|Robert Pete Williams||Levee Camp Blues||Blues at Newport 1964|
|Mississippi Fred McDowell||Lord I'm Going Down South||Blues at Newport 1964|
|Mississippi John Hurt||Sliding Delta||Blues at Newport 1964|
|George Carter||Ghost Woman Blues||Blues Images Vol. 11|
|Walter Davis||Can't See Your Face||Walter Davis Vol. 5 1939-1940|
|Lonnie Johnson||Blue Ghost Blues||Lonnie Johnson Vol. 1 1937-1940|
|Buddy Guy||This Is The End||Cobra Records Story|
|Sonny Boy Williamson||Unseen Eye||The Chess Years Box|
|Barrelhouse Buck McFarland||Lamp Post Blues||Piano Blues Vol. 2 1927-1956|
|Charlie Spand||Good Gal||Favorite Country Blues Guitar: Piano Duets 1929-1937|
|Eddy Kelly's Washboard Band||Come On 'Round To My House, Baby||Carolina Blues 1937-1945|
|Hokum Boys & Jane Lucas||Hip Shakin' Strut||Georgia Tom Dorsey: The Essential|
|Trixie Smith||Praying Blues||Trixie Smith Vol. 1 1922-1924|
|Sister Rosetta Tharpe||On My Way||Sister Rosetta Tharpe Vol. 7|
|Sister O.M. Terrell||I'm Going to That City||Get Right With God: Hot Gospel 1947-1953|
|Louisiana Red||Had A Date With Barbara Last Night||Midnight Rambler|
|Hop Wilson||Drop Down Mama||Drop Down Mama|
|Dave Bartholomew||Another Mule||Dave Bartholomew 1952-1955|
|Elmore James||Quarter Past Nine||Early Recordings 1951-1956|
|Earl Hooker||The Leading Brand||Blue Guitar|
|Jim Brewer||Liberty Bill||Jim Brewer|
|Guitar Shorty||My Mind Never Changed||Carolina Slide Guitar|
|Jimmy T-99 Nelson||Second Hand Fool||Cry Hard Luck|
|Charles Brown||Everybody's Got Troubles||The Complete Aladdin Recordings|
|Jimmy Witherspoon||I Done Found Out||Urban Blues Singing Legend|
|Gatemouth Moore||Somebody Got To Go||Great Rhythm & Blues Oldies Vol. 7|
|Blind Percy||Fourteenth Street Blues||Blues Images Vol. 11|
|Blind Joel Taggart||Precious Lord||Blues Images Vol. 9|
It's pledge drive time at the station so I usually run mix pogram so the drive doesn't cut short our usual theme shows. Lots of interesting records on deck today including a bunch of songs from the Newport Folk Festival, a batch of fine pre-war sides, some gospel that falls on the bluesy side, some strong down-home blues, a number of fine blues belters and some hard hitting post-war electric blues.
We open the show with a trio of sides from the 1964 Newport Folk Festival from the 2-CD The Blues At Newport 1964 Complete Edition which collects two albums that originally came out on Vanguard in 1965. The Newport Folk Festival began in 1959 as a counterpart to the previously established Newport Jazz Festival. Prior to 1964 blues were not well represented at the festival. That changed by 1964 when several important blues artists who recorded in the 20's and 30's were rediscovered. Featured were the first major festival appearances by Skip James, Mississippi Fred McDowell, Robert Pete Williams and Robert Wilkins plus Mississippi John Hurt, who performed the previous year, as well as performances Rev. Gary Davis, John Lee Hooker, Brownie McGhee & Sonny Terry (they performed in 1959 at the first festival ) and others.
