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Entries tagged with "Kid Stormy Atmospheric condition".
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Lord's day 5 Jul 2020
| ARTIST | SONG | Anthology |
|---|---|---|
| Lillian Offitt | Will My Man Be Home This evening? | Chicago Dejection of the 1950's |
| Lillian Offitt | Oh Mama | Chicago Dejection of the 1960'southward |
| John Lee Hooker | No Friend Around | The Classic Early on Years 1948 - 1951 |
| Left Paw Charlie | Miss My Lagnion | Louisiana Swamp Dejection 1954-1962 |
| T-Bone Walker | Mean Old World | The Complete Recordings of T-Bone Walker 1940-1954 |
| Poison Gardner & His All Stars | Mean Onetime World | Majestic Records: R&B Years Vol.1 |
| Trivial Walter | Mean Sometime World | The Complete Chess Masters 1950-1967 |
| Charlie McFadden | Depression Downwardly Rounders Blues | Twenty First. St. Stomp: The Piano Blues Of St. Louis |
| Reese Dupree | One Rounder Gone | Male Blues of the Twenties Vol. 1 |
| Barbecue Bob | Expert Time Rounder | Chocolate To The Bone |
| Earl Hooker | Something You've Got | At that place's a Fungus Amung Us |
| Johnny O'Neal | Dead Alphabetic character Blues | The Sun Blues Box 1950-1958 |
| Fiddling Walter | One Of These Mornings | The Complete Chess Masters 1950-1967 |
| Lil Johnson | Anxious Dejection | Lil Johnson Vol. 3 & Barrel House Annie |
| Sara Martin & Clarence Williams' Blue V | What's The Matter Now | Sara Martin Vol. 4 1925-1928 |
| John Lee Hooker | 2 White Horses | The Unknown John Lee Hooker |
| John Lee Hooker | 33 Blues | The Unknown John Lee Hooker |
| John Lee Hooker | She's Real Gone | The Unknown John Lee Hooker |
| Papa Charlie Jackson | Bluish Monday Morning time Blues | Papa Charlie Jackson Vol. 2 1926-1928 |
| Washboard Sam | Rack em | Washboard Sam Vol. 3 1938 |
| Arthur 'Big Boy' Crudup | Chicago Blues | A Music Man Like Nobody E'er Saw |
| T-Bone Walker | Lollie Lou | The Consummate Recordings of T-Bone Walker 1940-1954 |
| Jess Thomas | Long Time | Jesse Thomas 1948-1958 |
| Pee Wee Crayton | Central Avenue | The Modern Legacy Vol. i |
| Frankie Lee Sims | Going To The River | Walking With Frankie |
| Frankie Lee Sims | Walking with Frankie | The Ace Records Dejection Story |
| Otis Rush | This Is A Mean Old World | Duke Unissued |
| B.B King | It's A Mean Earth | The Jungle |
| Dan Stewart | New Orleans Blues | Down In Blackness Bottom |
| Kid Stormy Conditions | Short Hair Dejection | Deep Due south Blues Pianoforte 1935-1937 |
| Herve Duerson | Like shooting fish in a barrel Elevate | Mama Don't Allow No Like shooting fish in a barrel Riders Hither |
| Lightnin' Hokins | I've Been a Bad Man (Mad Dejection) [Mad Blues] | Remaining Titles: 1950-1961 Vol.one |
| Guitar Slim | Back Luck Dejection | Sufferin' Mind |
| Johnny Shines | Back To The Steel Mill | Takin' The Blues Back South |
| Lillian Offitt | Miss Y'all So | The Excello Story Vol. three: 1957-1961 |
Show Notes:
 |
| Lillian Offitt |
We span several decades of blues history on today'south mix show. On deck today we pay tribute to recently departed singer Lillian Offitt and animator Gene Deitch who recorded John Lee Hooker back in 1949. In addition we spin a couple of tracks past Frankie Lee Sims, track the history of the song "Mean Onetime World", hear songs nearly rounders, play some tough downward-domicile blues and some bang-up pre-war sides plus much more than.
Singer Lillian Offitt passed on Feb 27th at the historic period of 82. She studied at Tennessee State University, and visited the offices of Nashboro Records in the hope of making a gospel record. The label owner, Ernie Young, suggested she tape secular music, and her first record, "Miss Yous So", was issued on its subsidiary Excello label in 1957. It rose to number 8 on the Billboard R&B nautical chart, and she turned professional, making appearances in Chicago and, afterwards in the year, touring with Lowell Fulson, Johnny "Guitar" Watson and others. She moved to live in Chicago, where she performed in nightclubs and connected to release records, but with diminishing success. In 1959 she joined Earl Hooker's ring as a featured vocalist, and signed for Primary Records in Chicago. Her recording of "Volition My Man Be Home Tonight?", featuring Hooker on guitar, became a regional hit simply failed to make the national charts. Follow-up records again failed to exist commercially successful, and she retired from music in the early 1960s to enhance a family, being replaced on an intended American Folk Blues Festival tour of Europe by Carbohydrate Pie DeSanto.
