Entries tagged with “Blind Willie McTell”.


ARTISTSONGALBUM
Memphis Minnie & Kansas JoeI'm Going Back HomeStuff Tha Dreams Are Made Of
Memphis Minnie & Kansas JoeWhat's The Matter With The Mil Blues Images Vol. 10
Ma Rainey & Papa Charlie JacksonBig Feeling BluesMother Of The Blues
Arnold & Irene WileyRootin' Bo Hog Blues Blues & Jazz Obscurities
Hezekiah & Dorothy JenkinsFare Thee Well Blues & Jazz Obscurities
Bobbie Cadillac & Coley JonesEasin' InTexas Girls 1926-1929
Buddy Burton & Irene SandersElectric Man W E ''Buddy'' Burton & Ed ''Fats'' Hudson 1928-1936
Mae Glover & John ByrdGas Man BluesMississippi Moaners
Ivy Smith & Cow Cow Davenport Mistreated Mamma Blues Ivy Smith & Cow Cow Davenport 1927-1930
Dora Carr & Cow Cow Davenport5th Street BluesCow Cow Davenport - The Accompanist 1924-1929
Blind Willie McTell & Mary Willis Talkin' to You Wimmen About the BluesBlues Images Vol. 5
Blind Willie McTell & Mary Willis Rough Alley BluesThe Classic Years 1927-1940
Blind Willie JohnsonYou're Gonna Need Somebody on Your BondBlind Willie Johnson and the Guitar Evangelists)
Eddie Head & FamilyDown On MeBlues Images Vol. 6
William & Versey SmithEverybody Help The Boys Come HomeAmerican Primitive Vol. I
Clara Smith & Lonnie JohnsonYou're Gettin' Old On Your JobClara Smith: The Essential
Victoria & Spivey & Lonnie JohnsonFurniture Man Blues - Part 1Victoria Spivey: The Essential
Victoria & Spivey & Lonnie JohnsonNew Black Snake Blues No.1Victoria Spivey Vol. 2 1927-1929
J. T. ''Funny Paper'' Smith & Dessa Foster Tell It To The Judge Part 1The Original Howling Wolf 1930-1931
J. T. ''Funny Paper'' Smith & Magnolia HarrisMama's Quittin' And Leavin' Part 1 The Original Howling Wolf 1930-1931
Lottie Kimbrough and Winston Holmes Lost Lover BluesBaby, How Can It Be?
Memphis Jug Band (Jennie Clayton & Will Shade) State of Tennessee Blues The Best Of Memphis Jug Band
Mississippi Sarah & Daddy StovepipeThe SpasmGood for What Ails You
Butterbeans & SusieCold Storage Papa (Mama's A Little Too Warm For You)Butterbeans & Susie Vol. 1 1924-1925
Butterbeans & SusieTimes Is Hard (So I'm Savin' for a Rainy Day)Classic Blues & Vaudeville Singers Vol. 5
Ruth Willis & Fred McMullenJust Can't Stand ItGeorgia Blues 1928-1933
Hattie HartColdest Stuff In TownMemphis Blues 1927-1938
Charley Patton and Bertha LeeTroubled 'Bout My MotherPrimeval Blues, Rags, and Gospel Songs
Charley Patton and Bertha LeeOh DeathPrimeval Blues, Rags, and Gospel Songs
Jane Lucas & Georgia Tom How Can You Have the BluesKansas City Kitty 1930-1934
Georgia Tom & Hannah MayCome On MamaFamous Hokum Boys Vol. 1 1930
Coot Grant & Wesley WilsonWhippin' the WolfCoot Grant & Wesley Wilson Vol. 3 1931-1938
Coot Grant & Wesley WilsonRasslin' 'till the Wagon ComesCoot Grant & Wesley Wilson Vol. 1 1925-1928

Show Notes:

Blind Willie McTell & Mary Willis - Talkin' to You Wimmen About the BluesToday's show is something of a sequel to a couple of  related shows I aired a couple of years back: Fence Breakin' Blues – Great Country Blues Guitar Duets and Play It It 'Till I Turn High Yeller – Great Guitar/Piano Duets. Today we spotlight some classic blues and gospel female/male duets spanning the years 1925 through 1938. Along the way we hear classic partnerships like Memphis Minnie and Kansas Joe and Victoria Spivey and Lonnie Johnson, blues in the vaudeville tradition from Butterbeans & Susie and Coot Grant &  Wesley Wilson, some moving gospel performances, well known artists such as Blind Willie McTell and Charlie Patton and a slew of fine lesser known artists who left behind memorable recordings.

Before blues got on record the music was heard in variety of settings including vaudeville, musicals, minstrel shows and tent shows. Many of these performers made there way on record into the 1920's, perhaps most famously Bessie Smith and Ma Rainey (we hear Rainey today with Papa Charlie Jackson on "Big Feeling Blues"). Among those featured today, Butterbeans & Susie, Coot Grant & Wesley Wilson and Cow Cow Davenport all came out of that tradition.

Butterbeans and Susie were a comedy duo made up of Jodie Edwards and Susie Edwards. Edwards began his career in 1910 as a singer and dancer. The two met in 1916 when Hawthorne was in the chorus of the Smart Set show. They married on stage the next year. The two did not perform as a comic team until the early 1920s. heir act, a combination of marital quarrels, comic dances, and racy singing, proved popular on the TOBA tour. They later moved to vaudeville and appeared for a time with the blackface minstrel troupe the Rabbit's Foot Company. They cut over sixty sides between 1924 and 1930.

Coot Grant was the main stage name of Leola B. Pettigrew, a  blues singer from Alabama whose legal name became Leola Wilson following her marriage to performing partner Wesley Wilson. The pair met and began performing together in 1905 and were wed in 1913. Coot had been involved in show business  since she was a child, beginning as a dancer in vaudeville. Her husband, who played both piano and organ, was performing as early as 1905. He performed under a variety of stage names including Catjuice Charlie in a duo with Pigmeat Pete, as well as Kid Wilson, Jenkins, Socks, and Sox Wilson. The husband and wife, billed as Grant & Wilson, Kid & Coot, and Hunter & Jenkins, cut over sixty sides between 1925 and 1938, often backed with top jazz artists.Lottie Kimbrough and Winston Holmes - Lost Lover Blues

In his early years Cow Cow Davenport toured TOBA with an act called Davenport and Company with Blues singer Dora Carr and they recorded together in 1925 and 1926. The act broke up when Carr got married. Davenport briefly teamed up with Blues singer Ivy Smith in 1928. Smith and Davenport cut some two-dozen sides together between 1927 and 1930.

Victoria Spivey and Lonnie Johnson did several duets together that have vaudeville feel to them.  Johnson backed Spivey on numerous recordings in 1926 and 1927 and they made several duets together  in 1928 and 1929 including "New Black Snake Blues Part 1 & 2", "Toothache Blues Part 1 & 2 and "You Done Lost Your Good Thing Now Part 1 & 2 ."