A few weeks ago I spotlighted several numbers from he vaults of collector John Tefteller who's record collection contains some of the rarest blues 78's in existence. Every year around this time Tefteller, through his Blues Images imprint, publishes his Classic Blues Artwork Calendar with a companion CD that matches the artwork with the songs. The CD’s have also been one of the main places that newly discovered blues 78’s turn up. Today we spotlight the gorgeous "Ghost Woman Blues" a twelve string blues by George Carter. Nothing is known of him other then he cut four sides for Paramount in 1929. Bruce Bastin related that when Edward "Snap" Hill, a boyhood friend of Curley Weaver and the Hicks brothers was played a tape of one of Georg Carter's songs it prompted him to say: "He's from Atlanta" although he knew nothing about him. It turns out that there's been a recent cover of "Ghost Woman Blues" by a group called The Low Anthem. I've actually been checking them out a bit – I think I've become a fan. (shhh …don't tell the blues police!)
Int the same set as the George Carter number we spin two moody masterpiece about haunted love. First up is Lonnie's Johnson's magnificent "Blue Ghost Blues" (Johnson cut this first in 1927 but today we spin his 1938 version) beautifully sung and played by a man who still doesn't get his proper due:
I've been in this haunted house, for three long years today (2x)
Blue ghost has got my shack surrounded, oh lord and I can't get away
I feel cold arms around me, ice lips upon my cheek (2x)
My lover is dead, how plainly plain I can hear her speak
(whispered: Lonnie, sweet Lonnie)
My windows beginning rattling, my door knob is turning round and round (2x)
My lover's ghost has got me and I know my time won't be long
Walter Davis is probably more neglected than Lonnie although he was very popular among black audiences, cutting hundreds of sides between his 1930 debut and his final 1952 session. "Can't See Your Face" is a poignant number from 1939:
Your old picture has faded, mama that hangs up on the wall (2x)
It's been hanging there so long, I can't see your face at all
Even my old house seems haunted, mama and there ain't nobody around (2x)
Sometime it seems like at night, that the old house is falling down
I can hear my back door slamming, I can hear a little baby crying (2x)
All I wonder baby, have you got me on your mind
We spin two tracks today from Blind Joe Taggart. Taggart made his first records for Vocalion in June 1927 then went to Paramount in 1928. He continued recording in the 30's but vanished after a final session for Decca in 1934. A few years back an acetate Taggart made in 1948 turned up and was issued by John Tefteller on the CD hat accompanies the 2009 calendar. Taggart did cut one blues 78, "Coal River Blues b/w Fourteenth Street Blues under th psedonymn Blind Percy and His Blind Band in 1927 with the latter cut featured today and comes from the latest Tefteller CD.
|Walter Davis circa 1942|
In an interview in Fretboard Journal Tefteller talked about the post-war record: "It means that Blind Joe Taggart went into a recording studio in Chicago — probably on Maxwell Street, because they had several studios there back then. For a few dollars you could pay to have a record made. You would walk into the booth where they had the microphone set up, you would sit down, you would play your song, and it would be cut directly from the microphone directly onto that acetate record. There would be not necessarily any other copies made, and if there were other copies made, they would have been made from that. But it was never commercially released; it was never put out on a record with an actual label. The songs are 'Precious Lord,' spelled 'Preshious Lord' on the label, and 'Little Black Train.' My theory is that he was going to take that dub and go around to the different record companies on Record Row in Chicago, and try to get himself a contract to record again. He could walk into Chess — I think it was called Aristocrat in the late 1940s — he could walk into Chess or Aristocrat, or one of those independent labels with this acetate, and say, 'You know, I used to make records back in the '30s for Paramount, they sold fairly well. Here’s my latest recording. You might want to consider issuing this.' And I think that’s what this is. It was discovered in a stack of lousy 1970s rock LPs. It’s miraculous it survived. It came so close to being lost forever."
We play a few other sides today with a religious bent including music from Sister Rosetta Tharpe, Sister O.M. Terrell and a number by Trixie Smith. We spin Sister Rosetta's "On My Way" from 1961. Tharpe cut some fantastic records and I never tire of listening to her. There was a time when she wasn't well served on reissues but now just about everything she released is available on CD. Our selection comes from the seventh and final collection on the French Fremmeaux & Associes label that collects all of Tharpe's recordings through 1961.
