ARTIST
SONG
ALBUM
Walter HortonCan't Help Myself Blues Southside Chicago
Johnny Young One More TimeBlues Southside Chicago
Homesick JamesCrutch And CaneBlues Southside Chicago
Billy Boy Arnold & Johnny JonesGoing To The RiverChicago Blues: Live At The Fickle Pickle
Billy Boy Arnold & Johnny JonesSloppy DrunkChicago Blues: Live At The Fickle Pickle
Howlin' WolfSugar MamaBlues From Big Bill's Copacabana
Muddy WatersSitting And ThninkingBlues From Big Bill's Copacabana
Muddy WatersWee, Wee Baby Blues From Big Bill's Copacabana
Johnny Young The Sun Is Shining And This Is Maxwell Street
Big John WrencherCan´t Hold Out Much LongerAnd This Is Maxwell Street
Carey BellI'm Ready And This Is Maxwell Street
L.C. McKinleyMind Your BusinessHave A Good Time
Homesick James Little And Low Have A Good Time
Walter HortonHave A Good TimeHave A Good Time
Earl Hooker Peppers Other ThingLive At Peppers Lounge Vol. 2
Lonnie Brooks Sweet Little AngelLive At Peppers 1968
Sunnyland SlimEverytime I Get To Drinking Blues Southside Chicago
Robert NighthawkLula MaeBlues Southside Chicago
Eddie BoydLosing HandBlues Southside Chicago
James BrewerBig Road Blues Chicago Blues: Live At The Fickle Pickle
John Henry BarbeeTell Me Baby Chicago Blues: Live At The Fickle Pickle
Maxwell Street JimmyLong-Haired DoneyChicago Blues: Live At The Fickle Pickle
Little Johnny JonesWorried Life BluesLive In Chicago With Billy Boy Arnold
Little Johnny JonesOuch! Live In Chicago With Billy Boy Arnold
Robert Nighthawk I Need Love So BadAnd This Is Maxwell Street
Robert Nighthawk Cheating And Lying BluesAnd This Is Maxwell Street
Muddy WatersClouds In My HeartBlues From Big Bill's Copacabana

Show Notes:

Blues Southside Chicago
Read Liner Notes

Today show is part two in a series of shows devoted to Chicago blues of the 1960's. Today we spotlight several collections of Chicago blues recorded in the 1960's some of which are somewhat rare or not particularly well known. Among the studio albums we spotlight today are Blues Southside Chicago and its companion album Have A Good Time – Chicago Blues. In addition we feature some great live blues from the albums Chicago Blues: Live At The Fickle Pickle, Little Johnny Jones and Billy Boy ArnoldBlues From Big Bill's Copacabana, Live At Peppers Lounge, And This Is Maxwell Street among a few others.

Blues Southside Chicago Is a superb collection of Chicago blues artists recorded by Willie Dixon in 1964 and originally issued on UK Decca and reissued by Flyright in 1976. Additional sides from this session appeared on Have A Good Time – Chicago Blues issued in 1970 on the Sunnyland label which is also out of print. Mike Leadbitter discusses the aim of the record in his liner notes: "This album was recorded In Chicago's Southside by Willie Dixon with one aim in mind-to provide the English enthusiast with blues played as they are played in the clubs, without gimmicks and without interfering A & R men. This album is not intended to be commercial in any way and by using top artists and top session men an LP has been produced that doesn't sound as cold as studio recordings usually do." In a 1977 interview pianist Henry Gray recalled this session: "I remember, in 1964, Willie Dixon was asked by an English company to produce a couple of so-called Southside Chicago sessions. [Dixon was a very close friend of Howlin' Wolf and they talked together about that;] Wolf was not personally interested but he induced me to go and support some of the artists chosen by Dixon…Poor Bob Woodfork, Robert Nighthawk, Shakey Horton. That was issued on British Decca label. Yeah, I think it was representative of the kind of music we were playing in the Southside clubs at that time."

Walter Horton always sounded best on other people's records but comes across magnificently on "Can't Help Myself" which opens with a lengthy upper register harmonica solo before Horton's plaintive, impassioned vocals kick in. Horton's harmonica work is stunning and it's a shame he gets consistently overshadowed by Little Walter.

