Entries tagged with “Blind Lemon Jefferson”.

John TeftellerInterview
Jim Jackson My Monday BluesBlues Images Vol. 13
Blind Blake Wabash RagBlues Images Vol. 13
Charlie KyleWalking BluesBlues Images Vol. 13
Jed DavenportBeale Street BreakdownBlues Images Vol. 13
Jaydee ShortTar Road BluesBlues Images Vol. 13
Jaydee ShortFlaggin’ It To GeorgiaBlues Images Vol. 13
Willie BrownM & O Blues Blues Images Vol. 3
Willie BrownFuture BluesMasters of the Delta Blues
King Solomon HillMy Buddy, Blind Papa LemonBlues Images Vol. 2
Son HouseMississippi County Farm BluesBlues Images Vol. 2
Hattie HydeSpecial QuestionBlues Images Vol. 13
Hattie HydeT & N O BluesBlues Images Vol. 13
Charlie McCoy Country Guy BluesBlues Images Vol. 13
Charlie McCoy Boogie WoogieBlues Images Vol. 13
Blind Lemon JeffersonSee That My Grave's Kept CleanBlues Images Vol. 13
Blind Lemon Jefferson ’Lectric Chair BluesBlues Images Vol. 13
Blind Willie JohnsonWhen The War Was OnBlues Images Vol. 13
Blind Joe Reynolds Ninety-Nine BluesBlues Images Vol. 2

Show Notes:

2016 Blues Calendar Today's program revolves around record collector John Tefteller who's record collection contains some of the rarest blues 78's in existence. I spoke with John a couple of weeks back and I'll be airing the interview today. According to his website he has the world's largest inventory of blues, rhythm & blues and rock & roll 78's with over 75,000 in stock. Every year around this time 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 thirteenth year of the calendar and CD's and once again Tefteller has turned up newly discovered sides which I'll be featuring today. Among those are newly discovered sides by J.D Short, Charlie McCoy and Hattie Hyde. 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. This year's calendar contains some great ads and fabulous photos, some not seen before. Check out Tefteller's website Blues Images for more details.

Tefteller's reissue are not only noteworthy for the newly discovered records 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.This time out 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. If you want to know more you'll need to listen to the interview. 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.

Among the newly discovered 78's are records by Jaydee Short, Charlie McCoy and Hattie Hyde. Eighty-four years after it was recorded and originally released, J.D. Short's, Paramount 13091, "Tar Road Blues" b/ w "Flagin' It To Georgia" has been found. As Tefteller said: "It turned up shoved into the back of an old Victrola record player cabinet along with a stack of other Blues records from the same time period." To other other 78's by Short have yet to be found: "Steamboat Rousty" b/w "Gittin' Up On The Hill" and "Drafted Mama" b/w "Wake Up Bright Eye Mama" both recorded at the same Paramount session in 1930. Singer Hattie Hyde cut one record in Dallas in 1929 for Victor with backing from an unknown guitarist and harmonica player. Tefteller attributed the record to Memphis singer Hattie Hart backed by the Memphis Jug Band but this appears to Jaydee Short: Tar Road Bluesbe incorrect. It's still a fine record that's never been heard since it was released so nothing to complain about. The Charlie McCoy 78, "Country Guy Blues" b/w "Boogie Woogie" is also a one-of-the-kind record and a typically excellent one by McCoy.

The rest of today's playlist is all made up from 78's from Tefteller's collection. From his latest CD we hear classic tracks by Jim Jackson, Blind Blake, Charlie Kyle, Blind Lemon Jefferson, Willie Brown  and others. Speaking of Kyle, there's a fabulous photo of him in the calendar that's has not been published before. Kyle played 12-string guitar and was said to have been from Texas where he may have traveled to Memphis in 1928 along with female blues singers Bessie Tucker and Ida Mae Mack to record. Six of his songs were recorded, only four were issued. One of the two Jefferson songs played today is his "See That My Grave's Kept Clean" which Son House used the melody for on his 1930 recording of "Mississippi County Farm Blues" also featured today and discovered several years back. Other records played today are something of a greatest hits of Tefteller's past discoveries including legendary sides by Blind Joe Reynolds, King Solomon Hill and others.

