Entries tagged with “John Lee Hooker”.


ARTIST
SONG
ALBUM
Lucille Bogan Black Angel BluesLucille Bogan Vol. 2 1930-1933
Tampa RedBlack Angel BluesTampa Red Vol. 5 1931-1934
Robert Nighthawk Sweet Black Angel Prowling With the Nighthawk
Tampa Red Sweet Little Angel Tampa Red Vol. 14 1949-1951
B.B. KingSweet Little Angel The Vintage Years
B.B. King Sweet Little Angel Live At The Regal
Earl Hooker Sweet Brown Angel Simply The Best
Tony HollisCross Cut Saw BluesChicago Blues Vol. 1 1939-1951
Tommy McClennanCross Cut Saw BluesComplete Bluebird Recordings
Albert King Crosscut Saw Born Under A Bad Sign
Curtis Jones Tin Pan Alley BluesCurtis Jones Vol. 4 1941-53
Guitar Slim Green Alla Blues California Blues 1940-1948
Jimmy WilsonTin Pan Alley Bob Geddins' Big Town Records Story
James ReedRoughest Place In TownR&B Guitars 1950-54
Johnny FullerRoughest Place In TownWest Coast R&B And Blues Legend Vol.1
Ray Agee Tin Pan AlleyWest Coast Blues Vol. 2 1952-1957
The Sparks BrothersI Believe I'll Make A ChangeDown On The Levee: The Piano Blues of St. Louis
Jack Kelly & his South Memphis Jug BandBelieve I'll Go Back HomeJack Kelly & His South Memphis Jug Band 1933-1939
Josh WhiteBelieve I'll Go Back Home Josh White Vol. 2 1933-1935
Carl Rafferty Mr. Carl's BluesRoosevelt Sykes: The Essential
Kokomo ArnoldSagefield Woman BluesBottleneck Trendsetters
Leroy Carr & Scrapper Blackwell I Believe I'll Make A ChangeWhiskey Is My Habit, Women Is All I Crave: The Best of Leroy Carr
Robert Johnson I Believe I'll Dust My BroomThe Centennial Collection
Washboard SamI Believe I'll Make A ChangeWashboard Sam Vol. 4 1939-1940
Arthur Crudup Dust My BroomWhen The Sun Goes Down
Robert LockwoodDust My BroomRough Treatment: The J.O.B. Records Story
Elmore JamesDust My BroomElmore James: Early Recordings 1951-56
Robert PetwayCatfish Blues Catfish Blues: Mississippi Blues Vol. 3 1936-1942
Tommy McClennanDeep Sea BluesComplete Bluebird Recordings
Muddy Waters Rollin' StoneThe Complete Chess Recordings
Muddy Waters Still A Fool The Complete Chess Recordings
John Lee Hooker Catfish Blues John Lee Hooker: Vol. 4 Detroit 1950-51
B.B. King Fishin' After Me (Catfish Blues)The Vintage Years

Show Notes:

Johnny Fuller: Roughest Place In TownIn our first show of the year we traced the origins and evolution of several classic blues songs. I got some good feedback on the show so we today do a follow-up. On today's program we provide the history and context behind classics like “Black Angel Blues“, “Crosscut Saw“, “Tin Pan Alley“, “I Believe I'll Make A Change (Dust My Broom)“ and “Catfish Blues."

The song known today as either "Sweet Black Angel" or "Sweet Little Angel" is one of the most popular and frequently recorded songs in the blues. Although composer credits are often given to Tampa Red, whose "Black Angel Blues" appeared in March 1934, the first recorded version was Lucille Bogan’s, whose "Black Angel Blues" was recorded mid-December 1930. The two artists shared recording sessions in 1928 and 1929, and it is probably impossible at this late date to determine who originally created the song. Although Bogan’s recording credits "Smith" as the composer, she wrote many of her own songs and made be the author of the song. During the early post–World War II era, the lyrics of the song began to change. In 1949, Robert Nighthawk had gone back to the song’s prewar roots cutting the song for Aristocrat Records as "Black Angel Blues (Sweet Black Angel)", but in 1950 Tampa Red was the first to record it as "Sweet Little Angel". B.B. King did the same in 1956; he also changed the song’s final line from ". ..bought me a whiskey still" to "…gave me a Cadillac de Ville." We also spin B.B.'s classic live version from Live At The Regal. Guitar legend Earl Hooker recorded two versions during his career; 1953 saw him record "Sweet Angel (Original Sweet Black Angel)" for the Rockin’ label and in 1962 he recorded a reworked version titled "Sweet Brown Angel" for Checker, which went unreleased at the time.

"Cross Cut Saw Blues" was first released in 1941 by Mississippi bluesman Tommy McClennan. Tony Hollins, a Mississippi bluesman and contemporary of Tommy McClennan, recorded a version of "Cross Cut Saw Blues" with similar lyrics on June 3, 1941, three months before McClennan. The song was not released at the time, but eventually appeared in 1992. In an interview, John Lee Hooker, who knew Tony Hollins, was asked "Well, did Tony Hollins or Tommy McClennan do it first? They both recorded it around the same time". Hooker responded "I think Tommy McClennan did it first."Eddie Burns knew Hollis in Clarksdale in the 40's and recalled that Tommy McClennan: Cross Cut Saw Blueshe was very popular. Burns recalled him singing "Cross Cut Saw", "Crawlin' King Snake" and "Tease Me Over" all of which he recorded in 1941. In 1966, Albert King recorded his version calling it "Crosscut Saw". The same lyrics as McClennan's "Cross Cut Saw Blues" were used, except for two verses which were replaced by guitar solos. However, King uses a different arrangement. The song was a success, reaching No. 34 in the Billboard R&B chart.