More in down-home vein were recordings by Memphis Minnie and Kansas Joe, J. T. "Funny Paper" Smith and Blind Willie McTell with different partners. Memphis Minnie's marriage and recording debut came in 1929, to and with Kansas Joe McCoy, when a Columbia Records talent scout heard them playing in a Beale Street barbershop. It was supposedly a Columbia A and R man who gave the duo their names. Between 1929 and 1934 Minnie and Joe cut around one hundred sides together. McCoy and Minnie recorded songs together and on their own for Decca Records until they divorced in 1934.

Mary Willis recorded with several Atlanta artists including Blind Willie McTell, Curley Weaver and Buddy Moss. McTell also recorded with singer Ruby Glaze and Kate McTell who are likely the same person. One of the featured tracks, "Talkin To You Wimmen' About The Blues",  was not issued until just a few years ago.  The track and it's flip side, "Merciful Blues", was issued on the CD that accompanies Tefteller's 2008 blues artwork calendar. To quote Tefteller: "the record you see in the center of this page [Talkin' To You Wimmen About The Blues] apparently has not been heard by anyone since its release back in the late fall of 1931. I have had this record in my collection for almost ten years. I had no idea that it was potentially a one-of-a-kind record! …Late last year, legendary Blues reissue producer Larry Cohn called me about his upcoming Blind Willie McTell box set. He told me he would like to borrow certain records from my collection …I sent him a list of what I had. To my amazement , he called immediately with the comment, "I've never heard the Mary Willis record!" Apparently, there is no master in the Columbia vaults. Cohn is aware of no other copy of the record anywhere. Finding this hard to believe, I started calling "all the usual suspects" and sure enough, none of them had the record or had ever heard it."

Between 1930 and 1931 J. T. "Funny Paper" Smith had recorded some twenty issued sides. Among those were a pair of fine duets we feature today: "Tell It To The Judge Part 1 & 2" with Dessa Foster and Mama's Quittin' And Leavin' Part 1 & 2" with Magnolia Harris.

Mississippi Sarah & Daddy Stovepipe - The SpasmAlso on tap today are several fine gospel performances by Blind Willie Johnson, Charlie Paton, Eddie Head and William & Versey Smith . Johnson  may have married Willie B. Harris who sang accompaniment with Johnson on some of his recordings for Columbia Records between 1927 and 1930. Today we feature one of my favorites, "You're Gonna Need Somebody on Your Bond."

Bertha Lee met Charlie Patton in 1930 and remained his wife until his death in 1934. During this time, she sang on several of Patton's recordings, which resulted in the recording of three of her own songs, "Yellow Bee", "Dog Train Blues" (unissued), and "Mind Reader Blues". Patton accompanied her on guitar on these records.

William Smith and his wife recorded four songs for Paramount in 1927 while Eddie Head cut the same number for Columbia in 1930.

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ARTISTSONGALBUM
Julia MoodyPolice BluesTight Women And Loose Bands
Julia MoodyMidnight DanTight Women And Loose Bands
Leroy CarrEleven Twenty-Nine BluesWhiskey Is My Habit, Women Is All I Crave: The Best of Leroy Carr
Furry LewisJudge Harsh BluesWhen The Sun Goes Down
Romeo Nelson1129 Blues (The Midnight Special)Boogie Woogie & Barrelhouse Piano Vol. 2 1928-1930
Big Joe WilliamsAll I Want Is My Train Fare Home A Man Sings The Blues Vol. 1
Big Joe WilliamsCow Cow BluesA Man Sings The Blues Vol. 2
Scott Dunbar It's So Cold Up NorthBlues From The Delta
Lee KizartDon't Want No Woman Telling Me What To DoBlues From The Delta
Lovey WilliamsTrain I RideBlues From The Delta
Roosevelt SykesJivin' the JiveRoosevelt Sykes Vol. 7 1941-1944
Hal SingerDisc Jockey BoogieHal Singer 1948-51
J.B. Lenoir Everybody Is Crying About VietnamBye Bye Bird
Junior WellsVietnam BluesLookout Sam
Smoky BabeBoss Man BluesWay Back in the Country Blues
Smoky BabeGoin' Home BluesWay Back in the Country Blues
Scrapper BlackwellAlley Sally BluesScrapper Blackwell Vol. 2 1934-1958
Robert WilkinsNew Stock Yard BluesMasters of the Memphis Blues
Rocky Fuller (Louisiana Red)The Moon Won't Go DownForrest City Joe & Rocky Fuller: Memory Of Sonny Boy
Robert Pete WilliamsMidnight BoogieBye Bye Bird
Mississippi Fred McDowellI Walked All The Way From East St LouisGood Morning Little Schoolgirl
Arizona DranesI Shall Wear A CrownVintage Mandolin Music
Otis SpannMake A WaySweet Giant of the Blues
Blind Willie McTellLay Some Flowers On My GraveThe Best Of
Peetie WheatstrawBring Me Flowers While I'm LivingPeetie Wheatstraw Vol. 7 1940-1941
Sippie WallaceUp The Country BluesSippie Wallace Vol. 1 1923-1925
Blind Willie McTellStatesboro BluesThe Best Of
De Ford Bailey Up The Country BluesHistory Of Blues Harmonica 1926-2002
Co Cow DavenportPlenty Gals BluesCow Cow Davenport - The Accompanist 1924-1929
Lil JohnsonMinor BluesLil Johnson Vol. 1 1929-1936
Sippie WallaceWoman Be WiseUp The Country

Show Notes:

Julia Moody - Midnight DanToday's mix show has several themes and featured artists running throughout. On deck today we play songs revolving around the term "11-29" and spin a trio of songs based on Sippie Wallace's "Up The Country Blues." We also feature twin spins form Julia Moody, Big Joe Williams and Blind Willie McTell. We hear some fine down-home blues including previously unreleased sides from Smoky Babe and a trio of tracks from the long out-of-print Blues From The Delta album. We spin some fine piano blues by Otis Spann, Arizona Dranes, Cow Cow Davenport, Montana Taylor and Roosevelt Sykes. In addition we play several recordings from the American Fol Blues Festival.