Gene Deitch died on April xvi, 2022 at the age of 95. Deitch was an illustrator, animator and comics creative person and movie director. Equally Deitch writes: "In 1949 I got a job as blitheness director at the Jam Handy Organisation in Detroit, Michigan, where I lucked into becoming the beginning person to tape the corking blues genius, John Lee Hooker, playing and singing his roots music from the Mississippi Delta. Possibly a few recordings were fabricated in the dorsum room of a record shop in the Detroit ghetto around that time, but I don't retrieve sooner.
…When I moved my family unit to Detroit, we continued the regular Friday-night Open-business firm Jazz-record Sessions we'd been having in Hollywood….And 1 of the first Detroiters who showed up, a white guy, told us he'd heard in that location was a fantastic new dejection vocalizer from Mississippi who was in Detroit, and was playing in a smoky dive on Hastings Street, deep in the middle of the Black neighborhood. … I noticed right away that he had a miserable looking old acoustic guitar with a crack in it! I told him that we had blues music sessions at our house, and if he'd come play and sing for u.s.a., we'd pay him enough so he could buy a new guitar. He agreed, and on the nighttime, (it was a Fri in the fall of 1949), I drove down to pick him up. Information technology became a historic issue. None of united states knew John Lee would become a smashing star. 50 years later on, when the performance came into public domain in Europe, it became possible to be released on a CD, which immediately went to Number 1 on the British Blues Charts." The recordings start came out on the Flyright label in 2000 as The Unknown John Lee Hooker – 1949 Recordings and afterwards issued with the title Jack O'Diamonds – 1949 Recordings. Today we spin three tracks from those sessions.
T-Bone Walker began performing "Mean Old World" when he was with Les Hite and His Orchestra from 1939 to 1940. n July 20, 1942, he recorded "Mean Erstwhile World" for Capitol Records. Capitol released the song in November 1945, with "I Got a Break, Baby", as the third disc in a five x-inch record collection The History of Jazz, Book iii: Then Came Swing. Capitol later issued it as a single in 1947. Because of a recording ban, T-Bone Walker did not record again until October x, 1944, for the Rhumboogie label in Chicago. He recorded a variation on "Mean Old World", initially designated "T-Bone Blues No. 2". When Rhumboogie released information technology in 1946, information technology was retitled "Hateful Old World Blues." Walker commented "those sides were non and then hot, non as skillful equally the ones in 50.A. later. They were big band numbers, more like what I recorded with Hite". Subsequent versions were recorded in 1949 by Poisonous substance Gardner, 1952 by Little Walter, an unissued version by Otis Rush in 1962 and by B.B. King in 1967.
The dejection is littered with words who's significant is frequently lost to time. Nosotros play several songs almost rounders today. The term is defined in Stephen Calt's Barrelhouse Words as: ""A man who won't work" (Skip James). This sense of the term is implicit in most blues references to a rounder; the discussion otherwise signified"one who makes the round of prisons, workhouses, drinking saloons, etc.; a habitual criminal, loafer or drunkard" (OED, which dates information technology to 1854). Most blues singers were by definition rounders, since performing homespun music was not considered legitimate work by anyone of the dejection era, the singers themselves included." The term shows up in many songs including those past Peg Leg Howell, Kokomo Arnold, Leroy Carr, Blind Willie McTell, Willie Bakery and Frank Stokes.
A few weeks dorsum I interviewed writer/research Michael Corcoran and in my talks with him he told me of his adoration for Frankie Lee Sims who he was currently researching. Today we spin two tracks by Sims. Sims' begetter played guitar at home and at local parties, and Frankie Lee absorbed several tunes, although information technology seems he didn't take guitar at all seriously until later in his teens. In 1943 he took a chore equally a quaternary class simple school teacher in East Texas. That continued until America'due south entry into the Second Earth War and his induction into the Marines. On his discharge some three years later on he decided to be a musician and made his mode to Dallas. There, he made the associate of T-Bone Walker and Smokey Hogg. He was playing with Smokey Hogg at the Empire Room when Blue Bonnet possessor Herb Rippa saw their operation and offered each human a contract. In the event, Sims had two singles issued on Blue Bonnet. The following year Sims backed Lightnin' Hopkins on a handful of Aureate Star sides. Information technology wasn't until March 1953 that Sims recorded for the Specialty characterization as a leader. Iii sessions were cutting in Dallas. "Lucy Mae Blues" was a local hit. Three years after his last Specialty session he signed with Ace Records.For many years, that seemed to be the end of Frankie Lee's recording career, until 3 dilapidated acetates of material recorded at New York's Belvedere Studios former in 1959 or 1960 were found. It's thought Sims may have accompanied Lightnin' Hopkins to New York when the latter cutting an album for Bobby Robinson. The results were issued in 1985. By then, Frankie Lee had been dead for fifteen years having died at his Dallas home on May 10,1970.