Doc Wiley Big House Blues Blues & Gospel Kings, Vol. 2 1945-50
Walter Brown & Skip Brown's OrchestraSusie May Blues & Gospel Kings, Vol. 2 1945-50
Charles "Crown Prince" Waterford Time To BlowBlues & Gospel Kings, Vol. 2 1945-50
Alice Moore New Blue Black And Evil BluesSt. Louis Women Vol. 2 1934-1941
Josh WhiteBlack And Evil BluesJosh White: Blues Singer 1932-1936
Leroy ErvinBlue Black And Evil Texas Blues:Bill Quinn's Gold Star Recordings
Lennie Lewis & His Orchestra (vcl. Harold Tinsley) Mean, Bad And Evil Blues Blues & Gospel Kings, Vol. 2 1945-50
Lightnin' Hopkins Black and EvilTexas Blues
Blind Joe Reynolds Outside Woman BluesBlues Images Vol. 5
Marshall OwensTry Me One More TimeBlues Images Vol. 4
Willie Harris Never Drive a Stranger from Your DoorJackson Blues 1928 -1938
John Lee Hooker Don't You Remember Me?I'll Go Crazy: The Federal Records Story
Lightnin' Hopkins Darling, Do You Remember Me?Soul Blues
Clifford Gibson (R.T. Hanen Vcl) She's Got The Jordan River In Her Hips Clifford Gibson 1929-1931
Washboard Sam Rive Hip MamaRockin' My Blues Away
Sammy Lewis & Willie Johnson So Long Baby Goodbye Sun Blues box
Sammy LewisYou Lied To Me Blow By Blow - An Anthology of Harmonica Blues
Peg Leg Howell Moanin' and Groanin' BluesFolks, He Sure Do Pull Some Bow!
Mississippi Sheiks Your Good Man Caught The Train and GoneHoney Babe Let The Deal Go Down: The Best Of The Mississippi Sheiks
Mobile Strugglers Memphis BluesAfrican American Fiddlers 1926-1949
Muddy Waters Too Young To KnowThe Complete Chess Recordings
Louisiana RedCatch Me A Freight TrainForrest Cty Joe/Rocky Fuller: Memory Of Sonny Boy
Sonny Boy Williamson IIBorn BlindThe Chess Years Box Set
Blind Lemon Jefferson Stocking Feet BluesMeaning In The Blues
Blind Lemon Jefferson That Crawlin' Baby BluesBest Of Blind Lemon Jefferson
Otis Spann Hotel LorraineMartin Luther King’s Blues
Big Joe Williams The Death Of Dr. Martin Luther KingMartin Luther King’s Blues
Brother Will Hairston The Alabama Bus Parts 1 & 2Martin Luther King’s Blues
Chocolate Brown with Blind Blake You Got What I WantBlues Images Vol. 12
Mamie SmithKansas City Man BluesCrazy Blues: The Best of Mamie Smith
Lucille BoganTired as I Can BeShave 'Em Dry: The Best of Lucille Bogan

Show Notes:

Alice Moore: Black And Evil BluesWhile I do theme shows most weeks, these mix shows often contain some short themes from set to set and we certainly explore a few on today's program. On deck today we spotlight several songs that revolve around the lyric "black and evil, first popularized by singer Alice Moore, we showcase a trio of songs revolving around Martin Luther King, we play several sides from the King Records anthology Blues & Gospel Kings, Vol. 2, we hear twin spins from Blind Lemon Jefferson and Sammy Lewis, plus a whole batch of great pre-war blues and more.

Alice Moore, Little Alice, as she was known, achieved a measure of success with her first record, "Black And Evil Blues" cut at her first session 1929 with three subsequent versions cut during the 1930's. Our version, "New Black And Evil Blues" was recorded in 1937.

