Big Road Blues

A varied mix show today spanning the mid-20's through the mid-70's. Quite a number of Texas bluesmen are featured today including two sets from the recent 4-CD JSP collection, Houston Might Be Heaven: Rockin' R&B In Texas 1947-1951, which gathers many lesser known artists mixed with better known artists like Peppermint Harris and Smokey Hogg. In addition there's three from an excellent long out-of-print Lightnin' Hopkins album and some early Texas piano players. Also on tap are a pair of cuts by the prolific Big Joe Williams, several fine piano men, some terrific harp blowers and some excellent down home blues from the pre-war and post-war eras.

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JSP's Houston Might Be Heaven: Rockin' R&B In Texas 1947-1951 is a valuable collection pulling together numerous obscure Houston bluesmen who's output has been scattered on various anthologies; artists like Dr. Hepcat, Lonnie Lyons, I.H. Smalley, Willie Holiday, Conrad Johnson and Joe 'Papoose' Fritz among many others. After World War II several Houston independent labels were started. The earliest to record blues was Gold Star, founded by Bill Quinn in 1946 as a hillbilly label. In 1947 Quinn decided to enter the "race" market by recording Lightnin' Hopkins. By the early 1950's, competition among independent record labels in Houston was intense. Macy's, Freedom, and Peacock (as well as Bob Shad's New York-based Sittin-In-With label) were all involved in recording local and regional blues musicians such as Lightnin' Hopkins, Gatemouth Brown, Goree Carter, Lester Williams, Peppermint Harris and Big Walter Price. Of the Houston-based independent labels, Peacock emerged as the most prominent.

One of the artists I want to mention from the set is Dr. Hepcat, who's "Hattie Green" opens our show. 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. I had heard Meade Lux Lewis and Pete  Johnson on record, and around Austin, I heard a lot of piano players, Baby Dotson, Black Tank, and Boots Walton." Durst 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.” He cut two sessions for Uptown in 1949 and another session for Peacock the same year. He made some final recordings in the 80's and passed in 1995.

Speaking of Houston, we spin a trio of sides by Lightnin' Hopkins which I don't think I've played before. The tracks come from the long out-of-print album The Rooster Crowed In England issued on the British 77 Records label in 1959. The bulk of these recordings were made in 1959 with a couple waxed in 1954. As Mack McCormick wrote in the notes: “This album was prepared with the frank intention of arousing interest among the public and agencies who govern the European concert halls. …Until only a few months before making these recordings, Sam Lightnin' Hopkins knew of England only vaguely as a place 'over across the water' …a place he'd heard of thru friends who visited there while in the army. He was startled and dubious when I told him that some of the greatest enthusiasm for the blues was centered in places 'over across that water.'” We open the set with, "Hello England" a brief spoken introduction where he addresses the British people: "I'm Sam Lightnin' Hopkins, blues singer from Texas, singing the blues for 77 Records in England and I'm hoping that each and every one will enjoy em' if they hear them because I'm long wanting to come over there which I probably will come over there someday…" We also play his "Blues For Queen Elizabeth" where he states his hope to play for her and her husband some day and we conclude the set with a 1954 cut "Goin' To Galveston" backed by some rollicking piano. Apparently this issued on a Document CD c. 1998 which was strictly limited edition of 100 copies, never sold, but given away at Document wrap party in Vienna. that release was titled Lightnin' Hopkins 1954 & 1959 with extra tracks from other places.

We go back to 1937 with tracks by Texas pianists Andy and Pinetop Burks. Andy Boy cut only eight sides under his own name in 1937 as well as backing both Joe Pullum and Walter 'Cowboy' Washington. Pinetop Burks cut six songs the same year. Both men were from the so-called “Santa Fe group” who were based in the southwestern part of the state where the cities of Galveston, Houston and Richmond lie. Here was where the music thrived and pianists could be found like Son Becky, Rob Cooper, Black Boy Shine, Big Boy Knox, Robert Shaw, Buster Pickens and the singers who worked with them.