Certainly one of the highlights is the two marvelous songs by Robert Nighthawk. "Lula Mae" is a cover of the 1944 Tampa Red song and it was Tampa who was Nighthawk's main influence. This is an exceedingly tough Chicago blues with Nighthawk's heavy, gloomy vocals hanging over the song punctuated by the waling amplified harp of Walter Horton. "Merry Christmas" (Nighthawk cut another version for Testament the same year) is more of the same again with some extroverted playing by Horton.

Johnny Young, who plays second guitar on the above sides, was a pal of Nighthawk's and the two often played together on Maxwell Street. Young was a brilliant mandolin and guitar player who like Nighthawk was sadly under recorded. Backed by the same band as Nighthawk, Young is in fine form on the stripped down, heartfelt "Little Girl" laying down some intricate mandolin work while the shuffling "One MoreFolk Festival of the Blues Time" virtually pops out of the speakers again with some dazzling harp from Horton.

Like Nighthawk, Homesick James was a bottleneck guitarist but with a more rudimentary technique, owing quite a bit to his cousin Elmore James. By the time of these recordings he was relatively under recorded with some scattered singles and one full length album cut for Prestige a few months prior. The combination of Homesick's ringing bottleneck and emotionally charged vocals make a potent force on "Got To Move" and "Crutch And Cane" a thinly disguised version of "Look On Yonder Wall."

Leadbitter calls the piano blues a dying art form and these days the tradition is hanging on by a lifeline. Back then there was still numerous fine piano men including Henry Gray (still with us thankfully) and Willie Mabon who back some of the other artists on this collection and Sunnyland Slim and Eddie Boyd who get two sides apiece under their own names. Sunnyland is in commanding form, hollering out the blues with abandon on the shuffling "I Got To Get To My Baby" and the regal "Everytime I Get To Drinking" a number he first waxed back in 1949, both sporting marvelous solos by Buddy Guy. Boyd is in equally strong form on "Losing Hand" and the bouncy "Where You Belong" again with outstanding contributions from Buddy guy.

Little Johnny Jones recorded little under his own name, never making it past his 40th birthday. Luckily Jones was caught on tape in 1963 working with Billy Boy Arnold in a Chicago folk club called the Fickle Pickle run by Michael Bloomfield. Norman Dayron recorded Johnny on portable equipment which has been released on the Alligator record titled Johnny Jones with Billy Boy Arnold. Additional tracks from this recording appear on Chicago Blues – Live At The Fickle Pickle, a long out of print LP on the Flyright label. The Fickle Pickle was a club on Rush Street in Chicago managed at one time by Michael Bloomfield. Regulars included Big Joe Willies, St. Louis Jimmy, James Brewer, Billy Boy Arnold, Little Johnny Jones, J.B. Lenoir and others.

Originally released as Folk Festival of the Blues on Chess's Argo subsidiary, then reissued as Blues from Big Bill's Copacabana, this is a live document of a steamy night in a Chicago blues club. Chicago blues disc jockey Big Bill Hill intros the band and the assembled stars (one of whom, Little Walter, is nowhere to be found on this disc), then Buddy Guy's band rips into "Wee Wee Baby," and sung in three-part harmony by Buddy, Muddy Waters and Willie Dixon. Some of the tracks here are ringers; Sonny Boy Williamson's "Bring It On Home" and a stray Buddy Guy track are actually studio takes with fake applause dubbed on. But the two from Howlin' Wolf and everything here from Muddy are live.

And This Is Maxwell Street is a three-disc set features the street recordings from the 1964 Mike Shea film documentary, And This Is Free, plus a slew of previously unreleased performances of equal importance. These recordings were recorded live on Chicago's Maxwell Street, a mecca for bluesman trying to hustle a few bucks from the passing crowd. The 30 tracks contain wonderful performances by Maxwell Street regulars such as Robert Nighthawk, Johnny Young, Carey Bell, Arvella Gray, Big John Wrencher and several others.

Chicago Blues: Live At The Fickle Pickle
Read Liner Notes

After a long absence Nighthawk returned to Chicago in 1964 and recorded several times including a blistering set taped live on Maxwell St. in conjunction with the filming of Mike Shea's 1964 documentary "And This is Free." Maxwell St. was at the heart of Chicago's black ghetto and was a bustling open air market. Above all it's the music of legendary slide man Robert Nighthawk who dominates these recordings playing on 22 of the 30 tracks. In an interview done by Mike Bloomfield, Nighthawk, reflected on what brought him back to Maxwell Street: "Lately I went back to Maxwell St.- I been playing off and on for 24 years now. Most all music more or less starts right off from Maxwell St. and so you wind up going back there. …See it's more hard to play out in the street than it is in a place of business, but you have more fun in the street, looks like. Well, so many things you can see, so many different things going on, I get a kick out of it, I guess."