Pianist Curtis Jones composed “Tin Pan Alley Blues” which he recorded in 1941. Guitar Slim Green recorded "Alla Blues" in 1948, a retread of the Curtis Jones number. Green said that he and his partner Turner wrote it and that producer Robert Geddins stole it from him. Green and Turner's version would become some kind of West Coast national anthem. Jimmy Wilson’s mournful, bluesy voice ensured him a huge hit in California in 1953 with his version of "Tin Pan Alley," a masterpiece with an unmistakable gloomy tone. The song was soon revived under the original title by West Coast artists Ray Agee and by Johnny Fuller and James Reed under the title "Roughest Place In Town." In more recent years the song was popularized by Stevie Ray Vaughn who recorded "Tin Pan Alley (aka Roughest Place in Town)" on 1984's Couldn't Stand the Weather.

"I Believe I’ll Make a Change" was first recorded on February 25, 1932, by Aaron and Milton Sparks in Atlanta, Georgia, for Victor Records. Other musicians were to use the song’s melody on their own recordings, including Jack Kelly and His South Memphis Jug Band in 1933 (as "Believe I’ll Go Back Home,"), Josh White (1934), and Leroy Carr with Scrapper Blackwell (934). Other version of "I Believe I’ll Make a Change" continued to appear through 1942, including Washboard Sam’s rendition for Bluebird in 1939. The tune is best known today by the title "I Believe I’ll Dust My Broom," first recorded to those words by Robert Johnson on November 23, 1936, for the ARC label. Lyric antecedents for the "dust my broom" stanza can be found in songs such as "Mr. Carl’s Blues" by Carl Rafferty with Roosevelt Sykes in 1933 and "Sagefield Woman Blues" by Kokomo Arnold in 1934 for Decca. The "Dust My Broom" version of the song would continue to be played as bluesmen traveled between Mississippi and Chicago. Arthur "Big Boy" Crudup recorded one version in March 1949 for Victor, Johnson protege´ Robert Lockwood cut another in November 1951 for Mercury. Elmore James is the post–World War II musician most identified with "Dust My Broom," waxing four versions between 1951 and 1962.

Robert Petway: Catfish Blues"Catfish Blues" was first recorded on March 28, 1941, by Mississippi bluesman Robert Petway for RCA Bluebird. Another version, titled "Deep Sea Blues," was made by Petway’s contemporary Tommy McClennan on September 15, 1941, also for RCA Bluebird. There s a good case for believing that Petway composed it: "He just made that song up and used to play it at them old country dances. He just made it up and kept it in his head," says Honeyboy Edwards, who learned the song from Petway in person. After the Petway and McClennan versions were released other treatments of "Catfish Blues" included John Lee Hooker (1951, Gotham) and, a bit later, by B. B. King (as "Fishin’ After Me (Catfish Blues)," 1960, Kent). Two distinctive recordings were made by Muddy Waters for Chess Records in the early 1950's. The first was "Rollin’ Stone" (1950, Chess), which was simply a retitling of the standard "Catfish" tune and lyrics. Nonetheless, the title would be adopted in 1962 by the Rolling Stones and in 1968 for the rock publication Rolling Stone. The second was "Still a Fool" (1951, Chess), featuring a two-electric guitar accompaniment.

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ARTIST
SONG
ALBUM
Bobby BlandGood Time Charlie, Part 1Angels In Harlem
Bobby BlandLoan Me A Helping HandI Pity The Fool: The Duke Recordings Vol. 1
Guitar Slim And Jelly BellyKeep Straight BluesAin't Times Hard: Political & Social Comment In The Blues
John Lee HookerThat's My StoryThat's My Story
Country Paul One More TimeDevil's Jump: Important Indie Label Blues 1946-57
Buddy Boy HawkinsShaggy Dog BluesBullfrog Blues
Buddy Boy HawkinsA RagBuddy Boy & His Buddies
Howlin' Wolf I'll Be AroundSmokestack Lightning: The Complete Chess Masters
Sonny Boy WilliamsonYour ImaginationThe Chess Years Box Set
Little WolfWhite House Blues 45
Fannie Mae Goosby Fortune Teller BluesFemale Blues Singers 7 G/H 1922-1929
Rosetta HowardMy Man Jumped Salty On Me The 30's Girls 1932-1940
Billie And Dede PierceDede And Billie's BluesThe Louisiana Joymakers Introducing Billie & De De Pierce
UnknownCold Iron ShacklesNegro Songs of Protest
UnknownIn Atlanta, GeorgiaNegro Songs of Protest
UnknownMr. TyreeNegro Songs of Protest
Mercy DeeEbony BabyTexas Blues Vol. 2
Mercy DeeJack EngineMercy Dee
Mercy DeeMercy's PartyMercy Dee
Martha CopelandWhen The Wind Make Connection With Your Dry GoodsMartha Copeland Vol. 1 1923-1927
Connie's McLean Rhythm BoysYou Done Lost Your Good Thing NowJazzin' the Blues Vol. 1 1929-1937
Scott Dunbar Forty-Four BluesMusic from the South, Vol. 5: Song, Play, and Dance
Robert CageEasy RiderCan See What You're Doing
Kansas Joe McCoyWhat's The Matter With You?Too Late Too Late Vol. 1 1926-44
The New Mississippi SheiksStop And ListenThe New Mississippi Sheiks
Anna Lee ChisholmCool Kind Daddy Blues Blue Girls Vol. 3 1924-1938
Louis Lasky Teasin' Brown BluesBroke, Black And Blue
Big Bill Broonzy C and A BluesAll The Classic Sides 1928-1937
Memphis MinnieI'm Waiting On YouFour Women Blues
Washboard SamMama Don't Allow No. 1Washboard Sam Vol. 1 1935-1936
Bobby BlandI Smell TroubleI Pity The Fool: The Duke Recordings Vol. 1
Bobby BlandYield Not To TemptationAngels In Harlem

Show Notes:

Bobby BlandAs always today's mix show covers a wide swath of blues, reflecting a number of things I've been listening to lately, some things that haven't fit into out usual theme shows and song things that will foreshadow future shows. We open and close the show on a sad note as we pay tribute to Bobby blue Bland. Also on deck featured sets of music from Buddy Boy Hawkins, Mercy Dee, Louis Lasky, a set of remarkable recordings made by Lawrence Gellert plus a number of fine blues ladies and more.