Sister O.M. Terrell is far less known but her guitar style is very reminiscent of Tharpe's. Terrell taught herself to play the guitar and began writing gospel songs and singing them on Atlanta's Decatur Street. From the Depression years of the 1930's to the Eisenhower '50's, she lived the life of an itinerant evangelist and supported herself with her music. In 1953 she recorded six sides for Columbia who for some reason released them in its country music series. She was eventually tracked down to the door of a nursing home in Conyers, Georgia by musicologist Bruce Nemerov. She passed in 2006 at the age of 95.
"Praying Blues" from 1924 is one of Trixie Smith's finest numbers backed by a great band that included trombonist Charlie Green, Don Redman on clarinet and Fletcher Henderson on piano. A few weeks back I did a program called I Want Plenty Grease In My Frying Pan – Forgotten Blues Ladies Pt. 3 and someone asked me about Trixie Smith. I've never really given her much of a listen but I've been listening to her collected recordings on Document and it's a bit of a mixed bag but she has more then a few outstanding songs. I'll be spotlighting more of her on upcoming shows.
Smith was born in Atlanta and around 1915 moved north to New York to work in show business. At first she worked in minstrel shows and on the TOBA vaudeville circuit. In 1922 Smith made her first recordings for the Black Swan label and later that year she won a blues singing contest in New York beating out Lucille Hegamin and others with her song "Trixie's Blues." In 1924 Smith made her debut for Paramount, cutting twenty sides for the label through 1926. She recorded a final batch of sides in 1938 and 1939.
We feature seveal tough post-war guiarists today including Buddy Guy's smoldering "This Is The End" for Cobra. Guy released two singles in 1958 on Cobra's Artistic Records subsidiary. Other heavy hitters include Elmore James' "Quarter Past Nine", Dave Bartholomew's "Another Mule" sporting great guitar work from Pee Wee Crayton and Earl Hooker's knockout instrumental "The Leading Brand."
We have a set of superb blues singers on deck today including Gatemouth Moore, Jimmy T-99 Nelson, Jimmy Witherspoon and Charles Brown. I fist heard Moore on a great 2-LP set, The Shouters – Roots Of Rock 'N' Roll Vol. 9, and have been a fan ever since. Often labeled a blues shouter, with his perfect diction and huge, mellow, enveloping voice he was more accurately a blues crooner of the highest order. I'll let Gatemouth speak for himself: "I am one of the ultra-men blues singers. I am not accustomed and don't know nothing about that gut-belly stuff in the joints…I put on tuxedos, dressed up, sang intelligent…Without a doubt, and I'm not being facetious, I'm the best blues singer in the business with that singing voice. Now I can't wiggle and I can't dance, but telling a story, I don't think them other boys are in my class."
Moore's blues career came to a close in 1949 when he had a religious conversion on stage at Chicago's Club DeLisa. After walking off stage he eventually became a preacher, gospel disc jockey and gospel recording artist. Inexplicably in 1977 he stepped back briefly into the world of blues cutting Great Rhythm & Blues Oldies Vol. 7, an exceptional album despite it's generic title. The album was produced by Johnny Otis and issued on the Blues Spectrum label. Today's selection, "Somebody got To Go", comes from that album.
Jimmy 'T-99' Nelson is another favorite singer of mine. I became a fan of Jimmy Nelson many years ago after hearing an LP collection of his early sides on the Ace label. I always hoped he would start recording again and in 1999 he issued the terrific Rockin' And Shoutin' The Blues. I interviewed Jimmy when that record came out and it was one of the best interviews I ever did and subsequently spoke with him again in 2005.
Blessed with a booming voice and a hip delivery, Nelson cut a swath of fine sides for Modern's RPM and Kent imprints in the early 50's and 60's but only scored big with his signature "T-99 Blues." After getting dropped from Modern Nelson bounced through a number of small labels before giving up music in the 60's. From his RPM days we feature his "Second Hand Fool."