In 1975 Rarities Records put out two boottleg albums: Live At Peppers Lounge Vols. 1 & 2. The recordings were made in 1969 at Pepper's Lounge in Chicago. While the records have some good music the credits are incorrect; Little Walter and Eddie Taylor do not appear on these records despite the credits. The club featured great blues musicians, including Muddy Waters, Howlin’ Wolf, Shakey Jake, Otis Rush, Junior Wells, Magic Sam, and Buddy Guy.  Waters was a mainstay in the 1960's, and Chicago locals could catch his show for eight dollars. In 1971, the club moved to 1321 S. Michigan Avenue. Today we play a great Earl Hooker cut from the second volume. Unfortunately I couldn't locate my copy of the first volume so instead we play a killer  my cut by Lonnie Brooks recorded at Peppers in 1968.

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ARTIST
SONG
ALBUM
Willie MabonMichelleI Blueskvarter Vol. 1
Willie MabonInterviewI Blueskvarter Vol. 1
Willie MabonI'm HungryI Blueskvarter Vol. 1
James BrewerI Don't Want No Woman, She Got Hair Like Drops Of RainI Blueskvarter Vol. 1
James BrewerInterviewI Blueskvarter Vol. 1
James BrewerBig Road BluesI Blueskvarter Vol. 1
Eddie Boyd Five Long YearsI Blueskvarter Vol. 1
Eddie Boyd InterviewI Blueskvarter Vol. 1
Eddie Boyd Her Picture In A FrameI Blueskvarter Vol. 1
Johnny YoungWhy Did You Break My HeartI Blueskvarter Vol. 1
Johnny YoungBetter Cut It OutI Blueskvarter Vol. 1
Sunnyland SlimIt's You BabyI Blueskvarter Vol. 1
Sunnyland SlimSunnyland's JumpI Blueskvarter Vol. 1
Walter HortonTrouble In MindI Blueskvarter Vol. 1
Walter HortonLouise LouiseI Blueskvarter Vol. 1
Walter HortonLet's Have A Good TimeI Blueskvarter Vol. 1
Washboard SamBooker T BluesI Blueskvarter Vol. 2
Washboard SamAll By MyselfI Blueskvarter Vol. 2
John Lee GrandersonEasy StreetI Blueskvarter Vol. 2
John Lee GrandersonInterviewI Blueskvarter Vol. 2
Avery Brady Gangster's BluesI Blueskvarter Vol. 2
Avery Brady InterviewI Blueskvarter Vol. 2
Little Brother MontgomeryWest Texas BluesI Blueskvarter Vol. 2
Little Brother MontgomeryInterviewI Blueskvarter Vol. 2
Little Brother MontgomeryUp The Country BluesI Blueskvarter Vol. 2
Arvella GrayJohn HenryI Blueskvarter Vol. 2
Arvella GrayInterviewI Blueskvarter Vol. 2
St. Louis Jimmy Can't Stand Your Evil WaysI Blueskvarter Vol. 2
St. Louis Jimmy Poor Boy BluesI Blueskvarter Vol. 2
Big Joe WilliamsSouthern BluesI Blueskvarter Vol. 3
Big Joe WilliamsRootin' GroundhogI Blueskvarter Vol. 3

Show Notes:

Today's show is part one in a series of shows devoted to Chicago blues of the 1960's. Today we spotlight remarkable recordings made for a documentary titled I Blueskvarter, Swedish for In Blues Quarters. The bulk of today's notes come from Scott Baretta who wrote the notes for the series; Scott also edited the Swedish blues magazine Jefferson, is currently the host of the Highway 61 radio show for Mississippi Public Broadcasting, is head writer and researcher (with Jim O’Neal) for the Mississippi Blues Trail, and former editor of Living Blues magazine. In fact it was through Scott that I got a copy of the first volume of I Blueskvarter  more than a decade ago.

