Entries tagged with “Leroy Ervin”.

Andy BoyEvil BluesThe Piano Blues Vol. 8: Texas Seaport 1934-1937
Andy BoyChurch Street BluesThe Piano Blues Vol. 8: Texas Seaport 1934-1937
Walter 'Cowboy' Washington & Andy BoyIce Pick MamaThe Piano Blues Vol. 8: Texas Seaport 1934-1937
Andy BoyHouse Raid BluesThe Piano Blues Vol. 8: Texas Seaport 1934-1937
Big Boy KnoxBlue Man BluesThe Piano Blues Vol. 4: The Thomas Family 1925-1929
Big Boy KnoxEleven Light City BluesThe Piano Blues Vol. 11: Texas Santa Fe 1934-1937
Son Becky Mistreated Washboard BluesSan Antonio Blues 1937
Son Becky Midnight Trouble BluesSan Antonio Blues 1937
Pinetop BurksJack of All Trades BluesSan Antonio Blues 1937
Pinetop BurksFannie Mae BluesSan Antonio Blues 1937
Pinetop BurksShake the ShackSan Antonio Blues 1937
Thunder SmithSanta Fe BluesLightnin' Special Vol. 2
Thunder SmithLow Down Dirty WaysLightnin' Special Vol. 2
Leroy Ervin Rock Island BluesTexas Blues: Bill Quinn's Gold Star Recordings
Lee HunterBack To Santa FeTexas Blues: Bill Quinn's Gold Star Recordings
Sonny Boy DavisI Don't Live Here No MoreTexas Country Blues 1948-1951
Dr. HepcatI CriedHouston Might Be Heaven V
Dr. HepcatHattie GreenDown Home Blue Classics 1943-1953: Texas
Dr. HepcatBoogie WoogieGiants Of Texas Country Blues Piano
Whistlin Moore AlexSometimes I Feel Worried From North Dallas To The East Side
Whistlin Moore AlexIf I Lose You WomanModern Downhome Blues Sessions Vol. 4
Whistlin Moore AlexNeglected WomanModern Downhome Blues Sessions Vol. 4
Buster PickensSanta Fe TrainEdwin "Buster" Pickens: The 1959 to 1961 Sessions
Buster PickensJim NappyEdwin "Buster" Pickens: The 1959 to 1961 Sessions
Buster PickensShe Caught The L & NEdwin "Buster" Pickens: The 1959 to 1961 Sessions
Robert ShawHere I Come With My Dirty, Dirty Duckings On Texas Barrelhouse Piano: The Ma Grinder
Robert ShawGroceries On My Shelf (Piggly Wiggly) Texas Barrelhouse Piano: The Ma Grinder
Robert ShawThe Ma Grinder Texas Barrelhouse Piano: The Ma Grinder
Grey GhostNobody Knows You When You're Down And OutGrey Ghost (Catfish)
Grey GhostWay Out On The DesertGrey Ghost (Spindletop)

Show Notes:

Back when I started this show in 2007 one of the first programs I did was one devoted to the pre-war Texas piano tradition. My interest in this was sparked again recently when I was doing research and writing the notes for a reissue of pianist Buster Pickens long out-of-print album for the Document label (just reissued  as Edwin "Buster" Pickens: The 1959 to 1961 Sessions).  Pickens was an active member of the  'Santa Fe group' of pianists, knew all players but unlike some of them did not get the opportunity to record until the post-war era. In our two-part feature on Texas piano I'll be spotlighting the tradition in more depth that I did the first time out, surveying both  pre-war and post-war artists.

Pinetop Burks: Jack Of All Trades BluesThe Texas piano tradition flowered in the 1920’s and was at its peak during the 1930’s when a number of the tradition’s best players were recorded. Paul Oliver observed that “Texas was as rich in piano blues as Mississippi was in guitar blues” and “a cursory glance through the discographies will emphasize the fact that a remarkable number of blues pianists came from Texas." The pianists can be roughly grouped into schools; there was the remarkable Thomas family who made the bulk of their recordings between 1923 and 1928, one based around Dallas which included Whistlin Alex Moore, a regional style that developed around Shreveport and 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. In our second installment we spotlight members of the powerful Santa Fe group as well as a number of pianists who recorded in the post-war era.

The  'Santa Fe group' were based in the southwestern part of the state where the cities of Galveston, Houston and Richmond lie.“ Mack McCormick noted that the “itinerant pack of pianists who came to be known loosely as 'the Santa Fe group,' partly because they favored that railroad and partly because a stranger asking for the name of a selection was invariably told 'That's The Santa Fe.' …They were known as The Santa Fe after the railroad that straddle Fort Bend County with a big triangle just Southwest of Houston, providing access westward to the high plains, cotton country, east to the piney-woods lumbering camps and north (pretty much following the old Chisholm Trail) to a string of cities and watering places. ”Here”, Oliver notes “was where the music thrived and pianists could be found like Pinetop Burks, Son Becky, Rob Cooper, Black Boy Shine, Andy Boy, Big Boy Knox, Robert Shaw, Buster Pickens and the singers who worked with them like Walter 'Cowboy' Washington and Joe Pullum.” Others associated with the group were Victoria Spivey and Bernice Edwards.