We spin a batch of fine pre-war sides today Papa Charlie Jackson , Washboard Sam, Lil Johnson, Sarah Marion and piano players Dan Stewart, Kid Stormy Conditions and Herve Duerson. Dan Stewart cutting only ane side of a 78 for Brunswick in 1929. The flipside was Jim Clarke'due south "Fatty Fanny Stomp." Kid Stormy Weather. Ane of several early on New Orleans barrelhouse piano players who take been largely "lost" to blues history. A musical peer of Rock Sullivan, another lost pianist, Child Stormy Weather recorded two sides in 1935.
Sunday 12 Feb 2017
| ARTIST | SONG | Album |
|---|---|---|
| Larry Johnson | Four Women Dejection | Fast & Funky |
| Larry Johnson | Accept These Blues Off My Mind | A New Generation |
| Larry Johnson | Put It All In there | The All Star Blues World of Maestro Willie Dixon |
| Tampa Crimson | You Got to Reap What Yous Sow | The Essential |
| Hirsuite Lewis | Longing Blues | Furry Lewis (Folkways) |
| Willie Baker | Goin' Dorsum Abode Today | Juke Joints Vol. 3 |
| Lightnin' Hopkins | War Is Starting Again | Lightnin' Strikes Back |
| Dennis McMillon | Goin' Dorsum Dwelling house | Down Home Blues Classics: New York & The Eastward Coast States |
| Ollie Rupert | Ain't Goin' to Be Your Lowdown Domestic dog | Memphis Blues 1927-1938 |
| Memphis Minnie | I Am Sailin' | Memphis Minnie Vol. 5 1940-1941 |
| Mary Johnson | I Just Can't Have It | Mary Johnson 1929-1936 |
| Teddy Reynolds | Eye'south Full of Misery | Suicide Bluish |
| Roosevelt Sykes | My Babe Is Gone | Roosevelt Sykes Vol. ix 1947-1951 |
| Jimmy Nolen | Slow Freight Back Home | Monte Easter Vol. 2 1952-1960 |
| Factor Phillips | Women, Women, Women | Drinkin' and Stinkin' |
| Guitar Gable | Life Problem | Cool, Calm, Nerveless |
| Guitar Gable | Long Style From Home | Absurd, At-home, Collected |
| Guitar Gable | Congo Mambo | Cool, Calm, Collected |
| Pinetop Burks | Aggravation' Mama Blues | San Antonio 1937 |
| Kid Stormy Weather | Short Hair Dejection | Deep South Blues Piano 1935-1937 |
| Pinetop Sparks | Tell Her Nigh Me | The Sparks Brothers 1932-1935 |
| Dr. Hepcat | I Cried | Texas Blues Vol. ane: Houston Hotshots |
| Dr. Hepcat | Hattie Greene | Juke Articulation Blues |
| Dr. Hepcat | Hepcat's Boogie | Downwardly S Blues 1949-1961 |
| Charlie Patton | When Your Way Gets Dark | Screamin' & Hollerin' The Blues |
| Blind Joe Reynolds | Tertiary Street Woman Dejection | Mississippi Masters |
| Barbecue Bob | Yo Yo Blues | Chocolate To The Bone |
| Son House | Death Letter | John The Revelator |
| Son House | Interview Pt. 1 | John The Revelator |
| Son House | Don't You Mind People Grinnin' In Your Confront | John The Revelator |
| Larry Johnson | Troubles Just Begun | Presenting The Land Dejection |
| Larry Johnson | Upwardly North Blues | Fast & Funky |
| Larry Johnson | Hear The Angels Singing | Harlem Blues |
Mix Show:
A varied gear up of dejection today every bit we take a breather from our usual theme shows. On a deplorable annotation we mark the passing of Larry Johnson and Guitar Gable. Besides featured today are sets by Son House from a new compilation, a ready spotlighting the wonderful Dr. Hepcat, some splendid piano blues, a batch of sides from some fine downwards abode dejection ladies, and our usual mix of archetype pre-war blues and more.
Larry Johnson was born in Wrightsville, Georgia in 1938. His father was a preacher who traveled extensively. This led to Johnson beingness exposed to blues records by Blind Boy Fuller, who inspired Johnson to learn the rudiments of guitar playing. He served in the Navy between 1955 and 1959, earlier relocating to New York City. After his befriending Brownie and Stick McGhee, Johnson constitute session work backing Big Joe Williams (Blue for 9 Strings and Studio Blues), Alec Seward (Creepin' Blues) and Rev. Gary Davis (The Churchly Studio Sessions). Johnson became a pupil of Rev. Gary Davis playing alive dates with him during the lx'due south. His first album shared the billing with Hank Adkins, titled A New Generation and issued on Prestige in 1966. After Prestige he recorded for Blue Horizon, was featured on a couple of anthologies and in 1974 issued what many consider his finest outing, Fast And Funky issued on the Blue Goose label. He appeared on some anthologies on the Spivey characterization, a couple of low key albums appeared in the 1980's, before Johnson received more regular alive work in the 1990'southward, specially in Europe. He had made it to Europe previously, appearing at the 1983 American Folk Dejection Festival. His latter output included Railroad Man (1990) and the terrific Blues for Harlem (1999). His last studio album was 2 Gun Light-green in 2002. Sadly there has been no obituaries yet and supposedly Johnson died dorsum in the summer of 2022 with word only merely getting out.