Olle Helander
Olle Helander

These recordings were made by Olle Helander, a radio host for the Swedish Broadcasting Corporation who traveled to Chicago in 1964 for the express purpose of recording the blues. In addition there were trips to New Orleans and Memphis all of which were the raw material for the 21 part documentary radio series I Bluekvarter which first aired on Swedish Radio in the Autumn of 1964. Outside of poor sounding bootlegs, these recordings sat on the shelf for over thirty years until release in the beginning in the late 1990's by the folks who run the Swedish blues magazine Jefferson. The recordings were released as three 2- CD sets and feature intimate recordings by Willie Mabon, James Brewer, Champion Eddie Boyd, Yank Rachell, Johnny Young, Sunnyland Slim, Walter Horton as well as Babe Stovall, Snooks Eaglin and others. The recording trip documented on this show wasn't Helander's first to "the blues quarters".  In 1961 Helander spent several months visiting the music scenes of New York, San Francisco, Los Angeles, Las Vegas, New Orleans, Memphis, and Chicago. Helander arrived in Chicago with the vague idea of investigating the blues, but initially had no luck tracing down blues artists until a chance meeting with the guitarist Big Joe Williams. Hiring Williams as a guide, Helander soon met up with Willie Dixon, Chicago’s premier blues talent scout and producer, as well as a number of the artists he would record in 1964: Sunnyland Slim, Arvella Gray, James Brewer, Little Brother Montgomery, and St. Louis Jimmy Oden.

Unlike his 1961 trip, Helander returned in 1964 with a clearer mission. In order to insure good sound quality, Helander hand-picked the sound-technician Hans Westman, whom he regarded as Swedish Radio's best, and armed with a portable Nagra tape recorder and four channel mixer, they set off to the States. The two landed in New York on May the 4th, and after making the rounds in the city’s jazz scene over the next days, arrived in Chicago on the 11th. Helander and Westman spent several days preparing their recording sessions, spending time with Willie Dixon, as well as Pete Welding of Testament Records and DownBeat magazine, and Bob Koester, owner of Delmark Records. The blues recordings commenced on May 14th. Not having the budget to book a conventional recording studio, the only suitable place they could find was the Sutherland Lounge, at 4569 South Drexel Avenue in Chicago’s South Side. Conducting sessions on five separate occasions, they would leave Chicago with ninety-nine full takes from fourteen different artists/units. Below you will find background on some of today's featured artists.

For me, and others whose opinion I value, the recordings made by Walter Horton are a high water mark. As Barretta writes: "It’s probably no accident that Helander chose as his introductory theme Walter Horton’s 'Trouble In Mind', the eerie sounds of his lonesome harmonica, accompanied sparsely by Robert Nighthawk on guitar, about as far as one could get from the schlager and pop music dominating the Swedish charts of 1964. As a rather shy, quiet I Blueskavrter Vol. 1individual, Horton never had much taste for leading his own bands or recording sessions. Horton was much more comfortable in a supporting role and as writer Neal Slavin wrote “was one of the few musicians capable of elevating the slightest material into something approaching a masterpiece.”

James Brewer was born in Brookhaven, Mississippi on 1920 and moved to Chicago in the 1940's where he spent the latter part of his life busking and performing both blues and religious songs at blues and folk festivals, on Chicago's Maxwell Street and other venues. In 1962, however, he was offered an opportunity to play blues at a concert at Northwestern University and also began a regular gig at the No Exit Cafe which lasted for two decades. He went on to play major festivals and clubs in the United States, Canada and Europe. His first recordings appear on Blues From Maxwell Street (Heritage, 1960), cut several sides for Pete Welding in 1964, the same he was recorded during the making of the documentary And The Is Free and cut the full-length albums Jim Brewer (Philo, 1974) and Tough Luck (Earwig, 1983).

John Lee Granderson, Avery Brady and Arvella Gray all performed on Maxwell Street, and all under-recorded. In addition to the full length Hard Luck John (issued posthumously in 1998), Tennessee bluesman John Lee Granderson cut sides on other Testament compilations with further sides appearing on various anthologies. Among those Granderson played with were Robert Nighthawk, Big Joe Williams and Daddy Stovepipe. Brady's first recordings were made for this documentary. A few more songs by Avery were recorded that year and few in 1965 that were issued on the Testament and Storyville labels. He never recorded again. Gray made his first recordings in 1960 (released on the Heritage label) and in early 1964 he made sides for his own Gray label, selling the 45's on the street. In 1964, like James Brewer, he was also recorded for the documentary And This Is Free. He was regular performer on Maxwell Street on Sundays. Gray's only album, 1972's The Singing Drifter was reissued on the Conjuroo label in 2005.