1937 was an outstanding year for the Santa Fe group of pianists: Andy Boy recorded in February for Bluebird, Big Boy Knox recorded for Bluebird in March, Black Boy Shine recorded in June for Vocalion and Son Becky and Pinetop Burks recorded at a shared session for Vocalion in October. Among the best of the Santa Fe group were Andy Boy of Galveston and Rob Cooper of Houston. Andy Boy had a rough, expressive voice offset with his sprightly blues piano laced with ragtime flourishes. He waxed eight sides in 1937 under his own name as well as backing singer Joe Pullum on eleven sides in 1935 and the obscure Walter 'Cowboy' Washington.

Little is known of Big Boy Knox who recorded four sides in 1937. Son Becky and Pinetop Burks recorded at a shared session for Vocalion in October 1937. Becky's real name was Leon Calhoun born in Wharton, Texas in 1910. He's remembered playing along the Piney woods border with Louisiana. He's backed by an unknown guitarist and washboard player oh his six titles. Conish 'Pinetop' Burks was born near Richmond, Texas in 1907. He possessed a formidable technique as he displays on the six titles he cut for Vocalion in 1937.

Thunder Smith: Santa Fe BluesAfter World War II the Texas piano tradition virtually evaporated. Several, however, did record in the post-war era including Wilson “Thunder” Smith. Smith plays piano behind Lightnin' Hopkins on his first two sessions for Aladdin in 1946 and 1947 and 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 was murdered in Houston in 1963. His “Santa Fe Blues” indicates ties to the Santa Fe group.

Bill Quinn, owner of the Houston based Gold Star label, recorded two piano players: Leroy Ervin in 1947 and Lee Hunter in 1948. Another pianist from the older generation was Sonny Boy Davis who recorded two sides for the Talent label in 1949 backed by guitarist Rattlesnake Cooper.

Lavada Durst, known as Dr. Hepcat, who was a disciple of Robert Shaw but who recorded infrequently. He worked in baseball for much of his life, training players and announcing games, and it was from the latter activity that he graduated to working as a DJ, broadcasting over KVET, a white station in Austin. There he developed the persona of Dr.Hepcat, with an extraordinary line in jive talk. He also made a few records of his own, but despite his high profile on radio, it appears that these can't have sold very well, as they are extremely rare, even one issued on the comparatively major independent label Peacock; the other two were on the local Uptown label, one issued under the pseudonym of Cool Papa Smith. He made a handful of latter day recordings before passing in 1995.

In part one of our spotlight on Texas piano we played a pair of pre-war number by Whistlin Alex Moore, the best known Dallas pianist. Moore's career spanned from 1929 until 1988, recording in every decade except the 1970's. He was rediscovered by Chris Strachwitz in 1960, recording an album for Arhoolie and making his way to Europe as part of the American Folk Blues Festival by the end of the decade. Back in 1951 in Dallas he cut a few titles for the RPM label including two of which we spin today.

As Paul Oliver wrote: "Buster Pickens is a barrelhouse pianist who has played the sawmills, the turpentine camps and the oil 'boom' towns since his childhood. He has outlasted most of his contemporaries in their tough an often dangerous life and can lay good claim to be virtually the last of the sawmill pianists. Pickens lone album, for Heritage, the self-titled Buster Pickens, was recorded over several sessions in 1960 and 1961 and released in 1962, later reissued in 1977 on the Flyright label as Back Door Blues and now appears on CD for the first time courtesy of Document Records. Liner notes for the new reissue were written by your truly.

Edwin "Buster" Pickens: The 1959 to 1961 Sessions
 Read Liner Notes

Robert Shaw was born in Stafford, Texas in 1908 and in his mid-teens started playing with members of the Santa Fe Group and greatly influenced by his friend Black Boy Shine. Shaw wasn't recorded until 1963 when he was tracked down by Mack McCormick.

Roosevelt Williams, better know as the Grey Ghost, was born in Bastrop, Texas in 1903. He outlived his contemporaries passing at the age of 92 in 1996. He traveled to the area dances and roadhouses by riding empty boxcars. He would seem to appear out of nowhere and then disappear immediately after performing, which earned him the nickname, "Grey Ghost. He wasn't properly documented until 1965 when he was recorded by Tary Owens. Those recordings saw daylight in the late 80's, reviving Williams' career. Owens arranged for Williams to make a CD of new recordings at the age of 89, Which was released in 1992.