Guitar Gable was built-in Gabriel Perrodin in 1937 in the Bellevue customs well-nigh Opelousas, Louisiana. Gable was influenced past the music of Guitar Slim, and was self-taught in playing the guitar by his mid-teens. He soon teamed upwardly with Rex Karl and formed the Musical Kings. Introduced to the tape producer J. D. "Jay" Miller, the Musical Kings eventually became the heart of Miller's studio band. They backed musicians such as Lazy Lester, Classie Ballou, Skinny Dynamo, Bobby Charles and Slim Harpo. Gable and the Musical Kings had earlier recorded their own debut single for Excello in 1956. His commencement rails was the instrumental "Congo Mombo." The A-side of the unmarried was "Life Problem", which featured Rex Karl'south vocals. The follow-up release included the swamp pop classic, "Irene." Subsequent releases followed a similar pattern with Gable'due south Caribbean-laced instrumentals such as "Congo Mombo," "Guitar Rhumbo" and "Gumbo Mombo," pitched against stone and curlicue tracks including "Absurd, Calm, Collected" and "Walking in the Park." It was the blues influenced ballads including "Irene," "Life Trouble" and "This Should Proceed Forever" (which reached the tiptop twenty of the Billboard Hot 100 in 1958) that caused most interest. In the 1990'southward, Guitar Gable was tempted back to the performing phase by C.C. Adcock. Gable died in hospital at Opelousas on January 28, 2017.
We spin a trio of Son House tracks which come up from a new two-CD set up on the Devil's Tunes label titled John The Revelator. The gear up includes a reissue of his 1970 John the Revelator album recorded alive at London'southward 100 Club in 1970 with some bonus tracks, a 1965 radio session with Studs Terkel with songs and an interview and BBC radio recordings from 1970.
We also hear three from Dr. Hepcat. Lavada Durst, known as Dr. Hepcat, was a disciple of pianist Robert Shaw but recorded infrequently. He worked in baseball for much of his life, training players and announcing games, and it was from the latter action that he graduated to working as a DJ, broadcasting over KVET, a white station in Austin. There he adult the persona of Dr.Hepcat, with an boggling line in jive talk. He also made a few records of his own, but despite his high profile on radio, information technology appears that these can't accept sold very well, as they are extremely rare, fifty-fifty ane issued on the insufficiently major independent characterization Peacock; the other two were on the local Uptown label, 1 issued under the pseudonym of Cool Papa Smith. He made a handful of latter day recordings before passing in 1995. Dr. Hepcat was interviewed in Blues Unlimited 129 in 1978 (reprinted in Blues Unlimited: Essential Interviews from the Original Blues Magazine).
Nosotros check in with several fine piano players today including Pinetop Burks, Kid Stormy Atmospheric condition and Aaron "Pinetop" Sparks. Mack McCormick noted that the "itinerant pack of pianists who came to be known loosely as 'the Santa Fe grouping,' partly because they favored that railroad and partly because a stranger asking for the proper noun of a selection was invariably told 'That's The Santa Fe.'" 1937 was an outstanding year for the Santa Iron grouping of pianists: Andy Boy recorded in February for Bluebird, Big Boy Knox recorded for Bluebird in March, Blackness Boy Shine recorded in June for Vocalion and Son Becky and Pinetop Burks recorded at a shared session for Vocalion in October. Burks left behind eight superb sides. Kid Stormy Conditions recorded two songs in 1935, and was a local legend effectually New Orleans. He was an influence on Professor Longhair. We accept featured the Sparks Brothers many times and today nosotros spin a side past Aaron Sparks featuring Henry Townsend on guitar.
Several fantabulous blues ladies are featured today, the nearly famous being Memphis Minnie.We play Minnie's tough "I Am Sailin", a 1941 effort that was unissued at the fourth dimension. The poet Langston Hughes has left a vivid account of Minnie'south music a year later on later on this (Chicago Defender, January ninth 1943). "The electrical guitar is very loud, science having magnified all its softness away… the rhythm fills the 230 Club with a deep and dusky heartbeat that overrides all modern 
distension. The rhythm is every bit old as Memphis Minnie's most remote ancestor… She grabs the microphone and yells "Hey now!" then she hits a few deep chords at random, leans forward always so slightly over her guitar… and begins to vanquish out a good old steady downwards-habitation rhythm…"
Compared to Minnie, none of the other ladies came anywhere well-nigh her success. Mary Johnson was the most prolific, making her debut in 1929, cutting just shy of two dozen songs, achieving modest success but never recorded once again after 1936 despite living until 1983. Ollie Rupert recorded one 78 in Memphis on February 28, 1927 maybe backed by Will Weldon and Will Shade of the Memphis Jug Band. Anna Bell left behind half-dozen sides backed by Clarence Williams' ring.