Captured were several artists active in the pre-war years incluing Washboard Sam, St. Louis Jimmy and Little Brother Montgomery. Washboard Sam was one of the most popular and prolific blues artists of the 30's and 40's. Between 1935 and 1949 he recorded hundreds of sides for RCA's Bluebird and Victor labels. His last commercial session was a date with Big Bill Broonzy for Chess in 1953. These recordings were his first recordings in a decade. St. Louis Jimmy Oden made his debut back in 1932 but when recorded for these sessions he was mainly working as a songwriter, although he did cut a full-length album for Bluesville as recently as 1960.

In addition to Little Brother Montgomery, several other pianists were captured during the trip including Willie Mabon, Eddie Boyd and Sunnyland Slim. Mabon made his debut in 1949 but it was his 1952 debut release on the Parrot label, "I Don't Know," topped the R&B charts for eight weeks after being sold to Chess. From then on, Mabon was a Chess artist, returning to the top R&B slot the next year with "I'm Mad" and the Top Ten "Poison Ivy" in 1954. Although he didn't score any he big hits after Chess he continued cutting solid sides for  Federal in 1957, Mad in 1960, Formal in 1962, and USA 1963-64. He moved to Paris in 1972.

I Blueskavrter Vol. 2In 1941, Boyd settled in Chicago. He backed Sonny Boy Williamson on his 1945 classic "Elevator Woman," also accompanying Bluebird stars Jazz Gillum, Tampa Red, and Jazz Gillum on wax. Boyd made his 1947 debut for RCA staying with the label through 1949. Boyd reportedly paid for the date that produced "Five Long Years" himself, selling the track to JOB Records where it topped the R&B charts during 1952. Al Benson signed Boyd to a contract with his Parrot label and promptly sold it to Chess. At Chess he waxed "24 Hours" and "Third Degree," both huge R&B hits in 1953 and several other fine sides. Boyd became enamored of Europe during his tour with the 1965 American Folk Blues Festival, so he moved to Belgium. He recorded prolifically during the late '60sand in the early '70s settled in Helsinki where he played often and lived until his death.

For more than 50 years Sunnyland Slim rumbled the ivories around the Windy City, playing with virtually every local luminary imaginable and backing the great majority in the studio at one time or another. Slim moved to Chicago in 1939 and set up shop as an in-demand piano man, playing for a spell with John Lee "Sonny Boy" Williamson before making his debut in 1947. Slim recorded prolifically until his death in 1995.

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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
Read Liner Notes

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
Alex MooreAcross The Atlantic OceanThe American Folk Blues Festival 1969
Speckled RedEarly Morning BluesBlues Masters Vol. 11
Sonny Boy Williamson IIKeep It To Yourself Live In Europe
Lonnie Jonson Another Night To CryThe American Folk Blues Festival 1962-1966
Lightnin' HopkinsAin't It A PityThe American Folk Blues Festival 1962-1966
Hammie Nixon & Sleepy John EstesI'm Going HomeThe Harmonica Blues of ...
Sippie WallaceWoman Be WiseWoman Be Wise
Curtis JonesYou Don't Have To GoNow Resident In Europe
Eddie BoydI'm Coming Home Five Long Years
Memphis SlimI Got The Blues EverywhereMemphis Slim With Matthew Murphy
T-Bone Walker & Muddy Waters She Says She Loves MeBlues Avalanche Live At Montreux
Josh White Like a Natural ManFrom New York to London
Big Bill BroonzyBlack, Brown & White Big Bill Broonzy 1949-1951
Sonny Terry & Brownie McGheeClimbin' On Top The HillChris Barber Presents: Lost & Found Vol.1
Hubert Sumlin, Willie Dixon & Sunnyland Slim Blues Anytime! Blues Anytime!
Magic SamEasy BabyThe American Folk Blues Festival 1969
Lightnin' Slim & Whispering SmithWalking In The ParkAmerican Blues Legends '73
Homesick James & Snooky PryorDangerous WomanBig Bear Sessions
John Henry Barbee I Ain't Gonna Pick No CottonPortraits in Blues Vol. 9
Big Joe Williams Back Home Blues Portraits in Blues Vol. 7
Son HouseDeath LetterDelta Blues & Spirituals
Muddy Waters You Can't Lose What You Ain't Never Had Blues & Gospel Train