Sippie Wallace made her first record in 1923 and her last in 1984. Thomas grew up in Houston, Texas where she sang and played the piano in her father's church. While still in her early teens she and her younger brother Hersal and older brother George began playing and singing the Blues in tent shows that traveled throughout Texas. In 1915 she moved to New Orleans and lived with her older brother George. During her stay there she met many of the great Jazz musicians like King Oliver and Louis Armstrong who were friends of her brother George. During the early 1920s she toured the TOBA vaudeville circuit where she was billed as "The Texas Nightingale". In 1923 she followed her brothers to Chicago and began performing in the cafes and cabarets around town. In 1923 she recorded her first records for Okeh and went on to record over forty songs for them between 1923 and 1929. “Up The Country Blues b/w Shorty George Blues” was her debut and an immediate success. The songs were written by her brother George. Blind Willie McTell borrowed part of the lyrics for his classic "Statesboro Blues." "Statesboro Blues" was covered famously by Taj Mahal in 1968 and The Allman Brothers in 1971. We also play De Ford Bailey's superb instrumental of "Up The Country Blues" from 1927.Interestingly, in December 1923, just a few months after Sippie's recording, a singer by the name of Tiny Franklin cut six sides backed by Wallace's brother George on piano which included versions of "Up The Country Blues" and "Shorty George Blues,”

"11-29," is a reference found in a number of blues songs dealing with the subject of court sentencing in southern states for criminal behavior. The sentence was often the maximum for a misdemeanor crime, thus keeping the convict in local confinement as long as possible. This interpretation is borne out in a number of blues songs. Blac ks were often given more severe sentences than whites in a local court of law. And the experience of either county or state incarceration during the historical period that shaped early blues lyrics was, in reality, very cruel. We play a trio of songs using the theme including Leroy Carr's "Eleven Twenty-Nine Blues", Furry Lewis' "Judge Harsh Blues" and Romeo Nelson's "1129 Blues (The Midnight Special)."  Charley Patton refers to the "11-29" jail sentence of eleven months and twenty-nine days in "Jim Lee Blues, Part 1" recorded in 1929 which I've played several tomes on the show: "When I got arrested what do you reckon was my fine?/Say they give all coons eleven twenty-nine."

A Man Sings The Blues Vol. 1
Read Liner Notes

We spotlight twin spins today by Big Joe Williams and Julia Moody. Thes Big Joe Williams  songs were released two four-song EP's on the British Jen label (A Man Sings The Blues Vol. 1 & 2). These sides were recorded in the summer of 1957 in Chicago by Erwin Helfer who plays the piano on these sides.

Not much is know about Julia Moody who cut sixteen sides between 1922 and 1925. She was known to have been involved in the stage prior and after her brief recording career. Our two songs "Midnight Dan" and "Police Blues" come from her final 1925 session and find her backed by a fine jazz band called the Dixie Wobblers. "Midnight Dan" has a dramatic feel which probably owes to Moody's stage background while Police Blues" is a wonderfully sung slow blues:

I walked to the corner, 31st and State (2x)
I was so worried til' I stayed too late
Just standing on the corner, I didn't mean no harm (2x)
Along come the policeman, and took me by my arm
Carried me to the station, and I was full of booze (2x)
That's why I'm worried about those police blues

We play a trio of songs from the album Blues From the Delta which was the companion album to the book of the same name by William Ferris. The recordings were made in the summer of 1968 and included the debut recordings James “Son” Thomas. The album also includes excellent recordings by under-recorded artists such as Lovey Williams, Scott Dunbar and Lee Kizart.

Born in Itta Bena, Mississippi, Robert Brown AKA Smoky Babe had found his way to Scotlandville, Louisiana by the age of 20. It was there that Harry Oster recorded him on several occasions between 1959-1961 with material appearing on the labels Folk-Lyric, Storyville and Bluesville. Smoky cut two full length albums: Smoky Babe and His Friends and Hottest Brand Goin' plus a few scattered sides on different anthologies. The recordings featured today are previously unreleased and have just been issue on Way Back in the Country Blues on Arhoolie Records. As the notes state: "Upon Harry’s death in 2001, his widow Caroline shipped what was understood to be the balance of his tapes. Nowhere in the pile were the unissued Smoky Babe recordings. Recently, in the early stages of preparing a box set of Harry’s work, we noticed that many other known recordings of his were missing from our collection, and reached out again to Caroline to see if any had been overlooked. The following week, a shipment of boxes arrived filled with tapes dating back to Harry’s Louisiana days. Among this last batch were several reels of Smoky Babe containing many unissued recordings as strong as anything previously available. This record represents what we feel is the best of those long lost performances."

The American Folk Blues Festival (AFBF) was an annual event, beginning in 1962, that featured the cream of American blues musicians barnstorming their way across Europe. The recordings from these tours have been collected on numerous anthologies over the years. Toda's AFBF recordings come from the Scout label which was Horst Lippmann's and Fritz Rau's label preceding L + R Records. Lippmann' and Rau were the men responsible for organizing the AFBF. Just about everything on the label was from the concerts and today we feature the following collection: Look Out Sam!Bye Bye Bird…and Up The Country!.

Blues From The Delta
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We feature terrific piano blues and gospel piano today from Otis Spann, Arizona Dranes, Cow Cow Davenport, Montana Taylor and Roosevelt Sykes. Leaving Muddy Waters’ group in 1968, Otis Spann made a flurry of recordings, including an album with Fleetwood Mac as his backing band. It was at this point Bob Thiele invited him to record for his Bluestime label. The album, Sweet Giant Of The Blues, has now been reissued by Ace Records. Unfortunately, his health had been compromised by years of alcohol abuse and he died a few months after these recordings at the age of 40.

Arizona Dranes born was born blind in 1889 or 1891. Between 1926 and 1928, Dranes recorded sixteen numbers for OKeh Records and soon became a gospel music star. Unfortunately, her recording career suffered due to misunderstandings between Dranes and the record company’s executives. After 1928 and until her death in 1963, Dranes served the Church of God in Christ by performing at churches around the country, quickly falling into near-complete obscurity (her last public appearance, where she was billed as the “Famous Blind Piano Player,” was in 1947).

Cow Cow Davenport, Montana Taylor and Roosvelt Sykes were some of the great early piano players. We hear Taylor playing superbly behind Lil Johnson's debut record "Minor Blues" which went unissued and hear Davenport on "Plenty Gals Blues" backing obscure singer Memphis Joe (Joe Byrd). Roosevelt Sykes is heard on the jumping "Jivin' the Jive" from 1944 backed by a combo that included Ted Summit on guitar and Jump Jackson on drums.