We feature a pair of tracks from the Big Joe Williams album Back To The Roots (also issued as Watergate Blues). These recordings were recorded in 1973 in Berlin and 1978 in Crawford and Mashulaville, Mississippi by Siegfried A. Christmann and Axel Küstner. I was inspired to play these sides from a very nice letter I got from Axel Küstner which included some of his wonderful photos of bluesmen and the Williams CD. Küstner and his friend Siegfried A. Christmann were responsible for the remarkable Living Country Blues USA albums which were issued across 12 LP's (one double set) on the German L+R label between 1980 and 1981.In 1980 the duo came to America with the idea to document the remaining country blues tradition. With their station wagon and portable recording equipment they hit the dusty road spending a couple of months documenting blues, gospel, field hollers and work songs throughout the South. In addition Küstner is a fine photographer and has taken thousands of photos of bluesmen through the years.

Several fine harp men are spotlighted today including George Clarke, Walter Horton, Peg Leg Sam and George Papa Lightfoot. From the pre-war era we hear Clarke's "Prisoner Blues", one of three songs he cut for Blue Bird in 1936. I don't know anything about Clarke but he was an engaging singer and fine harmonica player who plays in an assured down home style that reminds me a bit of the great Noah Lewis. Walter Horton gets plenty of room to cut loose on Jimmy Rogers' "If It Ain't Me (Who Are You Thinking Of)" and who cut it as "That Ain't It" on the Alligator album Big Walter Horton With Carey Bell. Peg Leg Sam was a member of what may have been the last authentic traveling medicine show, a harmonica virtuoso, and an extraordinary entertainer. Born Arthur Jackson, he acquired his nickname after a hoboing accident in 1930. His medicine show career began in 1938, and his repertoire -finally recorded only in the early '70s. Lightfoot cut Sessions for Peacock in 1949 (unissued), Sultan in 1950, and Aladdin in 1952 and a 1954 date for Imperial."  Singles for Savoy in 1955 and Excello the next year (the latter billed him as "Ole Sonny Boy") closed out Lightfoot's '50s recording activities. Producer Steve LaVere tracked down Lightfoot in Natchez, cutting an album for Vault in 1969 called Natchez Trace and issued on Ace on CD in the 90's.

Not everyone can be the main attraction and there are many talented blues figures who shined in supporting roles. Willie Brown, Joe Willie Wilkins and Lafayette Thomas come immediately to mind. In the vein we spin tracks by Vol Stevens and Fiddlin' Joe Martin. Vol Stevens played guitar, bajo-mandolin, mandolin,violin, jug and sang and cut just one record under his own name in 1928 for victor, "Vol Stevens Blues b/w Baby Got The Rickets." He also backed the Memphis Jug Band on many sides between 1927 and 1928, plus backing Will Weldon, the Mississippi Sheiks, Charlie Burse and the Picaninny Jug Band. Fiddlin’ Joe Martin played mandolin on Son House's, Alan Lomax recording sessions in 1941, taking the lead vocal on a couple of numbers. He also worked with Charlie Patton, Memphis Minnie, Howlin' Wolf and back Woodrow Adams, playing drums on all his sessions. He passed in 1975.

We play some interesting and mysterious down home blues from the postwar and pre-war periods. There's "Rowdy Blues" by Kid Bailey who cut one record in Memphis in 1929, "Rowdy Blues b/w Mississippi Bottom Blues." Bailey was remembered by (among others) Ishmon Bracey and Walter Vinson. Many believe Baily is actually Willie Brown, partner of both Charlie Patton and Son House. Then there's Arkansas Johnny Todd. 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 the Blues From The Deep South LP, so Arkansas Johnny Todd and Leroy Simpson were invented for two sides released. It turns out that Todd is actually Lane Hardin who cut the classic "Hard Time Blues b/w California Desert Blues" in 1935. He also backs Leroy Simpson who still remains a mystery.

As a precursor to next week's show on Indianapolis blues we spotlight Turner Parrish and Champion Jack Dupree. In the pre-war era Indianapolis was a fine blues piano town and both Parrish and Dupree where part of that scene. Little is known of Parrish who cut eight sides between 1929 and 1933 and also backed singer Teddy Moss. Sometime in the early 30's Champion Jack Dupree left New Orleans and eventually found his way to Indianapolis here he found work at the Cotton Club (named after the famous one in Harlem) who's resident bluesman was Leroy Carr. In early 1940, he was seen by Lester Melrose who signed him up to record for Okeh in Chicago. The result was two-dozen recordings for the label through 1941. His Indianapolis residency ended when he was drafted at the end of 1941 and after his discharge he settled in New York.