Wed 19 Aug 2009
| Creative person | Song | Album |
|---|---|---|
| Georgia White w/ Les Paul | Black Passenger | Georgia White Vol. two 1936-1937 |
| Georgia White west/ Les Paul | I'll Keep Sittin' On It | Georgia White Vol. two 1936-1937 |
| Georgia White w/ Les Paul | New Dupree Blues | Georgia White Vol. ane 1930-1936 |
| Blind Joe Colina | Boogie In The Night | Boogie In The Dark |
| Jimmy Anderson | Ain't Gonna Permit Her Get | Blues Hangover |
| Whispering Smith | Wake Up Old Maid | Blues Hangover |
| Wilson Jones (Stavin' Chain) | Can't Put On My Shoes | Boll Weevil Here, Boll Weevil Everywhere - Field Recordings Vol. xvi |
| Bullheaded James Campbell | Baby Delight Don't Get | And His Nashville Street Band |
| Pillie Bolling | Chocolate-brown Pare Woman | Trouble Hearted Blues |
| Ed Bong | Mamlish Blues | Ed Bell 1927-1930 |
| Early Drane | Evil Way Dejection | Blues Hangover |
| Piece of cake Baby | And so Tired | Sweetness Home Chicago Blues |
| Jimmy DeBerry & Walter Horton | West Winds Are Blowing | Back, The Compete Memphis Sessions Vol.2 |
| Charlie Seger | Lonesome Graveyard Blues | Piano Blues Vol. 2 1927-1956 |
| Frank Tannehill | Warehouse Blues | Rare State Blues Vol. four 1929-1953 |
| Child Stormy Conditions | Short Pilus Blues | Deep Due south Blues Pianoforte 1935-1937 |
| Champion Jack Dupree | Bad Whiskey And Wild Woman | Champion Jack Dupree Early on Cuts |
| Paul Williams | The Woman I Dear Is Dying | Paul Williams Vol. 3 1952-1956 |
| B.B. Male monarch | Sunny Road | My Kind Of Blues |
| William Moore | Ragtime Millionaire | Dissemination The Blues |
| Carl Martin | Old Time Blues | Carl Martin & Willie '61' Blackwell 1930-1941 |
| Troy Ferguson | Mama Yous Gotta Get It Stock-still | Rare State Blues Vol. 4 1929-1953 |
| Famous Hokum Boys | Saturday Night Rub | Famous Hokum Boys Vol. i 1930 |
| Robert Johnson | Come On In My Kitchen | The Complete Recordings |
| Robert Johnson | Last Fair Deal Gone Downwardly | The Consummate Recordings |
| Robert Johnson | Travelin' Riverside Dejection | The Complete Recordings |
| Charley Patton | High Sheriff Blues | Screamin' & Hollerin' The Blues |
| Smoky Infant | I'm Goin' Back To Mississippi | Hottest Brand Goin' |
| Smith & Harper | Poor Girl | Great Harp Players 1927-1936 |
| George Clarke | Prisoner Blues | Harp Blowers 1925-1936 |
| Big Joe & Sonny Male child | Somebody's Been Worryin' | Big Joe Williams & Stars of Mississippi Blues |
| Georgia White w/ Les Paul | Daddy Permit Me Lay Information technology on You | Georgia White Vol. 2 1936-1937 |
Show Notes:
Georgia White & Bumble Bee Slim
Another mix show for today. I've finally caught up a bit so the adjacent few weeks I'll be doing some themed shows. Today's program sports 2 brusque tributes to Les Paul and Robert Johnson. We open and close the show with tracks by Georgia White featuring a young Les Paul. White was a popular singer of the xxx'due south and 40's who cutting around a hundred sides for Decca between 1930 and 1941. In 1936 she cutting five sides backed by guitarist Les Paul who just passed abroad on August xiiith. These are among Paul's beginning recordings and it's clear he's already an accomplished guitarist. Little is known of White'due south post-recording years exterior of the fact that she led an all girl ring in the late twoscore's and was lasted glimpsed actualization in a Chicago club in 1959.