Show Notes:

American Negro BluesToday's program is the second of a three part feature on blues artists recorded in Europe spanning the late 40's through the 70's. Outside of Lonnie Johnson and Alberta Hunter, the blues hadn't reached European shores prior to the 1940's The late 40's saw a few artists such as Leadbelly and Sammy Price hit Europe, with Price being the first to record. Josh White recorded the first guitar blues outside the U.S. But the biggest impact was Big Bill Broonzy's arrival in 1951 and subsequent tours through 1957. By 1958 Sonny Terry & Brownie McGhee and Muddy Waters had come to England. 1960 saw Jack Dupree, Memphis Slim, Roosevelt Sykes, Little Brother Montgomery and Speckled Red appear in England. Dupree and Slim would both settle in Europe. Europe would become a haven for blues pianists with Curtis Jones, Eddie Boyd and Little Willie Littlefield all settling there. 1962 saw the inaugural American Folk Blues Festival which featured the absolute cream of the blues scene and toured almost annually until 1972. During the 70's blues artists continued to tour Europe and there were package tours such as The American Blues Legends Tour which ran in 1973, 74, 75 and 79 and major concerts like the Montreux Jazz Festival which always had a blues component. Other artists also recorded in Europe like Blind John Davis, Professor Longhair, Lightnin' Slim and Louisiana Red who settled in Germany.

Josh White had reached the zenith of his career when touring with Eleanor Roosevelt on a celebrated and triumphant Goodwill tour of Europe. He had been hosted by the continent's prime ministers and royal families, and had just performed before 50,000 cheering fans at Stockholm's soccer stadium. With work rapidly drying up in America, White relocated to London for much of 1950 to 1955, where he hosted his own BBC radio show, resumed his recording career, and gave concert tours throughout Europe and beyond. As Robert Freund Shwartz writes in How Britain Got The Blues: "White’s success in Britain encouraged a number of other prewar blues musicians to try their luck in Europe. Most, like Lonnie Johnson, Sonny Terry and Brownie McGhee, were affiliated with the folk music scene in the United States. Big Bill Broonzy was the exception. By 1950 he had quit the music profession; black audiences in the United States increasingly found his style old-fashioned in comparison to the raucous jump blues of Louis Jordan and the aggressive, rhythmic sounds coming out of Chicago and Memphis. Yet it was Broonzy who served as Britain’s ambassador of the blues, in equal parts sage, songster, teacher and touchstone to what was believed to be a fading tradition." As for Lonnie, it's probable that he was in London (and possibly elsewhere in Europe) roughly from the summer of 1917 until the summer or fall of 1919 with a musical review. In 1952 Johnson made an 11 month tour of England and returned to Europe in again in 1963 for the American Folk Blues Festival. Lonnie's reception in Europe was mixed; his insistence on ballads and pop songs did not go over with blues audiences but when he stuck with blues his performances were well recieved.

American Folk Blues Festival 1969
Back Row L to R: Earl Hooker, Cleveland Chenier, Magic Sam, Carey Bell, John Jackson,
Robert St. Judy, Willy Leiser (in headlock). Front Row L to R: Juke Boy Bonner, Clifton Chenier, Mac Thompson, 'Whistling' Alex Moore. (photo by Chris Strachwitz)

Sonny Boy Williamson first traveled to Europe as part of the American Folk Blues Festival in 1963 and joined the festival again in 1964. Williamson stayed on after the tour trying to establish residency but it wasn't to be. While over in Europe he recorded with the Yardbirds with the album released in the States in 1966. A quote often attributed to him about the experience was that "they wanted to play the blues very badly, and they did play them very badly." Musician Tom McGuinness recalled that Sonny Boy “would turn round to the band, and say ‘this one’s in E’ and he would deliberately start playing in C, or anything but E. Then he’d stop the band and say to the audience, ‘you see, these white boys can’t play the blues!’” Sonny Boy also played with Manfred Mann and recorded with The Animals. As Sonny Boy said: "The kids over there loved me, They'd buy me things and treat me like God. Hah! They all wanted to play with me – paid good money too. They love the blues. And some of those cats are serious players. That's right. A few of those English cats really surprised me. Damned if they didn't. You might be hearing about some of them sons of bitches damn straight…"