We conclude the show with Swamp Dogg's "Mama's Baby, Daddy's Maybe." Swamp Dogg's brand of bluesy soul and R&B usually falls outside of what I play but I couldn't resist playing this one as Swamp Dogg comes to town to perform next week. I happen to be a big fan and have never got the opportunity to see him so I'm looking forward to this one.

Show Notes:

The music on today's program spans a fascinating period, roughly the first decade of post-war blues, when the blues was evolving into what would be called R&B and a short hop later to rock and roll. Today's however is a throwback; this is rough and tumble down-home blues geared towards an audience that was still eager to hear earthy rural blues. Many of these listeners were still in the south while many other were transplanted southerners still eager to hear the older styles. These were exciting times with numerous small labels throwing their hat in the ring to try to cash in on the market.  Our spotlight is on the Texas variety of down-home blues. Some of today's artists achieved a measure of success such as Lightnin' Hopkins, Lil Son Jackson and Smokey Hogg while those like Lawyer Houston, Ernest Lewis, Manny Nichols, Stickhorse Hammond, Sonny Boy Holmes, Johnny Beck and others cut fine sides but remain utterly obscure outside of hardcore collectors. 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. This was "the last grand hurrah of local blues recorded for, and often by, local entrepreneurs."

By the early 1950’s, competition among independent record labels in Texas was intense. Macy’s, Freedom, and Peacock (as well as Bob Shad’s New York-based Sittin-In-With) were all involved in recording local and regional blues musicians. In Houston there were fewer opportunities for recording than in Dallas until after World War II, when several independent labels were started. The earliest to record blues was Gold Star, founded by Bill Quinn in 1946 as a hillbilly label to record Harry Choates. In 1947 Quinn decided to enter the "race" market by recording Lightnin' Hopkins. Today's program features several Gold Star artists including Lil Son Jackson, Leroy Ervin, Andy Thomas, Lee Hunter and Perry Cain who gives us the title for today's show. Among the Dallas labels we spin tracks form Blue Bonnet and (Star) Talent. Blue Bonnet Records was formed by Herb Rippa in 1947 in Dallas as a hillbilly label but near the end of Blue Bonnet's three-year existence Rippa began recording a handful of blues artists, most notable being Frankie Lee Sims. Pianist Charlie Braddix cut two sides for the label in 1948. Both Willie Lane and Rattlesnake Cooper cut sides for (Star) Talent, a Dallas label owned by father and daughter Jesse and Louise Erickson. The label recorded blues, country and gospel and cut the sides first sides by Rufus Thomas and Professor Longhair.

The spirit of Lightnin' Hopkins looms over many of these recordings and we play tracks by some who were in Hopkins orbit. Thunder Smith played piano behind Hopkins on his first two sessions for Aladdin in 1946 and 1947, never achieving the success that Hopkins did. Hopkins backed Smith on a four song session for Aladdin in 1946 with Smith cutting one session apiece in 1947 for Gold Star and in 1948 for Down Town. He reportedly died in Houston in 1965. L.C. Williams was a singer/tap dancer who also occasionally drummed behind Hopkins. He arrived in Houston in 1945 and was one of the many characters who hung around in Lightning’s orbit, sitting on stoops drinking beer and wine, shooting the breeze with passers-by. He made his first record in 1947 with Hopkins on piano and guitar. Hopkins plays guitar on a four-song session for Gold Star in 1948 with Williams making some final sides for Eddie’s and Freedom between 1948-1950. He died in Houston of TB in 1960. Frankie Lee Sims claimed to be a cousin of Lightnin’ Hopkins. Sims cut his first 78's for Blue Bonnet Records in 1948 in Dallas, but didn’t taste anything resembling regional success until 1953, when his "Lucy Mae Blues" did well down south.  Sims recorded fairly prolifically for Los Angeles-based Specialty into 1954, then switched to the Ace label in 1957 to cut great rockers like "Walking with Frankie" and "She Likes to Boogie Real Low." He recorded for Bobby Robinson in late 1960 but these sides were unreleased and didn’t surface until decades later when they were released on the British Krazy Kat label. Robinson ran the NYC based labels Fire, Fury and Enjoy. Sims died at age 53 in Dallas of pneumonia.

