Big Road Blues

Show Notes:

For today’s show we continue with our ongoing series I call Forgotten Blues Heroes. For this installment we spotlight four great bluesmen who didn’t get the opportunity to record until the 1960′s and 1970′s: Scott Dunbar, Bill Williams, Babe Stovall and Frank Hovington. As the blues historian Paul Oliver wrote: “Throughout the Sixties, it seemed there was one ‘discovery’ or ‘rediscovery’ of a blues singer after another; a succession of methodical searches, happy accidents and dramatic events which brought not only a number of legendary figures to life, but also revealed that the wealth of talent in the black traditions had been even greater than might have been supposed.”

All of today’s featured artists were old enough to have been recorded earlier but opportunity passed them by until the blues revival of the 1960′s. In addition to the resurrection of the legendary artists of the past like Son House, Mississippi John Hurt, Bukka White and Skip James there were a slew of older artists uncovered who got a chance to make some recordings such as Mississippi Fred McDowell, Robert Pete Williams and Mance Lipscomb to name a few. Unlike those who recorded back in the 1920′s and 30′s for the commercial record companies and black consumers, those who recorded in the 1960′s and 70′s were being recorded primarily for a new found white audience, with the records issued usually on tiny specialist labels. The benefit wasn’t in sales of records so much as it was the fact that these recordings would be an entry way into the festival and coffeehouse circuit. Unfortunately many of these small labels never lasted into the CD era and hence many great albums remain long out of print. The bulk of today’s recordings fall into that category.

Scott Dunbar

In the notes to his sole album, From Lake Mary issued on the Ahura Mazda label in 1970, Karl Micheal Wolfe wrote that “Today Scott Dunbar is a fisherman and guide on Lake Mary, father of six, and resident blues singer of Woodville and rural Wilkinson County, Mississippi. There everyone knows old Scott. We hope this record will make him known to a wider audience.” Prior to the recordings in 1970 Dunbar was recorded by Frederic Ramsey, Jr. in 1954 as part of field recordings done under a grant from the John Simon Guggenheim Memorial Foundation. Ramsey’s recordings appeared on the ten volume series Music from the South on Folkways with four of Dunbar’s recordings on Music From The South Vol. 5: Song, Play And Dance and one side on Music From The South Vol. 10: Been Here And Gone. Three more issued sides were recorded in 1968, which appeared on the album Blues From The Delta, the companion album to William Ferris’ influential book of the same name.

Dunbar gave up the juke joints because they were too dangerous and in later years played primarily for whites. William Ferris wrote in Blues From The Delta that “I recorded thirty-seven songs during my visits with Dunbar and of these, two thirds were sung white style in the key of C. ” The thirteen songs on From Lake Mary are mostly blues, likely selected to appeal to the blues revival market while the vast majority of recordings from this session have not been issued, forty-eight unissued sides in total.  At lengthy recording sessions n February, April and August of 1970 Dunbar proves to be a true songster, laying down songs like “Wabash Cannonball”, “Sally Good’n”, “Blue Heaven”, “Tennessee Waltz” and  “You Are My Sunshine.” In 1994 Fat Possum reissued From Lake Mary on CD with no additional tracks.Dunbar passed away at the age of 90 in 1994 with his death largely unnoticed outside of a couple of obituaries in blues magazines and a recorded legacy of  nineteen issued sides.

Bill Williams, was a 72-year old bluesman from Greenup, Kentucky, when he made his debut for Blue Goose in the early 1970′s. Stephen Calt wrote that “The previously unrecorded Williams ranks among the most polished and proficient living traditional bluesmen, and has a large repertoire embracing ragtime, hillbilly, and even pop material. He is also the only known living associate of Blind Blake, his own favorite guitarist. …Disbelief is the inevitable reaction to incredible Bill Williams, a former partner of Blind Blake who is without doubt the most technically accomplished living country blues guitarist. …While living in Bristol, Tennessee in the early 1920′s Bill met the peerless Blind Blake who was then living with an elderly woman (perhaps a relative) in a desolate nearby country area. For four months Bill worked as Blake’s regular second guitarist…” Williams cut just two LP’s, both for Blue Goose: Low And Lonesome and The Late Bill Williams ‘Blues, Rags and Ballads plus had one song on the anthology These Blues Is Meant To Be Barrelhoused.

