Big Road Blues

Show Notes:

The Mississippi Sheiks were the most commercially successful black string band of the pre-war era and made close to one hundred records between 1930 and 1935. Their repertoire drew upon all facets of black and white rural music: hard-edged blues, pop music, hokum, white country and traditional songs. At the group’s core was fiddler Lonnie Chatmon and singer/guitarist Walter Vinson and often joined on their recording dates by Lonnie’s brothers Bo Chatmon (who recorded solo as Bo Carter) and Sam Chatmon. Along with Charlie McCoy, this group of musicians also recorded in a few different instrumental combinations and under several different names including the Mississippi Blacksnakes, the Mississippi Mud Steppers, Chatmon’s Mississippi Hot Footers, the Jackson Blues Boys among others names. They also backed other artists like Texas Alexander, Alec Johnson  and backed Bo Carter on a few of his recording dates.

The Mississippi Sheiks grew out of a string band formed by members of the highly musical Chatmon family, who resided on the Gaddis and McLaurin plantation just outside the small town of Bolton, Mississippi. The father of the family was Henderson Chatmon, a sharecropper of mixed racial origins who had been a fiddler since the days of slavery. With his wife Eliza, he reportedly had thirteen children, eleven of which were sons who all played musical instruments. From around 1910 until 1928, seven of them formed a string band known as the Chatmon Brothers, and they performed at country dances, parties and picnics. As Sam Chatmon related to Paul Oliver in 1960: “We started out from our parents-it’s just a gift that we had in the family.  …I played bass violin for them, and Lonnie, he played lead violin and Harry he played second violin. And my brother Larry, he beat the drums. And my brother Harry, he played the piano you see. And my brother Bo he played the guitar too and he even used to play tenor banjo. And I played guitar. We just pick up and play any instrument and play one to another. We came from Bolton, Mississippi, we were raised up there; and so, many of us played some numbers and some played others, so we named ourselves the Mississippi Sheiks.”

It’s been stated that the Chatmon clan also included two half-brothers; one named Ferdinand and the other Charlie Patton. It’s claimed in an interview with Sam Chatmon that he claimed Ferdinand recorded under the name Alec Johnson. Johnson recorded six sides for Columbia in 1928 backed by Bo Carter, Charlie McCoy and Joe McCoy. As for Patton the source is again Sam Chatmon and this is discussed at length in the biography King of the Delta Blues: The Life and Music of Charlie Patton. There’s no question that Patton knew the family well; Sam claimed that his father, Henderson, had had an affair with Annie Patton and so was also Charlie’s father. The Patton family members interviewed said no, and the book advances the theory that one of Patton’s brothers was more likely an illegitimate Chatmon than Charlie was. The authors  seem to think that Sam Chatmon was just trying to boost himself with the Patton story. Sam Chatmon also mention a brother named Edgar who he said recorded under the name Leroy Carter. A Leroy Carter did cut two sides in 1935 (six sides went unissued) and its always been assumed that this was a pseudonym for Walter Vinson.

The central figure of the group was Lonnie, an accomplished fiddler who played a variety of musical styles. By the time of World War I, he had learned to read music and was purchasing sheet music in nearby Jackson and teaching popular tunes to his brothers. The Chatmon Brothers gained wide popularity among both black and white audiences. Around 1921, Lonnie recruited the Chatmon’s neighbor, Walter Vinson, to play with the group. By 1928 the seven-piece Chatmon Brothers had dissolved and Lonnie and Walter began performing regularly as a duo.

In February 1930 the OKeh field unit called at Shreveport, Louisiana, to do some recording at  the request of a local radio station. While there, they recorded  a small black group (Bo Carter was with the duo at the time ) who called themselves the Mississippi Sheiks. The group cut their two biggest hits at this session: “Sitting On Top Of The World” which spawned many cover versions and “Stop And Listen” derived from Tommy Johnson’s “Big Road Blues.” Showing their versatility, two numbers, “The Sheik Waltz” and “The Jazz Fiddler” were listed in Okeh’s hillbilly catalog and marketed to white listeners. Their records went down so well that OKeh recorded 14 more numbers in San Antonio in August. In December 1930, they were in Jackson ,Mississippi, near to home, when the Okeh field unit came by and recorded a further 16 selections. The Sheiks remade their two hits, “Sitting On Top Of The World” and “Stop And Listen” and the depression themed  ”Times Done Got Hard.” Chris Smith suggests that “Honey Babe Let The Deal Go Down” may have been prompted by a record company request for a version of  “Don’t Let Your Deal Go Down Blues”, the Charlie Poole song widely known in the Southeastern states by both blacks and whites from Poole’s 1925 recording.

In October 1931, the Sheiks and Bo Carter were on the road again, traveling to Atlanta for a session which Bo remembered as one of the rare occasions on which he got drunk along with the others. In October 1931, over the course of two days in Atlanta, the Sheiks waxed 14 sides including several we feature today: the bleak “The World Is Going Wrong”,  the bouncy hokum of  “She’s A Bad Girl” plus other notable songs including the dark and powerful  “Livin’ In A Strain” which was unissued at the time and the gorgeous popular styled “Lazy Lazy River” sporting some tremendous fiddle from Lonnie.

The Mississippi Sheiks wrapped up their two days in Atlanta with four titles which show off Walter Vinson’s guitar playing to particular advantage, as well as including some clever lyrics like “Bed Spring Poker” and “I’ve Got Blood In My Eyes For You” which was one of four titles from these sessions issued on Columbia, the parent company of Okeh, which by 1932 was releasing material by popular Okeh artists like the Sheiks and Lonnie Johnson in an attempt to stave off the catastrophic fall in sales induced by the Depression. The gambit failed and Columbia’s race series ended in October 1932. As Chris Smith notes: “Around the time Columbia 14660-D was released, in June 1932, the Sheiks were recording for Paramount, which was in turn to terminate its 12/13000 race series towards the end of that year. The last two discs issued were both by the Missjssippi Sheiks; all through the Depression they had been favourites with black record buyers, and it’s not surprising that they were Paramount’s last throw of the dice.” Most of the material the group cut for Paramount were remakes and rewrites. There were some notable exceptions including the piano/guitar duet “I’ll Be Gone, Long Gone”, some flat out  terrific playing by Walter and Lonnie on “She’s Crazy About Her Lovin’” and “He Calls That Religion”, a stinging attack on the clergy:

Well, the preacher used to preach
To try to stay atoned
But now he’s preachin’ just to buy jellyroll

Well, he calls that religion
Yes, he calls that religion
Well, he calls that religion
But I know he’s goin’ to hell when he dies

Even in the depths of the depression in 1933 the popular Sheiks cut an 8 song session for Columbia but only two numbers were issued including the excellent “Show Me What You Got.” The Sheiks wrapped up their recording career with two sessions in San Antonio in March of 1934 that yielded 14 sides and a final 8 sides in New Orleans in January 1935 with all of these tracks seeing release.  While the Sheiks sales were declining they were still cutting superb music including “It’s Done Got Wet” a joyful celebration noting the end of prohibition, Walter Vinson singing convincingly on the dark  “I Am The Devil”, and  the topical numbers “Sales Tax” and “I Can’t Go Wrong.”

On April 9th 1934 Texas Alexander was backed by the Mississippi Sheiks on eight numbers. The lineup featured Bo on violin, Sam Chatman and Walter Vinson on guitars. Lonnie seems to be absent from this session. Highlights include “Seen Better Days”, “Texas Troublesome Blues”, “Last Stage Blues” and “Frost Texas Tornado Blues”, a topical blues dealing with a  tornado which destroyed the tiny town of Frost, Texas on May 6, 1930 leaving 41 dead.

Bo Carter made his recording debut in 1928, backing Alec Johnson. Carter soon was recording as a solo artist and became one of the dominant blues recording acts of the 1930′s, recording over 100 sides. He also played with and managed the family group, the Mississippi Sheiks, and several other acts in the area. Bo Carter specialized in double entendre songs, recording dozens of risqué songs like “Banana in Your Fruit Basket,” “Pin in Your Cushion”, “Your Biscuits Are Big Enough for Me”, “The Ins And Outs Of My Girl” and “Ram Rod Daddy” among many others.