I'm black and I'm evil, and I did not make myself (2x)
If my man don't have me, he won't have nobody else
I've got to buy me a bulldog, he'll watch me while I sleep (2x)
Because I'm so black and evil, that I might make a midnight creep
I believe to my soul, the Lord has got a curse on me (2x)
Because every man I get, a no good woman steals him from me

Paul Oliver had this to say about the number: "At times the characteristics of African racial features and color have an ominous significance in the blues, which may hint that they are indirectly related to social problems. So the state of being 'blue' is associated with alienation, and is linked with an 'evil mind' or an inclination to violence. Both are coupled with the inescapable condition of being black." There's also, I think, a way of diffusing the negative "black" by owning it as Moore does, a way of empowering oneself by taking the negative associations of black and turning it around and even reveling in it. Moore's song was covered by Lil Johnson, Lightnin' Hopkins and Leroy Ervin. Several other artists used the "black and evil" theme including Josh White and Lennie Lewis & His Orchestra, both who are featured today.

Blues & Gospel Kings Vol. 2Today we spotlight several songs from the second volume of an anthology that collects early sides from the legendary King label titled Blues & Gospel Kings, Vol. 2 1945-50. Founded by Syd Nathan in 1943, King Records was one of the most influential independent labels of the 1940s and 1950s. By the end of the latter decade, it had become the nation's sixth largest record company. The label originally  specialized in country music and." King advertised, "If it's a King, It's a Hillbilly – If it's a Hillbilly, it's a King." The company also had a "race records" label, Queen Records (which was melded into the King label within a year or two) and most notably (starting in 1950) Federal Records which launched the singing career of James Brown. In the 1950s, this side of the business outpaced the hillbilly recordings.

Although he was not the first male country blues singer/guitarist to record, Blind Lemon Jefferson was the first to succeed commercially and his success influenced previously reluctant record companies to actively seek out and record male country blues players in the hope of finding a similar talent. Throughout the ’20s Lemon spearheaded a boom in ‘race’ record sales that featured male down-home blues singers and such was the appeal of his recordings that in turn they were responsible for inspiring a whole new generation of blues singers. There's no shortage of great Lemon songs and today we spin "Stocking Feet Blues" and "That Crawlin' Baby Blues", the latter with the devastating lines:

Some woman rocks the cradle, and I declare she rules her home
Woman rocks the cradle, and I declare she rules her home
Many a man rocks some other man's baby and the fool thinks he's rockin' his own

I did not do a new show last week but I did want to play a few songs in honor of Martin Luther King. I did, however, see the movie Selma which was quite powerful. Overt political commentary was rare in recorded blues and gospel prior to the 1960’s but became increasingly more common afterwords. Several blues and gospel numbers were recorded about Martin Luther King and the civil rights movement in Alabama. In "Alabama Bus Pts. 1 & 2" Brother Will Hairston sings bout the 1955 Montgomery Bus Boycott led by Dr. King and ignited by Rosa Parks' refusal to give up her seat to a white man. Several blues singers paid tribute to the death of Martin Luther King including Champion Jack Dupree, Big Joe Williams and Otis Spann. All three tracks played today come from the CD Martin Luther King's Blues on the Agram label, a companion to the book President Johnson’s Blues: African-American Blues and Gospel Songs on LBJ, Martin Luther King, Robert Kennedy and Vietnam 1963-1968 by Guido Van Rijn.

Sammy Lewis
Sammy Lewis (Photo from the Charly Sun Blues Box)

Harmonica blower Sammy Lewis and guitarist Willie Johnson recorded for Sun Records in 1955 cutting "I Feel So Worried b/w  So Long Baby Goodbye." The third song from this session, "Gonna Leave You Baby" was not issued at the time. Lewis continued working in Memphis after Johnson moved north, working with an assortment of bands. He went on to cut a 45 for the West Memphis 8th Street label in 1977. He was thought to have died until he was rediscovered in 1970, still playing in West Memphis. The 8th street sides were collected on the anthology Blow By Blow – An Anthology of Harmonica Blues on the Sundown label.

We play several classics from the pre-war era and as always I try to drawn from the best sounding reissues I can find. Tracks like Blind Joe Reynolds' "Outside Woman Blues", Marshall Owens' "Try Me One More Time" and Chocolate Brown (Irene Scruggs) with Blind Blake come from the CD's that accompany record collector John Tefteller's annual blues calendars.  The 78's are expertly remastered by Richard Nevins of Yazoo Records from the best possible copies. Other tracks like Peg Leg Howell's "Moanin' and Groanin' Blues" and Blind Lemon Jefferson's "That Crawlin' Baby Blues" come from some of the best reissue labels, Old Hat and Yazoo, A few others like Mamie Smith's "Kansas City Man Blues", Lucille Bogan's "Tired as I Can Be" and the Mississippi Sheiks' "Your Good Man Caught The Train and Gone" come from major label reissues, sometimes from the original masters, back when the majors occasionally reissued pre-war blues. So if you're not a 78 collector but are collecting pre-war blues pay attention to companies like these if you want to hear these old blues records at their best.