From the notes to The Late Bill Williams ‘Blues, Rags and Ballads, Stephen Calt wrote: “For a guitarist of such uncommon ability Bill Williams enjoyed an all-too brief period of public recognition. Within fifteen minutes of the time he first picked up an instrument in 1908 he was accomplished enough to play a song, but he was still completely unknown beyond his home town of Greenup, Kentucky before Blue Goose recorded him in the fall of 1970 and issued an album (Low and Lonesome) that brought him unqualified acclaim as a 73-year old folk find. A brief series of concert engagements (notably at the Smithsonian Institution and the Mariposa Folk Festival) followed, along with an extended recording session in New York, before a heart ailment brought about his musical retirement. In October of 1973, nearly three years to the day of his recording debut, he was fatally stricken in his sleep. This memorial album and its soon to be released sequel will constitute the remainder of Bill’s musical legacy.”

Jewell “Babe” Stovall was a Mississippi-born songster who was born in 1907 in Tylertown, MS, Babe was the youngest of 11 children, most of them musicians. Stovall learned guitar when he was around eight years old, and was soon playing breakdowns, frolics, and parties in the area, even meeting and learning “Big Road Blues” from Tommy Johnson. He moved to Franklinton, LA, in the 1930s, and split his time between there and Tylertown for several years, picking up whatever work he could as a farmhand. In 1964 he moved to New Orleans, where he was “discovered” working as a street singer in the French Quarter, his act featuring crowd-pleasing antics like playing his National Steel guitar behind his head and shouting out his song lyrics in a voice so loud that it carried well down the street. He recorded an LP for Verve in 1964, simply titled Babe Stovall (re-released on CD by Flyright in 1990), and did further sessions in 1966 released on Southern Sound as The Babe Stovall Story and with Bob West in 1968 (which form the basis of The Old Ace: Mississippi Blues & Religious Songs, released on Arcola in 2003), and became active on the folk and blues college circuit, as well as holding down a house gig at the Dream Castle Bar in New Orleans. Stovall died in 1974 in New Orleans.

Bruce Bastin called Frank Hovington or Guitar Frank as he was also known, “one of the finest singers to have been recorded during the 1970′s…steeped in a tradition which is as much part of him as is the countryside about him.” Bastin and Dick Spotswood recorded Frank in 1975, issuing the album Lonesome Road Blues on the Flyright label (reissued in 2000 as Gone With The Wind with several additional tracks). Frank was still in fine form when he reluctantly agreed to perform for Axel Küstner and Siegfried Christmann in 1980. The results were issued as part of their remarkable Living Country Blues series. Hovington started on ukulele and banjo as a child and teamed with Willliam Walker in the late ’30s and ’40s playing at house parties and dances in Frederica, Pennsylvania. Hovington moved to Washington D.C. in the late ’40s, and backed such groups as Stewart Dixon’s Golden Stars and Ernest Ewin’s Jubilee Four. Hovington moved to Delaware in 1967 where he passed in 1982.

Show Notes:

Today’s show focuses on the Living Country Blues USA series, which has finally been issued on CD. These remarkable recordings were first issued across 12 LP’s plus one double set on the German L+R label between 1980 and 1981.In 1980 two young German blues enthusiasts, Axel Küstner and Siegfried Christmann, 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. As the notes proclaim: “Traveling 10,000 miles by car in 2 1/2 months, they used 180,000 feet of tape and took hundreds of photographs to document various aspects of Country Blues, as well as work songs, fife and drum band music, field hollers and rural Gospel music, performed by 35 artists, some of whom appear on record for the first time.” From October 1st through November 30th the duo rolled through Washington, DC, Maryland, Delaware, North Carolina, Tennessee, Arkansas, Virginia, New Orleans and of course Mississippi. Below is some brief background on today’s performers plus links to the two-part article I wrote about these recordings.

Guitar Slim hailed from Greensboro, North Carolina. He recorded the album Greensboro Rounder for Flyright in the 1970′s which is difficult to come by these days. He was accomplished on six and twelve string and a fine piano player as well.