As John Miller made clear, Carter was a also a superb guitarist: “He played with absolute facility in a variety of tunings and keys and his harmonic sense was unique in the Country Blues. …Whatever you may think of the “single entendre” aspect of some of his lyrics, when you really listen to what Bo Carter was doing, it become perfectly obvious that he was one of the great masters of Country Blues, and a player of unusual versatility, subtlety and imagination. As with other players of his generation, the origins of Bo’s music are shrouded in mystery, and it is very unlikely we’ll ever find an explanation for the harmonic richness of his music, so different from other musicians of his region. Bo’s right hand approach was different, too, picking with all fingers and moving fluidly between alternation, thumping and runs with his thumb.” Miller teaches the songs of Carter on the DVD’s the Guitar of Bo Carter and wrote some of the liner notes to the three  Bo Carter anthologies issued on Yazoo in the late 60′s and early 7o’s.  These albums, I imagine, played a major role in enhancing Carter’s reputation.

While several of Bo’s double entendre songs are featured today, we also spin a number of his other songs including “Corinne Corrina”, the first recording of this standard, and “East Jackson Blues” both featuring Bo on violin backed by Charlie McCoy and Walter Vinson. Bo had a knack for penning incredibly catchy, melodic numbers including featured tracks like “I Want You To Know”,  “Twist It, Baby”, “The Law Gonna Step On You”, “Who’s Been Here”  and “Tellin’ You ’bout It” backed by Lonnie’s wailing fiddle.

On his landmark trip to the United States in 1960, Paul Oliver came across Bo Carter and recounted the following in Conversation With The Blues: “Sharing a corner in the bare, shot-gun building on South 4th Street where Will Shade lived, was an ailing, blind, light-skinned man whom the occupants knew only as Old Man. By a lucky hunch I guessed he might be Bo Carter and the sick man brightened to hear his name. At first he could hardly hold down the strings of his heavy steel guitar with its worn fingerboard. But he slowly mastered it and in a broken voice, that mocked the clear and lively singing on his scores of recordings under his own name and with the Mississippi Sheiks, he recalled incidents from his varied life and some of the songs that had made him one of the most famous of blues singers. Baby When You Marry he had recorded nearly thirty years before (OK 8888) in 1931 and in the years since he had worked on medicine shows, farmed and begged.”

As Carter related: “Well, we called us the Mississippi Sheiks, all of us Chatmons, cause my name’s Bo Chatman only they called me Bo Carter. We toured with the band right through the country; through the Delta, through Louisiana down to New Orleans… …Tell ya, we was the Mississippi sheiks and when we went to make the records in Jackson, Mississippi, the feller wanted to show us how to stop and start the records. Try to tell us when we got to begin and how we got to end. And you know, I started not to make ‘em! I started not to make ‘em ’cause he wasn’t no muscianer, so how could he tell me to stop and start the song? We was the Sheiks, Mississippi Sheiks and you know we was famous.”

Bo Carter, 1960, Photo By Paul Oliver

Sam Chatmon survived to begin performing and recording again in the1960′s. Chatmon began playing music as a child, occasionally with his family’s string band, as well as the Mississippi Sheiks. Sam launched his own solo career in the early ’30s. While he performed and recorded  on his own, he would still record with the Mississippi Sheiks and with his brother Lonnie. Throughout the ’30s, Sam traveled throughout the south, playing with a variety of minstrel and medicine shows. He stopped traveling in the early ’40s, making himself a home in Hollandale, Mississippi, where he worked on plantations. For the next two decades, Chatmon was essentially retired from music and only worked on the plantations. When the blues revival arrived in the late ’50s, he managed to capitalize on the genre’s resurgent popularity. In 1960, he signed a contract with Arhoolie and he recorded a number of songs for the label. The earliest of these were recorded in 1960 and issued on the album I Have To Paint My Face. As Mack McCormick wrote in the liner notes: “With Bo (who is credited with composing Corrine Corrina) ailing and feeble in Memphis, and the other brothers dead or scattered, Sam Chatman lives in a shotgun house across the tracks in Hollendale, Mississippi, working variously as a yard man, day laborer and truck driver. Adding the scarce but vital element of the near-forgotten minstrel songs to this collection, these are Chatman’s only recordings in the past 25 years.”

Throughout the ’60s and ’70s, he recorded for a variety of labels, as well as playing clubs and blues and folk festivals across America.In 1972 he cut the album The New Mississippi Sheiks, reuniting with Walter Vinson, cut the excellent The Mississippi Sheik for Blue Goose in the early 70′s as well as albums for Rounder, Albatros and Flying Fish among others. Chatmon passed in 1983.

Walter Vinson rarely worked as a solo act, seemingly much more at home in duets and trios; towards that end, during the 1920′s he worked with Charlie McCoy, Rubin Lacy and Son Spand before forming the Mississippi Sheiks. While Vinson, by his own testimony this is the correct spelling, variations on his records include Walter Jacobs, Walter Vincent and Walter Vincson. In 1929 he recorded with Bo Carter and Charlie McCoy as Chatman’s Mississippi Hot Footers with the most interesting number being the solo “Overtime Blues” displaying his prodigious guitar talents. A 1930 session was listed under Walter Jacobs And The Carter Brothers backed by Bo and Lonnie while a two 1936 sessions found him in the company of pianist Harry Chatman on a four song session and possibly backed by Little Brother Montgomery on two sides including “Rats Been On My Cheese”, certainly a novel metaphor for adultery. Vinson concluded his pre-war work with a four-song 1941 session for Bluebird backed by Robert Lee McCoy (Nighthawk) on harmonica which is notable for the lovely, beautifully sung  “Gulf Coast Bay.”

While an active club performer during the early 1940′s, by the middle of the decade he had begun a lengthy hiatus from music, which continued through 1960, at which point he returned to both recording and festival appearances. He made some recordings for the Riverside label in 1961 and a decade later teamed up with Sam Chatman plus Carl Martin and Ted Bogan to record an album called The New Mississippi Sheiks issued on Rounder in 1972. Hardening of the arteries forced Vinson into retirement during the early ’70s; he died in Chicago in 1975.

Sam Chatmon, The Mississippi Sheik, Blue Goose Records

As mentioned earlier, members of the Sheiks recorded under several different names between 1928 and 1931 including the Mississippi Blacksnakes, the Mississippi Mud Steppers, the Jackson Blues Boys and backed artists Sam Hill and Alec Johnson. The bulk of these sides can be found on the Document collection Mississippi String Bands & Associates. Between 1928-1931 Charlie McCoy played on a variety of sides, many string band related, in the company of Walter Vinson and Bo Carter. In November 1928 Carter, McCoy and an unknown pianist backed singer Alec Johnson on four of six sides. In November of the same year Carter, Vinson and McCoy backed singer Mary Butler on four numbers. Butler may in fact be Rosie Mae Moore who McCoy backed in February of the same year. With Walter Vinson they cut sides as the Mississippi Mud Steppers, with the addition of guitarist Sam Hill (plus Bo Carter and Sam Chatmon on one track) as the Mississippi Blacksnakes and with Carter and Vinson as the Jackson Blue Boys. With the Mississippi Blacksnakes McCoy’s robust mandolin is heard on the bawdy “Grind So Fine” and the country tinged “Blue Sky Blues” both boasting terrific vocals from Vinson. Two days after the first Blacksnakes session the group recorded again with Bo Carter as the vocalist and either McCoy or Sam Hill on guitar. This is a bluesier session with McCoy again on mandolin/banjo with his mandolin heard in fine form on “It Still Ain’t No Good (New It Ain’t No Good)” and “Easy Going Woman Blues.” One more song by the group, “Bye Bye Baby Blues”, was cut the following day featuring fine slide from McCoy. The two tracks cut as the Jackson Blue Boys are interesting for featuring singing from Carter, Vinson and McCoy in unison and taking solo turns with McCoy playing mandolin.

In 1935 Pianist Harry Chatman cut ten songs across three sessions, two in New Orleans and a final one in Jackson, Mississippi. Bo Carter appears on the two song first session while Walter Vinson backs Harry on the four song second session. The final session was done solo. His second session was his strongest, turning in solid numbers like “Hoo Doo Blues” and “Deep Blue Ocean Blues “, a fine rendition of  “Nobody’s Business.” Harry also backed Leroy Carter on two sides in 1935 (six sides went unissued), a likely  a pseudonym for Walter Vinson.