Bobby Bland passed on June 23 at the age of 83. Bland was a founding member of the Beale Streeters, the famous Memphis aggregation that also included B.B. King and Johnny Ace. He cut singles for Chess in (produced by Sam Phillips) and Modern in 1951 that failed to catch on. Bland hooked up with Duke in 1952 cutting a few singles before entering the army. His 1955 return was remarkable; with saxist Bill Harvey's band providing support, Bland sounded much more assured. Most of Bland's sides during the mid- to late '50s featured the slashing guitar of Clarence Hollimon, but the guitar riffs guiding Bland's first national hit, 1957's "Farther Up the Road," were contributed by Pat Hare. Later, Wayne Bennett took over on guitar, his fret work prominent on Bland's Duke waxings throughout much of the '60s. "Farther Up the Road” was a #1 R&B hit, the first of more than 20 R&B top ten records. During this period Bland toured the Southern chitlin circuit incessantly. Joe Scott steered Bland into smoother material as the decade turned; a mixture of blues, R&B, and soul on numbers like"I Pity the Fool," "I'll Take Care of You," and "Two Steps From the Blues" which were tremendously influential. Scott's brass arrangements provided the perfect backing on Bland's rockers like "Turn on Your Love Light" in 1961 and "Yield Not to Temptation." In 1973, Don Robey sold his labels to ABC Records, and Bland was part of the deal. Without Joe Scott and his familiar surroundings to lean on, Bland's releases grew less consistent although His California Album in 1973 and 1974's Dreamer were very strong. Bland re-teamed with his old pal B.B. King for a couple of mid-'70s albums. Since the mid-'80s, Bland has recorded for Malaco Records.

I got an email from a long-time listener who relayed some information regarding Mercy Dee Walton. Apparently there was a discussion about him on one of the blues forums and the upshot was that there appears to be several tracks he cut for Arhoolie that were released on vinyl but never made it to CD when the label reissued his recordings. Today's tracks include "Ebony Baby"(only issued on the LP Texas Blues Vol. 2) , a fine version of Joe Pullum's "Black Gal What Makes Your Head So Hard", "Jack Engine" and "Mercy's Party", the later two only available on the first pressing of the album Mercy Dee on Arhoolie recorded in 1961. I featured Walton and some of his California contemporaries last year.

Buddy Boy Hawkins: A Rag BluesMercy Dee Walton was born in Waco, Texas on August 30, 1915.In the late 1930's he moved to California, where he worked on farms up and down the Central Valley while performing in local bars and clubs for the region's black farmworkers. In 1949 he recorded for the Fresno-based Spire label and had an immediate hit with "Lonesome Cabin Blues," which reached Number 7 on the R&B charts. The Imperial label signed him and recorded two sessions of twelve titles in 1950. By 1952 he was recording for Specialty, another Los Angeles label. His first track for them, "One Room Country Shack," was a hit in 1953, reaching Number 8 on the R&B charts. A recording for the small Rhythm label in 1954 had little impact, and in 1955 he recorded for the Flair label, part of the Modern Records stable in Los Angeles. He returned to his earlier situation of supplementing his earnings from music with agricultural work and settled in the Stockton, California, area. In 1961 Mercy Dee came to the attention of Chris Strachwitz, owner of the Arhoolie label. A series of sessions that year with backing by guitarist K. C. Douglas, harmonica player Sidney Maiden, and drummer Otis Cherry produced albums on the Arhoolie and Bluesville labels. Soon afterward Walton suffered a cerebral hemorrhage and died in hospital in Murphys, California, on December 2, 1962.

We feature a trio of field recordings made by Lawrence Gellert which was inspired by a new book by Bruce Conforth titled African American Folksong and American Cultural Politics: The Lawrence Gellert Story. Gellert was born in New York City to Hungarian immigrants. When he was in his early 20's, he moved to Tryon, North Carolina for health reasons. He edited a newspaper there and began making friendships among the African Americans who lived in the area. Motivated by leftist political ideologies and inspired by the music-making of his neighbors, he began making recordings to pre-grooved zinc discs on a device of his own construction. The recordings he made were dangerous–both to himself and those who performed for him. Gellert was able to record songs that were more explicit in their complaint against the conditions of segregation than any other scholar before the 1960's. For this reason, in the 20 years he made these recordings he was careful not to document who made the recordings. The result was a body of songs so unprecedented that when Gellert published Negro Songs of Protest in 1936, some accused him of making up this collection of song texts himself. In the 70's Rounder issued two albums of Gellert's recordings (Negro Songs of Protest and Cap'n You're So Mean) and another album of material was issued on the Heritage label in the 80's (Nobody Knows My Name). I'm hoping to interview Conforth for an upcoming show and spotlight more of these remarkable recordings.

Today we feature a five song set revolving around the shadowy Louis Lasky. Lasky cut fives sides in 1935 as well as backing Anna Lee Chisholm, Big Bill, Memphis Minnie and Washboard Sam. It's been suggested he was a influence on Big Bill's guitar style. Nothing is known about Lasky's background but his style suggests a older musician, perhaps from the generation of Henry Thomas or Daddy Stovepipe. His first appearance was back in 1924 when he accompinaed Anna Lee Chisholm on "Cool Kind Daddy Blues." He didn't surface again until 1935 where he backed Broonzy on "C and A Blues", possibly appeared alongside Broonzy on two songs by the group the Chicago Sanctified Singers, backed Washboard Sam, Memphis Minnie and cut three sides under his own name; "How You Want Your Rollin' Done b/w "Teasin' Brown Blues" and the unissued pop song "Caroline" which surfaced and has been reissued.