These were Archie Edwards first recordings and he recorded a couple of other albums after this before passing in 1986. In 1959, he bought his barbershop on Bunker Hill Road in Northeast DC. The shop became a regular hangout for many local down-home musicians, including his musical hero and friend, Mississippi John Hurt.

Writer Bruce Bastin called Guitar Frank “one of the finest singers to have been recorded during the 1970′s…steeped in a tradition which is as much part of him as is the countryside about him.” Bastin and Dick Spotswood recorded Frank in 1975, issuing the album Lonesome Road Blues on the Flyright label (reissued in 2000 as Gone With The Wind with several additional tracks). Frank was still in fine form when he reluctantly agreed to perform on these recordings even though he was afraid of losing his social security checks.

Lottie Murrell and Girlfriend

Joe Savage and Walter Brown bring alive the era of the field and levee camp hollers. John Lomax interviewed and recorded Joe Savage in Parchman in the 1940′s and said of him “he was by far the youngest and most damaged.” Küstner noted “recording Walter Brown was one of the most incredible experiences I have ever had. …I had the feeling he was just waiting for somebody to come around so that he could express himself and let his music come out.” Brown led a tough life including spending time in the notorious Parchman Farm Prison.

Boogie Bill Webb was influenced first hand by Tommy Johnson. Moving from Mississippi, he settled in New Orleans in 1952, where longtime friend Dave Bartholomew helped Webb land a deal with Imperial Records. In 1968 he recorded several songs for folklorist David Evans later issued on the Arhoolie LP Roosevelt Holts and His Friends. In 1989 issued his first full-length LP, the Flying Fish release Drinkin’ and Stinkin’, passing the following year at age 66.

A member of the Chatmon family that included not only Lonnie of the famous Mississippi Sheiks but also the prolific Bo Carter and several other blues-playing brothers, Sam Chatmon survived to be hailed as a modern-day blues guru when he began performing and recording again in the 1960′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 as a solo act, 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. When the blues revival arrived in the late ’50s, he managed to capitalize on the music’s popularity. Throughout the ’60s and ’70s, he recorded for a variety of labels, as well as playing clubs and blues and folk festivals across America. Chatmon was an active performer and recording artist until his death in 1983.

These were Cedell Davis’ first recordings. He went on to cut a few fine albums in the 1990′s for Fat Possom. Back in the 1950′s he worked in Arkansas with Robert Nighthawk and Dr. Ross among others.

Boyd Rivers

Lonnie Pitchford was notable in that he was one of only a handful of young African American musicians from Mississippi who had learned and was continuing the Delta blues and country blues traditions of the older generations. In addition to the acoustic and electric guitar, Pitchford was also skilled at the one-string guitar and diddley bow, a one-string instrument of African origin, as well as the double bass, piano and harmonica. He was a protege of Robert Lockwood, Jr., from whom he learned the style of Robert Johnson. These were his first recordings and he appeared on several anthologies and cut his lone album All Around Man for Rooster in 1994. In November 1998, Pitchford died at his home in Lexington, from AIDS. A diddley bow is featured on his headstone which was paid for by John Fogerty and Rooster Blues Records through the Mt. Zion Memorial Fund.

Among the finest bluesman they came across in Mississippi was James “Son” Thomas “discovered” in 1968 by William Ferris who wrote about him in his influential book Blues From The Delta. By 1980 Thomas was a regular on the festival circuit but had recorded little, just a handful of sides scattered on obscure anthologies. After 1980 he toured Europe, recorded prolifically, including several very strong albums but never did he sound better then the recordings he made here. He died in 1993.

Sam “Stretch” Shields’ harmonica style harks back to the pre-amplified era when harmonica soloists played now forgotten pieces like train imitations and set pieces like Lost John, Fox Chase, Mama Blues and other call-and-response pieces. Küstner recalled, “With Sam, it was like going back in time. When you went into his living room, he had pictures of Franklin D Roosevelt up there. It was like the 1930s.”

Although he never recorded commercially, Arzo Youngblood was recorded by field researchers David Evans with tracks on several now out-of-print LP’s. He was one of a number of musicians directly influenced by the legendary Tommy Johnson.

