk Blues Festival. Memphis Slim first appeared outside the United States in 1960, touring with Willie Dixon, with whom he returned to Europe in 1962 as a featured artist in the first of the series of American Folk Festival concerts. in 1962. That same year, he moved permanently to Paris where he secured his position as one of the most prominent blues artists for nearly three decades. He recorded the album Traveling With The Blues for Storyville in 1960 plus some other scattered sides for the label. Otis Spann recorded an album for the label as well as backing Lonnie Johnson on a fantastic session. Both men were on tour for the 1963 American Folk Blues Festival at the time.

Sonny Boy Williamson: Portrait In Blues Vol. 4Big Bill Broonzy was the first blues singer to be recorded by Storyville. In 1951, Broonzy took his first tour of Europe, where he was met with enthusiasm and appreciation. His appearances in Europe introduced the blues to European audiences and were especially influential in London’s emerging skiffle and rock blues scene. Broonzy’s success also set the stage for later blues artists such as Sonny Boy Williamson II and Muddy Waters to play European venues. Broonzy toured Europe again in 1955, 1956 and 1957. Broonzy was recorded live at Club Montmartre in Copenhagen and these recordings were issued on Storyville as An Evening With Big Bill Broonzy Vol. 1 & 2.

Other blues singers recorded for the label include Sonny Boy Williamson II, Big Joe Williams, John Henry Barbee, Sleepy John Estes & Hammie Nixon, Sonny Terry & Brownie McGhee and Robert Pete Williams. Sleepy John Estes and Hammie Nixon were recorded for Storyville while both were on tour for the 1964 American Folk Blues Festival while  Big Joe and Robert Pete Williams were recorded for Storyville while both were on tour for the 1972 Festival. Both Brownie McGhee and Sonny Terry cut excellent albums in the early 70's for Storyville each accompanying each other. Sonny Boy Williamson first traveled to Europe as part of the American Folk Blues Festival in 1963 and joined the Festival again in 1964. He recorded a wonderful session for Storyville in 1963 backed by Matt Murphy, Memphis Slim and Billie Stepney.

John Henry Barbee cut an exceptional album for the label and has a fascinating but tragic story. Barbee recorded recorded for Vocalion in the early fall of 1938 where he made the trip to Chicago and recorded four titles. His initial record sold well enough to cause Vocalion to call on Barbee again, but by that time he had left his last known whereabouts in Arkansas. Barbee returned to the blues scene during the midst of the blues revival. His earliest sides are from 1963 recorded at the Chicago club the Fickle Pickle. n 1964 he joined the American Folk Blues Festival and was recorded several times that year: songs by him appear on a pair of albums on the Spivey label, several tracks were recorded while in Europe as well as a an excellent full-length album for Storyville issued as Portraits in Blues Vol. 9. and appears on John Henry Barbee & Sleepy John Estes: Blues Live. In a case of tragic circumstances, Barbee returned to the United States and used the money from the tour to purchase his first automobile. Only ten days after purchasing the car, he accidentally ran over and killed a man. He was locked up in a Chicago jail, and died there of a heart attack a few days later, November 3, 1964, 11 days before his 59th birthday.

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ARTISTSONGALBUM
Michael SpörkeInterview
Big Mama ThorntonCotton Picking BluesThe Complete 1950 1961
Big Mama ThorntonI Smell A RatHound Dog: The Peacock Recordings
Big Mama ThorntonRock-A-Bye BabyHound Dog: The Peacock Recordings
Big Mama ThorntonYes, BabyHound Dog: The Peacock Recordings
Big Mama ThorntonHound DogHound Dog: The Peacock Recordings
Big Mama ThorntonMy StoryThe Complete 1950 1961
Big Mama ThorntonStop Hoppin' On MeHound Dog: The Peacock Recordings
Big Mama ThorntonThey Call Me Big MamaThe Complete 1950 1961
Big Mama ThorntonOne More River Saved
Big Mama ThorntonBig Mama's Coming HomeThe Complete 1950-1961
Big Mama ThorntonLife Goes OnAll Night Long They Played The Blues
Big Mama ThorntonBall N' Chain Ball And Chain
Big Mama ThorntonLittle Red RoosterLive In Europe
Big Mama ThorntonMy Heavy Load Ball And Chain
Big Mama ThorntonSession BluesIn Europe
Big Mama ThorntonI'm Feeling Alright With The Muddy Waters Blues Band)
Big Mama ThorntonLooking The World OverIn Europe
Big Mama ThorntonEverybody's Happy But MeSassy Mama!
Big Mama ThorntonJailJail
Big Mama ThorntonThat Lucky Old SunLive At Ann Arbor 1970
Big Mama Thornton Unlucky GirlBall And Chain
Big Mama ThorntonRock MeGunsmoke Blues