Blind Lemon Jefferson Match Box BluesBlues Images Vol. 12
Brother Son Bonds and Hammie Nixon I Want To Live So God Can Use MeBlues Images Vol. 12
Willie Lofton Trio Beer Garden BluesBlues Images Vol. 12
Grant 'Mr Blues' Jones They Call Me Mr Blues Jumpin' The Blues Vol. 2 Ace
Clay Braddy & Roy Mays New Kind Of Feelin' Jumpin' The Blues Vol. 1 Ace
Willie Brown People Don't Understand Me Jumpin' The Blues Vol. 3 Ace
Robert Pete Williams Hoodoo Blues Raise a Ruckus Tonight
Clarence Edwards Can't Stand to Be Your Dog Raise a Ruckus Tonight
Butch Cage and Willie ThomasMean Old Frisco Raise a Ruckus Tonight
Arizona Dranes He Is My StoryHe Is My Story
Chippie Hill w/ Freddie Shayne How Long Blues Montana Taylor 1929-1946
Cripple Clarence Lofton Salty Woman BluesCripple Clarence Lofton Vol. 2 1939-1943
Sonny Boy Williamson Don't Make A MistakeDon't Make A Mistake
Dixie Blues Boys My Baby Left TownModern Downhome Blues Vol. 3
Drifting Slim Take My Hand Somebody Done Voodoo The Hoodoo Man
Muddy Waters County JailComplete Chess Recordings
Tommy Johnson Alcohol and Jake Blues Blues Images Vol. 12
Bill Wilber My Babe My Babe Blues Images Vol. 12
Chocolate Brown with Blind Blake You Got What I Want Blues Images Vol. 12
Tampa Red & Georgia Tom Dead Cats On The Line Guitar Wizard
Blind Boy Fuller I'm a Good Stem Winder Remastered 1935-1938
Rev F W McGee Dead Cat On The Line Rev. FW McGee Vol. 2 1929-1930
Charles Henderson She Was a Woman Didn't Mean No GoodRaise a Ruckus Tonight
Smoky Babe and Sally Dotson Black Ghost The Country Blues
Butch Cage & Willie Thomas Bugle Call Blues The Country Blues
Clifford Hayes' Louisville Stompers Bye-Bye BluesClifford Hayes & The Louisville Jug Bands Vol. 3
Sippie Wallace w Clifford Hayes' Louisville Stompers You Gonna Need My HelpSippie Wallace Vol. 2 1925-1945
Faye Adams Crazy Mixed Up WorldFaye Adams 1952-1954
Christine Kittrell Sittin' Here Drinking Call Her Name: The Complete Recordings 1951-1965
Billie And Dede Pierce In The Racket Gulf Coast Blues
Georgia Tom Dorsey Don't Let Your Mouth Start Nothing Your Head Won't StandThe Essential

Show Notes

2015 Blues CalendarWe have a fine mix show lined up for the first week of October. We spotlight several albums including two sets from the new CD that accompanies record collector John Tefteller's new blues calendar, several fine sides featuring fiddler Butch Cage and friends from two long-out-of-print LP's and a set of jump blues from a series of albums from Ace records. Also featured are a few songs revolving around the phrase dead cat on the line, several fine blues ladies, excellent piano blues and a batch of strong harp blowers.

Every year around this time record collector 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. The 2015 calendar marks its twelfth year. This year's calendar includes songs from such artists as Memphis Minnie, Charley Patton, Blind Lemon Jefferson, Tommy Johnson, Roosevelt Sykes, Garfield Akers, Willie Lofton, Gus Cannon and more. The calendar also includes never-before-seen-photos of Roosevelt Sykes, Willie Lofton and Son Bonds.