Living Country Blues USA Revisited – Part 1

Living Country Blues USA Revisited – Part 2

In part one we discussed the some of the superb East Coast musicians Axel Küstner and Siegfried Christmann recorded while this time out we travel with the duo down to Tennessee, Arkansas and Mississippi. It was Mississippi that occupied most of their time and form a good chunk of the recordings. Mississippi, particularly the Delta has been subjected to immense scrutiny among researchers and with good reason; in the 1920′s and 30′s men like Charlie Patton, Robert Johnson, Tommy Johnson, Skip James and Son House recorded some of the greatest blues records ever made and it was the breeding ground for those who became famous up North like Muddy Waters, John Lee Hooker, Elmore James and countless others. Yet some have said that the region has attracted too much attention among researchers, leaving other areas like the East Coast too sparsely documented. While this is certainly true there’s no denying that Mississippi was an immensely fertile region for the blues and remained so when Küstner and Christmann set up shop in 1980 over the course of eleven days.

Son Thomas

Among the finest bluesman they came across in Mississippi was James “Son” Thomas “discovered” in 1968 by William Ferris who wrote about him in his influential book Blues From The Delta. By 1980 Thomas was a regular on the festival circuit but had recorded little, just a handful of sides scattered on obscure anthologies. After 1980 he toured Europe, recorded prolifically, including several very strong albums but never did he sound better then the recordings he made for Küstner and Christmann. Thomas plays brooding, darkly hued delta blues with a tightly wound, controlled intensity. Thomas’ fourteen tracks, scattered over several volumes, are all traditional but he gives them a thoroughly invigorating, individual reading; thus he shakes the dust off material like “Bull Cow Blues”, “Rock Me Mama”, “Big Fat Mama”, “61 Highway Blues” laying these numbers down with a throbbing intensity, underpinned by his steady guitar rhythm and dramatic vocal delivery that often dips into a riveting falsetto. By far his most memorable performance is the six minute plus “Catfish Blues”, a hypnotic and downright dirty version of this delta standard. Also fascinating are several numbers Thomas performs with his running buddy Cleveland “Brooman” Jones who would pull a few handfuls of dirt out of his pocket, flip over the broom handle and scrape the floor to produce a bass sound that somehow perfectly meshed with Thomas’ music.

A true anomaly was 25 year old Lonnie Pitchford, the youngest musician recorded who played the most ancient of instruments, the one string diddley bow which he amplified and picked like a guitar. These were Pitchford’s first recordings and he truly sounds like no one else; the music is mesmerizing and hypnotic as he transforms chestnuts like “Boogie Chillen”, “My Babe” and a slashing “Shake Your Money Maker.” Pitchford was still evolving as an artist when AIDS claimed him at the age of 43. Thankfully due to the exposure from this series he was recorded extensively on anthologies and issued a lone album, the terrific All Around Man, for Rooster in 1994.

Lonnie Pitchford

The fact is that the bulk of these artists were older, the remaining holdouts of a fading tradition and the music often sounds like it was trapped in amber, virtually unchanged from the blues of fifty years ago. Certainly that’s the case with musicians such as Walter Brown, Joe Savage and Boyd Rivers. Brown and Savage bring alive the era of the field and levee camp hollers that could once be heard ringing all over the south and in later years primarily survived in prisons as documented by the Lomax’s, Harry Oster and Bruce Jackson. Both Brown and Savage lived hard lives and both men spent time in the notorious Parchman Farm. In fact John Lomax interviewed and recorded Joe Savage in Parchman in the 1940′s and said of him “he was by far the youngest and most damaged.” Jumping to 1980 we hear Savage recount his prison experience and sing on the harrowing “Joe’s Prison Camp Holler.” Küstner noted that “recording Walter Brown was one of the most incredible experiences I have ever had. …I had the feeling he was just waiting for somebody to come around so that he could express himself and let his music come out.” His “Mississippi Moan” is a bone chilling account of what it’s like to be black in Mississippi where “The place, the town where time done come to civilization and they still call you a nigger.” His “Levee Camp Holler”, sung from experience, is equally arresting as is Savage’s unique spin on “Mean Ol’ Frisco.” The blues is so often romanticized but there’s nothing romantic about the lives of men like Brown, Savage and many of the others on this collection who have led unbearably tough lives under crushing poverty and persistent racism. “I actually thought he was the best and gave the most powerful performances of any that were recorded” Küstner said of Boyd Rivers. A one time bluesman, Rivers plays with unbridled passion, singing in a powerful, raspy voice coupled with hard edged Mississippi guitar attack. His nine selections are startling in there intensity which were his first and unfortunately only recordings.