Show Notes:

It was Lonnie Johnson who gave the title to today’s program when exclaimed, “Violin, sing the blues for me!” during a recording session for Okeh Records in 1928, released under the name the Johnson Boys. The title was also used for a collection of violin blues on the Old Hat label which we feature extensively on today’s show. We also feature a number of tracks from Old Hat’s companion CD, Folks, He Sure Do Pull Some Bow! The violin once played a significant role in the early history of recorded blues. As collector Marshall Wyatt points out, “the violin once held center stage in the rich pageant of vernacular music that evolved in the American South… and the fiddle held sway as the dominant folk instrument of both races until the dawn of the 20th century.” Today, outside of a few exceptions, African-American music has mostly abandoned the violin to white country fiddlers. Many black musicians active during the 1920s and ’30s came from a string-band tradition rooted in the 19th century, an era predating the blues when fiddles and banjos were the predominant instruments, and guitars a rarity. Black fiddlers and string bands were still common in the South throughout the 1920s, were not entirely ignored by the record industry, but were they were certainly under-represented. Some black string bands incorporated blues into their repertoires in order to keep abreast of trends. As the record business began to rebound in the mid-1930s, musical trends became rapidly modernized due to the spreading influence of mass media, and black fiddlers found even fewer recording opportunities. Below you will find some background on some of today’s featured artists.

Bo Carter, who played guitar and violin, was one of the most popular bluesmen of the ’30’s, cutting over a hundred sides between 1928 and 1940. He also worked with his brothers, Lonnie and Sam Chatmon, in the popular Mississippi Sheiks band. The Mississippi Sheiks were one of the most popular string bands of the late ’20s and early ’30s with a repertoire that drew upon all facets of black and white rural music: blues, pop music, hokum, white country and traditional songs. Their rendition of “Sitting on Top of the World” has become an enduring standard. The group consisted of guitarist Walter Vinson and fiddler Lonnie Chatmon, with frequent appearances by guitarists Bo Carter and Sam Chatmon, who were also busy with their own solo careers.In addition to featuring several tracks by Bo Carter and Mississippi Sheiks, we also hear the Sheiks backing Texas Alexander on the topical “Frost Texas Tornado Blues.” On April 9th 1934 the group backed Alexander on eight numbers.

Beginning in 1926, Peg Leg Howell performed a number of guitar blues for Columbia Records in Atlanta, but he also joined with his “Gang” to record rollicking stomps and rags, led by Eddie Anthony’s wailing fiddle. Our selection, both sides of a 78, “New Jelly Roll Blues” b/w “Beaver Slide Rag” were recorded on April 8, 1927 and advertised in the Chicago Defender. He arrived in the city in 1923 and was recorded by Columbia in November 1926. Howell’s first session featured him solo and are certainly appealing but it’s the rough, exciting stringband music he recorded with His Gang that really grabs attention. The gang consisted of Henry Williams on guitar and the infectious alley fiddle of Eddie Anthony. The duo backed Howell on two dozen sides. Williams apparently died in jail in January 1930 while serving time for vagrancy and Anthony passed in 1934, after which Howell gave up music. Henry Williams & Eddie Anthony cut one 78 together in 1928, the stupendous “Lonesome Blues” b/w/ “Georgia Crawl.” Singer Sloppy Henry cut sixteen sides between 1924 and 1929. At a 1928 session he was backed by Peg Leg Howell and Eddie Anthony, heard to good effect on the colorfully titled “Long Tall, Disconnected Mama” in which Anthony exclaims “I got good chicken and this vio-leen.” Eddie Anthony also recorded as Macon Ed with the mysterious Tampa Joe, cutting eight sides in 1930.

Will Batts was a fine fiddler based in Memphis who worked with Frank Stokes and Jack Kelly. Frank Stokes and partner Dan Sane recorded as The Beale Street Shieks, a Memphis answer to the musical Chatmon family string band, the Mississippi Shieks. Stokes was already playing the streets of Memphis by the turn of the century, about the same time the blues began to flourish. A medicine show and house party favorite, Stokes was remembered as a consummate entertainer who drew on songs from the 19th and 20th centuries. Solo or with Sane and sometimes fiddler Will Batts, Stokes recorded 38 sides for Paramount and Victor. Jack Kelly is believed to be from North Mississippi but spent most of his life in Memphis where he sang on the streets and worked with musicians like Frank Stokes, Dan Sane, Will Batts and later Little Buddy Doyle and Walter Horton. In 1933 he cut 14 sides by the South Memphis Jug Band which included Will Batts on violin, Dan Sane on guitar and D.M. Higgs on jug. He cut ten more sides in 1939 with Batts, and Little Son Joe. Kelly’s last known sides were made in 1952 with Walter Horton for the Sun.

Both Lonnie Johnson and Big Bill Broonzy are best remembered for their guitar playing but both also played violin and luckily recorded with the instrument. By the time Lonnie Johnson recorded his “Violin Blues”, he was already one of the most prolific and influential musicians in blues. Johnson himself led a long and illustrious career as a guitarist, and is primarily remembered for his dazzling guitar work. But it was the violin that first captured his imagination, and his early career in New Orleans was spent honing his skills as a fiddler, first in his father’s string band, then as a young professional performing on excursion boats along the Mississippi. Johnson signed with Okeh in 1925, and played violin on nearly two-dozen early recordings. The State Street Boys were a studio group who cut eight sides in 1935. The group consisted of Big Bill Broonzy (who plays violin on our selection “Rustlin’ Man” plus four others), Jazz Gillum, Carl Martin and others. Martin was also a member of the The Tennessee Chocolate Drops, a group consisting of Howard Armstrong, Ted Bogan and Carl Martin.

Charlie McCoy ranked among the great blues accompanists of his era and his accomplished mandolin and guitar work can be heard on numerous recordings in a wide variety of settings from the late 1920’s through the early 40’s. His brother Joe McCoy was well known for his association with his wife Memphis Minnie where he played the part of Kansas Joe. Between 1929 and 1934 (they divorced in early 1935) they cut around one hundred sides together. After Joe and Minnie separated Joe occupied himself in small bands, singing with the Harlem Hamfats, working as a songwriter and working with his brother Charlie. Charlie McCoy’s “Your Valves Need Grinding” features the violin of Bo Carter while Joe McCoy’s “Look Who’s Coming Down The Road”, a version of Tommy Johnson’s “Maggie Campbell”, features a rousing unknown violinist.

Andrew & Jim Baxter

We play several fine, little known, rural string bands on today’s program. The fiddle-guitar duo known as the Alabama Sheiks cut two records for Victor, which were released in 1931, a time when industry sales were crippled by the Great Depression. Another duo was the father and son team Andrew and Jim Baxter, of Calhoun, Georgia. The duo cut sides for Victor between 1927-29, and even waxed one tune with a white string band, The Georgia Yellow Hammers. Rural string band the Mobile Strugglers got started just as the major record companies began to lose interest in string bands. The group featured two fiddlers, Charles Jones and James Fields, and included guitarist Paul Johnson, banjo picker Lee Warren and Wesley Williams on double bass. The Mobile Strugglers recorded seven songs for the American Music label in 1949. Wilson Jones, who wnet by the moniker Stavin’ Chain, led a fine stingband judging by the group’s six recordings. The group was recorded in Louisiana by John Lomax for the Library of Congress in 1934.

You don’t expect to hear the violin in the context of Delta blues but there are some recorded example. At his second recording session on Oct. 31, 1935 Big Joe Williams was backed by fiddle player Chasey Collins. Collins in turn was backed by Williams on two numbers. Delta bluesman Henry “Son” Sims is best known as the fiddler who played with Charley Patton. Although he led a rural string band called the Mississippi Corn Shuckers for several years, the first recording that Sims did was with Patton, who asked him to come along to Wisconsin for a 1929 Paramount session. Sims also recorded under his own name on two separate occasions; during the Patton session when he cut four songs, including our selection “Tell Me Man Blues,” and several years later with guitarist and singer McKinley Morganfield, (who later became known as Muddy Waters).

Our survey of blues violin players end about mid-century when that kind of music on commercial records became virtually extinct. Eventually, a few black fiddle players returned to the studio, most often for small specialist labels. Among those include Clarence “Gatemouth” Brown who first recorded on fiddle in 1959 for the Peacock label in Houston, Butch Cage of Mississippi who worked with Willie Thomas and recorded extensively by folklorist Harry Oster, L.C. Robinson who made records for Bluesway and Arhoolie in the 1970′s and Howard Armstrong who renewed his career in the 1970s playing mandolin and fiddle with old pals Carl Martin and Ted Bogan on albums for Rounder and Flying Fish.