Show Notes:

Big Mama ThorntonWillie Mae "Big Mama" Thornton is probably best remembered for two songs that became huge for Elvis and later Janis Joplin. "Hound Dog" held down the top slot on Billboard's R&B charts for seven weeks in 1953 and Elvis had an even bigger hit with it in 1956. Joplin covered "Ball and Chain" on her debut album which became a million seller. Thornton moved to Houston where she signed with Don Robey's cutting some terrific sides but no hits to match "Hound Dog." After Houston she settled in California where she cut a few singles and struggled playing small club dates. After new management she began to play festivals including the American Folk Blues Festival and cut some fine albums for Arhoolie. She cutting records for Mercury and Vanguard through the 70's and touring up until her death in 1984. Today we feature Big Mama's music and hear my interview with Michael Spörke who has written the biography Big Mama Thornton: The Life and Music.

As Spörke writes: "Willie Mae moved in the house of relatives in Barbour County Alabama, and found herself a job washing and cleaning spittoons in the local tavern. One night the tavern's regular;r vocalist go drunk so Willie Mae convinced the tavern owner that she could do the job. She never looked back after that." As she related to writer Ralph Gleason: "I like my own old down home singing, with the feeling.I learned to sing blues by myself. …My singing comes from experience, my own feeling. I got my own feeling for everything. I never had no one teach me nothing. I never went to school for music or nothing. I stayed home to take care of my mother who was sick. I taught myself to sing and to blow harmonica and even to play the drums by watching other people. I can't read music but I know where I'm singing! If I hear a blues I like, I try to sing it in my own way. It's always best to have something of your own. I don't sing like nobody but myself." Her big break came through singer Diamond Teeth Mary who met Willie Mae when she was working on a garbage truck and  happened to hear her singing. Mary told her about a singing contest for Sammy Greens Hot Harlem Revue. At fourteen years old, she won the contest and began traveling with the Revue.

Thornton’s career began to take off when she moved to Houston in 1948.She made her debut in 1950 cutting "All Right Baby b/w Bad Luck Got My Man" for the tiny E&W label on Houston's Dallas Avenue. She signed a a five year recording contract with Don Robey's Peacock Records in 1951. Thornton played at Robey's Bronze Peacock club and toured the Big Mama Thornton AdChitlin' Circuit. Thornton cut some solid records before "Hound Dog", such as "Cotton picking Blues" and  "Let Your Tears Fall Baby" but nothing hit the charts. Robey negotiated a deal with Johnny Otis in which he would take some of Robey's artists on tour with the revue and that he would also record them. Sh was apparently a big hits as the Chicago Defender proclaimed that Thornton "stopped the show in the Tacoma, Oakland and Richmond auditoriums, as well as in Stockton, Sacramento, Bakersfield and the Elks Auditorium in Los Angeles." While on tour with Otis she cut "Hound Dog." The son was written by Jerry Leiber and Mike Stoller especially for Thornton. Otis brought Leiber and Stoller  to see her to see if they could come up with something for her. As Stoller recalled:  "we saw Big mama and she knocked me cold. she looked like the biggest, bad-ass, saltiest chick you would ever see. And she was mean, a 'lady bear' as they used to call 'em. She must have been 350 pounds and she had all these scars all over her face. I had to write a song for her that basically said 'Go fuck yourself' but how do you do it without actually saying it? ..She was a wonderful blues singer with a great moaning style, but it was as much her appearance as her blues style that influenced the writing of Hound Dog." The song went to number one on the R&B charts and was the biggest record Peacock ever had.