Nosotros also pay tribute to Robert Johnson who died on this date seventy-one years ago, Aug 16, 1938 in Greenwood, MS. I accept to admit that I haven't played Johnson much on my show. At this point more than ink has been spilled on Robert Johnson than any other blues artist and while in that location has been plenty of quality inquiry on the elusive bluesman it's been largely buried in layers of hyperbole, mythology, speculation, romanticism and sheer nonsense. My chief problem is that this obsession on every minutiae of Johnson'due south life has taken away the focus on his very real talents and perhaps more importantly this lopsided focus on Johnson has obscured the fact that he was very much function of a tradition; his music firmly built on the artists who came before like Lonnie Johnson and Tampa Red who don't get a shred of the acclamation that Johnson does. Johnson remains 1 of the blues nifty artists, his brilliance was in how he borrowed, reshaped, synthesized and added his own voice to the music of those who came before to create a powerfully individual style. It would be squeamish if this intense spotlight on Johnson spilled over to raise the awareness of other every bit worthy early on blues artists who I play on a regular footing.
One of the guys Johnson was inspired by was Charley Patton who was expressionless two years when Johnson made his debut in 1936. From Patton'south concluding session in 1934 nosotros spin his "Loftier Sheriff Blues." Collectors and serious listeners have long held Patton every bit he summit of the Delta dejection artists. Patton hasn't accrued the mythological baggage of Johnson and isn't every bit accessible as Johnson, with his ofttimes garbled singing paired with particularly noisy records. Patton has e'er bandage a spell over me although I've had a hard time articulating exactly why. I recently ran across the following by Tony Russell in the indispensable The Penguin Guide To The Blues that pretty much nails what makes Patton'southward music and so compelling and is worth quoting in full:
"In the best-known photo of Charley Patton a youngish homo faces posterity with a direct merely somewhat humble gaze. Some of what lay ahead he might take predicted: a hard life, early expiry, obscurity. What was non on the cards was that some 30 years afterward he would begin to be described equally one of the nearly atypical musicians of the 20th century, a vocalisation of the blues like no other, a teller of stories from a time and place that for his new listeners were as unimaginable every bit the dark side of the moon. His sometimes strangled utterances, already one-half choked past the surface noise of old discs, gradually revealed themselves to exist passages from an oral history of black Mississippi in the 1910s and '20s: its dirt roads and rivers, drinking places and jails, the pest ravaged cottonfields of "Mississippi Bo Weavil Dejection", the drought of "Dry Well Blues", the flooded bottomlands of "High H2o Everywhere" and, turning from natural disasters to human-made ones, the layoff of railroad workers in "Mean Black Moan." These reports, and the many other types of songs he recorded, from blue-ballads similar "Frankie And Albert" and rags similar "Shake Information technology And Pause It" to hymns and transformed popular songs, are delivered in a voice as tough as steel, to guitar melodies as densely springy every bit ryegrass. It is boggling music, not always piece of cake to understand, just and so full of incident that information technology quickly becomes totally absorbing."
Turning from the guitar we spotlight a number of fine pianists including Charlie Seger, Child Stormy Weather condition Frank Tannehill and Champion Jack Dupree. Pianist Segar cut ten sides at sessions in 1934, 35 and twoscore and cut recorded the starting time version of "Key To The Highway" in Feb 1940. Big Neb Broonzy claims to have written the vocal, a song also claimed past Jazz Gillum. Gillum cutting his version a few months subsequently in May 1940 and Broonzy cut his version in May 1941. Kid Stormy Weather recorded 2 songs in 1935, and was a local fable around New Orleans. He was an influence on Professor Longhair. Frank Tannehill was a fine singer/pianist who cut ten sides in the belatedly 30s and early 40s. "Warehouse Blues" is a poignant working man's blues:
You know why my baby she looks so fine (2x)
I'm working at the warehouse giving her all my time
I don't care, that the streets is covered with snow (2x)
I got to work at the warehouse, and bring my infant the roll
The sometime house burned downward, got to expect till' they build once again (2x)
I'm cutting grass now just I'm still bringing coin in
"Bad Whiskey And Wild Adult female" feature superb guitar from Credibility McGhee and comes grade the brand new four-CD set Champion Jack Dupree Early Cuts on the JSP label which collects everything he cut from 1940 through 1953.
Jumping ahead to the 60s and 70s nosotros spin some great records past Barrelhouse artists Blind Joe Hill and Easy Baby and music from Excello artists Jimmy Anderson and Whispering Smith. The Barrelhouse label was a fine Chicago characterization run by George Paulus during the 70s featuring a roster that included albums by Washboard Willie, Big John Wrencher, Charlie Feathers, Harmonica Frank Floyd, Blind Joe Loma, Joe Carter, Robert Richard, Easy Baby and others. Easy Infant is an exceptional singer and harmonica blower who cut two superb records 25 years autonomously. Our selection comes from Sugariness Dwelling house Chicago Blues a 1977 album featuring a slap-up band that included guitarist Eddie Taylor and drummer Kansas City Cherry. In 2000 he cut the album If Information technology Ain't One Matter It'due south Another for the Wolf label, which is almost as good. Bullheaded Joe Hill was a 1-man-ring who recorded 2 albums under his own proper noun on the Barrelhouse and L+R labels and was role of the 1985 American Folk Blues Festival touring Europe. We spin a few songs form the excellent 2-CD prepare Blues Hangover a drove of Excello rarities including excellent tracks past Jimmy Anderson who sounds uncannily like Jimmy Reed, the fine Whispering Smith who found his way to the characterization as Excello was circling the drain and the mysterious Early on Dranes. The cuts past Dranes come up course an Excello audition record that surfaced decades afterward the label folded.