Negro Songs of Protest
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Several fine blues ladies on tap today including Fannie Mae Goosby, Billie Pierce and Martha Copeland. As David Evans wrote: "Fannie Mae Goosby was one of the first two blues singers (the other was Lucille Bogan) to be recorded in the Deep South. Although the 1923 Atlanta session for OKeh Records, arranged by Polk Brockman and supervised by Ralph Peer, is best known for launching the career of hillbilly artist Fiddlin' John Carson, the discovery of Goosby and Bogan was an equally worthy outcome." Goosby cut eleven sides at sessions in 1923 and 1928.

DeDe Pierce was born Joseph De Lacroix Pierce in New Orleans. Pierce's first gig was with Arnold Dupas in New Orleans in 1924. During his time playing in city nightclubs, he met Billie Pierce, who became his wife as well as a musical companion; the two were the house band at the Luthjens Dance Hall from the 1930's through the 1950's. They released several albums together but stopped performing in the middle of the 1950's due to illness, which left De De Pierce blind. By 1959 they had returned to performing, and De De Pierce toured with Ida Cox and played with the Preservation Hall Jazz Band, before further health problems ended his career. There's quite a number of recordings by them including sessions for Original Jazz Classics, Riverside, Arhoolie among others.Martha Copeland recorded a total of 34 sides for OKeh, Victor and Columbia between 1923 and 1928 yet virtually nothing is known about her background. Her accompanists included many of the best known New York jazz musicians of the period.

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ARTIST
SONG
ALBUM
Robert Pete WilliamsPrisoner's Talking BluesAngola Prisoners' Blues
Mance LipscombMance's Talking BluesCaptain, Captain: The Texas Songster
Mississippi John HurtTalking Casey JonesD.C. Blues: The Library Of Congress Recordings Vol.1
Blind Willie McTellTravelin' BluesBest Of
Bukka White Special Stream LineBukka White: The Vintage Recordings
Big Walter (The Thunderbird) Nothing But The BluesChicken Stuff: Houston Ghetto Blues
Mr. Bear The UpsShake Baby Shake!
Howlin' Wolf Going Down SlowSmokestack Lightning: The Complete Chess Masters
Champion Jack DupreeStrollin'Blues From The Gutter
Champion Jack DupreeStory of My LifeShake Baby Shake!
Champion Jack DupreeEverybody's BluesMe And My Mule
Lightnin' HopkinsI'm Going To Build Me A Heaven Of My OwnSoul Blues
Lightnin' HopkinsMr. Charlie Pt. 1 & 2Mojo Hand
Jazz GillumI'm Not The Lad Bill ''Jazz'' Gillum Vol. 4 1946-49
Memphis MinnieFrankie JeanMemphis Minnie & Kansas Joe Vol. 2 1929-1930
Blind Blake & Charlie SpandHastings St.All The Published Sides
Detroit CountHastings St. Opera Detroit Blues Rarities Vol. 4
Willie Love Nelson Street BluesMemphis & The South 1949-1954
Pinetop SmithNobody Knows You When You're Down And Out Boogie Woogie & Barrelhouse Piano Vol. 1
Pinetop SmithI'm Sober NowShake Your Wicked Knees
Christinia GrayThe Reverend Is My ManFemale Blues Singers Vol. 7 G/H
Harris & HarrisThis Is Not The Stove To Brown Your BreadThe Classic Years 1927-1940
Butterbeans and SusieTimes Is Hard (So I'm Savin' for a Rainy Day)Classic Blues & Vaudeville Singers Vol. 5
Lil Son Jackson Talking BoogieThe Travelling Record Man
Sony Boy & Lonnie Talking Boogie (Talkin' Blues - Release Me Baby)Rub a Little Boogie: New York Blues 1945-56
Coy 'Hot Shot' LoveWolf Call BoogieSun Records: The Blues Years 1950-1958
John Lee Hooker & Earl Hooker If You Miss 'Im...I Got 'Im...Simply The Best
John Lee Hooker John L's House Rent BoogieThe Classic Early Years 1948-1951
Junior Parker Funny How Time Slips AwayI Tell Stories Sad And True

Show Notes:

This show came from a vague idea I had awhile back to compile a show devoted to "talking Blues" songs, basically songs where the artist talk over the music. The show that came together is a little different than I intended. I had the idea of incorporating songs where the artist talks about the music or interview segments. I always find it interesting when the blues artists talk about the music in their own terms. As I was putting this show together I realized that it would make more sense for the to be a two-part show with the latter "talking blues" songs to be featured in a sequel. I'm not really sure where this style originated as far as blues goes but I came across some information regarding the style in country music: "Christopher Allen Bouchillon, billed as "The Talking Comedian of the South," is credited with creating the "talking blues" form with the song "Talking Blues," recorded for Columbia Records in Atlanta in 1926, from which the style gets its name. The song was released in 1927, followed by a sequel, "New Talking Blues," in 1928. His song "Born in Hard Luck" is similar in style." I'm not sure when the earliest blues songs in this style were recorded, although I imagine it might be the more vaudeville styled blues like Buttebeans and Susie, but the earliest songs featured today all come from the late 20's.

Harris & Harris: This Is Not The Stove Tp Brown Your BreadThe earliest blues songs in the talking blues style include songs by Blind Willie McTell, Pine Top Smith, Christinia Gray, Butterbeans and Susie, Blind Blake and Memphis Minnie. From McTell we hear two from 1929: "Travelin' Blues" and "This Is Not The Stove To Brown Your Bread" with McTell playing guitar behind Alfoncy Harris and Bethenea Harris (the song was released under the name Harris & Harris). The latter song is very much in the vaudeville tradition of Butterbeans and Susie, of whom we spin "Times Is Hard (So I'm Savin' for a Rainy Day)." The duo recorded prolifically between 1924 and 1930.  Clarence "Pine Top" Smith was one of the earliest pianists to recorded a boogie-woogie" piano solo. His 1928 tune "Pine Top's Boogie Woogie" was the first recording to be labeled as such and and had a great deal of influence on all future pieces in that style. Pine Top toured the minstrel and TOBA vaudeville circuits throughout the 1920s performing with Mamie Smith and Butterbeans and Susie and other vaudeville acts. He was also a frequent solo performer at rent parties, taverns and whorehouses. Smith was accidentally shot to death at a dance in Chicago in 1929. A number of his songs were talking Blues and rooted in the vaudeville tradition including our featured tracks "Nobody Knows You When You're Down And Out" and "I'm Sober Now."