Little Willie LittlefieldTrouble Around MeKat On The Keys
Little Willie Littlefield Mello Cats The Modern Recordings Vol 2
Little Willie LittlefieldJim Wilson's BoogieGoing Back To Kay Cee
Mooch Richardson Big Kate Adams BluesCountry Blues Collector's Items 1924-1928
Blanche Johnson2.16 Blues Elzadie Robinson Vol.1 1926-1928
Jazz GillumBig Katy AdamsBill ''Jazz'' Gillum Vol. 2 1938-41
Joel Hopkins I Ain't Gonna Roll For The Big Hat Man No MoreRural Blues Vol. 2 1951-1962
Leroy ErvinRock Island LineDown Home Blue Classics 1943-1953
John HoggGot A Mean Evil WomanTake A Greyhound Bus And Ride
Willie CarrOutside Friend The Sun Blues Box (Bear Family)
Shy Guy DouglasHip Shakin' Mama (Shy Guy's Back In Town)The Sun Blues Box (Bear Family)
Joseph Dobbin & The Four Cruisers On Account Of YouThe Sun Blues Box (Bear Family)
Walter VincsonThe Wrong ManWalter Vincson 1928-1941
Joe McCoyWell, WellCharlie & Joe McCoy Vol. 1
Two Poor BoysDown In Black Bottom The Two Poor Boys 1927-1931
Arthur GriswoldWhat The Judge Did To Me Vintage Toledo Blues
Calvin Frazier & Barbara BrownI Need Love Vintage Toledo Blues
Edmonia HendersonBrownskin ManMeaning In The Blues
Alberta Jones Wild Geese BluesGennett Jazz 1922-1930
Lizzie WashingtonFall Or Summer BluesGennett Jazz 1922-1930
Buddy Guy Buddy's BluesBuddy And The Juniors
Arlean BrownI Love My Man Sings The Blues In The Loop
John BrimGo AwayChicago Downhome Harmonica Vol. 1
Furry Lewis Why Don't You Come Home BluesGood Morning Judge
Cat IronGonna Walk Your LogCat-Iron Sings Blues and Hymn
Lost John HunterY-M And V Blues The Sun Blues Box (Bear Family)
Unknown ArtistGot Me A Horse And WagonThe Sun Blues Box (Bear Family)
Billy “Red” Love It Ain't No More The Sun Blues Box (Bear Family)
Irene Scruggs You've Got Just What I wantGennett Jazz 1922-1930
Barbecue Bob With Nellie FlorenceJacksonville BluesChocolate To The Bone
Big Joe Turner, T-Bone Walker & Otis SpannBlues JamSuper Black Blues

Show Notes:

Little Willie LittlefieldAnother mix show chock full of great and rare records. We kick off with a trio of sides from the recently passed Little Willie Littlefield, a great pianist and vocalist who emerged when the West Coast was jumping in the late 1940's. Also featured today are two sets from Bear Family's epic 10-CD box set, The Sun Blues Box 1950-1958, a set devoted to songs about the Kate Adams steamboat, some fine pre-war blues, excellent down-home tracks from the post-war era, several fine blues ladies and close with a long jam between some blues greats.

There were several strains of blues that rose to prominence on the West Coast in the 40's including a moody, after hours brand of piano blues popularized by the inimitable Charles Brown who himself was influenced by Nat King Cole. Brown’s influence was profound, setting the stage for fellow pianists like Amos Milburn, Floyd Dixon, Ivory Joe Hunter, Cecil Gant, Roy Hawkins and Little Willie Littlefield.  Littlefield possessed a distinctive smokey voice and was equally at home on moody numbers like "Trouble All Around Me" to romping piano pieces like "Jim Wilson's Boogie." While Littlefield remained  active in Europe he never got the high profile comeback treatment his contemplates Charles Brown received or to a lesser extent Floyd Dixon. Littlefield has been well served on reissues by the Ace label which has released three collections of his vintage sides: Kat On The Keys, Going Back To Kay Cee, Boogie and Blues And Bounce: The Modern Recordings Vol. 2.

Little Willie Littlfield died on June 23 in the Netherlands at the age of 81. He was already a veteran when he waxed "K.C. Loving" in 1951, the original version of "Kansas City" although it only charted when Wilbert Harrison picked it up seven years later resulting in a huge smash. After a few sides for Eddie's and Freedom, Littlefield moved over to the Modern label in 1949, scoring with two major R&B hits, "It's Midnight" and "Farewell." Littlefield proved a sensation upon moving to L.A. during his Modern tenure, playing at area clubs and touring with a band that included saxist Maxwell Davis. After a few 1957-58 singles for Oakland’s Rhythm logo, little was heard from Little Willie Littlefield until the late 1970’s, when he began to mount a comeback at various festivals and on the European circuit. He eventually settled in the Netherlands, where he remained active musically.