Sun nine Aug 2009
| Creative person | SONG | ALBUM |
|---|---|---|
| Walter Vincson | Gulf Declension Bay | Walter Vincson 1928-1941 |
| Mississippi Sheiks | Baby Keeps Stealin' Lovin' on Me | Mississippi Sheiks Vol.one |
| Bo Carter | Tellin' You 'tour Information technology | Bo Carter Vol. 2 1931-1934 |
| Mickey Champion | Y'all're Gonna Suffer Baby | Bam A Lam |
| Big Duke Henderson | Hard Luck, Women And Strife | Blues For Dootsie |
| John Henry Barbee | You'll Work Down To Me Someday | Memphis Blues 1927-1938 |
| Willie Harris | Never Drive A Stranger From Your Door | Rare Country Dejection Vol.i |
| Willie Lofton | It'south Killin' Me | Mississippi Blues Vol.two 1926-1935 |
| George "Harmonica" Smith | I Don't Know | Elko Blues Vol. one |
| James Cotton | Nose Open | Chicago Blues Masters Volume 3 |
| Silas Hogan | Hoodoo Man Dejection | Blues Live In Baton Rouge At The Speak-Easy |
| Child Stormy Weather | Short Pilus Blues | Deep South Dejection Piano 1935-1937 |
| Stovepipe Johnson | Don't Let Your Mouth Start... | Piano Dejection Vol. four 1923-1928 |
| Mack Rhinehart & Brownie Stubblefield | If I Leave Here Running | Deep South Blues Piano 1935-1937 |
| Monkey Joe | New York Central | Monkey Joe Vol. 1 |
| Jimmie Gordon | That Woman's A Pearl Diver | Broke, Black & Blueish |
| Johnnie Temple | Believe My Sins Have Found Me Out | Broke, Blackness & Blue |
| Lee Brownish | Ruby Moore Dejection | Broke, Black & Blue |
| Sleepy John Estes | Don't You Want To Know | Memphis Shakedown |
| Birmingham Jug Ring | German Blues | Ruckus Juice & Chitlins Vol. two |
| Skoodle Dum Doo & Sheffield | Tampa Blues | Blowing The Blues |
| Junior Wells | Blues Hit Large Boondocks | Blues Hitting Big Town |
| Albert Williams | Hoodoo Human being | Sun Records The Dejection Years 1950-1958 |
| Robert Nighthawk | Y'all Missed A Expert Human being | Bricks In My Pillow |
| Laura Smith | The Mississippi Blues | Laura Smith Vol. 2 |
| Lottie Kimbrough | Blue Globe Blues | Kansas City Blues 1924-29 |
| Kansas City Kitty | How Tin You Have The Blues? | Kansas Metropolis Kitty 1930-1934 |
| Lucille Bogan | Whiskey Sellin' Woman | Lucille Bogan Vol. 1923-1929 |
| Roy Hawkins | Doin' All Right | The Thrill Is Gone |
| Tommy Brown | Call back Me | Harmonica Blues Kings |
| T.J. Fowler | Dorsum Biter | 1948-1958 |
| Thou.C. Douglas | Canned Heat | Dead-Beat Guitar, and the Mississippi Dejection |
| Big Male child Henry | I'm Not Lying | I'thou Non Lying |
Show Notes:
 |
| Bo Carter |
Well I was planning to practise a themed evidence today simply I've fallen hopelessly behind so I've slapped together a mix show instead. Anyway, a wide ranging mix for today's program spanning the 1920's through the 1950'south.
We kick things off with a trio of tracks revolving around the Mississippi Sheiks. The Mississippi Sheiks were i of the most popular string bands of the late '20s and early '30s with a repertoire that drew upon all facets of black and white rural music: blues, popular music, hokum, white state and traditional songs. Their rendition of "Sitting on Meridian of the Earth" has become an enduring standard. The group consisted of guitarist Walter Vinson and fiddler Lonnie Chatmon, with frequent appearances by guitarists Bo Carter and Sam Chatmon, who were also busy with their own solo careers. Bo Carter was one of the most popular bluesmen of the '30's, cutting over a hundred sides between 1928 and 1940. Vinson rarely worked as a solo act, seemingly much more at home in duets and trios; towards that end, during the 1920s he worked with Charlie McCoy, Rubin Lacy and Son Spand before forming the Mississippi Sheiks. While an active social club performer during the early 1940s, by the middle of the decade he had begun a lengthy hiatus from music, which continued through 1960, at which signal he returned to both recording and festival appearances. Hardening of the arteries forced Vinson into retirement during the early '70s; he died in Chicago in 1975.