We jump up to 1948 to hear the fine "Hastings St. Opera Pt. 1" from 1948. From the turn of the century until its demise by urban renewal in the early 1960's, Hastings Street remained the center of business for Detroit's east side community, made up largely of Jewish entrepreneurs and small black business owners. Hastings teemed by day with shoppers; at night it became transformed, into, what John Lee Hooker later described, as a "rough wide-open street." Though the city had a number of corner taverns during the 1940s and 1950s, which featured down home blues, numerous Detroit bluesmen found their first jobs in the house party scene. Many artists got their start through Detroit record man Joe Von Battle. Recording his sessions from within a cluttered record shop on Detroit's Hastings Street that he opened in 1948, Von Battle was a magnet for most of the Motor City's blues and R&B talent. Bob White AKA the Detroit Count cut four sides for Battle's label including "Hastings St. Opera Pt. 1 & 2" which celebrates the famous street.

I'm not sure if Willie Love heard  "Hastings St. Opera" but his 1951 "Nelson Street Blues" celebrates  Greenville's street in a very similar manner. Nelson Street in Greenville, MS was once the epicenter of African American business and entertainment in the Delta. Nightclubs, cafes, churches, groceries, fish markets, barbershops, laundries, record shops, Hot Shot Love: Wolf Call Boogieand other enterprises did a bustling trade. Famous blues clubs on the street included the Casablanca, the Flowing Fountain, and the Playboy Club.

Champion Jack Dupree had a signature humorous, conversational style that he delivered over some fine piano playing. Dupree often employed a talking blues style which we hear on several terrific songs today including "The Ups" with the gruff voiced Mr. Bear, "Story Of My Life" and "Everybody's Blues."

We feature  several lengthy "talking blues" numbers by Lightnin' Hopkins, Big Walter (The Thunderbird) and Junior Parker that are worth mentioning. My first album by Lightnin' Hopkins was Soul Blues, a 1965 recording for Prestige. Hopkins' Prestige records weren't his most exciting but even with the glow of nostalgia I think Soul Blues is one of his better efforts for the label. Hands down my favorite song is "I'm Going To Build Me A Heaven Of My Own. Lyrically, the song has a long history. In his 1930 song "Preachin The Blues" Son House sang: "Ooh, I wish I had me a heaven of my own/Then I would give all my woman a long, long happy home" and in in 1934, Texas Alexander cut "Justice Blues" where he sang: "I'm Gonna build me a Heaven, have a Kingdom of my own/Where these brownskin woman can cluster round my throne." These lines would crop up in other blues songs through the years so it's not clear where Hopkins picked this up although it seems clear he knew Alexander.

Big Walter Price died last year at the age of 97. We travel back to a Houston nightclub in 1965 and hear Price deliver the knockout talking blues "Nothing But The Blues." The track comes from the long out-of-print album Chicken Stuff :Houston Ghetto Blues issued on the Flyright label. Mike Leadbitter paints a rather sad portrait of Price, who hit big with "Shirley Jean" in 1955: "Since 1957 nothing else has happened and Walter has sunk to the depths. Gone is the handsome, powerfully built man pictured at the height of his career. Now will find a greyed, stooping figure supporting himself on a heavy stick due to a lame leg. When sober he is affable but when drunk he becomes a megalomaniac, dreaming that his day will come via a big band, big arrangements and probably Go-Go dancers. …In 1965 he was asked to sing blues and privately taped two performances. One of these 'Nothing But The Blues', is a tremendous talking blues 'recorded in a beautiful night-club in the heart of Houston.' This really demonstrates, though not Hi-Fi, what could be the real 'Thunderbird.' A fine pianist with a houmous outlook on the everyday problems of a ghetto Negro."

Chicken Stuff: Houston Ghetto Blues
Read Liner Notes

Junior Parker was an extraordinary blues singer and harmonica player who laid down some superb material over the course of a twenty year career (1952-1971) before his life was cut short just prior to his fortieth birthday. Parker died in November 1971 during an operation for a brain tumor. Before he passed he sailed into the 1970's in promising fashion cutting a pair of terrific albums; You Don't Have To Be Black To Love The Blues circa 1970/1971 for Groove Merchant and I Tell Stories Sad And True for United Artists which was released in 1972. Parker's singing on these albums, to quote critic Tony Russell, "could be used as a manual of blues singing;" his singing is a model of control and phrasing, almost delicate with it's high, fluttering range, with every line placed perfectly for maximum effect. His harmonica playing is quite and melodic, parceled out in small but effective doses." We close the show with the highlight of his final album, the nearly eight minute cover of Joe Hinton's "Funny How Time Slips Away." Parker delivers this as a hip, spoken rap, intermittently singing the song's poignant lyrics in a hushed, gorgeous delivery.