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ARTISTSONGALBUM
Ivy SmithGin House Blues Ivy Smith & Cow Cow Davenport 1927-1930
Clara SmithWoman to Woman The Essential
Issie RinggoldBe On Your Merry WayBlue Girls Vol. 2 1925-1930
Frank BusbyPrisoner BoundBill Gaither Vol. 2 1936-1938
Keghouse Canned Heat Blues Piano Blues Vol. 4 1923-1928
Eugene Powell Pony Blues (Santa Fe) Blues At Home Vol. 3
John JacksonPoor BoyThe Blues Revival Vol. 1 1963-1969
Nugrape TwinsThe Road Is Rough & RockySinners & Saints 1926-1931
Mississippi John Hurt Praying On The Old Camp Ground Avalon Blues: The Complete 1928 OKeh Recordings
Eddie Head & His FamilyDown On MeAmerican Primitive Vol. I
Louisiana Red I'm a Roaming StrangerThe Lowdown Back Porch Blues
Howlin' Wolf Poor BoySmokestack Lightning: The Complete Chess Masters 1951-1960
Big Moose Walker Footrace to a Resting Place/Wrong Doing WomanTo Know A Man
Samuel Brooks Oh the Sun's Goin' Down and I Won't Be Here LongField Recordings Vol. 3: Mississippi 1936-1942
George BoldwinCountry Girl Blues Mississippi Blues & Gospel 1934-1942
Willie Ford & Lucious CurtisHigh Lonesome HillMississippi Blues 1940-42
Joe Linthecome Humming BluesHokum, Blues & Rags 1929-1930's
The Three Stripped Gears1931 Depression BluesThe Stuff That Dreams Are Made Of
Jesse AndersonYou'd Better Think TwiceWelcome To The Club
Johnny Twist WilliamsTeach Me HowDown On Broadway And Main
Jimmy NolenStrollin' with Nolen Strollin' with Nolen
Unknown Female SingerAngel ChildField Recordings Vol. 3: Mississippi 1936-1942
Mattie DorseyStingaree BluesBarrelhouse Women Vol. 2 1924-1928
Frank StokesNehi Mama Best OfSara Martin Vol. 4 1925-1928
Blind Joe ReynoldsNehi Mama Blues Blues Images Vol. 5
Joe Turner with Albert Ammons Rock Of Gibraltar Blues Albert Ammons: Alt. Takes, Radio Perfs & Uniss. Home Recordings
Duke HendersonBeggin And PleadinDust My Rhythm & Blues: Flair Records R&B Story
Gene ParrishScreamin' In My SleepRhythm 'n' Blues Shouters
Sippie Wallace Parlor Social De LuxeI Can't Be Satisfied Vol. 2
Sara MartinDown At The Razor BallSara Martin Vol. 3 1924-1925
Blind Willie McTellRazor Ball The Great Race Record Labels Vol. 2: Columbia
Washboard SamDown At The Bad Man's HallWashboard Sam Vol. 5 1940-1941
Bill Gaither Wintertime BluesBill Gaither Vol. 4 1939
Lightnin' SlimWintertime BluesWe Gotta Rock Tonight

Show Notes: 

Our first mix show of the new year finds us digging deep into the pre-war blues catalog featuring several fine artists who left us with only a few 78's, several well known artists like Clara Smith and Blind Willie McTell and some interesting field recordings. From he post-war era some excellent Chicago blues, a few blues shouters, some down-home blues and a few gospel items. We also explore the origins of a well known blues theme.

Frank Busby" 'Leven Light CityWe hear from several superb blues ladies including Ivy Smith and Clara Smith. Ivy Smith hailed from Birmingham, Alabama and primarily worked with pianist Cow Cow Davenport. She was a good singer who cut close to two-dozen sides between 1927-1930. Clara Smith was a much bigger name although perennially eclipsed by Bessie Smith. In 1923 she settled in New York, appearing at cabarets and speakeasies there and that same year made her first records for Columbia Records, for whom she would continue recording through to 1932. She cut over a hundred sides often with the backing of top musicians like Louis Armstrong, Charlie Green, Joe Smith, Fletcher Henderson, Lonnie Johnson and James P. Johnson. Today we feature the lovely "Woman to Woman" from 1930 that features Smith's voice at her best with sympathetic cornet work from Ed Allen.

Then there's the lesser knowns such as Issie Ringgold who waxed one 78 in 1930 for Columbia and was the sister of Muriel, a star on Broadway, Mattie Dorsey who cut four sides for Paramount in 1927 and the unknown field recording of a woman singing "Angel Child" recorded by Alan Lomax in 1942.

Several of the of the male singers featured today are also one hit wonders: Joe Linthecome was an expressive, light voiced singer who cut one marvelous 78  ("Humming Blues b/w Pretty Mama Blues") for Gennett in 1929, Frank Busby was a sensitive singer who cut one 78 ("'Leven Light City b/w Prisoner Bound") in 1937 for Decca backed by Bill Gaither (we also spin Gaither's "Wintertime Blues" today) on guitar and Honey Hill on piano, the Three Stripped Gears were a string band possibly from Georgia, and possibly white, who cut four superb instrumentals and pianist Keghouse who waxed ten sides in 1928 for Okeh and Vocalion, only four of which were issued. Keghouse also recorded a couple of numbers backed by Lonnie Johnson and Thomas "Jaybird" Jones. Jones also made field recordings for Lewis Jones in Clarksdale, Mississippi in 1941-1942 and performs "The Keghouse Blues." In the spoken introduction he talks about his friend Keghouse and how they went to Memphis to make records for Okeh and how he died shortly afterwards.

As anyone who's listened to this program knows I have a huge interest in field recordings, devoting several shows to the topic and interviewing several of the men who made the recordings. The Albatros  label was active from Eugene Powell: Blues At Home Vol. 3the early 70's through the early 80's issuing reissues of pre-war recordings, folk material and most interestingly, to me anyway, is several volumes of field recordings by label owner Gianni Marcucci. Marcucci came to the States in the 70's and captured some fine field recordings  in the 70's and 80's in Tennessee and Mississippi. These albums are long been out-of-print. Recently Marcucci has issued some CD's on he Mbirafon imprint including one by singer Van Hunt, Sam Chatmon and now has issued collections by Eugene Powell (Eugene Powell: Blues At Home Vol. 3and Memphis Piano Red (Memphis Piano Red: Blues At Home Vol.4). The latter two are available only digitally via  iTunes, Amazon and CD Baby. We spin a superb track off the Eugene Powell collection which contains unissued numbers plus tracks from the Albatros LP Police In Mississippi.  I finally tracked down some missing records from Albatros and will be doing an entire show devoted to the label shortly.

Other field recordings come from the pre-war era and were recorded by John Lomax:  Samuel Brooks' "Oh the Sun's Goin' Down and I Won't Be Here Long" (1942) recorded in Edwards, Mississippi and Willie Ford and Lucious Curtis on "High Lonesome Hill." Ad David Evans writes "Lucious Curtis was making a precarious living as a musician while his partner, Willie Ford, worked at a sawmill when John A. Lomax encountered them in 1940 for their only recording session."

In our first show of he new year we traced the origins of several classic blues songs. Today we spin a quartet of related blues songs from the 20's, 30's and 40's that draw from a much earlier source. Around the term of the century there was the "bully song" or more formally "The Bully of the Town" or "Looking for the Bully." There were several songs published with 'Bully" in the title around this period. Paul Oliver noted that the song "reinforced the stereotypes of the razor-totin', watermelon-suckin', chicken-stealin' 'nigger' of that period." The core of the story is an altercation, usually with a razor, between the bully and a rival with the action usually happening at a dance or ball.  Oliver has written about this both in Songsters & Saints and in a chapter titled Lookin' For That Bully in the book Nobody Knows where the Blues Come from: Lyrics and History (the entire chapter is available on Google Books).  In the blues era several songs drawn on these earlier sources including Sara Martin's "Down At The Razor Ball" (1925), Blind Willie McTell's "Razor Ball" (1930) and Washboard Sam's "Down At The Bad Man's Hall" (1941).  Oliver mentions all the songs but one he seems to have overlooked is Sippie Wallace's "Parlor Social De Luxe" (1925) which seems to me at least marginally related. The most famous related song, however, is the Willie Dixon penned "Wang Dang Doodle" (1960) which draws its inspiration from the Sara Martin number. As Dixon recalled "the one Wolf hated most of all was 'Wang Dang Doodle.' He hated that 'Tell Automatic Slim and Razor-Totin' Jim.' He'd say, 'man, that's too old-timey, sound like some old levee camp number.'" In 1966 Koko Taylor had a big hit with the song.