Among the other notable musicians recorded in Mississippi the most famous was Sam Chatmon who was 81 at the time of these recordings and still in fine form. There are several fine performers one wishes had been recorded more including the excellent Stonewall Mays who’s two song are his sole legacy and Joe Cooper who was Son Thomas’ Uncle and very fine performer in his own right.

Sam “Stretch” Shields

The recordings made in Tennessee and Arkansas are less consistent although there are some very rewarding performances, chiefly from CeDell Davis and Sam “Stretch” Shields. “CeDell “Big G” Davis”,  Küstner wrote, “is probably the most amazing musician I have ever met. At the age of 10 he contracted polio and the disease left him without the full use of his hands. His fingers are crippled, but however, he manages to strum the guitar with his left hand, and chords and slides across the strings with an ordinary table knife that he put in his right hand. The resulting sound, coupled with his roaring voice, makes him a highly individual Blues artist.” Davis’ rough juke joint blues is perfectly encapsulated on numbers like “I Don’t Know Why” and a cover of Tampa Red’s “Let Me Play With Your Poodle.” Sam “Stretch” Shields’ harmonica style harks back to the pre-amplified era when harmonica soloists played now forgotten pieces like train imitations and set pieces like Lost John, Fox Chase, Mama Blues and other call-and-response pieces. Küstner recalled “With Sam, it was like going back in time. When you went into his living room, he had pictures of Franklin D Roosevelt up there. It was like the 1930s.” His unaccompanied renditions of “Bluebird Blues”, “Mellow Peaches” and the “The Hounds” are enthralling. Of the other performers from the region it sounds like Hammie Nixon has seen better days, pianist Memphis Piano Red is in good form although his piano is badly out of tune while Lottie Murrell delivers some powerful slashing slide guitar but is fairly well inebriated.  I would have liked to hear more from the superb Charlie Sangster who’s two numbers reveal a bluesman of very high order, very much in the classic Brownsville, Tennessee tradition of Sleepy John Estes and Hammie Nixon.

Fans and collectors of early country and traditional blues will find hours of rewarding listening within the fourteen volumes that comprise Living Country Blues USA. Through the 1970′s country blues was still going strong in rural southern communities even if interest was low commercially. Thankfully a handful intrepid researchers stepped into the breach to record a music and culture that was virtually vanishing before their eyes.  As for complaints, well I do wish that some unreleased material was included which seems to me like a real missed opportunity. In addition while the original liner notes are included it would be nice to have some follow-up information regarding what became of these the artists after these recordings.

Son Thomas – Catfish Blues (MP3)

Boyd Rivers – You Got To Move (MP3)

Lonnie Pitchford – My Babe (MP3)

Walter Brown – Levee Camp Holler (MP3)

Joe Savage – Mean Ol’ Frisco (MP3)

Stonewall Mays – Jazz Boogie Woogie (MP3)

CeDell Davis – I Don’t Know Why (MP3)

Lottie Murrell – Spoonful (MP3)

Joe Cooper – She Run Me Out On The Road (MP3)

Charlie Sangster & Hammie Nixon – Moanin The Blues (MP3)

I’ve written quite a bit about blues field recordings and play them often on my radio program so it’s an understatement to say that I was excited to hear that the Living Country Blues USA series was being issued on CD in its entirety (unfortunately there are no additional tracks). These remarkable recordings were issued across 12 LP’s (one double set) on the German L+R label between 1980 and 1981. Considering the title it’s ironic that these recordings weren’t issued domestically until 1999 when the Evidence Records distilled the project down to a 3-CD “greatest hits” package, simply titled Living Country Blues – An Anthology. At the time of this release I have to admit I was only vaguely aware of the original series – in my defense I was only 12 at the time the L+R albums came out, a precocious 12 year old but certainly not listening to country blues! – but what I heard on the Evidence set floored me. In classic collector mentality I set out to track down the original L+R records which wasn’t that easy and turned out to be an expensive proposition. I never did get all the albums but thankfully now that they have been reissued on CD I was finally able  to complete the set. On November 9th I’ll be devoting the entire show to these recordings with a sequel undoubtedly in the future.