Last year record collector Tefteller bought Tommy Johnson's "Alcohol and Jake Blues b/w Riding’ Horse" for $37,100 on eBay. Both sides of the 78 have been remastered and are featured on the CD. One night, as he does every night, Tefteller was trawling eBay when he came across the record from a seller in South Carolina. The anonymous seller found the record at an estate sale years ago, and posted it on eBay with no knowledge of the record's true value. The record was set to sell at $16,800 when, minutes before the auction ended, it shot up to $37,000. This is one of the highest prices paid for a blues 78 although I get the impression Tefteller has paid more in private transactions.

Just to look ahead a bit, Tefteller's 2016 calendar will be a notable one as the CD will include a long lost J.D. Short 78. Paramount 13091, "Tar Road Blues b/w Flagin' It To Georgia" has been found recently in Tennessee. It turned up shoved into the back of an old Victrola record player cabinet along with a stack of other Blues records from the same time period," said Tefteller who purchased the record from "a local picker."

We spotlight a pair of terrific out-of-print albums that collect field recordings made in Louisiana in 1960 and 1961 by Harry Oster. The bulk of the tracks feature Butch Cage with guitarist Willie Thomas. Some of these sides were recorded at informal sessions in the homes of Butch Cage & Mabel Lee Williams near Baton Rouge, Louisiana. Fiddler James "Butch" Cage was one of the last artists in the black string band tradition. Born on March 16, 1894, in Hamburg, MS, Cage's first real instrument was a cane fife. He moved to southwest Louisiana following the devastating Mississippi floods of 1927, eventually settling in Zachary, where he worked a succession of menial jobs while playing string band music at house parties and church functions, often in conjunction with guitarist Willie B. Thomas. Musicologist Oster heard the pair playing in Zachary in 1959 and recorded them extensively. The duo was also a huge hit at the 1960 Newport Folk Festival. The duo can also be heard on several fine anthologies including: Country Negro Jam Sessions (Arhoolie), I Have To Paint My Face (Arhoolie), The Folk Music Of The Newport Folk Festival 1959-60 Vol. 1 (Folkways), Country Spirituals (Storyville), Country Blues (Storyville), Raise A Rukus Tonight (Flyright) and Old Time Black Southern String Band Music (Arhoolie). In two weeks I'll be spotlighting more from the duo in a show devoted to Post-War String Bands.

Country Blues
Read Liner Notes

Dead cat on the line is a term used as a way of telling people that something suspicious is happening. A sermon with the title was recorded by Rev. J.M. Gates in 1929 and proved popular enough for him to record "Dead Cat On The Line No. 2" in 1930 and "New Dead Cat On The Line" in 1934. Tampa Red and Georgia Tom recorded "Dead Cats On The Line" in 1932 and Rev F.W. McGee recorded "Dead Cat On The Line" the same year. Blind Boy Fuller recorded "I'm a Good Stem Winder" which uses the term in 1935. Other versions were recorded by Elder Charles Beck and Sister Lillie Mae Littlejohn.

We hear from several fine piano players including the amazing Arizona Dranes. As Michael Corcan wrote in the extensive booklet to our featured collection, He Is My Story: "A singer sits at the piano and loses all inhibitions while in complete control of the instrument: Little Richard, Ray Charles, Jerry Lee Lewis. Although church singer Arizona Dranes does not come close to the stature of those icons, she set the mold for rockin' singer/ pianists in 1926 with six 'test records' that have stood the test of time." Until this collection, very "little has been correctly reported about Dranes other than the facts that she was blind, from Texas, had a piercing Pentecostal voice and was the first recording artist to play piano in the secular styles of the day, while singing words of deep praise." Corcoran spent years unearthing the details on the life of Dranes. The 50-page book includes a CD containing all 16 of Arizona Dranes' recorded tracks, expertly remastered from the original OKeh label 78 RPM records by Grammy-winning producer Christopher King.

From a three LP series by Ace called Jumpin' The Blues released in the early and mid-80's we hear a set of great jump blues. These albums collect jump blues from the Decca vaults of the late 40's early 50's. Ace has culled the material for the CD Jumpin' The Blues. None of our tracks are on the CD however.