In addition to the down-home blues we also spin some Chicago and jump blues. We play the Howlin' Wolf gem "Poor Boy" (1957) a terrific updating of this old number and Big Moose Walker on "Footrace To A Resting Place" and "Wrong Doing Woman." The Walker tracks were recorded at Elmore James' last sessions for Fire in 1961 and come from the 2-LP set To Know A Man on Blue Horizon. At the time these songs were just attributed to "Bushy Head."

Nugrape Twins: The Road Is Rough And RockyWe spin some great blues shouters including Big Joe Turner on the magnificent "Rock Of Gibraltar" (1936) with Albert Ammons on piano,  Gene Parrish's jumping, raunchy "Screamin' In My Sleep" ("she'd slip and slide and I keep moaning low") featuring Maxwell Davis and superb guitar from West Coast ace Chuck Norris. Parrish cut a dozen sides in 1950-1951 for RPM and Victor.

We also hear from Big Duke Henderson & His Orchestra on "Beggin And Pleadin"from a new 2-CD set on Ace called Dust My Rhythm & Blues: The Flair Records R&B Story. In 1945 Henderson made his debut for the Apollo label on a recommendation by Jack McVea. He was backed on the recording dates by several notable Los Angeles session musicians including McVea, Wild Bill Moore and Lucky Thompson (saxophones), Gene Phillips (guitar), Shifty Henry and Charlie Mingus (bass violin), plus Lee Young and Rabon Tarrant (drums). The recordings were not a commercial success and Henderson lost his recording contract with Apollo. In 1947 Al "Cake" Wichard recorded for Modern Records billed as the Al Wichard Sextette, and featured vocals by Henderson. Henderson subsequently recorded material for a number of labels over several years including Globe, Down Beat, Swing Time, Specialty,] Modern, Imperial and Flair. Later in the decade, Henderson renounced his past, and commenced broadcasting as Brother Henderson as a gospel DJ. After his DJ career, Henderson went on to become a preacher.Henderson died in Los Angeles in 1972.

We also slip in a few gospel numbers: Mississippi John Hurt's "Praying On The Old Camp Ground", Eddie Head and His Family's "Down On Me" which Paul Oliver notes "was notable for the fluent guitar which imparted an easy swing to the recording, and from Eddie Head's skillful harmonizing to his family's singing" and the Nugrape Twins' "The Road Is Rough & Rocky" credited in the Columbia files to "Mark and Matthew (The Nugrape Twins)." The duo recorded eight sides at sessions in 1926 and 1927 for Columbia.

 

 

 

 

 

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ARTISTSONGALBUM
Blind Willie McTell Just As Well Get Ready-You Got To Die-Climbing High Mountains-Tryin' To Get HomeThe Classic Years 1927-1940
Charley Patton You’re Gonna Need Somebody When You DieScreamin' & Hollerin' The Blues
Son House Lord Have Mercy When I Come To DieThe Real Delta Blues
Brother Willie Eason I Want To Live (So God Can Use Me) Fire In My Bones
Furry Lewis When I Lay My Burden DownWhen I Lay My Burden Down
Henry Johnson Until I Found The Lord45
Leola Manning He Fans MeRare County Blues 1928-1957
Sister O.M. Terrell I'm Going To That CityGet Right With God: Hot Gospel 1947-1953
Rev. W.M. MosleyYou Preachers Stay Out Of Widow's HousesRev. W.M. Mosley 1926-1931
Hi Henry Brown Preacher BluesBlues Images Vol. 10
Big Bill Broonzy Preachin' the Blues Big Bill Broonzy
1937-1940 Vol. 2
Ralph Willis Amen BluesShake That Thing: East Coast Blues 1935-1953
Papa Lightfoot When the Saints Go Marching Blues Harmonica Wizards
Julius DanielsSlippin' And Slidin' Up The Golden StreetAtlanta Blues
Skip James Jesus Is a Mighty Good LeaderBlues Images Vol. 6
Texas AlexanderJustice Blues Texas Alexander Vol. 3 1930-1950
Lightnin' Hopkins I'm Going To Build Me A Heaven Of My OwnThe Complete Prestige Recordings
Sam Collins Lead Me All The WayJailhouse Blues
Bukka WhiteThe Promise True And GrandMasters of the Delta Blues: Friends of Charlie Patton
Mother McCollum Jesus Is My Air-O-Plane Blues Images Vol. 11
Bessie SmuthOn Revival Day (A Rhythmic Spiritual)The Complete (Frog)
Lizzie MilesHold Me, ParsonLizzie Miles Vol. 3 1928-1929
Washington PhillipsDenomination Blues (Pt.1)I Am Born To Preach The Gospel
Champion Jack Dupree Deacon's PartyChampion Jack Dupree: Early Cuts
The Griffin BrothersDouble Faced DeaconBlues With A Beat
Rev. Anderson JohnsonDo You Call That Religion?Blind Willie Johnson and the Guitar Evangelists
Jaybird ColemanI'm Gonna Cross the River of Jordan - Some O' These DaysGoodbye, Babylon6
Robert Pete WilliamsChurch on Fire (No. 2)I'm Blue As a Man Can Be
Doctor Clayton Angels In HarlemAngels In Harlem
Roy BrownJudgement DayRoy Brown & New Orleans - R&B
Lloyd Price Lord, Lord, Amen!Lloyd Price 1952-1953
H-Bomb Ferguson Preaching The BluesRock H-Bomb Rock
Willie Mae Williams Where the Sun Never Goes DownFire In My Bones
Little Janice Scarred KneesWest Coast Guitar Killers Vol. 1

Show Notes:

I know blues singers don't go to heaven
'Cause Gabriel bars them out
(
Doctor Clayton, Angels In Harlem, 1946 )

Bukka White: I Am In The Heavenly WayToday's show is part two of our look at the intersection between blues and religious music. In the early 1900's, blues singing was associated with the brothel, juke joint, and the dregs of African-American society. Black church goers called it the "Devils' Music" as the following quote, told to Paul Oliver, reflects: "When she was singin' the blues I told her-she was pavin' her way to Hell," said Emma Williams of her daughter', the blues singer Mary Johnson…" This view was also shared by some former blues singers: "A man's who's singin' the blues- I think it's a sin because it cause other people to sin," said Lil Son Jackson" who gave up blues for the church. As Oliver notes, "Musically the blues and the spirituals, or the spirituals' successor, the gospel song, may have stemmed from common sources. But in the recording era, though they shared on occasion similar instrumentation and voices, they were separate and distinct."