Show Notes:

On today’s show we spin multiple tracks by several performers including opening with a trio by Cripple Clarence Lofton plus twin spins of Georgia Tom and Jack Kelly. I’ve long been a fan of Lofton, a hugely entertaining boogie-woogie pianist. In fact when I was asked to contribute to the Encyclopedia of the Blues I chose Lofton as one of the entries to write. As William Russell famously wrote, Lofton was “ a three-ring circus” who would enliven a performance with dancing, whistling, finger snaps and drumming on the body of the piano. As Peter Silvester wrote in A Left Hand Like God: “What he lacked in discipline, however, he more than made up for with vivacity and exuberance.” Of his recordings we play his rowdy “Brown Skin Girls” complete with whistling, scat singing and Big Bill Broonzy’s bouncy fretwork and the rollicking instrumental “House Rent Struggle.”  “Sweetest Thing Born” sports a fine vocal from Red Nelson who cut three other superb numbers with Lofton including the masterpiece “Crying Mother Blues” which we played a few weeks back. Lofton’s politically incorrect nickname stemmed from a congenital lameness in his leg that made him walk with a pronounced limp. Born in Tennessee he lived most of his life in Chicago becoming a fixture on the Chicago nightlife scene. He owned his own nightclub called the Big Apple where he ran his own boogie school teaching youngsters the art form. Between 1935 and 1943 he cut close to forty sides for Vocalion, Swaggie, Solo Art and Session. Lofton remained on the scene cutting sides for the Gennett, Vocalion, Solo Art, Riverside, Session and Pax labels. He stayed around Chicago until his death in 1957 from a blood clot in the brain.

Jack Kelly was born in Mississippi but spent his life playing in the streets of Memphis with musicians such as Frank Stokes, Will Batts and Walter Horton among others. In 1933 he cut 14 sides with his South Memphis Jug Band. Kelly cut another session in 1939 and a final one in 1952 for the Sun label with Walter Horton credited as by Jackie Boy & Little Walter. “Country Woman” has a wonderful world-weary vocal from Will Batts and a gentle drive propelled by the guitars of Kelly and Dane Sane while “World Wandering Blues” is sung powerfully in Kelly’s gruff voice backed by Batts’ ragged, wailing violin as he boasts:

I am in this world, wandering from town to town (2x)
Well if I find my baby, I’m gonna run her just like she was a hound
Well if you play the violin, I will do the howlin’ (2x)
Well, be late at night, these women will start to prowlin’

Georgia Tom Dorsey arrived in Chicago in 1916 where he went to music college and worked as a band pianist for Ma Rainey among others. In 1928 he began recording under his own name and as a session pianist. His duet with Tampa Red that year on “It’s Tight Like That” was a massive hit and provided the men with several years of lucrative recording work. In 1930 he founded his own gospel publishing company and left blues altogether in 1932 devoting himself to gospel which he did for almost a half century. During his blues playing days most of his work was confined to hokum and novelty items with Tampa Red and groups like the Hokum Boys and the Famous Hokum Boys. On slower blues he was often quite exceptional as on a fine eight-song session with guitarist Scrapper Blackwell recorded in early 1930. From that session we showcase the wistful “Mississippi Bottom Blues” and the touching “Gee, But It’s Hard” with outstanding contributions from Blackwell, particularly on the latter number.

As usual we play several fine pianists including Montana Taylor, Frank “Springback” James and Speckled Red. Montana Taylor is best remembered for his instrumentals although he proved himself a fine singer on his rediscovery in 1946. From that date we hear his poignant “I Can’t Sleep” cut for the Circle label. There’s also a live recording of this song from a This Is Jazz broadcast from the same year. All of Taylor’s sides can be found on Document’s Montana Taylor & ‘Freddy’ Shayne 1929-1946.

Pianist Frank James cut 18 sides at five sessions between 1934 through and 1937. Nothing definite is known about him other than he was clearly influenced by the popular Leroy Carr. He delivers a moving performance on “Will My Bad Luck Ever Change?.”  Speckled Red got his start playing in rent parties, brothels and clubs in Detroit in the early 20’s. In 1928 he joined the Red Rose Minstrel Show, which included Jim Jackson. He played with Jackson and Tampa Red in Memphis in 1929-30 and it was there in 1929 that he made his recording debut for Brunswick.  He scored a hit with “The Dirty Dozen”, the first recorded version of the song. He recorded next for Bluebird in 1938. He began recording again at the beginning of the blues revival with sessions in 1956-57 for Tone and Delmark. He made further recordings for Folkways and Storyville among others. He passed in 1973. “Speckled Red’s Blues” comes from a 1930 session and showcases his powerhouse vocals, and rollicking, exciting piano technique.

A few weeks back we paid tribute on our program to the influential singer Doctor Clatyon. Clayton’s influence can be heard on covers of his songs by B.B. King and Smoky Hogg. King’s “Hold That Train” comes from the album My Kind Of Blues, which King called his favorite at one point. King greatly admired Clayton and covered several of his songs. Andrew Hogg was born in Texas and in the 30’s and ran with guitarist the Black Ace playing for dances in small East Texas towns. In 1937 he waxed a solitary 78 and wouldn’t record again until 1947. Hogg only scored two R&B hits but was a consistent seller who cut hundreds of records for numerous labels through the late 50’s. He passed in 1960. Our selection, “I Declare”, is a remake of Clayton’s “I Need My Baby” which B.B. King also covered under the title “Walking Doctor Bill.” In 1951 Hogg also recorded a version of “Walking Doctor Bill.”. He also covered Clayton’s “Angels In Harlem” as “Angels In Houston.”

There’s several great guitarists featured today including T-Bone Walker and Lonnie Johnson. In a 1947 Record Exchanger article, T-Bone noted his favorite blues singers and had this to say about Johnson: “Wonderful blues singer. Don’t ever leave him out. Sharpest cat in the world, wore a silk shirt blowing in the wind in the winter nice head of hair, and a twenty-dollar gold piece made into a stickpin.” From 1952 we hear T-Bone in prime form on “I Miss You Baby.” We jump up to 1956 and hear T-Bone backing guitarist/vocalist R.S. Rankin on “You Don’t Know What You’re Doin “ for Atlantic. As for Lonnie we turn to 1937 to hear his gorgeous instrumental “Got the Blues for the West End.”

Also worth noting are a pair of superb tracks by early woman blues singers Clara Smith and Trixie Smith. Although overshadowed by Bessie Smith, Clara Smith was a magnificent and popular singer who cut over 120 sides between 1923 and 1929. She died of heart disease in 1935 at the age of 41.”It’s Tight Like That” is knockout, rousing version of this oft-covered number sung with gusto and some great trombone form Charlie Green. Trixie Smith moved to New York when she was 1920 and won a blues-singing contest in 1922. She cut close to 50 sides between 1922 and 1939 including the popular hit “Freight Train Blues.” After a 1926 she didn’t record again until 1938, returning in fine fashion as we hear on her remake of “Trixie’s Blues” featuring a marvelous guitar solo by Teddy Bunn. She passed a few years later in 1943.

Show Notes:

Bo Carter

Well I was planning to do a themed show today but I’ve fallen hopelessly behind so I’ve slapped together a mix show instead. Anyway, a wide ranging mix for today’s program spanning the 1920′s through the 1950′s.

We kick things off with a trio of tracks revolving around the Mississippi Sheiks. The Mississippi Sheiks were one of the most popular string bands of the late ’20s and early ’30s with a repertoire that drew upon all facets of black and white rural music: blues, pop music, hokum, white country and traditional songs. Their rendition of “Sitting on Top of the World” has become an enduring standard. The group consisted of guitarist Walter Vinson and fiddler Lonnie Chatmon, with frequent appearances by guitarists Bo Carter and Sam Chatmon, who were also busy with their own solo careers. Bo Carter was one of the most popular bluesmen of the ’30′s, cutting over a hundred sides between 1928 and 1940. Vinson rarely worked as a solo act, seemingly much more at home in duets and trios; towards that end, during the 1920s he worked with Charlie McCoy, Rubin Lacy and Son Spand before forming the Mississippi Sheiks. While an active club performer during the early 1940s, by the middle of the decade he had begun a lengthy hiatus from music, which continued through 1960, at which point he returned to both recording and festival appearances. Hardening of the arteries forced Vinson into retirement during the early ’70s; he died in Chicago in 1975.