We play a number of fine blues ladies spanning from the 1920's through the 1950's including Sippie Wallace, Faye Adams, Christine Kittrell and others. Sippie's "You Gonna Need My Help" finds her backed by Clifford Hayes' Louisville Stompers. Hayes was a violinist, but was more significant as a leader of recording sessions. He recorded with Sara Martin (1924), and often teamed up with banjoist Cal Smith in early jug bands including the Old Southern Jug Band, Clifford's Louisville Jug Band, the well-known Dixieland Jug Blowers (1926-1927), and Hayes' Louisville Stompers (1927-1929). Some of the other artists Hayes worked with included Sippie Wallace, Johnny Dodds and Earl Hines. Right before the Sippie track we hear Clifford Hayes' Louisville Stompers on the instrumental "Bye-Bye Blues."

Faye Adams, as Faye Scruggs (her married name), became a regular performer in New York nightclubs in the late 1940's and early 1950's. While performing in Atlanta, Georgia, she was discovered by singer Ruth Brown, who won her an audition with bandleader Joe Morris of Atlantic Records. Changing her name to Faye Adams, Morris recruited her as a singer in 1952, and signed her to Herald Records. Her first release was Morris's song "Shake aArizona Dranes: He Is My Story Hand", which topped the Billboard R&B chart for ten weeks in 1953, and made number 22 on the pop chart. In 1954, Faye had two more R&B chart toppers. In 1955 she appeared in the film Rhythm & Blues Revue, and in 1957 moved to Imperial Records, but her commercial success diminished. She continued to record for various smaller labels until the early 1960's and retired in 1963.

Christine Kittrell cut her first record, in 1951 and her first and biggest hit was 1954's "Sittin’ Here Drinking." Engaged as singer with Paul ‘Hucklebuck’ Williams’ band in December 1952, Billboard noted that the “five-foot-six chirp’ was the ‘blues find of the decade”. She made her west coast debut in 1954 with Earl Bostic and later Johnny Otis. Several releases on the Republic label at this time led to only regional success. In August 1954, Billboard announced her departure from the R&B field to sing with the Simmons Akers spiritual singers. In the early 60's she recorded for Vee-Jay and her song ‘I’m A Woman’ was covered by Peggy Lee. She re-recorded an old Republic song, ‘Call His Name’, in 1965, and spent the next few years touring army bases in south-east Asia entertaining US troops. Subsequently, she semi-retired to her Ohio home, playing the occasional local blues festivals and small clubs in the 90s.

Teddy Moss Easy PapaBarrelhouse Piano Blues and Stomps 1929-1933
Earl McDonald's Original Louisville Jug BandRocking Chair BluesClifford Hayes & The Louisville Jug Bands Vol. 2
Tiny ParhamJim Jackson's Kansas City Blues Tiny Parham 1926-1929
Jimmy WitherspoonPast Forty BluesThe Blues Is Now
Arbee StidhamStandin' In My WindowA Time For Blues
Junior ParkerI Just Got To KnowBlues Man
Rev. Gary Davis If I Had My WayIf I Had My Way: Early Home Recordings
Rabbit MuseRocking Chair BluesMuse Blues
Lovey Williams Baby, Let Me Ride in Your AutomobileThe Blues Are Alive And Well
Jack Owens with Bud SpiresCan't See, BabyIt Must Have Been the Devil
Jack Owens with Bud SpiresHard TimesIt Must Have Been the Devil
Clara SmithWanna Go HomeThe Essential
Baby Benbow Don't Blame MeFemale Blues Singers Vol. 2 1920-1928
Edith Wilson & Johnny DunnHe Used To Be Your Man But He's My Man NowJohnny Dunn Vol. 2 1922-1928
Sloke & IkeChocolate Candy BluesBanjo Ikey Robinson 1929-1937
Walter G. PichonDoggin' That Thing Teddy Bunn 1929-1940
Lonnie JohnsonFour Shots Of GinThree Kings And The Queen
Roosevelt Sykes & Victoria SpiveyThirteen HoursThree Kings And The Queen
Blind Lemon JeffersonRising High Water BluesBlues Images Vol. 1
Kokomo ArnoldThe Mule Laid Down And Died Vaudeville Blues 1919-1941
Washboard SamYellow, Black And BrownWashboard Sam Vol. 2 1937-1938
Junior Parker Feelin' GoodMystery Train
Junior Parker Love My BabyMystery Train
Little Brother Montgomery Chinese Man Blues Little Brother Montgomery 1930-1936
Charlie McCoyLet My Peaches BeCharlie & Joe McCoy Vol. 1
Gatemouth MooreHey Mr GatemouthHey Mr. Gatemouth
Gatemouth MooreI Come To The Garden And I'm Going ThroughAfter Twenty One Years
Mary JamesGo 'way Devil Leave Me Alone, Pt. 1-2Field Recordings Vol. 8: Louisiana, Alabama, Mississipi
Florence WhiteCold Rocks Was My PillowFemale Blues Singers Vol. 14 1923-1932