Unable to follow the success of  "Hound Dog" she left peacock in 1957 and relocated to the San Francisco Bay Area, playing clubs in San Francisco and L.A. but not recording again until 1961. In 1961 she waxed 45's for Irma and Bay Tone. During the latter session she cut "Ball and Chain" but was not released. Her fortunes took an upswing with new manager Jimmy Moore and "the big festivals and shows came back into Big Mama Thornton's life…" Her first big festival shows the 1964 Monterey Jazz Festival which she would play again in 1966 and 1968. In 1965, she toured with the American Folk Blues Festival package in Europe. As Spörke writes: "Big Mama was always put on at the end of each show. She was the highlight." During the festival she got the chance to record an album for Chris Strachwitz's Arhoolie label. Big Mama In Europe featured an all-star backing band that included Buddy guy, Mississippi Fred McDowell, Walter Horton, Eddie Boyd and others.

Back in the States after her European tour she cut a few singles for Sotoplay, Kent and the terrific "Life Goes On" for Galaxy. In 1966 she cut her second album for Arhoolie, Big Mama Thornton Vol. 2: The Queen at Monterey with the Chicago Blues Band. The album found her backed by a crack Muddy Waters band that included James Cotton, Sammy Lawhorn and Otis Spann among others. 1968 saw the release of the album Ball and Chain on Arhoolie.

While the black audience was turning away from the blues there was a growing appreciation for blues and roots music among white audiences that would benefit Thornton greatly. Between 1966 and 1969 she was in great demand in campuses, clubs, folk festivals and rock festivals. She played in places like the Fillmore and the Ash Grove, sharing the stage with rock bands like the Grateful Dead and the Jefferson Airplane. It was during this period she met Janis Joplin and members of Big Brother & the Holding Company. It was at a club that they heard her perform "Ball and Chain." As Joplin  said " she sings the blues with such heart and soul. I have learned so much from her and only wish I could sing as well as Willie Mae." Janis Joplin and Big Brother and the Holding Company's performance of "Ball 'n' Chain" at the Monterey Pop Festival in 1967 and release of the song on their number one album Cheap Thrills renewed interest in Thornton's career and was the song that made Joplin famous.

Big Mama Thornton at the 1965 American Folk Blues Festival

 

By 1969, she signed with Mercury Records. Mercury released her most successful album, Stronger Than Dirt, which reached number 198 in the Billboard Top 200 record chart. Thornton then signed a contract with Pentagram cutting a gospel album called Saved. Thornton's last albums were Jail and Sassy Mama for Vanguard Records in 1975. Thornton never stopped touring until her passing in 1984, including a return to Europe on 1972. As Spörke writes: "The newspapers, for the most part, wrote that she was found dead, alone in a boarding house, but her friends say  that this is not the truth. It seems more realistic that she had gathered together her old buddies one last time on July 25, 1984. Around six in the evening, rumor has it, she phoned her sister Mattie. She sang for her, her favorite song, 'That Lucky Old Sun.' Then she went to the sofa, drank some gin and milk, fell to sleep and never got up." As Johnny Otis said at her funeral: "Don't waste your sorrow on Big Mama. She's free. Don't fell sorry for Big mama. There's no more pain. No more suffering in a society where the color of skin was more important than the quality of your talent."

 

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ARTISTSONGALBUM
Kip LornellInterview
Fats Jefferson Hard Luck Blues North Florida Fives
Elroy Hart North Florida Fives North Florida Fives
Fats Jefferson Married Woman North Florida Fives
Willie Morris Broke Down Blues Goin' Back To Tifton
Tom CarterSome Got 6 Months Goin' Back To Tifton
C.D. DobbsAberdeen WomanGoin' Back To Tifton
Blind Donald DawsonRack 'Em SlowGoin' Back To Tifton
Peg Leg Sam Hand Me DownThe Last Medicine Show
Peg Leg Sam Who's That Left Here Awhile AgoThe Last Medicine Show
Guitar Slim Worried Blues Greensboro Rounder
Guitar Slim War Service BluesGreensboro Rounder
Guitar Slim Come On Down To My HouseAin't Gonna Rain No More
Pernell CharityCome Back, Baby, ComeThe Virginian
Pernell CharityFind Me A Home Pernell Charity
Pernell CharityI'm Climbing On Top Of The Hill The Virginian
Irvin Cook & Leonard Bowles I Wish to the Lord I'd Never Been BornVirginia Traditions: Non-Blues Secular Black Music
John CephasRailroad BillVirginia Traditions: Non-Blues Secular Black Music
Lewis HairstonBile Them Cabbage Down Virginia Traditions: Non-Blues Secular Black Music
Clayton HorsleyPoor Black Annie Virginia Traditions: Non-Blues Secular Black Music
Carl Hodges Leaving You, MamaVirginia Traditions: Tidewater Blues
Corner MorrisGoing Down The Road Feeling GoodVirginia Traditions: Tidewater Blues
Jamie AlstonGoin' AwayAin't Gonna Rain No More
Wilbert Atwater Can't Get A Letter From Down The Road Ain't Gonna Rain No More
Jamie AlsonSix White Horses Ain't Gonna Rain No More
Joe & Odell Thompson Going Down The Road Feeling Bad Ain't Gonna Rain No More