Our opening track by Walter Vinson features harmonica by Robert Lee McCoy better known as Robert Nighthawk. Nighthawk’s first instrument was harmonica and he played a good deal of it backing other artists on record during the 30s and 40s. As he noted: “When I left home I got right into it and I started blowing harmonica. I learnt that back in 24′. …boy named Johnny Jones, he’s from Louisiana, …say he learn me so I did.” Moving up to 1952 we hear Nighthawk on”You Missed A Good Man” a song Nighthawk likely picked up from Tampa Red who recorded the song in 1935. The basis of the song actually goes back much further being copyrighted by Clarence Williams in 1915 as “You Missed A Good Woman When You Picked All Over Me.” The song was first recorded by Trixie Smith in 1922 and again in 1923 by Eva Taylor the wife of Clarence Williams. Tampa reworked the lyrics but the the tune and chorus are identical.

There’s plenty of blues from the same era today including John Henry Barbee’s “You’ll Work Down to me Someday” from 1938 which is a reworking of a 1934 Mississippi Sheiks song of the same title. Barbee worked for a short time with John Lee Williamson (Sonny Boy Williamson I)  then began playing with Sunnyland Slim. They made appearances across the Mississippi Delta. Barbee later moved to Chicago, where he recorded for Vocalion in 1938. He played with Moody Jones’ group on Maxwell Street in the ’40s, but then left the music business for several years. Barbee recorded for Spivey and Storyville in the mid-’60s, and toured Europe as part of the American Folk Blues Festival. Back in the US Barbee was involved in an auto accident in 1964, and suffered a heart attack while in jail waiting for the case to come to court. It was a sad end to a fine artist who who still a superb performer as evidenced on the excellent Blues Masters Vol. 3 recorded in 1964 for Storyville.

Lucille Bogan

Form the same period we spotlight four fine blues ladies: Laura Smith, Lottie Kimbrough, Kansas City Kitty and Lucille Bogan. A fine forgotten blues singer of the 20′s, Laura Smith made her debut in 1924 and recorded through 1927. She died in 1932. Our selection “The Mississippi Blues” was the flip of  “Lonesome Refugee”, both songs written about the tragic 1927 flood, one of the greatest natural disasters in US history. Numerous blues and gospel songs were written about the flood. Lottie Kimbrough also made her debut in 1924 but as Tony Russell notes “If her half-dozen 1924 sides on Paramount had been all Lottie Kimbrough recorded, she would probably be considered a singer of the second or third rank…” Lucky for her she met promoter Winston Holmes who got her a contract with Gennett Records. In the past of I’ve played “Rolling Log Blues” and “Goin’ Away Blues”, performances of “haunting beauty” Russell writes. Our track, “Blue World Blues” is from that session, a powerful number featuring an excellent but unknown cornet player. Kansas City Kitty was a pseudonym for Mozelle Alderson who confused researchers for years by recording under other names such as Hannah Mae and Jane Lucas. “How Can You Have The Blues?” is a fine, playful duet with Georgia Tom. Lucille Bogan made her debut in 1923 with some less than memorable sides before coming into her own with her next sessions in 1927. Bogan was simply one of the toughest, roughest woman to record in the 20′s and 30′s and her “Whiskey Sellin’ Woman” is a good example as she opens the song  with the now familar “Ah, I’m gettin’ sloppy drunk today.”

From the 1946 we spotlight thee veteran artists of the 1930′s who were still at it, cutting some up-to-date material: Jimmie Gordon, Lee Brown and Johnnie Temple. These sides are from a rare 1946 session for King that were never released at the time and only issued decades later. Pianist Lee Brown cut 29 sides for Decca between 1937-40.  Jimmie Gordon made his first record in 1934 for Bluebird before moving to Decca where he cut 60 sides through 1941. Originally from Mississippi, Johnnie Temple moved to Jackson, MS where he worked parties and juke joints with Skip James and Charlie McCoy. He moved to Chicago in 1932, making his debut in 1935 for Vocalion and cut 70 sides through 1941. Although he never achieved stardom, Temple’s records, sold consistently throughout the late ’30s and ’40s and his records exerted an influence on numerous other artists. All these sides appear on the Proper Records collection Broke, Black & Blues.

We also spin a batch of great records from the 1950′s including a cut by blues shouter Tommy Brown. A few weeks ago I was lucky enough to see the 78 year old Brown in action and sounding great at the Pocono Blues Festival. “Remember Me” comes from a four song 1954 session where he was backed by Walter Horton. From 1952 we hear “Hoodoo Man” from Albert Williams on the Sun label (his only record) going under the name Memphis Al: “My name is Memphis Al and they call me the hoodoo man.” The song is particularly notable for some terrific guitar by the great Joe Willie Wilkins. From the same year we hear the guitarist Calvin Frazier rip it up on T.J. Fowler’s rocking “Back Biter.” Speaking of guitar it’s hard to beat T-Bone Walker who lays down some vicious licks on Roy Hawkins’ “Doin’ All Right” also from 1952.

Show Notes:

Today’s show is the second installment of an ongoing series of programs built around a particular year. The bulk of the information for today’s show notes comes from the books Recording The Blues (reprinted along with two other titles in Yonder Come The Blues) by Robert M.W. Dixon and John Godrich and Blues & Gospel Records, 1890-1943 by Robert M.W. Dixon, John Godrich and Howard Rye.

The first year we spotlighted was 1927 which was the beginning of a blues boom that would last until 1930; there were just 500 blues and gospel records issued in 1927 and increase of fifty percent from 1926 a trend that would continue until the depression. The average blues or gospel record had sales in the region of 10,000. In 1928 the figure was 1,000 or so lower which was still a thriving market. Paramount, the market leader at the time, brought talent up to their northern studios. To feed the demand other record companies conducted exhaustive searches for new talent, which included making trips down south with field recording units. Between 1927-1930 Atlanta was visited seventeen times, Memphis eleven times, Dallas eight times, New Orleans seven times and so on. The record companies advertised their record in black newspapers, mainly in the Chicago Defender, which was the nation’s most influential black weekly newspaper.

During the peak years there were five major companies issuing records for the race market: Okeh, Columbia, Paramount, Brunswick-Balke-Collender (encompassing Brunswick and Vocalion (a division of Gennett). Victor was the only label  to systematically exploit the the blues talent around Memphis. Their second visit there, in January and February 1928, yielded three times as much material as their initial 1927 visit. Among those recorded were Blind Willie McTell, Jim Jackson, Memphis Jug Band, Frank Stokes, Tommy Johnson, Ishman Bracey, Furry Lewis, Cannon’s Jug Stompers among many others. In August alone the label cut some 180 sides, mostly by black artists.

Jim Jackson’s “Kansas City Blues” was the massive hit of 1927 and in 1928 that honor went to “How Long How Long Blues” by Leroy Carr and “It’ Tight like That” by Tampa Red and Georgia Tom, both records issued by Vocalion. The highly suggestive “It’ Tight like That” was cut in September of 1928 which was just a few months after Vocalion dropped their tag “Better and Cleaner Race Records.” Vocalion also cut several sides by Leroy Carr’s guitarist, Scrapper Blackwell in 1928. In 1928 Brunswick recorded Bo Carter, Fannie Mae Goosby and Hattie Burleson among others.

In 1926 Columbia and OKeh merged but the labels were run by separate management for three years after the merger and did not compete for the same artists. Since 1927 OKeh had been issuing a new record every six weeks by Lonnie Johnson and issued some two-dozen sides by him in 1927 and about half that number in 1928. After the takeover by Columbia, OKeh made no field recordings until 1928 when they visited Memphis where they recorded blues singers such as Tom Dickson and the now legendary recordings by Mississippi John Hurt. They also recorded Sloppy Henry and Uncle Bud Walker in Atlanta a few months afterwards. Lonnie Johnson went with the unit, himself recording in both Memphis and san Antonio. In San Antonio he backed Texas Alexander who OKeh had initially recorded in New York the previous August. Columbia also made field recordings in Atlanta and Dallas where they recorded blues singers such as Barbecue Bob and his brother Charley Lincoln, Pink Anderson with Simmie Dooley, Peg Leg Howell, Curley Weaver, Lillian Glinn among many others.