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ARTIST
SONG
ALBUM
Elzadie RobinsonSt Louis Cyclone BluesThe Great Race Record Labels Vol. 1
Texas Alexander Frost Texas Tornado BluesHoney Babe Let The Deal Go Down: The Best Of The Mississippi Sheiks
John Lee Hooker No Friend AroundThe Complete John Lee Hooker Vol. 3
John Lee HookerNo Mortgage On My SoulThe Complete John Lee Hooker Vol. 3
Jealous James StanchellAnything From A Foot Race To A Resting PlaceTreasury of Field Recordings Vol. 2
Lightnin' HopkinsThe Foot RaceAutobiography in Blues
Big Moose Walker Footrace Ramblin' Woman
Jimmy ReedThere'll Be A DayThe Vee-Jay Years
Bobo JenkinsI'm So Glad Trouble Don't Last AlwaysThe Life Of
Sammy LawhornHome of the BluesRockin' Rhythm 'n' Blues From Memphis
The 5 RoyalesI Got To KnowRockin' Rhythm 'n' Blues From Memphis
Sylvester PalmerMean BluesDown In Black Bottom
Hound Head HenryMy Silver Dollar MamaCow Cow Davenport: The Essential
Lightnin' HokinsThe TwisterThe Complete Prestige Recordings
Big Bill BroonzyTexas Tornado Blues The War & Postwar Years 1940-1951
Curtis Jones Decoration Day BluesCurtis Jones Vol. 1 1937-1938
Sonny Boy Williamson IDecoration BluesThe Original Sonny Boy Williamson
Dan Picket Decoration DayShake That Thing
Howlin' Wolf Decoration DaySun Records The Blues Years 1950-1958
J & J DeucesSweet Woman BluesStompin' Vol 18
Otis HintonWalking Downhill Stompin' Vol 18
Long Tall LesterWorking Man Juicy Harmonica Vol. 1
Butterbeans & Susie Bow Legged PapaVaudeville Blues 1919-1941
Sister MorganHurry Down, Sunshine, and See What Tomorrow BringsToo Late, Too Late 1927-1964
Alma Henderson I've Got A Mama Down In New OrleansVocal Blues And Jazz Vol. 4
B.B. King Worry Worry Live At The Regal
Ironing Board SamI've Been UsedDouble Bang
Johnny Fuller Tin Pan Alley BluesFuller's Blues
Johnny Fuller Bad Luck Overtook MeFuller's Blues
Lonnie Johnson St Louis Cyclone BluesBroadcasting The Blues
Gospel TravelersGod's Chariot Pt. 1Get Right With God Vol. 2

Show Notes:

An eclectic mix show lined up for this Memorial Day Weekend. On deck today are a few Memorial Day songs (Decoration Day), a few tornado songs, twin spins of John Lee Hooker and Johnny Fuller as well, some interesting pre-war and post-war blues obscurities and lots more.

Lonnie Johnson: St. Louis Cyclone BluesLike many folks I was transfixed by the news coverage of the devastating tornado in Oklahoma. It got me to thinking of some blues songs that have been recorded about tornadoes over the years. There was the St. Louis Cyclone which hit five months after the flooding of the Mississippi river. The 1927 flood provoked an outpouring of songs by both whites and African-Americans. Lonnie Johnson's "St. Louis Cyclone Blues" was recorded in New York City just four days after the catastrophe. On September 29th a cyclone struck St. Louis, killing 84 people in five minutes and causing one million dollars in damage. The impact of this disaster was minimal in relation to the Mississippi flood and this is reflected in the fact that only four songs were released about the subject. In addition to Johnson there was a sermon by Rev. J.M. Gates titled "God's Wrath In The St. Louis Cyclone", Elzadie Robinson's "St. Louis Cyclone Blues" (a shorter version of Johnson's song) featuring the exceptional Bob Call on piano and "Tornado Groan" by Luella Miller. On April 9th 1934 Texas Alexander was backed by the Mississippi Sheiks on eight numbers. From this session comes "Frost Texas Tornado Blues". Most sources rate this as an F4 tornado which destroyed the tiny town of Frost, Texas on May 6, 1930 leaving 41 dead. The Houston Chronicle wrote: "Bright sunshine today brought out in bold relief such a picture of death and ruin in the little town of Frost as has never been seen in this part of the state. There was no room in the little cemetery for the dead. The cemetery was covered with debris from the houses of the living. In three minutes Tuesday afternoon a black swirling monster swept out of the southwest and completely demolished a town which has been 43 years in the building, took the lives of 23 and injured a hundred more." Lightnin' Hopkins cut "Mean Old Twister" in 1946 and today we play a version he cut in 1964 live at Swarthmore college. Hopkins' version draws from the imagery of Lonnie Johnson's song. We close the show with a gospel number that I couldn't resist playing by the Gospel Travelers called God's Chariot. This is a remarkable two-part song cut in Memphis in 1952 complete with sound effects.

Three years after the Civil War ended, on May 5, 1868, the head of an organization of Union veterans established Decoration Day as a time for the nation to decorate the graves of the war dead with flowers. It was declared that Decoration Day should be observed on May 30. It is believed that date was chosen because flowers would be in bloom all over the country. The first blues song that I could find that references Decoration Day was singer Martha Copeland's "On Decoration Day" cut in 1926. Next was Curtis Jones who cut “Decoration Day Blues” at his very first session which was not issued at the time, then Sonny Boy's version, “Decoration Day Blues” was cut five months later and cut again in 1940 as "Decoration Day Blues No. 2". Sonny Boy II covered the original Sonny Boy's version in 1963 and Howlin' Wolf covered it in 1952. Other version were recorded by John Lee Hooker, Dan Pickett, Bobo Jenkins, Dr. Ross, Sunnyland Slim, Bukka White and others.

We spin a trio of songs today revolving around a strange song, "Anything From A Foot Race To A Resting Place", recorded by the obscure Jealous James Stanchell. In Treasury of Sonny Boy Williamson: Decoration Day Blues No. 2Field Recordings Vol. 2 Mack McCormick writes about this song: “The song is Jealous James own composition, well known around Houston and Kansas City from his own singing, but not previously recorded or published. The recording came about one afternoon when Lightnin' Hopkins was scheduled to make some tapes but, as usual, found himself without an acoustical guitar. He went out and found Jealous James inviting him and his guitar to come along. After finishing “Corrine Corrina” …Lightnin' turned things over to Jealous James who sang several of his own songs, including this. Lightnin' was so delighted with it that he promptly recorded a boogie which he dubbed “The Footrace Is On” which takes its inspiration from Jealous James' song.” I have no idea where Big Moose Walker picked up the song but he obviously liked the number as he cut versions in 1960, 1961,1967 and 1969. Our version comes from the Bluesway album Rambling Woman.