Show Notes:

North Florida FivesFrom the 1960's through the 80's there were folklorists, researchers and dedicated fans such as David Evans, George Mitchell, Sam Charters, Chris Stratwichz, Mack McCormick, Bruce Jackson, Peter B. Lowry, Tary Owens, Art Rosenbaum, Pete Welding, Bengt Olsson, Glenn Hinson, Tim Duffy, Axel Küstner and Kip Lornell who actively sought out and recorded rural blues. Over the years we have featured many of them and today we spotlight the field recordings of Christopher “Kip” Lornell who captured some remarkable, undiscovered musicians in the 1970’s. Lornell was gracious enough to let me talk with him a couple of weeks back which I've edited for today's program.

Lornell began conducting blues research while still in high school. As an undergraduate in New York and North Carolina he interviewed and recorded local blues artists, resulting in articles in Living Blues and other periodicals and albums on the Flyright, Trix, and Rounder labels. Lornell served for four years as the staff folklorist at Ferrum College’s Blue Ridge Institute documenting music from Virginia on the groundbreaking Virginia Traditions series of albums which included some of his field recordings. Since 1992 Lornell has taught courses in American Music & Ethnomusicology at George Washington University and more recently works as a researcher at the Smithsonian Institution. In 1997 Lornell received a Grammy for his work on the boxed set The Anthology of American Folk Music for Smithsonian/Folkways. Lornell has published numerous articles, liner notes and books. His books include: Melody Man: Joe Davis and the New York Music Scene, The Life and Legend of Leadbelly (coauthored with Charles Wolfe), Shreveport Sounds in Black and White (Editor), Happy In Service Of Lord: African-American Sacred Vocal Harmony, Exploring American Folk Music, Virginia's Blues, Country, and Gospel Records, 1902-1943 among others. Our focus on today's program is Lornell's blues field recordings from the 1970's which include the following albums:  Pernell Charity: The Virginian (some tracks recorded by Pete Lowry), Ain't Gonna Rain No More: Blues And Pre-Blues From Piedmont North Carolina, Virginia Traditions: Non-Blues Secular Black Music, Virginia Traditions: Tidewater Blues, Goin' Back To Tifton, North Florida Fives, Guitar Slim: Greensboro Rounder and The Last Medicine Show where he assisted Pete Lowry.

Peg Leg Sam Jackson: Born For Hard Luck

We open the program with selections from two long out-of-print records released on the Flyright label in 1974:  Goin' Back To Tifton and North Florida Fives. Lornell was just out of High School when he made these recordings following what would because a practice for him which is to look in your own backyard. He correctly assumed that since Albany had significant black population there would be some blues musicians. In hindsight he wishes he had done a similar exploration for religious singers but at the time it was blues that was his primary interest. Most of the musicians were probably rusty and didn't play much anywhere but there some fine performances including some piano players who were recorded far too infrequently during this period. Not all blues musicians from the south came to Chicago and in fact quite a number came to New York such as Sonny Terry, Brownie McGee, Rev. Gary Davis and others. It's not surprising some of them went farther into upstate New York.  The most famous, of course, is Son House who settled in Rochester in 1943.

Lornell eventually connected with Pete Lowry who was teaching at SUNY New Paltz. In his voluminous research, writing and recording Lowry has become perhaps the most renowned expert on the blues of the Southeast and is credited with coining the term Piedmont Blues. Between 1969 and 1980 he amassed hundreds of photographs, thousands of selections of recordings, music and interviews in his travels through Georgia, South Carolina, North Carolina and Virginia. He formed the Trix label in 1972 as an outlet to release his recordings. Around this time Lornell got an NEA Federal Youth Grant and hooked up with Lowry to do some field recording in the south. One of the artists Lornell recorded was Pernell Charity. Charity spent his whole life around Waverly, VA. The Virginian is his only album released on the Trix label. As Lowry told me: "Pernell is a Kip Lornell discovery, done during his Federal Youth Grant year – I was his mentor and supervisor for that! I did the first tapes for him, then got them back – then did a few sessions on my own later, when I got my NEA Folkarts grant." Lornell wrote the liner notes and noted that "the phonograph record has had an important effect in shaping the song repertoire of many blues musicians…such is the case with Pernell Charity… It was the records of Blind Boy Fuller, Blind Blake, and Blind Lemon Jefferson that inspired Pernell to take up guitar."