Mercy Dee Walton was a Texas émigré, who had played piano around Waco from the age of 13 before hitting the West Coast in 1938. He debuted on record in 1949 with "Lonesome Cabin Blues" for the tiny Spire logo, which became a national R&B hit. Those sides were cut in Fresno, but Los Angeles hosted some of the pianist's best sessions for Imperial in 1950 and Specialty in 1952-53. After a lengthy layoff, Walton returned to the studio in a big way in 1961, recording prolifically for Chris Strachwitz's Arhoolie label. He died the following year in December 1962.

In 1946, Lil' Son Jackson shipped off a demo to Bill Quinn, who owned Houston based Gold Star Records. Jackson scored a national R&B hit, "Freedom Train Blues," in 1948. It would prove Jackson's only national hit, although his 1950-1954 output for Imperial Records must have sold consistently, judging from how many sides the L.A. firm issued. He gave up the blues during the mid-'50s after an auto wreck, resuming work as a mechanic. Arhoolie Records boss Chris Strachwitz convinced Jackson to cut an album in 1960. Jackson died May 30, 1976, in Dallas, TX, from cancer.

Smokey Hogg was a down-home bluesman who scored a pair of major R&B hits in 1948 and 1950 ("Long Tall Mama" and "Little School Girl") and cut prolifically for a slew of labels including Exclusive, Modern, Bullet, Macy's, Sittin' in With, Imperial, Mercury, Specialty, Fidelity, Combo, Federal, and Showtime). Smokey's cousin John Hogg also played the blues, waxing six sides in 1951.

One of the last of the old-time Texas barrelhouse pianists, Alex Moore was an institution in Dallas, his lifelong home. Moore had one of the longest recording careers in blues history. Moore began performing in the early '20s, playing clubs and parties around his hometown of Dallas; he usually performed under the name Whistlin' Alex. In 1929, he recorded his first sessions, for Columbia Records. Moore didn't record again until 1937, when he made a few records for Decca. Moore didn't record again until 1951, when RPM/Kent had him cut several songs. Arhoolie Records signed the pianist in 1960, and those records helped make him a national name. For the rest of the '60s, he played clubs and festivals in America, as well as a handful of festival dates in Europe. He continued to perform until his death in 1989. The year before his death, he recorded a final album titled Wiggle Tail.

Among the great unknowns are artists such as Manny Nichols, Son Tillis, Laywer Houston,  Nathaniel "Stickhorse" Hammond, Wright Holmes, Lee Hunter, Sonny Boy Holmes, Luther Stoneham and Dr. Hepcat among others. Manny Nichols cut nine sides between 1949-1953 for several small labels, first in Texas and then in California. He also recorded as West Texas Slim. In addition he backed the mysterious Miss Country Slim on one record. J.R. Fullbright, owner of Elko Records, first brough Son Tillis in the studio in Longview, Texas but these were unreleased. He then brought him over to Gold Star where he cut several sides. Interviewed in 1968, Fullbright though Tillis was in the penitentiary for life for murder. Nathaniel "Stickhorse" Hammond is one of the oldest performers featured, having been born in Dallas in 1896. Laywer Houston cut an eight-song session for Atlantic in 1950 and another eight-song session circa 1953/54 that was never issued. Lavada Durst AKA Dr.Hepcat was the first black disc jockey in Texas on Austin‘s KVET. He published The Jives of Dr.Hepcat based on his outlandish radio patter. He cut early records on Peacock, Uptown and later recordings on Documentary Arts. Wright Holmes had only three sides issued in 1947, with several unissued. He was rediscovered and interviewed by Blues Unlimited magazine but had turned to relgion and was no longer playing blues. Lee hunter was the brother of the more famous Ivory Joe Hunter and cut a lone 78 for Gold Star in 1948.