Despite this divide, religious imagery is prevalent throughout blues music, particularly the blues of the 20's and 30's; songs talk about the devil, make fun of the preachers, deacons and reverends, use biblical imagery and speak of the afterlife, both heaven and hell in frank terms. In addition there's a slew of bluesman who struggled between blues and religion like Son House, blues artists who moonlighted by singing gospel like Charlie Patton, Blind Boy Fuller, Skip, James, Mississippi John Hurt, Blind Lemon Jefferson, among many others and those bluesmen who eventually turned full time to religion like Robert Wilkins, Rev. Gary Davis, Georgia Tom, Rube Lacey, Ishman Bracey, Gatemouth Moore and many others. On the flipside are artists who straddled blues and gospel like Blind Roosevelt Graves, Sister Rosetta Tharpe and those artists who's musical language was similar to the blues artists, most notably the so-called guitar evangelists like Blind Willie Johnson, Rev. Edward Clayborn, Sister O.M. Terrell and others, plus sanctified singers and groups who's instrumentation drew from secular music like blues and jazz. We explore all this and more on today's program.

Today's title comes from one of my favorite singers, the influential Doctor Clayton. Clayton's vocal style was widely emulated and a number of his songs became blues standards. He first recorded for Bluebird in 1935 cutting six sides four of which went unissued, not recording again until 1941. Between 1941-1942 he recorded four sessions for Bluebird and Okeh. Clayton's final recordings were in February 1946 with a small group led by "Baby Doo" Caston with a final session in August 1946 which is where today's selection, "Angels In Harlem", comes from. The song was covered by Smokey Hogg, Peppermint Harris, Little Son Willis as "Harlem Blues" and by Larry Davis as "Angels In Houston." This is a good  example of a blues song using religious imagery. Another example is Texas Alexander's "Justice Blues" from 1934. The song has lyrical similarity to a number of songs:

I've cried, Lord, my Father, Lord, our kingdom come (2x)
Send me back my woman, then my will be done

I never been to Heaven, people, but I've been told
Says, I never been to Heaven, people, but I've been told
Oh Lord, it's womens up there got their mouths chock full of gold

I'm gonna build me a Heaven, have a kingdom of my own
Gonna build me a Heaven have a kingdom of my own
So these brownskin women can cluster around my throne

The song echoed a line from House' 1930 number "Preachin The Blues:"

Ooh, I wish I had me a heaven of my own (great Godawmighty)
Then I would give all my woman a long, long happy home

These lines would crop up in other blues songs through the years including Lightnin' Hopkins' "I'm Going To Build Me A Heaven Of My Own" which we play today .Also worth noting is Alexander's mockery of the Lord's prayer. This device shows up in a number of songs including John Byrd's mock sermon "The White Mule of Sin" as he has "Sister" Jones lead the prayer:

Our father who art in heaven
The white man owed me ten dollars and I didn't get but seven
Thy kingdom come Thy will be done
I took that or I wouldn't have got none

In our first installment we played "You Shall" by Frank Stokes which uses a similar refrain:

Oh well it's our Father who art in heaven
The preacher owed me ten dollars he paid me seven
Thy kingdom come Thy will be done
If I hadn't took the seven Lord I wouldn't have gotten none

There were slew of related songs that took a cynical, humorous view of the preacher. In our first installment we featured a number of these including Arthur Anderson's "If You Want To Make A Preacher Cuss", Hambone Willie Newbern's "Nobody Knows (What The Good Deacon Does)", Memphis Minnie & Kansas Joe's "Preachers Blues",  Mississippi Sheiks' "He Calls That Religion", Luke Jordan's "Church Bells", Christina Gray's "The Reverend Is My Man", Frank Stokes' "You Shall", Little Esther's "The Deacon Moves In" and Louis Jordan's "Deacon Jones."  We feature  a batch more today including Hi Henry Brown's "Preacher Blues", Champion Jack Dupree's "Deacon's Party" and  The Griffin Brothers' "Double Faced Deacon:"

Well let me tell you about a deacon, top hat long tail coat (2x)
Well he preaches his best while winking at the women folk
Well he preached against gambling, said it was a sin and a shame (2x)
Well he met me in the alley, shot seven for my watch and chain

On "Preacher Blues" from 1932 Hi Henry Brown echoes a similar sentiment:

Preacher in the pulpit, bible in his hand, sister in the corner crying that my man (2x)
Preacher come to your house asking to rest his hat, next hing he wanna know sister, where your husband at? (2x)

Criticism of the preacher and religion isn't confined  to secular artists. We hear a similar complaint from  Rev. Anderson today on "Do You Call That Religion?" and "Denomination Blues" by Washington Phillips:

You're fightin' each other, and think you're doing well
And the sinners on the outside are going to hell. And that's all

 Now the preachers is preachin', and think they're doing well
All they want is your money and you can go to hell. And that's all

 Then there was Reverend A.W. Mosley who delivers the no nonsense "You Preachers Stay Out Of Widow's Houses."

You jack-legged preachers – stay out of widow's houses
Some of the mornings – some of these nights
You goin' to some widow's house
Some grass widow, that you ain't got no business there
They gonna find your body there
But you won't find yo' head
Preacher – stay out of widow's houses

Bessie Smith: On Revival DayIn the heyday of  blues popularity, the late 20's and 30's, there was a marked increase in blues imagery in recorded sermons which were hugely popular during this period. There was F.W. McGhee railing against "Shine-Drinking" and "Women's Clothes (You Can't Hide)" while Rev. Emmett Dickinson  delivered sermons with titles like "Is There Harm In Singing The Blues" and "Sermon On Tight Like That."

 There were quite a number of blues artists who recorded both blues and gospel. I'm not sure if this was commercially driven or heartfelt religious sentiment. Certainly Son House was conflicted  between the blues and religious worlds.  In his younger days House became involved with the Baptist religion, and by the time he was twenty he was preaching in a church near Clarksdale. In his mid-twenties, House heard a guitar player named Willie Wilson (sometimes Willie Williams) playing bottleneck guitar and it changed his life. House bought a battered guitar, Wilson patched it up, put it in Spanish tuning, and soon House was accompanying him. Surprisingly enough, after becoming a bluesman, House continued to preach for awhile, an unlikely combination of careers that speaks of the conflict between religion and blues that would bedevil him the rest of his life. His  "Preachin the Blues", featured in part one, is a savage attack on organized religion—specifically in the form of the Baptist church. In his rediscovery years House recorded and performed religious materiel, sometimes even doing some preaching during his shows.

House's contemporary Charley Patton not only performed and recorded religious songs but for most of his life wrestled with what he thought was a calling to be a preacher. He cut several religious songs: "Prayer of Death" (Parts 1 & 2), "Lord I'm Discouraged", "I Shall Not Be Moved", "Jesus Is A Dying Bed Maker", "Some Happy Day, "Jesus Is A Dying Bed Maker", "You're Gonna Need Somebody When You Die" and "Oh Death."