 Guitar Slim: Greensboro Rounder
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Lornell was also involved with Lowry in recording one of the last medicine shows. The show was  presided over by Chief Thundercloud who was still hawking “Prairie King Liniment” from the tailgate of his station wagon at fairs and carnivals in the Southeast in the early 70’s. In his heyday he traveled will a full cast of comediennes, dancers, singers and musicians, numbering as many as sixteen. In later years his lone partner was Arthur “Peg Leg Sam” Jackson, a medicine show veteran who learned the ropes back in the 30’s from Pink Anderson. The duo was recorded and filmed by Pete Lowry and Kip Lornell in Pittsboro, North Carolina in 1972. The recordings issued on a 2-LP set of music and spoken word issued on the Flyright label titled The Last Medicine Show.

James “Guitar Slim” Stephens was first recorded in the early 70's by Lornell who recorded him on several occasions in 1974 and 1975. His first LP, Greensboro Rounder, was issued in 1979 by the British Flyright label and are comprised of these recordings. Green also appears on the anthologies Eight Hand Sets & Holy Steps and Ain't Gonna Rain No More: Blues And Pre-Blues From Piedmont North Carolina. Green's final recordings were made in 1980 by Siegfried Christmann and Axel Küstner for the Living Country Blues USA series of albums. Other songs from 1980 appear on the album Old Time Barrelhouse Blues which also includes sides by Memphis Piano Red. Green passed away in 1991.

The Virginia Traditions series consisted of nine albums issued between 1978 and 1988  by BRI Records, a label operated by the Blue Ridge Institute of Ferrum College. The recordings, made in various settings between the mid-1920's and the mid-1980's, range from African American work songs to Anglo American ballads to a cappella sacred music and stringband tunes. As the  Blue Ridge Institute's staff folklorist, Lornell was involved with the series, producing, writing liner notes and compiling tracks which included some of his own field recordings. He was most deeply involved in the volumes Non-Blues Secular Black Music and Tidewater Blues which is where we draw our selections form. Smithsonian Folkways has made the entire series available via their website.

BRI00001 BRI00006
Read Liner Notes Read Liner Notes

The final record we look at today is the anthology Ain't Gonna Rain No More: Blues And Pre-Blues From Piedmont North Carolina. The album includes performances recorded in North Carolina in the mid 1970's by Dink Roberts, Joe & Odell Thompson, Jamie Alston, Wilbert Atwater, John Snipes,and Guitar Slim and it contains a mixture of banjo and guitar numbers. It should be noted that during the interview both Kip and I were under the impression this had not been issued on CD but it appears that Rounder did reissue on CD about eight years ago.

Related Listening:

-Kip Lornell Radio Feature (2 hours, 4 min., mp3)

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ARTISTSONGALBUM
Guitar Slim Little BoyGreensboro Rounder
Guitar Slim Worried BluesGreensboro Rounder
Lum Guffin Moaning And Groaning Blues Walking Victrola
Lum Guffin Railroad Blues Walking Victrola
Shortstuff Macon Moanin' Introducing Mr. Shortstuff
Shortstuff Macon Great Big LegsIntroducing Mr. Shortstuff
Maxwell Street Jimmy Me And My Telephone Maxwell Street Jimmy Davis
Maxwell Street Jimmy Drifting From Door To Door Maxwell Street Jimmy Davis
Maxwell Street Jimmy Crying Won't Make Me Stay
Modern Chicago Blues
Guitar Slim Penitentiary Moan Blues Greensboro Rounder
Guitar Slim War Service Blues Greensboro Rounder
Guitar Slim Lovin Home Blues Greensboro Rounder
Lum Guffin Johnny Wilson Walking Victrola
Lum Guffin Old Country BluesOld Country Blues
Shortstuff Macon Short Stuff's Corrina Hell Bound & Heaven Sent
Shortstuff Macon My Jack Don't Drink Water No More Hell Bound & Heaven Sent
Shortstuff Macon Tight Like ThatHell Bound & Heaven Sent
Maxwell Street Jimmy Make Some Love To You Chicago Blues Live At The Fickle Pickle
Maxwell Street Jimmy Long Haired Darlin' Maxwell Street Jimmy Davis
Guitar Slim Won't You Spread Some Flowers On My Grave Living Country Blues Vol. 8
Guitar Slim – Bad Luck Blues Living Country Blues Vol. 8
Lum GuffinOn The Road Again Walking Victrola
Lum GuffinJack Of Diamond Walking Victrola
Guitar Slim Come On In My Kitchen Living Country Blues USA: Introduction
Guitar Slim Lula's Back In Town Living Country Blues vol. 10