In February 1964, Chris Strachwitz of Arhoolie Records met Horst Lippmann who had come to Houston because his French promoter had said that he would not take on the American Folk Blues Festival again if he did not get Lightnin’ Hopkins to perform. As Strachwitz recalled: “Horst had heard that I was the only guy he should deal with,” Strachwitz says, “and apparently it helped that I was German. And when I got there, we met with Lightnin’, who said he wouldn’t fly to Europe if I didn’t go with him. So Horst said he’d pay for my whole trip, hotel and all, to tour with Lightnin’ in October. …Anyway, we got on this Air India plane. I think it was one of those back loading ones where you crawl in on the back, and I remember Lightnin’ and I were already sitting in our seats and the crew walks in. And Lightnin’ turns to me, ‘Chris, these people are going to fly this airplane?’ I said, ‘Ya, they’re good, you know.’ And it only dawned on me later on that he had never encountered these East Indians, except as ‘hoodoo’ people down in Louisiana.” When they finally landed in Frankfurt, Lightnin’ was a wreck: “He was just sickened. He couldn’t play. We called a doctor and they couldn’t find anything wrong with him. And thank God, we had a whole week in Baden-Baden for the television program that Joachim Berendt had arranged for and had apparently paid for much of the whole tour. So they put him on the last day of the week. By that time, he sort of regained his ability to play. I think he had a nervous breakdown.” In 1964, with his brothers, he recorded a song  about his time overseas called "Two Brothers Playing (Going Back To Baden-Baden)."

As we mentioned in part one, numerous pianists found Europe a a particularly hospitable place to work. Today we feature several who made there way overseas and a few who never went back. Today we feature sides by Alex Moore, Speckled Red, Eddie Boy and Curtis Jones. Moore, who's song gives today's show its title,  began performing in the early '20s, playing clubs and parties around his hometown of Dallas. In 1929, he recorded his first sessions and accompanied several artists including Perry Dixon, Blind Norris and Nick Nichols. Moore didn't record again until 1937, when he made a few records for Decca. It was 1951 before Moore recorded again with RPM Records/Kent. Fortunately some sides from a session at Radio KLIF in Dallas in 1947 survived and have been issued by Arhoolie Records. Arhoolie Records recorded a self-titled album in 1960, and those subsequent recordings saw him obtain nationwide recognition. Throughout the 1960s, Moore played at clubs and festivals in America, as well as a small number of festivals across Europe. He toured with the American Folk Blues Festival in 1969, performing on the same bill as Earl Hooker and Magic Sam. The same year he recorded a session in Stuttgart, Germany, which led to the release of Alex Moore in Europe.

Speckled Red first got on record in 1929 recording three numbers of which the "The Dirty Dozens" was a big seller. A second recording session for Brunswick occurred in Chicago on 8 April 1930. Red was in Chicago for a brief time, in the late 1930s, where he recorded ten sides at the RCA studios in Illinois in 1938. Red owed his rediscovery to Charles O'Brien, a special officer with the St Louis Police Department, for during the 1950s this policeman and lover of blues and boogie-Curtis Jones: In Londonwoogie music decided to trace some of the long-forgotten piano players in St Louis. Red eventually became the pianist at a club in the famous Gaslight Square, a noted St Louis jazz-club area. This was followed by a tour of Europe and Great Britain, in 1959, as part of a USA cultural programme. His recording career also took off once again with sessions for the Folkways, Delmark, Euphonic, Storyville and Tone labels.

Curtis Jones settled in Europe in the early 1960's after almost twenty years without stepping into a studio, outside of a couple of 1953 sides for Parrot. Before packing his bags for Europe he waxed a pair of fine stateside comeback records; Trouble Blues (Bluesville, 1960) and Lonesome Bedroom Blues (Delmark, 1962). Over in Europe he would record two more superb albums; In London (Decca, 1963) and Now Resident In Europe (Blue Horizon, 1968).

Eddie Boyd found himself on the 1965 American Folk Blues Festival touring roster, and decided that perhaps his future lay in Europe. An appearance at the Hague Blues Festival (the first big blues concert ever to be organised in Holland) followed in the same year, and Boyd realized that not only was Europe relatively free of the racial discrimination it also promised to be the starting place for the blues revival, with ample recording opportunities. Switching residence from Paris to Belgium, he also found time to visit London and record an LP for Blue Horizon 1967 backed by Fleetwood Mac. In 1970, he married a Finnish girl and settled in Helsinki, continuing to gig regularly in Finland over the next two decades.