The many record labels that came out of Memphis, Tennessee have mostly been well documented over the years. There has been one glaring omission and that is the Home Of The Blues record label that existed from 1960 through to 1962. In that short time the company issued approximately forty singles. The label grew out of Ruben Cherry's Home Of The Blues record store on Beale Street. Most of the recordings were made at Royal Studios and Willie Mitchell joined the label as house musician and producer. He recorded three singles for the label under his own name. Big names who recorded for the label included Roy Brown and the '5' Royales, both after their lengthy stints at King Records, and Larry Birdsong. Today's featured tracks come off a brand new 32 song survey of the label called Rockin' Rhythm 'n' Blues From Memphis.

We always spin tracks from out-of-print albums and today we spotlight a great Johnny Fuller album that someone asked me about awhile back but took some digging in my collection to find it. Fuller was a West Coast bluesman who left behind a fine batch of 1950's recordings. He was equally at home with low down blues, gospel, R&B, and rock & roll. Fuller was born in Edwards, Mississippi and moved to Vallejo, California with his family at a young age. Fuller made his debut with two gospel numbers for the Jaxyson label in 1948. His blues recording career began in 1954 with sides issued on Flair and Kent and would record prolifically for several labels through 1962. Fuller's two biggest hits, "All Night Long" and the original version of "The Haunted House," improbably found him in the late ’50s on rock & roll package shows, touring with the likes of Paul Anka and Frankie Avalon. He was essentially retired from music in the 60's and worked as a garage mechanic. We feature his excellent, and only full-length album, Fuller's Blues (Bluesmaker Records 1974) with a crack band that included Phillip Walker. Unfortunately the album has not been issued on CD. Fuller passed in 1985.

Johnny Fuller: Fullers Blues
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We play some interesting, if obscure, material from the pre-war and postwar eras. From the pre-war era we hear from some fine singers including Alma Henderson, Sister Morgan and Hound Head Henry. Henderson is only mentioned in the pre-war blues bible (Blues & Gospel Records 1902-1943) as being of little blues interest. I like her "annoying talking-singing style", as Steve Tracy labels her in the notes to Vocal, Blues & Jazz 1921-1930. Of the four tracks on this set, two feature the guitar of Lonnie Johnson while the other two, including our selection, feature the great Eddie Lang on guitar. Of Henry I couldn't say it better than writer Mike Rowe: "The buffoonish Henry was one of the, mercifully, few specialists in vocal effects; laughing, crying, imitating trains, steamboats, hounds, crowing roosters, Henry's repertoire of sounds was wide indeed (listen to his W C. Fields for instance!). When he performs (almost) straight he makes a passable blues singer – "Silver Dollar Mama" is about his best and boasts a fine Davenport accompaniment too." As for Sister Morgan I know nothing outside of delivering a fine performance on "Hurry Down, Sunshine, and See What Tomorrow Brings" backed by Will Shade on guitar. She cut two sides for Victor in 1927 both unissued at the time.

From the post-war era some fine down-home blues from some equally obscure artists. Otis Hinton is believed to have possibly been from Shreveport, LA. He made four recordings for Apollo Records in New York City in the early 50's that were never issued. It wasn't until he recorded for the small Timely label in NYC that he had a record issued in 1953. "Walking Downhill" is a killer and one wishes he recorded more. Nothing seems to be known about Lester Foster, who made two recordings in the 1950's for the Duke label as Long Tall Lester. Our featured track, "Working Man", is a knockout.

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ARTIST
SONG
ALBUM
Lonnie JohnsonAnother Night To Cry American Folk Blues Festival 1962-65
Mark MillerInterview
Lonnie JohnsonLonnie's Traveling LightSpivey's Blues Parade
Lonnie Johnson Mr. Blues Walks Stompin' At The Penny
Lonnie Johnson Bring It On Home To MamaStompin' At The Penny
Lonnie JohnsonFalling Rain Blues Complete Folkways Recordings
Lonnie Johnson I want To Talk To You WHAT-FM Radio Broadcast
Valaida SnowIf you Don't Mean It1940-1953
Valaida SnowI Ain't Gonna Tell 1940-1953
Original Washboard Band & Julie DavisJasper Taylor Blues
Johnny Dodds 1927-1928
Original Washboard Band & Julie DavisGeechie River BluesJohnny Dodds 1927-1928
Blind Boy FullerFunny Feeling BluesBlind Boy Fuller: Remastered 1935-1938
Dennis McMillonGoin' Back HomeDown Home Blues Classics Vol.6: New York & The East Coast States
Bessie SmithJ.C. Holmes BluesThe Complete (Frog)
Lottie KimbroughRolling Log BluesI Can't Be Satisfied Vol. 1
John Lee HookerHow Can You Do It The Classic Early Years 1948-1951
Lightnin' HopkinsDon't Need No JobLightnin' Special Vol. 2
Eli FramerGod Didn't Make No Monkey ManThe Songster Tradition 1927-1935
Charlie PattonGoing To Move To AlabamaScreamin' & Hollerin' The Blues
Sonny Boy Williamson IITemperature 110The Complete Chess Recordings
Sonny Boy Williamson IISomebody Help MeThe Complete Chess Recordings
Eddie King Blues Band &. Mae Bee May Buttermilk And CornbreadThe Blues Has Got Me

Show Notes:

First off I just want to thank those who've supported the show during our pledge drive. As we move into week two of the pledge drive I hope to hear from some more of you. Today's show is a mix show of sorts although we do have a short feature on Lonnie Johnson. Today we spotlight some late period Lonnie Johnson sides inspired by Mark Miller's new book, Way Down That Lonesome Road: Lonnie Johnson in Toronto, 1965-1970. In addition we'll play part of interview I did with Mark a couple of weeks back. Toronto was Lonnie Johnson’s last stop in a career of stops, at least the eighth city in which he lived for any length of time. Johnson traveled north for a brief appearance at the New Gate of Cleve in May 1965 and returned for a longer engagement at the Penny Farthing in June. Over the next five years — the last five years of his life — he rarely left the city again. In part a biographical study and in part a social history, Way Down That Lonesome Road follows Johnson from the generous welcome that he received from Toronto’s critics on his arrival and the successes and failures that followed.