Show Notes:

 Guitar Slim: Greensboro Rounder
Read Liner Notes

I was talking last week on the air during our pledge drive about radio and how the landscape has changed with iTunes and services like Spotify and Pandora. What I tried to emphasize is that even with these services there is a vast amount of material that has never been digitized and hence you will never hear on these services. This is certainly the case with the blues. When CD's starting coming out many of us assumed everything would be made available but there remain many, many great albums that remain long out-of-print with little chance of ever getting reissued. If you look in the The Penguin Guide to Blues Recordings, one of my favorite resources, there's a thousand pages listing blues CD's but one could come up with a hefty companion volume of all the recordings that have not made it onto CD and therefore not included in that book. Those recordings are featured regularly on this show and make up something of a forgotten history of the blues. There are many artists who's complete output remains unissued on CD, making their achievements virtually forgotten. With companies like Document and Yazoo, almost all of the pre-war materiel has been reissued. Similarly labels like Ace and Classics, among others, have done a good job covering the post-war era. The most glaring oversight is some of the great, little known bluesman who were captured in the 1960's and 70's, many of these field recordings, and issued almost exclusively on small labels. Our ongoing Forgotten Country Blues Heroes continues spotlighting these artists.

From the 1960's through the 80's there were folklorists, researchers and dedicated fans such as David Evans, Pete Welding, George Mitchell, Sam Charters, Chris Stratwichz, Mack McCormick, Bruce Jackson, Peter B. Lowry, Tary Owens, Art Rosenbaum, Pete Welding, Bengt Olsson, Kip Lornell, Glenn Hinson, Tim Duffy, and Axel Küstner who actively sought out and recorded rural blues. Some were hunting for the famous names who made records in the 1920’s and 1930’s, others were seeking to fill in biographical blanks regarding some of the older musicians coveted by collectors and then there were those who were seeking to document the blues tradition as it still existed in rural communities. Today's program spotlights a batch of superb, little known, artists who were recorded during this period, almost all of whose recordings remain out-of-print: Guitar Slim Stephens, Lum Guffin, Short Stuff Macon and Maxwell Street Jimmy Davis.

 Lum Guffin: Walking Victrola
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James “Guitar Slim” Stephens was born on March 10, 1915, near Spartanburg, South Carolina. He began playing pump organ when he was only five years old, singing spirituals he learned from his parents and reels he heard from his older brother pick on the banjo. Slim was so small that his feet would not even reach the organ pedals, so he had one of his brothers do the pumping while he practiced the keys. Within a few years, Slim was playing piano. When he was thirteen, Green began picking guitar, playing songs he heard at local “fling-dings,” house parties, and churches. A few years later he joined the John Henry Davis Medicine Show, playing music to draw crowds to hear the show master’s pitch; this took him throughout the southeastern Piedmont. It seems as if traveling was in Slim’s blood from that point on; for in the next twenty or so years, he moved throughout the eastern United States living in such cities as Richmond, Durham, Louisville, Nashville, and Waterbury, Connecticut. In 1953 he arrived in Greensboro, North Carolina, where he lived for the remainder of his life playing both guitar and piano–singing the blues at house parties and spirituals at church.

Green's was first recorded in the early 70's by Kip Lornell who recorded him on several occasions in 1974 and 1975. His first LP, Greensboro Rounder, was issued in 1979 by the British Flyright label and are comprised of these recordings. Green also appears on the anthologies Eight Hand Sets & Holy Steps and Ain't Gonna Rain No More from the 1970's. Green's final recordings were made in 1980 by Siegfried Christmann and Axel Küstner for the Living Country Blues USA series of albums. Other songs from 1980 appear on the album Old Time Barrelhouse Blues which also includes sides by Memphis Piano Red. Green passed away in 1991. I'll be spotlighting more sides by Slim on an upcoming show devoted to the field recordings of Kip Lornell.