In 1980 two young German blues enthusiasts, Axel Küstner and Siegfried Christmann, 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. As the notes proclaim: “Traveling 10,000 miles by car in 2 1/2 months, they used 180,000 feet of tape and took hundreds of photographs to document various aspects of Country Blues, as well as work songs, fife and drum band music, field hollers and rural Gospel music, performed by 35 artists, some of whom appear on record for the first time.” The prep work for the project was done in 1978 when Küstner came over alone for a six month survey of the blues scene and made some final arrangements in June 1980 before hooking up with Christmann three months later. If this project reminds you of the recording trips of John and Alan Lomax, that’s exactly what the duo had in mind. Where the Lomax’s had the Library of Congress to back them, Küstner and Christmann had the backing of Horst Lippman who had just started the L+R label with Fritz Rau (the same duo who were responsible for the American Folk Blues Festivals). The project was called Living Country Blues as Alligator had just issued their acclaimed Living Chicago Blues series. As for the sound quality, don’t let the field recording aspect scare you, the sound is exceptional, recorded with a ten-channel mixer and reel-to reel tape.

If you think about it,  it was a bold undertaking to embark on a trip like this in 1980 when one would imagine the country blues had largely died out as a vibrant part of rural black communities. After all George Mitchell and Pete Lowry, two of the most active field recorders, had called it quits by 1980, while others like David Evans, Kip Lornell, Gianni Marcucci and Enzo Castello, Bengt Olsson and Bruce Bastin had largely stopped going in the field after the 1970′s. To be sure there were plenty of fine unheralded country blues players who were still active. Among the great finds of the late 1960′s and 70′s, and subsequently recorded, were men like Mance Lipscomb, Robert Pete Williams, Fred McDowell, Roosevelt Holts, Jack Owens, R.L. Burnside, James “Son” Thomas, Lum Guffin, Frank Hovington, Cecil Barfield, Marvin and Turner Foddrell, Peg Leg Sam, Henry Johnson, not to mention those still active who had recorded in the 1920′s and 30′s like Sam Chatmon, Buddy Moss, Joe Callicott, Furry Lewis, Bukka White, Hammie Nixon and others. George Mitchell wrote that “As late as 1969 a country bluesman who at least occasionally played could be located in most small towns of Georgia. In 1976, there are very few active blues musicians left in the state! In the short span of seven years, one of the worlds most vital and influential forms of music as it was originally performed has all but died out in Georgia, and probably in the rest of the South as well. Most bluesmen have either died or fallen into ill health accompanying old age, and the younger generation of rural blacks long ago turned their backs on the blues.”  It was also, he noted, the Church who claimed many bluesmen as well as the lack of financial incentive to play the blues that was the musics’ death knell. Still Mitchell, Lowry and Lornell were recording many talented artists through the end of the 1970′s and into the early 1980′s. Seen from an historical perspective, Küstner and Christman’s trip was one of the last great large-scale recording trips to survey southern blues and gospel, and the sad fact is that most of these performers have since passed on. Recordings of this type have been spotty and uneven since the 1980′s; some mostly lackluster recordings issued on the the three volume Wolf series Giants of Country Blues (spanning 1967 through 1991), some good records on Fat Possum by R.L. Burnside, Junior Kimbrough, Robert Belfour, Asie Payton and Cedell Davis in the 1990′s, the surprisingly prolific, if uneven, Music Maker label and most recently some strong records on the Broke and Hungry label. As for another large-scale survey of southern blues, I’m afraid those days have long passed which makes Living Country Blues all the more valuable.