The only race company that made no field trips was Paramount. Despite this Paramount remained the market leader in records released and singers recorded. Paramount issued records by the many of the blues biggest stars.

Show Notes:

John Cephas, Photo by Tom Pich for National Endowment of the Arts

A somber note hangs over today’s show as we pay tribute to the recently departed John Cephas and Snooks Eaglin. John Cephas, best known as the guitarist and singer with the duo Cephas & Wiggins died March 4th. He was 78. Both Cephas and Wiggins were born in Washington, D.C., although Wiggins was a quarter century younger than his partner; they met at a jam session in 1977, and both performed as regular members of Big Chief Ellis’ band prior to Ellis’ death. The duo had been recording since the early 80′s, cutting records for Flying Fish, Rounder and most recently Alligator. The tracks featured today were the first by Cephas, cut in the mid-70′s by Pete Lowry but never released at the time. Lowry has given me permission to play these cuts which are not available anywhere else. Lowry recorded Cephas & Wiggins extensively in 1980 and recorded Cephas in-depth in 1976.

Snooks Eaglin passed away on February 18th. In true New Orleans fashion he was given a full jazz funeral send off. I first encountered Snooks via his terrific Black Top Records of the late 1980′s and 90′s. After the label’s demise Snooks only recorded one more album, The Way It Is, in 2001 which happens to be one of my favorites. Fans of Snooks’ later electric records may be surprised that his earliest records (1958-1959) which are all acoustic. From that period we spin the charming “Country Boy Down In New Orleans” from the wonderful album of the same name on Arhoolie. We also play the soulful “By The Water” cut for Imperial in 1960 and “I Get The Blues When It Rains” from 1971′s The Sonet Blues Story.

We do a bit of compare and contrast today by playing two versions of the classic “How Blue Can You Get?”, one by Louis Jordan and the other by B.B. King.  Johnny Moore’s Three Blazer’s cut the original version in 1949 which we played on the program a couple of weeks back. It was covered in 1951 by Louis Jordan which is where B.B. King first heard the song. King began using it in his live act at recorded it on his classic Live At The Regal album from 1963.

There’s plenty vintage blues from the 1920′s and 30′s including a trio of sides from Atlanta artists Peg Leg Howell, Sloppy Henry and Barbecue Bob.  Like Memphis, Atlanta was a staging post for musicians on their way to all points. It’s not surprising then that the first country blues musician, Ed Andrews, was recorded there in 1924. The company that recorded him, Okeh, was one of many to send their engineers to Southern cities to record local talent. Companies like Victor, Columbia, Vocalion and Brunswick made at least yearly visits until the depression. Between 1927-1930 Atlanta was visited seventeen times by the record companies. Among the bluesmen to record in Atalanta in the 1920′s, the first to arrive in the city was Joshua Barnes Powell, known as Peg Leg because of a shooting accident in 1916. We also hear Peg Leg in the company of singer Sloppy Henry. Henry cut sixteen between 1924 and 1929 for the Okeh label. Within a year or so of Howell’s arrival in Atlanta, Robert Hicks came to the city. He learned guitar, as did his older brother Charlie, and their friend Curley Weaver from the latter’s mother Savannah Weaver. Hicks earned his nickname from his day job as the chef of a barbecue restaurant and Columbia photographed him for their publicity material in his work apron.  As Barbecue Bob he became the most heavily recorded Atlanta bluesman of the 1920′s with his records selling steadily for Columbia until his untimely death in 1931.

We also feature some fine blues ladies including Susie Hawthorne, one half of the popular Butterbeans & Susie, Lucille Bogan and Bessie Smith. Butterbeans and Susie were a comedy duo that began touring with the Theatre Owners Booking Association (TOBA) and later moved to vaudeville before signing with Okeh Records. They cut close to 70 sides for the label between 1924 and 1930. Our track, “He Likes It Slow”, from 1926 features Louis Armstrong on cornet. From the same year we play Bessie Smith’s “Them ‘Has Been’ Blues.” This cut comes form the the eight volume series on the Frog label that collects all of Bessie’s recordings.  Sound quality on this series is outstanding, noticeably better then Columbia’s series, which is interesting since Columbia had the actual masters to work with. The Frog series is a testament to the skills of engineer John R.T. Davies and label owner David French, who commissioned collectors for the best available originals. Sadly Davies and French both passed before the completion of the series. From Lucille Bogan we spin her classic “Shave ‘Em Dry.” This of course is the  clean version. The unreleased version is extremely explicit and if aired would surely be the end of my broadcasting career!

Butterbeans & Susie

We close out our show with a stunning version of “Prodigal Son” by Robert Wilkins recorded live at Newport in 1964.  During the 1920′s and 1930′s, Tim Wilkins was one of the most popular blues artists associated with Beale Street. He left the blues world to become an ordained minister. When the Rolling Stones recorded Wilkins’ “Prodigal Son” in the early ’60s (originally titled “That’s No Way To Get Along”), blues researchers found Wilkins at home in Memphis, ministering to the congregation at the Lane Avenue Church of God in Christ and performing gospel songs at street corner revivals. He returned to recording with the album Memphis Gospel Singer in 1964, a classic record that yet to make it to CD. He performed at several festivals including Newport in 1964 and the Memphis Country Blues Festival in 1968. He passed in 1987.

Show Notes:

Charlie McCoy ranked among the great blues accompanists of his era and his deft mandolin/guitar work can be heard on numerous recordings from the late 1920′s through the early 1940′s. His younger brother Joe McCoy was another great sideman whose slide style was most notably preserved on the landmark recordings he cut with his wife Memphis Minnie between 1929 and 1934. Charlie McCoy was recording regularly by the late 1920′s, often alongside Walter Vincson and sat in with many other Delta bluesmen that passed through the Jackson area in the years to follow, appearing on guitar and mandolin. He made notable recordings on mandolin backing  Ishman Bracey, Tommy Johnson, his sister-in-law Memphis Minnie, Big Bill Broonzy, Curtis Jones, Monkey Joe, Mary Butler and others. Between 1936 and 1939 he also cut a number of sessions with the groups Papa Charlie’s Boys and the Harlem Hamfats, the latter featuring Joe McCoy as lead vocalist on most sides. Charlie McCoy also cut scattered sides under his own name between 1929 and 1935, some with his brother, but made no more recordings after 1942, passing in 1950, at the age of 44. Joe McCoy died of heart disease in Chicago, only a few months before his brother Charlie. They are both buried in Restvale Cemetery in Alsip, Illinois. Today’s program spans the years 1928 through 1942, finding the brothers playing in a wide variety of settings and styles.

Jackson, Mississippi in the 1920’s was a city with a vibrant blues scene, teeming with artists such as Tommy Johnson, Walter Vincson, Ishman Bracey, Johnnie Temple, the Chatmon Brothers (Bo, Lonnie and Sam were the most prominent) Skip James and Rube Lacey. Lacey recalled McCoy being among the best of this talented group: “But I really believe Charlie got to be a better musician than I was. He was young, but he got to be about the best musician there was in our band, Charlie McCoy. He was wonderful. He could play anything pretty well you sing. …He was good as I ever want to see.”

Memphis Minnie & Kansas Joe McCoy

The years 1927-31 saw the first commercial recordings of many of the Jackson musicians. Most extensively recorded were the Chatmons, Walter Vincson and Joe and Charlie McCoy. McCoy first recorded in 1928, strictly as an accompanist, backing singer Rosie Mae Moore, Tommy Johnson and Ishman Bracey, all of whom are featured in our opening set. Moore was a powerful, rough voiced singer who receives excellent guitar support from McCoy stretches out quite a bit on “School Girl Blues”, “Staggering Blues”and who’s playing owes a strong debt to Rube Lacey. Better yet were the four magnificent songs he backed Tommy Johnson on over a two day period: “Cool Drink of Water Blues” “Big Road Blues”, “Bye, Bye Blues” and “Maggie Campbell Blues.” McCoy’s second guitar is superb, not only duplicating Johnson’s guitar part but as, David Evans notes, uses “a flat pick and often strums the strings like a mandolin on his bass part, occasionally doing the same on the treble strings as a beautiful contrast.” McCoy also backed Bracey in very similar fashion on his two numbers, “Saturday Blues” and “Left Alone Blues.” Johnson, Bracey and McCoy returned on Friday, August 31, 1928 for another session for Victor. For whatever reason McCoy didn’t back Johnson but did play mandolin on Bracey’s “Trouble Hearted Blues” and “Brown Mama Blues.” McCoy’s playing is subdued on the beautiful, somber “Trouble Hearted Blues” but his bold, rippling mandolin is heard loud and clear on the equally fine “Brown Mama Blues.”