Begnt Olsson recorded Lum Guffin between 1972 and 1974, with a few tracks appearing on anthologies and the rest on his only full-length album, Walking Victrola, issued on the Flyright label in 1973. Further field recordings were made in 1978 by Gianni Marcucci and issued on his Albatros label. Guffin performed as a street musician around Binghampton, Memphis during the depression with his sometime partner, mandolin player ‘Chunk’ McCullough or at home for various social gatherings, picnics, dances, etc. Guffin also performed in a fife and drum band during the time of these recordings. He passed in 1993.

 Maxwell Street Jimmy Davis
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Regarding Short Stuff Macon the liner notes to his Folkways album (Hell Bound And Heaven Sent recorded in 1964) 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.” In 1964 Macon recorded for the Spivey label 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. Macon passed in 1973.

Maxwell Jimmy Davis was Born Charles W. Thompson on March 2, 1925 in Tippo, MS. He learned to play guitar from John Lee Hooker while still a teenager, developing an insistent single-chord technique similar to that of his mentor; Davis and Hooker regularly gigged together in Detroit throughout the '40s, with the former settling in Chicago early the next decade. There he became a fixture of the West Side's Maxwell Street marketplace area. Davis recorded for Sam Phillips in 1952 but those sides were never issued .Live tracks from 1963 at Chicago's Fickle Pickle have been issued on different albums and there were some sides cut for the Testament label circa 1964.65. In 1965 he recorded his only full-length album, Maxwell Street Jimmy Davis for Elektra. His last recordings were from the late 80's. He passed in 1995.

 

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ARTISTSONGALBUM
James "Pee wee" MadisonLast NightThe Bluesmen of the Muddy Waters Chicago Blues Band, Vol. 2
Otis SpannWonder WhyThe Bluesmen of the Muddy Waters Chicago Blues Band, Vol. 2
Muddy Waters BandBlues For SpiveyThe Bluesmen of the Muddy Waters Chicago Blues Band, Vol. 2
Otis SpannDiving MamaThe Bluesmen of the Muddy Waters Chicago Blues Band, Vol. 2
Otis SpannShe's My BabyThe Bluesmen of the Muddy Waters Chicago Blues Band, Vol. 2
Babe StovallMy Brown Is A MistreaterEncore! for the Chicago Blues
Big Joe WilliamsMove Your HandEncore! for the Chicago Blues
John Henry BarbeeSix Week Old BluesEncore! for the Chicago Blues
Olive BrownWoman's LamentEncore! for the Chicago Blues
J.B Lenoir Korea BluesEncore! for the Chicago Blues
Roosevelt SykesDirty Mother Fuyer Encore! for the Chicago Blues
Big Joe WilliamsDrifting BluesKings and the Queen Volume Two
Memphis SimEuropean BluesKings and the Queen Volume Two
Roosevelt SykesSleeping All Day BluesKings and the Queen Volume Two
Bukka White Brownsville Tennessee Spivey's Blues Cavalcade
Johnny Shines, Big Walter Horton & Sunnyland SlimNidnight DarlingSpivey's Blues Cavalcade
Buster BentonI Must Have A Hole In My HeadThe All Star Blues World of Maestro Willie Dixon and his Chicago Blues Band
Carey BellOne Day You're Going To Get LuckyThe All Star Blues World of Maestro Willie Dixon and his Chicago Blues Band
Larry JohnsonMy Hoodoo DoctorThe All Star Blues World of Maestro Willie Dixon and his Chicago Blues Band
Victoria SpiveyI'm Taking OverThe All Star Blues World of Maestro Willie Dixon and his Chicago Blues Band
Otis SpannI'm AccusedUp in the Queen's Pad
Otis SpannVicksburg BluesUp in the Queen's Pad
Sunnyland SlimBlues Drive Me Out Of My MindVictoria Spivey Presents The All Stars BLUES WORLD of Spivey Records in Stereo
Cryin' Marie DixonThree O'Clock In The MorningVictoria Spivey Presents The All Stars BLUES WORLD of Spivey Records in Stereo
Lonnie JohnsonBe CarefulKings and the Queen Volume Two

Show Notes:

Victoria Spivey
Victoria Spivey


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 two 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. Below is a summary of today's featured albums.