Show Notes:

All kinds of interesting records on deck today including a couple of sets devoted to guitarist Floyd Murphy and harmonica blower Bud Spires who recently passed. We spin quite a number of tracks from some great out-of-print records, a twin spin of Gatemouth Moore, some fine early harmonica blues, a batch of great blues ladies and more.

Jack Owens & Bud Spires
Jack Owens & Bud Spires photo by David Evans circa 1969-1970

Bud Spires passed away March 20th. Bud Spires is the son of Arthur “Big Boy” Spires who recorded for Chess Records during the 1950's and 60's. Bud was born May 20th, 1931 just north of Bentonia in Anding, MS. He played with his good friend Jack Owens for over 30 years, from 1967 until Jack passed away in 1997. In the book The Land Where the Blues Began, Alan Lomax describes Spires: "Bud was a one-man, red-hot singing orchestra, accompanying himself o the harmonica, putting rough, bluesy chords after some lines and squealed comments to underscore the sexiest images. Sometimes his instrument almost disappeared in his mouth as he both blew and sucked notes out of its metal reeds." He and Owens were first recorded in 1970 by David Evans the results issued on Testament's It Must Have Been the Devil. In more recent years he recorded behind Jimmy "Duck" Holmes of Bentonia.

Floyd Murphy passed away on March 27. Floyd was the brother of Matt Murphy and worked with many Memphis greats like James Cotton, Junior Parker, Rufus Thomas, Willie Mae "Big Mama" Thornton, Johnny Ace, Willie Nix, Bobby Blue Bland and many others. Murphy recorded classic sides with singer/harmonica player Junior Parker and The Blue Flames for Sam Phillips' including "Feelin' Good" and "Mystery Train." He also recorded with Rufus Thomas and Eddie Snow. In the early 60's, Murphy recorded the VeeJay Records release of Birdlegs and Pauline's tune "Spring" which rose to number 18 on the R&B charts. For the next 30 years Murphy has continually performed throughout the Midwest. In 1990 Floyd collaborated with his brother Matt "Guitar" Murphy on the CD Way Down South for Antoine's Records.

Rabbit Muse: Muse Blues
Read Liner Notes

My shows are always littered with great blues records that are long out-of-print and today we spotlight some excellent ones by Rabbit Muse, Lovey Williams, Junior Parker, Arbee Stidham and some recordings from the Spivey label. Rabbit Muse, was in born 1908 and learned soprano ukulele from a childhood friend before transferring to baritone and setting out on a career that spanned seven decades. Despite this long career he recorded only two albums: Muse Blues in 1976 and Sixty Minute Man in 1977 both on the Outlet label.

The Lovey Williams track comes from The Blues Are Alive And Well, a collection of sides recorded by William Ferris in 1968 and includes sides by James "Son" Thomas and Lee Kizart. Ferris wrote the following about Williams: "Lovey Williams has led the most isolated life of the three singers on this record, having never been over fifty miles away from Morning Star, his birthplace and present home. Lovey lives in a sharecropper's home with his wife and ten children and performs his blues in the homes of friends. …Lovey learned to 'blow the blues' from his father who was also a sharecropper." A couple of spoken pieces and performances appear on the album Bothered All The Time which are from the same session. As far as I can tell these are the only recordings he made.

Junior Parker was an extraordinary blues singer and harmonica player who laid down some superb material over the course of a twenty year career (1952-1971) before his life was cut short just prior to his fortieth birthday. Before he passed he sailed into the 1970's in promising fashion cutting a pair of terrific albums; You Don't Have To Be Black To Love The Blues circa 1970/1971 for Groove Merchant and I Tell Stories Sad And True for United Artists which was released in 1972. One record I don't think I've played before is Blues Man cut for the Minit label in 1969. Parker is backed by a great uncredited band and delivers a superb performance on Jimmy McCracklin's "I Just Got To Know" featured today.