Between 1928-1931 Charlie played on a variety of sides, many string band related, in the company of Walter Vincson and Bo Carter. In November 1928 Carter, McCoy and an unknown pianist backed singer Alec Johnson on four of six sides. Johnson’s music harks back to an earlier pre-blues era. As Tony Russell notes they “form a lively and expressive pit orchestra to accompany a set of antique minstrel songs and a couple of blues.” McCoy’s playing is superb on the blues”Miss Meal Cramp Blues” and older sounding material like “Sister Maud Mule”, and he rather discomforting “Mysterious Coon.” Also in November of the same year Carter, Vincson and McCoy backed singer Mary Butler on four numbers. Butler may in fact be Rosie Mae Moore who McCoy backed in February of the same year. McCoy plays mandolin on three of the four tracks including the tough minded “Electrocuted Blues (Electric Chair Blues)”, “Bungalow Blues” and “Mary Blues.” The session isn’t quite as strong as the earlier session.

With Walter Vincson he cut sides as the Mississippi Mud Steppers, with the addition of guitarist Sam Hill (plus Bo Carter and Sam Chatmon on one track) as the Mississippi Blacksnakes and with Carter and Vincson as the Jackson Blue Boys. With the Mississippi Mud Steppers he cut the remarkable instrumental “Jackson Stomp”, based on the seminal “Cow Cow Blues”, (the song was modified as “The Lonesome Train That Took My Baby Away” at a Charlie McCoy session with Bo Carter on guitar). The song is a dazzling, virtuoso mandolin performance. McCoy further showcases his versatility on a trio of waltzes, playing mandolin on “Alma Waltz (Ruby Waltz)” and plays banjo on two numbers. With the Mississippi Blacksnakes his robust mandolin is heard on the bawdy “Grind So Fine” and the country tinged “Blue Sky Blues” both boasting terrific vocals from Vincson. Two days after the first Blacksnakes session the group recorded again with Bo Carter as the vocalist and either McCoy or Sam Hill on guitar. This is a bluesier session with McCoy again on mandolin/banjo with his mandolin heard in fine form on “It Still Ain’t No Good (New It Ain’t No Good)” and “Easy Going Woman Blues.” One more song by the group, “Bye Bye Baby Blues”, was cut the following day featuring fine slide from McCoy. The two tracks cut as the Jackson Blue Boys are interesting for featuring singing from Carter, Vincson and McCoy in unison and taking solo turns with McCoy playing mandolin.

Between 1929-1936 Charlie cut scattered sides under his own name or as lead in various bands. By the early 1930′s many of the Jackson musicians began to disperse, either heading to the delta or like Johnnie Temple and Charlie McCoy to Chicago. By 1932 all of McCoy’s recordings were waxed up North. He did cut several sessions between 1929-1930 in Memphis and Jackson. The bulk of the recordings again feature McCoy’s pals Walter Vincson and Bo Carter on material that ranges from hokum, blues and string band. Billed as Charlie McCoy with Chatman’s Mississippi Hot Footers they cut hokum sides in the vein of the immensely popular “It’s Tight Like That” such as “It Ain’t No Good – Part 1 & II” and “It Is So Good – Part 1 & II” the latter sporting prominent mandolin from McCoy. When not sharing the vocals with his partners, McCoy proves himself a fine reedy singer on straight blues numbers such as “You Gonna Need Me” and the superb “Last Time Blues” where he lays down some watery slide playing. With Carter on violin McCoy delivers “Your Valves Need Grinding”managing to sound wistful and racy at the same time, the string band blues of “Blue Heaven Blues” and takes it solo on the low down “Gland Hand Blues” framed by some imaginative guitar figures. The highlight from a December 15, 1930 session is “That Lonesome Train Took My Baby Away” a rippling mandolin showcase based on the theme of “Cow Cow Blues” and wonderfully sung by McCoy. Four days later, on a duet with Bo Carter, he cut a pair of interesting topical numbers: “The Northern Starvers Are Returning Home” and “Mississippi I’m Longing For You” both with a strong country feel.

By the early 1930′s Charlie was in Chicago where he settled in as a much in demand session musician although he managed a few sides under his own name. In February 1930, As Papa Charlie McCoy, he cut the excellent “Times Ain’t What They Used To Be” playing terrific banjo with guitar from either his brother Joe or Tampa Red. The following day, with Georgia Tom on piano, he cut “Too Long” an insinuating, bluesy pop song that proved to be a sizable hit. In 1934 under the pseudonym Mississippi Mudder he waxed the bouncy “Candy Man Blues”, the wonderful hard time blues of “Charity Blues” featuring some strong piano from Chuck Segar, “Baltimore Blues” a variation on the “Sweet Old Kokomo/Sweet Home Chicago” theme with brother Joe on guitar and the moody slide driven “Motherless & Fatherless Blues.” In 1936 he led a group listed as Papa Charlie’s Boys (Papa Charlie); McCoy is in superb form on vocal and jazzy mandolin on a sparkling remake of “Too Long”, “Let My Peaches Be” and “You Can’t Play Me Cheap” laying down some acrobatic mandolin solos, and the heartfelt “Gypsy Woman Blues.”

Joe McCoy was well known for his association with his wife Memphis Minnie where he played the part of Kansas Joe. During the late 1920′s Minnie began playing guitar with a variety of ad hoc jug bands during the jug band craze. Minnie also began a common law marriage with Kansas Joe McCoy. Their very first session yielded the hit song “Bumble Bee” (later recorded by Muddy Waters as “Honey Bee”), and McCoy would be her musical partner for the next six years. Between 1929 and 1934 (they divorced in early 1935) they cut around one hundred sides together. Joe McCoy never recorded under his own name, instead performing under various pseudonyms; Georgia Pine Boy, Hallelujah Joe, Big Joe McCoy and His Washboard Band, and The Mississippi Mudder. Other names he used from time to time included Hillbilly Plowboy, Mud Dauber Joe and Hamfoot Ham.

After Joe and Minnie separated Joe occupied himself in small bands, singing with the Harlem Hamfats, working as a songwriter and working with his brother Charlie. The Harlem Hamfats were based in Chicago, and were put together by record producer and entrepreneur J. Mayo Williams simply for the purpose of making studio recordings. The band usually consisted of: Joe McCoy (guitar, vocals), Charlie McCoy (guitar, mandolin), Herb Morand (trumpet, vocals), John Lindsay (bass), Odell Rand (clarinet), Horace Malcolm (piano), Freddie Flynn and Pearlis Williams (drums). The band’s sound blended blues, dixieland and swing jazz. Led by Morand and Joe McCoy, the main songwriters, the group initially provided instrumental backing to artists including Frankie “Half Pint” Jaxon, Rosetta Howard, and Johnny Temple. Their first major hits were “Oh! Red”, recorded in April 1936, and “Let’s Get Drunk And Truck” (originally recorded by Tampa Red), recorded in August of the same year. “Oh! Red” was popular enough to be covered by Count Basie, The Ink Spots, Blind Willie McTell and, later, Howlin’ Wolf.

Joe and Charlie recorded, with Joe as lead bill, for Decca in 1934 as The Mississippi Mudder (Mud Dauber Joe) on notable numbers like “Evil Devil Woman Blues” a smoother version of Skip James’ “Devil Got My Woman” with mandolin like guitar from Charlie and “Going Back Home Blues” strongly influenced by Tommy Johnson. Three sessions in 1941-1942 are listed as Big Joe And His Rhythm a group containing, at times, Robert Lee McCoy, Washboard Sam, Ransom Knowling, Alfred Elkins, Amanda Sortier and Harman Ray. The music is hard to define with Tony Russell dubbing it “skiffle Blues” and describing it this way: “the blend of perky harmonica, stolid rhythm guitar and washboard produces an unusual but shallow ensemble sound and, although it is somewhat freshened by the addition of Charlie McCoy’s mandolin…the half dozen examples…may for some listeners be all the late Joe McCoy they need.” Overall the music is entertaining particularity a follow-up to the Hamfat’s popular “Oh! Red” in “Oh Red’s Twin Brother”, the prominent mandolin of “I’ll Get You Off My Mind” and “It Ain’t No Lie” once again featuring the “Cow Cow Blues” motif and “Bessie Lee Blues.”