10084 10104
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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."

Victoria Spivey & Muddy Waters Band
Photo from Otis Spann's 1967 Bluesway session: l to r – Otis Spann, Lucille Spann, Len Kunstadt, Victoria Spivey and Muddy Waters (photo by Denns Chalkin).

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.

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 and this was Willie Anderson Hogg. He calimed to have recorded in the pre-war era but these sides for Spivey are his only know legacy.

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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. Today we feature tracks from the second volume. Muddy Waters is listed as "Main Stream" for contractual reasons and probably doesn't play on all the tracks. These sessions were recorded after a 1966 date at New York's Cafe Au Go Go. The performance was written up by Len Kunstadt in Record Research 83 (1967) and concludes with "Victoria Spivey, perhaps their greatest fan, and a lucky devil, was fortunate to capture some of the sounds of Otis, George, Luther, Sammy and Francis for the latest release on the Spivey label." As Kunstadt wrote of their live performance: "There was a combustible spark in the atmosphere – and every time Muddy would hit the stand and tell the throng 'He Had Been Mistreated' or he was the 'Hootchie Cootchie Man' or he would confide in you about his 'Five Long Years' the audience exploded into applause and rapport. Muddy and his band were keyed to greatness. OTIS SPANN, Muddy's 'Little Brother', was the anchor man and cohesive agent of the group with his brilliant dominant blues piano."

Otis Spann appears on several Spivey albums including both volumes of the The Bluesmen of the Muddy Waters albums, The Everlasting Blues vs. Otis Spann and Up In The Queen's Pad. As Spivey wrote in a column in Record Research magazine in 1970 shortly after Otis' passing: “He was like a son, a brother and what a pal. Otis came into my life in 1963 during that American Folk Blues Festival (same one with Lonnie!) that toured all over Europe. …The European tour was really fine but Otis and his crazy lovable ways made it wonderful.”

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Encore! for the Chicago Blues was the ninth album on the Spivey label and a sequel to Chicago Blues
A Bonanza All Star Blues LPreleased in 1964. According to the notes: "This album is a sequel anthology to Spivey LP 1003 which commentated Victoria Spivey's first visit to Chicago in over 25 years. An informal blues party was given by host Willie Dixon in which such colorful talented artists as Homesick James, St. Louis Jimmy, Sunnyland Slim, Washboard Sam, Koko Taylor, Evans Spencer, John Henry Barbee and Willie himself, Miss Spivey by recording for her youthful record company. …Most of the artists are back again. In addition bonus tracks from studio and field recordings by other fine performers supplement the 'regulars'."

Kings And The Queen Volume Two was issued in 1970 and a sequel to Three Kings And The Queen issued several years earlier. Some of these sessions are likely from the same as the first volume and others probably later. Once again Bob Dylan appears alongside Victoria and Big Joe on a couple of songs. Alos appearing are Lonnie Johnson, Memphis Slim and Roosevelt Sykes. Both volumes of have been reissued on the European Doxy label on 180 gram vinyl only releases.

Spivey's Blues Cavalcade was issued in 1970 and the fifteenth album on the Spivey label. This is a grab bag of tracks with some of these recorded in the 60's – leftover tracks from previous Spivey albums.

By the end of the 1960s, Willie Dixon was eager to try his hand as a performer again, a career that had been interrupted when he'd gone to work for Chess as a producer. He recorded an album of his best-known songs, I Am the Blues, for Columbia Records, and organized a touring band, the Chicago Blues All Stars, to play concerts in Europe. Among the albums he cut during this period was 1973's Victoria Spivey presents The All Star Blues World of Maestro Willie Dixon and his Chicago Blues Band. This is a terrific outing spotlighting a great band that included Buster Benton, Carey Bell, Lafayette Leake and Larry Johnson.

Victoria Spivey began endorsing Otis Spann, telling the world of his genius – in her own inimitable way – via the pages of of her column in Record Research, and sporadically recording him for her Spivey Records label between 1967 and 1969. The sessions that comprise Up In The Queen's Pad were recorded in 1968 and 1969 at Spivey's home in Brooklyn backed by guitarist Sammy Lawhorn. The album was issued posthumously, possibly around 1980. One other song from this session appears on the album Spivey's Blues Showcase.

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