Arbee Stidham is held in rather low opinion among the blues collecting community. The truth is that Stidham's music isn't, for the most part, all that exciting but A Time For Blues is a terrific outing with Stidham backed by the swinging Ernie Wilkins Orchestra. Stidham cut sessions for Victor, Sittin' In, Checker, Abco, Prestige/Bluesville, Mainstream, and Folkways in the 50's and 60', and appeared in the film The Bluesman in 1973. Stidham also made many festival and club appearances nationwide and internationally. He did occasional blues lectures at Cleveland State University in the 70's. He passed away in 1988.

Three Kings And The Queen
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I've been threatening to do a feature on the Spivey label for years and this year I'm finally getting around to it – really! Spivey Records was a blues record label, founded by blues singer Victoria Spivey and her partner and jazz historian Len Kunstadt in 1961. Spivey Records released a series of blues and jazz albums between 1961 and 1985. The label recorded a wide variety of blues musicians who were friends of Spivey and Kunstadt, including Muddy Waters, Otis Spann, Big Joe Williams, Lonnie Johnson, Memphis Slim, Little Brother Montgomery and many others. Spivey died in 1976. The label became dormant after the death of Len Kunstadt in 1996. Today's track come from the 1962 album Three Kings And The Queen probably most famous for having a young Bob Dylan backing Big Joe Williams.

I've always had a soft spot for the larger-than-life Gatemouth Moore who summed his talents as a blues singer this way: "I am one of the ultra-men blues singers. I am not accustomed and don't know nothing about that gut-belly stuff in the joints…I put on tuxedos, dressed up, sang intelligent…Without a doubt, and I'm not being facetious, I'm the best blues singer in the business with that singing voice. Now I can't wiggle and I can't dance, but telling a story, I don't think them other boys are in my class." Often labeled a blues shouter,with his perfect diction and huge, mellow, enveloping voice he was more accurately a blues crooner of the highest order. His heyday as a blues career was short lived, cutting a couple of dozen sides between 1945 and 1947 that saw release on Gilmore's Chez Paree, Savoy, National with his final records cut for King at the very end of 1947. s blues career came to a close in 1949 when he had a religious conversion on stage at Chicago's Club DeLisa. After walking off stage he eventually became a preacher, gospel disc jockey and gospel recording artist. Gatemouth cut two LP's in the 70's: for Bluesway he cut the gospel record After Twenty One Years and for Johnny Otis' Blues Spectrum label he cut the blues album Great Rhythm & Blues Oldies Vol. 7 in 1977 both long out-of-print.

We hear from several fine blues ladies today including Edith Wilson, Clara Smith, Minnie Wallace, Florence White and Mary James. Edith Wilson and Johnny Dunn deliver a rousinng version of "He Used To Be Your Man But He's My Man Now." Wilson and trumpet player Johnny Dunn first worked together in the musical revue "Put And Take" in 1921 and then went on to perform in Lew Lesile's Plantation Revue in 1922. The group toured the TOBA vaudville circuit in 1921. Perry Bradford set up the recording sessions at Columbia for Wilson to compete with the Okeh's Mamie Smith's Jazz Hounds records. Instrumental records were also released without Wilson under the name of Johnny Dunn and his Original Jazz Hounds. Dunn had also been a member of Mamie Smith's Jazz Hounds.

Mary James LOC

I've written about Clara Smith before and she gives a mesmerizing performance on backed by just a reed organ giving the recording a haunting quality. Florence White was a powerful singer who cut one fine 78 in 1927 backed the  superb piano of Simeon Henry who would ably back singer Lil Green in the 1940's. Mary James was recorded in the Sewing Room at Parchman Farm Penitentiary in 1939. She's featured today on the spine chilling "Go 'way Devil Leave Me Alone" backed by "four girls." Minnie Wallace was a known associate of the Memphis Jug Band and on 1936's ebullient "Field Mouse Stomp" she's backed by a blues super group that includes Will Shade, Robert Wilkins and Harry Chatman.