Show Notes:

We open our latest mix show with a quartet of songs revolving around the Chatmon brothers including numbers by Bo Carter, Mississippi Blacksnakes, The Mississippi Sheiks and Sam Chatmon. One of the most popular bluesmen of the ’30′s, Bo Carter cut over a hundred sides between 1928 and 1940. Bo and his brothers Lonnie and Sam Chatmon also recorded as members of the Mississippi Sheiks with singer/guitarist Walter Vinson. Bo died in 1964 but Sam hung in long enough to take advantage of the blues revival, recording prolifically in the 1960′s and 70′s. Unfortunately most all of the LP’s he cut seem to be out-of-print. Today’s selection, “Hollandale Blues”, is from the 1979 Rounder album, Sam Chatmon’s Advice. The Mississippi Blacksnakes cut ten songs over three sessions in 1931for Brunswick with the likley personal of Bo and Sam Chatmon, Charlie McCoy with Walter Vinscon only on the first session.

Moving up to the 1960′s and 70′s we spin some great records by some lesser known players including Luke “Long Gone” Miles, Lum Guffin, Frank Hovington and John Lee Ziegler. Luke Miles was born in Louisiana in 1925 and moved to Houston in 1952. In the liner notes to his only full length LP Country Born (World Pacific, 1965) he said: “I went to Houston for one reason. I went to see Lightnin’ Hopkins. That’s what I went for and that’s what I did. Lightnin’ Hopkins taught me just about everything about blues singing. The first time I ever sang in front of an audience was in 1952 with Lightnin’. The first day I met Lightnin’ he named me “Long Gone” …and I’ve been Long Gone Miles ever since.” By 1961 Miles was in Los Angles were he cut some 45′s for Smash. After the World Pacific LP he cut singles for Two Kings in 1965, Kent in 1969 before supposedly leaving L.A. in 1970. Our selection comes from the LP Country Boy (Sundown, 1984) which is a collection of mostly unreleased sides from  1961 and 1962. Just recently a liver CD of of Miles surfaced from 1985 titled Riding Around In My V8 Ford Live in Venice, California. He died in 1987. Unfortunately just about all of Miles’ recordings remain out of print.

The other gentleman were recorded in the 1970′s, an extension you could say of the 1960′s blues revival that swept up many fine bluesman who never got the opportunity to record in their younger days. Lum Guffin was first recorded in the 1970′s by Swedish researcher Bengt Olsson when he was 70 and again in 1980 by Axel Kunster for the Living Country Blues series. The LP Walking Victrola was his sole record, released on the Flyright label in 1973. Some of these recordings appear on the CD On The Road Again. Frank Hovington was an exceptional guitarist in the Piedmont tradition who was reluctant to record but made some superb recordings in 1975 released (issued on the LP Lonesome Road Blues first on Flyright and then on Rounder with additional tracks on the CD Gone With The Wind) and 1980 for the Living Country Blues series. Ziegler passed away May of last year. He cut just a handful of recordings, the best recorded by George Mitchell in the late 1970′s plus some sides made in the 1990′s and issued on the Music Maker label.

We play a twin spin by John Lee Hooker from his Bluesway years. Hooker cut several albums for Bluesway in the 1960′s including: Live At Cafe Au-Go-Go (1966), Urban Blues (1967), Simply The Truth (1968), If You Miss ‘Im… I Got ‘Im (1970)and Kabuki Wuki (1973). Our selections come from Simply The Truth and the excellent Urban Blues featuring Hooker in the company of sidemen like Eddie Taylor, Wayne Bennett, and Louis Myers. Bluesway has been ill served reissue wise, with only a handful of releases issued on CD, usually by labels other than the parent company MCA, and in many cases these CD’s themselves are out of print. I’ll be doing a show on the label in the near future.  Urban Blues was issued on CD in 1994 by BGO with three bonus cuts. One of those bonus cut is the stomping “I Gotta Go To Vietnam” featuring some wild wah wah guitar from Hooker’s cousin Earl Hooker. The “The Motor City Is Burning” is a harrowing account of the 1967 Detroit riots. The flash point began at a drinking joint at Twelfth Street and Clairmount Avenue and quickly spread out. Looting and fires spread through the Northwest side of Detroit, then crossed over to the East Side. Within 48 hours, the National Guard was mobilized, to be followed by the 82nd airborne on the riot’s fourth day. As police and military troops sought to regain control of the city, violence escalated. At the conclusion of 5 days of rioting, 43 people lay dead, 1189 injured and over 7000 people had been arrested. Hooker gives a vivid account of the action:

Ohhh the Motor City is burning, ain’t a thing in the world that I can do
Don’t you know, don’t you know the big D is burning
Ain’t a thing in the world that Johnny can do
My hometown is burning down to the ground, worster than Vietnam
Well it started on Twelfth Street and Clairmount this morning, I just don’t know what it’s all about (2x)
The fire wagon kept coming, the snipers just wouldn’t let them put it out
Firebombs bursting all around me, soldiers standing everywhere (2x)
I could hear the people screaming, sirens filled the air

Doctor Clayton

Also on deck today are some prime 1940′s Chicago blues by Sonny Boy Williamson I, Yank Rachel, Washboard Sam and Doctor Clayton. At the time of his untimely death in 1948 at the age of 34, Sonny Boy was still at his creative peak as she proves on “Sugar Gal” from 1947, a storming update of his classic “Sugar Mama Blues” with a some killer electric guitar from William Lacey. Rachel’s “Up North Blues (There’s A Reason)” from 194 sports some wonderful playing by Sonny Boy and is just one of a batch of sides they cut together between 1938 and 1941. Also on that track is the prolific Washboard Sam who is also heard on his “My Feet Jumped Salty” featuring some stunning amplified guitar from Big Bill Broonzy. Both Sonny Boy I and Washboard Sam will be featured in upcoming programs. Nearly 50 years after his untimely death the exceptional singer and masterful songwriter known as Doctor Clayton is little spoken of today. Clayton worked strictly as a vocalist (by some accounts he could play piano and ukulele), employing an impressive falsetto technique, later refined into a powerful, swooping style that was instantly recognizable. In addition he was an unparalleled songwriter, writing mostly original material with a rare wit, intelligence and social awareness. Clayton’s vocal style was widely emulated and a number of his songs became blues standards. Despite the high esteem he was held in by fellow blues artists and his popularity during his lifetime Clayton’s fine blues recordings remain largely ignored. “Watch Out Mama” is a fine example of his songwriting, filled with a dash of violence and humor:

You clown when you get ready, stay out late as you please
Come home drunk and staggering, and weak in your knees
But watch out momma, Doctor Clayton gonna sneak up on you
Yes, I’m gonna whip your nappy head, just as soon as I find you

As usual we spin some fine piano records including tracks by Big Maceo, Sammy Price and Robert McCoy. Alongside his protege Johnnie Jones and later Otis Spann, Big Maceo is among the greatest Chicago piano men. During the 1940′s he worked with Tampa Red and the duo made some magnifecnt sides including our selection, the romping “Texas Stomp.” Sammy Price fine boogie woogie playing is heard backing Nora Lee King on “Cannon Ball” her uptown rendition of Cow Cow Davenport’s immortal “Cow Cow Blues.” King cut a dozen sides between 1941and 1944 before fading into obscurity. Alabama barrelhouse pianist Robert McCoy had two rare LPs in the early 1960′s on the Vulcan label. A few years back Delmark acquired the masters and reissued the material on CD for the first time with many previously unissued tracks. Unfortunatley no tracks from his second Vulcan album have been included. These were his first recordings as leader although he recorded in the 1930′s accompanying Guitar Slim, Jaybird Coleman and Peanut The Kidnapper. McCoy was part of the fertile Birmingham piano tradition, learning piano from Cow Cow Davenport and Jabbo Williams.