Many down-home bluesman found welcoming audiences in Europe such as Big Joe Williams, Lightnin' Slim and partner Whispering Smith and John Henry Barbee. Big Joe toured with the AFBF in 1963, 1968 and 1972. He cut albums for Storyville in 1963 and twice for the label in 1972 in Copenhagen and cut an album in England in 1968.

In 1966, Lightnin' Slim moved to Detroit to work in a car factory. But his reputation was very high among the European blues fans. So in 1972, Fred Reif who had found Slim in Detroit persuaded him to bring his Swamp blues overseas, alongside his old partner harmonica player Whispering Smith. Slim and Smith gave one of their most memorable concert on the venerable j1972 Montreaux Jazz Festival in Switzerland. In London the same year Slim cut the album London Gumbo. The duo also toured as part of the 1973 American Blues Ligands tour. There were plans for Slim to return and to tour extensively everywhere in Europe. But he died unexpectedly on 27 July 1974 in Detroit.

John Henry Barbee returned to the blues scene during the midst of the blues revival after making his last recordings in 1938.In 1964 he joined the American Folk Blues Festival. He was recorded several times in 1964: songs by him appear on a pair of albums on the Spivey label, several tracks were recorded while in Europe including an excellent full-length album for Storyville issued as Portraits in Blues Vol. 9.

Muddy Waters
Muddy Waters at the American Folk Blues & Gospel Caravan, Manchester, 1964

Among other big names featured today are fine tracks by T-Bone Walker, Son House and Muddy Waters. T-Bone First made it to Europe as part of the 1962 AFBF. A 1968 visit to Paris resulted in one of his best latter-day albums, I Want a Little Girl, for Black & Blue (and later issued stateside on Delmark). In Paris during November 1968, he recorded Good Feelin' and Fly Walker Airlines released in 1973 and recorded at the 1972 Montreux Jazz Festival.

Son House had been to Europe during tbeforel but this time was different as Alan Balfour wrote in the notes: "He had been before, with the 1967 American Folk Blues Festival, but this occasion was more momentous as the headlines in the Melody Maker tried to impress on its readership: “Your last chance to see the Son. …The appearance of Son House in Britain that year was almost certainly the last time most would get to see an artist so important and so influential in the history of the blues. More to the point, for many, he was a bluesman from whom could be drawn a direct line – House-Robert Johnson-Muddy Waters-Elmore James and so on. Paul Oliver, writing in the Melody Maker at the time, reinforced this: 'For the blues enthusiasts the living witness to the Mississippi tradition, he is virtually set apart from normal critical appraisal. Playing partner to Charlie Patton and Willie Brown, inspiration of Robert Johnson and Muddy Waters, he is a key figure in the story of Delta blues with a timeless reputation'”.

We conclude the show with a riveting version of "You Can't Lose What You Ain't Never Had" by Waters recorded in 1964 as part of the American Folk Blues and Gospel Caravan. As Robert Freund Shwartz writes in How Britain Got The Blues: "The success of the American Folk Blues Festival motivated George Wein—the impresario behind the Newport Folk Festival—to launch the American Folk Blues and Gospel Caravan. In late April 1964 the package—which included Sister Rosetta Tharpe, Blind Gary Davis, Sonny Terry and Brownie McGhee, Muddy Waters and Otis Spann and Cousin Joe Pleasants—arrived in Britain for a 17-date tour. The venture was financially successful—the original 11 dates sold out so quickly that six more were added—and the reviews were overwhelmingly favorable." A concert, in the rain, was recorded by Granada Television at the disused railway station at Wilbraham Road, Manchester in May 1964. The band performed on one platform while the audience members were seated on the opposite platform.

Related Articles/Video:

-Blues Is My Business [AFBF 1963] by Victoria Spivey (Record Research no. 56, 1963)

-Blues & Gospel Train (England, 1964)

-Sippie Wallace: Woman Be Wise (Germany, 1966)

-Lonnie Johnson: Another Night to Cry (American Folk Blues Festival, 1963)

-Sonny Boy Williamson: Keep it to Yourself (American Folk Blues Festival, 1963)

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