The Kate Adams, actually the third riverboat with that name, was built in Pittsburgh in 1898. The big sidewheeler was 240 feet long, with a pair of tall smokestacks, three grand decks, and a main cabin stretching more than 175 feet, that was lighted with newfangled electric chandeliers. Workers along the river swore they could recognize that distinctive clang 14 miles away. Some 2,000 people greeted the Lovin' Kate, as the boat came to be known, when she first arrived to join the Memphis and Arkansas River Packet Company. The Kate ferried cotton, cargo, and passengers up and down the Mississippi river. The Kate Adams burnt to the ground on January 8, 1927. Several songs reference the steamboat including the three we feature today: Mooch Richardson "Big Kate Adams Blues",  Blanche Johnson  (Elzadie Robinson) "2.16 Blues" and Jazz Gillum's "Big Katy Adams." The Gillum song imagines a race between the Kate Adams and the Jim Lee which was another Mississippi steamboat. The Jim Lee was immortalized in Charlie Patton's "Jim Lee Blues Pt. 1 & 2."

Nearly 30 years after the original Sun Blues Box was released on LP, it's back as a 10-CD set on Bear Family with much more than was on the original set. The Charley label originally issued this as a 3-LP set in 1983, then as a 9-LP set in 1985 then in 1996 as an 8-CD set. From the Bear Family press release: "Recently discovered music from well-known artists … and incredible artifacts like Sam Phillips narrating a radio commercial for a West African herbalist who would soon be jailed for selling bogus patent medicine. Recordings produced by Phillips but issued on Chess, RPM, Trumpet and other labels were unavailable in 1983, but are now included. Researcher Steve LaVere finally allowed the world to hear the Sun audio and see the Sun-related photos he collected back in the late 1960s. In fact, the entire blues research community came together to make this a once-in-a-lifetime blues experience!" The set come with an exhaustive, illustrated booklet that I have only had a chance to glance at so far. After thirty years of reissues this should be the last word on the Sun blues story. Included today are tracks that have not appeared on the previous box sets.

We have some excellent Chicago blues featured today including a great album I picked up recently by Arlean Brown called Sings The Blues In The Loop and one by Buddy Guy. Brown's album was issued sometime in the early 70's and feature an all-star Chicago band including Little Mack Simmons, Detroit Junior and Lonnie Brooks. Brown was a Chicago singer who, in addition to the album, also released some 45's. Brown was 51 when she recorded the 45 "I'm a Streaker.” It launched her career in music after selling a purported 78,000 copies, and the former cab driver and corner-grocery owner became part of a revue run by harmonica player Mack Simmons at Pepper's Hideout — and eventually broke out with her own Arlean Brown X-Rated Revue. It appears her album was self-pressed and reissued in 1977 on the Black Magic label. I have been unable to find out much else about her or what happened to her after the 70's.

Arlean Brown: Sings The Blues In The LoopBuddy Guy had reportedly come to the end of the road with Vanguard Records, which had released his previous three albums, including 1968's acclaimed A Man and the Blues. Guy had asked Michael Cuscuna, a 20-year-old college student he'd befriended, to help produce his final Vanguard album, but when that project ran into problems, Cuscuna went to Blue Thumb. That label provided a meager budget for the album that bought a day of studio time, but didn't allow for a band beyond the three stars and drummer Fred Below. Guy played acoustic guitar, Junior Mance added jazzy keyboard flourishes, and Wells laid down some fine harp. The all-acoustic Buddy & the Juniors was recorded on December 18 of 1969, and on December 19 they mixed this album.

Another collection I picked up recently was a 4-CD set on JSP called Gennett Jazz 1922-1930All the 78's come from collector Joe Bussard's collection – if you haven't seen the documentary on him, Desperate Man Blues, it's well worth checking out. There's blues interest here with several fine, lesser known, blues ladies included. Today we feature selections by Lizzie Washington, who cut fourteen sides at session in 1927 and 1929, Edmonia Henderson, who cut just over a dozen sides between 1923 and 1926 and Alberta  Jones who cut sixteen sides, other sides were unissued, between 1923 and 1930 all for the Gennett label.

We conclude the show with a lengthy blues between jam between Big Joe Turner, T-Bone Walker and Otis Spann. In 1969, Big Joe Turner, T-Bone Walker and Otis Spann got together and did a jam session that was released as Super Black Blues in 1969 on the Bluestime label. Also on the record in a supporting role is the great George “Harmonica” Smith. A second volume was recorded live at New York's Carnegie Hall in 1970 featured Eddie “Cleanhead” Vinson instead of Otis Spann. As blues jams go, this is a very good one. Big Joe did a number of these type of things in the 70's for Pablo with mixed results – the one with Pee Wee Crayton (Everyday I Have The Blues), though, is worth checking out.



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.

Frankie Lee Sims: Cross country Blues

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.