Guitar Slim

From October 1st through November 30th the duo rolled through Washington, DC, Maryland, Delaware, North Carolina, Tennessee, Arkansas, Virginia, New Orleans and of course Mississippi. While they recorded some extraordinary music in Mississippi a good chunk of the performances spotlight the rich East Coast tradition or Piedmont style, explored in-depth in the 70′s by Lowry, Bastin and Lornell. Among the most striking in this vein are Guitar Frank (Frank Hovington), Guitar Slim (James Stephens) and Archie Edwards. Bastin called Guitar Frank “one of the finest singers to have been recorded during the 1970′s…steeped in a tradition which is as much part of him as is the countryside about him.” Bastin and Dick Spotswood recorded Frank in 1975, issuing the album Lonesome Road Blues on the Flyright label (reissued in 2000 as Gone With The Wind with several additional tracks). Frank was still in fine form when he reluctantly agreed to perform (he was afraid of losing his social security checks), putting his stamp on traditional material like “Railroad Bill”, “Key To The Highway”, fine instrumentals like the gently rolling “90 Goin’ North”, “Chimney Hill Breakdown” and a magnificent version of “Lonesome Road Blues” feature a gorgeous vocal. Guitar Slim hailed from Greensboro, North Carolina but his music falls stylistically between the East Coast style and and the more intense Mississippi approach. He recorded Greensboro Rounder for Flyright in the 1970′s but good luck finding a copy. He was accomplished on six and twelve string and a fine piano player to boot. His loose barrelhouse piano is heard to fine effect on “Lovin’ Blues” and “Lula’s Back In Town” while his lovely singing is heard best on introspective numbers like “Won’t You Spread Some Flowers On My Grave” and an achingly seductive cover of Robert Johnson’s “Come On In My Kitchen.” Sadly he never recorded again. More strongly rooted in the East Coast tradition is Archie Edwards who made his debut with these recordings. Volume six in the series, The Road Is Rough and Rocky, is entirely devoted to this this talented guitarist with a wide repertoire. “Bear Cat Mama Blues”, one of his best numbers, is on the 2-CD introduction, a cover of Blind Lemon Jefferson’s “Balky Mule Blues.” His original, the raggy, fast paced “The Road Is Rough And Rocky”, is in classic Piedmont style as is the beautiful “Do Lord Remember Me”, apparently the last song Edwards listened to before he passed in 1998.

Archie Edwards

Edwards was based in Washington, D.C. which boasted a number of exceptional players including John Cephas, Phil Wiggins and Flora Molton. The first volume of the series is devoted to the music of Cephas and Wiggins and were the first commercial recordings of the duo (Cephas had appeared on records by Henry Johnson and Big Chief Ellis and both men were recorded extensively by Pete Lowry but those recordings were never issued). The duo has made dozens of records and currently signed to Alligator records but they rarely sounded better then they do here rolling through classic East Coast material like “Goin Down The Road Feelin Bad”, “Chicken Don’t Roost Too High For Me” and “Richmond Blues.” The seamlessly meshed playing of Cephas’ complex, ragtime guitar and Wiggins’ harp are strongly in the tradition of Brownie McGhee and Sonny Terry. Flora Molton has played her “Spiritual and Truth Music”, as she called it, on the streets of Washington since the 1940′s eventually benefiting from the blues revival with a steady stream of festival and coffeehouse gigs. Molton gave up the blues after she got sanctified but there’s strong blues component to her music which follows in the tradition of guitar evangelists such as Edward Clayborn, Blind Willie Johnson and Blind Gary Davis. Molton plays serviceable slide as she delivers her declamatory vocals backed by a variety of musicians called The Truth Band.  Volume three focuses entirely on her talents with two numbers on the introductory set including the magnificent “The Titanic”, variations of which have long been a gospel staple as a testimony to man’s hubris. The music is utterly captivating as Molten sings with with the unflagging devotion of a true believer. Outside of a self-produced 45 these are her first recordings.

Guitar Frank – Lonesome Road Blues (MP3)

Guitar Frank – Railroad Bill (MP3)

Guitar Slim – Come On In My Kitchen (MP3)

Guitar Slim – Lulu’s Back In Town (MP3)

Archie Edwards – Bear Cat Mama Blues (MP3)

Archie Edwards – My Road Is Rough And Rocky (MP3)

Cephas & Wiggins – I Ain’t Got No Lovin Baby Now (MP3)

Cephas & Wiggins – Goin’ Down The Road Feelin’ Bad (MP3)

Flora Molton – The Titanic (MP3)

Flora Molton – Vacation In Heaven (MP3)