Johnson's contract with King Records ended in 1952 and the rest of the 50's were a down time for him. He spent much of the decade outside of music working construction or toiling as a janitor. His fortunes changed with the assistance of Chris Albertson who got Johnson back on record and performing again. Between 1960 and 1962 he cut five albums for the Bluesville label, three of which were produced by Albertson, and showed that Johnson had lost little despite several years outside of music. He spent the early 1960's working a busy schedule that eventually took him back to Europe for the 1963 American Folk Blues Festival.  As he said to Valerie Wilmer in 1963: "I have enough work now back in the States to do me for the next fifteen years." Despite the boast the second half of the 60's found Johnson scuffling and recording sparingly. The latter part of the 60's saw far fewer recordings; there were sides cut for the Folkways label in 1967, some scattered sides for Victoria Spivey's Spivey label and the album Stompin' At The Penny with the Metro Stompers. All of today's sides come from the 60's including a gorgeous version of "Another Night To Cry" recorded at the American Folk Blues Festival in 1963 and "I want To Talk To You" from a 1960 radio broadcast. The latter cut  comes from Chris Albertson.  In the 50's Albertson was a disc jockey at WHAT-FM a Philadelphia station that offered jazz around the clock, seven days a week . After meeting Lonnie Johnson and Elmer Snowden, he wrote: "I also asked my newfound friends to appear live on my Sunday afternoon WHAT show, and they did that on several occasions. That was fifty years ago, but—and who says miracles don't happen—some of my airchecks have survived in the recesses of a closet.” Chris was kind of enough to let me air these recordings about a year ago and I thought it was fitting to revisit one of these recordings again.

In addition to the Lonnie Johnson book, Mark Miller has written several other books including High Hat, Trumpet and Rhythm: The Life and Music of Valaida Snow. Mark was nice enough to send me a copy and also pointed me to two terrific blues numbers Snow waxed for Chess in 1953 which we spotlight today.

Raised on the road in a show-business family, she learned to play cello, bass, banjo, violin, mandolin, harp, accordion, clarinet, trumpet, and saxophone at professional levels by the time she was 15. She also sang and danced. After focusing on the trumpet, she quickly became so famous at the instrument that she was named "Little Louis" after Louis Armstrong, who used to call her the world's second best jazz trumpet player besides himself. She played concerts throughout the USA, Europe and China. Her most successful period was in the 1930s when she became the toast of London and Paris. Around this time she recorded her hit song, "High Hat, Trumpet, and Rhythm." She performed in the Ethel Waters show, "Rhapsody In Black", in New York. In the mid-30s she made films with her husband, Ananias Berry, of the Berry Brothers dancing troupe. After playing New York's Apollo Theater, she revisited Europe and the Far East for more shows and films. She cut dozens of sides between the early 30's and early 50's.

We have some other fine blues ladies on tap today including sides by Lottie Kimbrough, Bessie Smith and Julia Davis. Lottie Kimbrough was born in 1900 in Kansas City, Missouri, and enjoyed a recording career between the years 1924 to 1929. She was a famously large woman, nicknamed "the Kansas City Butter-ball", and throughout her career, she recorded and performed under several pseudonyms. She started performing professionally in the early 1920's singing in the city's red light district clubs and speakeasy's. She shared her first recording session for Paramount with the legendary Ma Rainey in 1924. In the same year there followed recording sessions for the Kansas City based Merrit Records, which was was owned by performer and promoter Winston Holmes. The two soon began to collaborate further, recording in Richmond, Indiana, and Holmes provided yodels, bird calls, and train whistles on the 1928 masterpieces "Lost Lover Blues" and "Wayward Girl Blues. She recorded prolifically during this period, recording for Gennett, using her own name, and under different other names she also recorded for Champion, Supertone and Superior. She made her final recordings in 1929 and by 1930 had disappeared from the Kansas City music scene.

Singer Julia Davis cut one 78 for Paramount in 1924 and onefinal terrific record in 1928, "Jasper Taylor Blues b/w Geechie River Blues", backed by the Original Washboard Band featured washboard player Jasper Taylor and the legendary Johnny Dodds on clarinet.

Today we play Bessie Smith's "J.C. Holmes Blues" a version of the more famous Casey Jones number. Smith is backed superbly by Charlie Green on trombone and Louis Armstrong on cornet.

Also featured today is music from Eddie King who passed on March 14, 2012. Kingwas working with bassist and songwriter Willie Dixon, which lead to his first recordings playing  second guitar  on several Sonny Boy Williamson II sides in 1960. The next major period in his career was as lead guitarist with Koko Taylor for more than two decades. In 1969, he and bassist Bob Stroger formed Eddie King & the Kingsmen, a group that worked together off and on for the next 15 years, overlapping with the Taylor stint. King had two fine albums under his name: The Blues Has Got Me issued on the Dutch Double Trouble label on 1987 in partnership with his sister Mae Bee Mae and 1997's Another Cow's Dead which won a W.C. Handy Award for best comeback album of the year. Our selection, "Buttermilk And Cornbread", comes from the earlier record and is a fine reworking of Lucille Spann's "Country Girl." We also spin Sonny Boy Williamson's "Temperature 110" and "Somebody Help Me" from 1960 featuring King and Luther Tucker on guitars and Otis Spann on the piano.

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