Others featured today who recorded both blues and gospel were singer Leola Manning who's vocals seem straight out of the church. Our selection, "He Fans Me", is a religious number but bears a strong resemblance to  Frankie "Half-Pint" Jaxon's raunchy hit "Fan It." Then there was Crying Sam Collin who cut just a few gospel numbers although he did record several others that were not released. Similarly Julius Daniels cut a mix of blues and gospel as we feature him performing "Slippin' And Slidin' Up The Golden Street." Blind Willie McTell was another who cut a fair number of spiritual sides starting in 1933, some more in 1935 and several for the Library of Congress in 1940. He continued to cut a number of religious sides during his post-war recordings. Skip James, featured today on "Jesus Is a Mighty Good Leader" from his legendary 1931 session, continued to perform and record spiritual numbers during his rediscovery in the 1960's. At his first session in 1930 Bukka White cut two religious numbers and two blues and in advertisement in the Chicago  Defender was billed as the "Singing Preacher."

Unrelated to the Son House song, where several similarly titled songs such as Bessie Smith's "Preachin' The Blues", "Preaching The Blues" by H-Bomb Ferguson and Big Bill Broonzy's "Preachin' The Blues.” In many versions of his life, Broonzy speaks of becoming a preacher for awhile. Unlike the House song, these songs represented the blues singer delivering mock sermons. Ferguson's father was a Baptist preacher who paid for piano lessons for his son condition he learned sacred songs. But Ferguson had other ideas: "After church was over, while the people was all standing outside talking, me and my friends would run back inside and I'd play the blues on the piano." His father would not approve of his 1952 number:

Is all my bothers here, is everybody ready?
Well all you backsliders sit out there and say amen,
And when I get to preaching, you wish you had some gin
Now take old brother Johnson he says he's living right,
I saw him sneaking around with the deacon"s wife last night

Today's program features several so called guitar evangelists. There is only a slight difference between a street-corner blues singer and a sanctified street singer, since both need to hold a crowd and make a few bucks. Blind Willie Johnson is the most famous and greatest of the guitar evangelists. Others from this period include Edward W. Clayborn, A.C. & Blind Mamie Forehand, Blind Willie Brother Willie Eason: I Want To LiveHarris, Willie Mae Williams plus several who recorded slightly later like Rev. Utah Smith, Willie Eason and Sister O.M. Terrell.

In part one we spotlighted  a pair of cuts by Sister Rosetta Tharpe, a tremendous guitarist and singer who did  blues sides in her early days but pretty much stuck to gospel for the rest of her lengthy recording career. It's interesting that in the early blues years there were very few guitar playing woman. The biggest name was Memphis Minnie with a few others like Mattie Delaney and Geeshie Wiley who cut a few sides. Tharpe must have been an influence in because on the gospel side there were several fine woman guitarists including Willie Mae Williams and  Sister O.M.  Terrell  both of whom are spotlighted today.

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ARTISTSONGALBUM
Little Son Willis Nothing But The Blues Down Home Blues Classics: California & The West Coast 1948-1954
Alex Moore Neglected Woman Whistling Alex Moore 1929-51
Dr. Hepcat Hattie Green Houston Might Be Heaven: Rockin' R&B In Texas 1947-1951
Wright Holmes Good Road BluesDown Behind The Rise 1947-1953
Jesse ThomasDouble Due Love You Down Behind The Rise 1947-1953
Junior BrooksLone Town Blues Modern Downhome Blues Sessions Vol. 1
Jimmy DeBery Before LongDeep South Blues Piano 1935-1937
Manny NicholsNo One To Love MeDown Home Blues Classics: Texas 1946-1954
Blind Willie McTellEast St. Louis Blind Willie McTell & Curley Weaver: The Post War Years
Johnny Beck You Gotta Lay Down Mama Down Home Blues Classics: Texas 1946-1954
Dennis McMillon Paper Wooden Daddy New York City Blues 1940-1950
Schoolboy Cleve She's GoneDown Home Blues Classics Vol.5: Memphis & The South 1949-1954
Pee Wee Hughes Country Boy Jook Joint Blues
Papa Lightfoot Wine, Whiskey & Women Blues Harmonica Wizards
Goldrush All My Money GoneRural Blues Vol. 1 1934- 1956
Leroy Ervin Blue, Black and Evil Texas Blues ( Bill Quinn's Gold Star Recordings)
Big Charlie Bradix Numbered Days The Travelling Record Man
Pete Franklin Down Behind the Rise Down Behind The Rise 1947-1953
Walter Bradford Reward For My Baby Sun Records: The Blues Years 1950-1958
Charley BookerWalked All NightSun Records: The Blues Years 1950-1958
Frank Edwards Gotta Get Together Jook Joint Blues
Henry Hill & Doctor Ross That Ain't Right Sun Records: The Blues Years 1950-1958
Joe Hill LouisWe All Gotta Go SometimeSun Records: The Blues Years 1950-1958
John Lee Down At The Depot Rural Blues Vol. 1 1934- 1956
Dan Pickett 99 1/2 Won't Do Shake That Thing!: East Coast Blues 1935-1953
Pinetop Slim Applejack Boogie Modern Downhome Blues Sessions Vol. 4
Big Boy SpiresAbout To Lose My Mind Chicago Slickers 1948-1953
Otis HintonWalking Downhill Black Cat Trail
Frankie Lee SimsWalking With Frankie 4th & Beale And Further South
Luther HuffBulldog Blues Down Home Blues Classics Vol.5: Memphis & The South 1949-1954
Lane HardinKeep 'em Down The Modern Down Home Blues Sessions Vol. 4
Boyd Gilmore Ramblin' On My Mind The Modern Downhown Blues Sessions Vol. 1
Baby Face Turner Blue Serenade The Modern Downhown Blues Sessions Vol. 2
Willie NixLonesome BedroomThe Traveling Record Man

Show Notes:

Down Behind The Rise
Read Liner Notes

In the immediate post-war era the music was rapidly changing, R&B was on the rise and and older blues styles were falling out of fashion. Yet for awhile at least, there was still a market for rural down home blues as evidenced by the popularity of artists like Lightnin' Hopkins, John Lee Hooker and Smokey Hogg. Between 1944 and 1964, more than 600 record companies tried their hands at recording blues. Many failed or had limited success while others grew and became major players. Paul Vernon wrote that this was “the last grand hurrah of local blues recorded for, and often by, local entrepreneurs, neither folkloric nor college oriented, but music for the culture from which it grew." Today we spotlight some of my down home blues favorites spanning the years 1947 through 1957.

A good number of today's tracks come from two album series that made a big impression on me; one was on the Nighthawk label which issued a series of great anthologies in the late 70's. I discovered these a bit later at my college radio station which had the entire series. I was particularly drawn to Down Behind The Rise 1947-1953 which introduced me to Jesse Thomas, Wright Holmes and Johnny Beck, all of whom are featured today. All of these sides have since been reissued on many different collections. The other series was Kent's Anthology of Blues, a twelve volume set of albums, some spotlighting single artists, others anthologies of great down home blues. I discovered numerous great artists from that series including Willie Nix, Pinetop Slim, Charlie Bradix, Baby Face Turner, Junior Brooks, Boyd Gilmore and Charley Booker, all artists featured today. The series was resurrected in grand fashion by Ace Records over the course of six CD's with terrific notes by Jim O'Neal and loads of additional tracks.

I should also mention the Sun Records: The Blues Years 1950-1956, a nine LP box set that I picked up back in High School at Bleeker Bob's in Greenwich Village. I have played this set endlessly over the years and today spin several tracks from that box including Walter Bradford, Charley Booker, Henry Hill & Doctor Ross and Joe Hill Louis. Below is is some information on a few of today's featured performers.

Wright Holmes: Good Road BluesWright Holmes was born in Hightower, TX. on July 4, 1905. In 1930 he moved to Houston where he started playing in clubs on Dowling Street and also broadcasted on KTRH. In 1947 he made two recordings for Bill Quinn's Gold Star label but Quinn didn't issue the recordings because he thought that Holmes sounded too much like Lightnin' Hopkins who was his top selling blues artist. Later that year, another man named Abe Conley recorded four songs by him at his studio. Conley sold the masters to Miltone. Two of the songs were issued on Miltone. Miltone was later bought out by Gotham who reissued the two songs and issued one other with another song never issued.

Jesse Thomas recorded sporadically from the late 1920's through the early 1990's and despite his longevity didn't achieve much in the way of success or recognition. In 1929, at 18, Thomas cut four excellent sides for Victor.By the post-war era Thomas had developed a brilliant, highly individual style unlike anyone else. Between 1948-1958 Thomas cut sides for nine different West Coast labels. Thomas' "Double Due Love You" was a song made a big impression when I first heard it on Down Behind The Rise.

Modern Records' partner Joe Bihari had made his first field trip to the South around September 1951 following the breakdown in relations with Sam Phillips. This was after Rocket "88" by Jackie Brenston and Ike Turner ended up on Chess instead of Modern, and became a #1 R&B smash hit. Until then Phillips had been recording Modern's Memphis-area artists including B.B. King, Joe Hill Louis and Rosco Gordon. Following the split with Phillips, Bihari hit paydirt with B.B. King's "3 O'Clock Blues," thus encouraging Bihari to authorize further trips in the South. The Biharis launched a new label for these field recordings, Blues & Rhythm, in February 1952. The first major reissue of this material was in 1969 and 1970, issued as the Anthology Of The Blues 12-volume LP series on Kent. In later years Joe Bihari said: "I was a gutsy kid who wasn't afraid of anything, traveling during a period where there was immense segregation and discrimination against African Americans. Indeed, I am proud of myself for doing what I could to resist this horrific prejudice. Looking back, I think I made major contributions to this rich music that we have all over America – and all my hard work paid off as this blues music is now recognized worldwide."

As Joe Bihari remembers, it was on a trip to Atlanta in 1949 that he conducted his first on-the-road session after he just happened to hear a guitarist playing on the street there. The bluesman he discovered was Pine Top Slim. "I took him right into our distributor's office and I recorded him at the local radio station where Zeas Sears was the top jock" "Applejack Boogie b/w I'm Gonna Carry On" were released on a short-lived Modern subsidiary called Colonial in 1949. The Biharis shelved the rest of the Pine Top Slim session, and it was only when Frank Scott and Bruce Bromberg compiled the historic Kent Anthology of the Blues LP series  that the rest of the material resurfaced.

Blues From The Deep SouthFor a long time it was thought Lane Hardin's 1935 record, "California Desert Blues b/w Hard Time Blues" was the only record he ever recorded. Unknown to most collectors Hardin cut a vanity record circa 1948. The record was found by collector Steve LaVere sometime in the 1990's in Los Angeles and purchased by Tefteller and has since been reissued. In around 1950 a group of artists sent in a batch of unlabeled acetates that were discovered at Modern in 1970. These recordings have remained a focal point for intense discussion ever since. When these sides were first issued on Kent's Blues From The Deep South LP, Arkansas Johnny Todd and Leroy Simpson were invented for two sides released. It turns out that Todd is actually Lane Hardin.

Junior Brooks (nicknamed "Crippled Red") was from Pine Bluff, AR. He worked the local club scene with his fellow musicians Baby Face Turner, Elmon "Driftin' Slim" Mickle, and Sunny Blair. The Bihari brothers held two sessions in Little Rock in 1951 and '52 to record some of the local talent. Brooks made four recordings at the 1951 sessions. He died shortly afterward. Also from this session we feature tracks by Baby Face Turner and Boyd Gilmore.

Years ago, I don't remember where, I picked up a record on Arhoolie's Blues Classic series called Juke Joint Blues. There were  some great sides on that record but the one I played over and over was Dr. Hepcat's rollicking, humorous "Hattie Green", a totally unique rendition of this classic Texas blues  number. Born in Austin, Texas, January 9, 1913, as Lavada Durst he  learned to play the piano as a child and emulated the styles he heard growing up. "I was self-taught," he recalls "I used to slip across the street to the church house and one-finger that piano. From Robert Shaw (Arhoolie CD 377), Durst learned the rudiments of what is now referred to as the Texas barrelhouse piano style. He worked part time as a disc jockey from 1948 to 1963 on KVET radio in Austin. On the air, he used the call name “Dr. Hepcat,” and during his show, which featured primarily rhythm and blues and jazz, he used to jive talk to pique the interests of his listeners in making introductions to records, public service announcements, and commercials. He cut a handful of sides in 1949 and latter day sides.

Now I remember exactly where I snagged a copy of Dan Pickett: 1949 Country Blues. I was at my favorite record shop, Finyl Vinyl, on New York's Second Avenue in the Village and they had the album displayed on the wall reserved for notable new records. Most times I walked in there without a plan, just poking around and always leaving with some albums tucked under my arm. This time I had been looking for this album after reading an intriguing review in Juke Blues magazine. Dan Pickett did one recording session for the Philadelphia-based Gotham label in 1949. His real name was James Founty who was born in Pike County, Alabama on August 31, 1907. Five singles were issued by the label while the rest of the titles weren't unearthed until four decades later (with some alternate takes of some issued titles to boot). No one is certain what he did after his one and only session as far as his life. He passed away in Boaz, Alabama on August 16, 1967, a few days short of his 60th birthday.

Jess Thomas: D Double Due Love YouIn strange twist I became friends decades later with Axel Küstner who played a big part in unraveling the mystery behind Pickett. Küstner went from his home in Germany to Alabama in 1993 to see what he could dig up. He found Founty's surviving family and also the lawyer's son, who had his father"s papers, though Founty's file was missing. He obtained the only known photograph that shows Founty and some information on his life. Künster published a two page teaser about the trip in Juke Blues where he wrote: "Until the whole story is published in Juke Blues, I'll just tell you this much: [Founty was] a classic rambler in the best blues tradition…"Künster wrote that over fifteen years ago and still no full article has been written. I've been trying to gently prod him into writing the full article – maybe someday! In 2010 John Jeremiah Sullivam wrote an article on Pickett for The Oxford American that published the Pickett photo, transcribed an interview with Künster and provided a bit more information on Pickett's life.

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