Our opening runway past Walter Vinson features harmonica by Robert Lee McCoy better known every bit Robert Nighthawk. Nighthawk's commencement instrument was harmonica and he played a good deal of it backing other artists on record during the 30s and 40s. As he noted: "When I left home I got right into information technology and I started blowing harmonica. I learnt that back in 24′. …boy named Johnny Jones, he'due south from Louisiana, …say he learn me so I did." Moving up to 1952 we hear Nighthawk on"Y'all Missed A Adept Man" a song Nighthawk likely picked up from Tampa Cherry-red who recorded the song in 1935. The basis of the vocal actually goes dorsum much further existence copyrighted by Clarence Williams in 1915 as "You Missed A Skillful Adult female When Yous Picked All Over Me." The song was showtime recorded by Trixie Smith in 1922 and again in 1923 by Eva Taylor the married woman of Clarence Williams. Tampa reworked the lyrics but the the melody and chorus are identical.
In that location's plenty of dejection from the same era today including John Henry Barbee'southward "Yous'll Work Down to me Anytime" from 1938 which is a reworking of a 1934 Mississippi Sheiks vocal of the same championship. Barbee worked for a short time with John Lee Williamson (Sonny Boy Williamson I) then began playing with Sunnyland Slim. They fabricated appearances across the Mississippi Delta. Barbee later moved to Chicago, where he recorded for Vocalion in 1938. He played with Moody Jones' group on Maxwell Street in the '40s, simply then left the music business for several years. Barbee recorded for Spivey and Storyville in the mid-'60s, and toured Europe as function of the American Folk Blues Festival. Back in the United states Barbee was involved in an auto accident in 1964, and suffered a middle attack while in jail waiting for the instance to come to court. It was a sad end to a fine creative person who who still a superb performer every bit evidenced on the excellent Blues Masters Vol. 3 recorded in 1964 for Storyville.
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| Lucille Bogan |
Course the same period we spotlight four fine blues ladies: Laura Smith, Lottie Kimbrough, Kansas City Kitty and Lucille Bogan. A fine forgotten blues vocaliser of the twenty'due south, Laura Smith made her debut in 1924 and recorded through 1927. She died in 1932. Our selection "The Mississippi Blues" was the flip of "Lonesome Refugee", both songs written about the tragic 1927 overflowing, ane of the greatest natural disasters in US history. Numerous blues and gospel songs were written about the inundation. Lottie Kimbrough as well made her debut in 1924 but as Tony Russell notes "If her half-dozen 1924 sides on Paramount had been all Lottie Kimbrough recorded, she would probably be considered a singer of the 2nd or third rank…" Lucky for her she met promoter Winston Holmes who got her a contract with Gennett Records. In the by of I've played "Rolling Log Dejection" and "Goin' Abroad Blues", performances of "haunting beauty" Russell writes. Our track, "Blue Earth Blues" is from that session, a powerful number featuring an fantabulous but unknown cornet player. Kansas City Kitty was a pseudonym for Mozelle Alderson who confused researchers for years past recording under other names such as Hannah Mae and Jane Lucas. "How Tin You Take The Blues?" is a fine, playful duet with Georgia Tom. Lucille Bogan made her debut in 1923 with some less than memorable sides before coming into her own with her next sessions in 1927. Bogan was but one of the toughest, roughest woman to record in the 20's and 30'southward and her "Whiskey Sellin' Woman" is a good example as she opens the song with the now familar "Ah, I'm gettin' sloppy drunk today."
From the 1946 we spotlight thee veteran artists of the 1930's who were however at it, cut some up-to-engagement material: Jimmie Gordon, Lee Brown and Johnnie Temple. These sides are from a rare 1946 session for Male monarch that were never released at the time and only issued decades subsequently. Pianist Lee Dark-brown cut 29 sides for Decca betwixt 1937-40. Jimmie Gordon made his beginning tape in 1934 for Bluebird before moving to Decca where he cut threescore sides through 1941. Originally from Mississippi, Johnnie Temple moved to Jackson, MS where he worked parties and juke joints with Skip James and Charlie McCoy. He moved to Chicago in 1932, making his debut in 1935 for Vocalion and cut 70 sides through 1941. Although he never achieved distinction, Temple's records, sold consistently throughout the tardily '30s and '40s and his records exerted an influence on numerous other artists. All these sides appear on the Proper Records collection Broke, Black & Blues.
We too spin a batch of smashing records from the 1950's including a cut by blues shouter Tommy Brown. A few weeks ago I was lucky enough to see the 78 year quondam Chocolate-brown in action and sounding swell at the Pocono Blues Festival. "Recall Me" comes from a four vocal 1954 session where he was backed by Walter Horton. From 1952 we hear "Hoodoo Man" from Albert Williams on the Sunday label (his merely record) going under the proper noun Memphis Al: "My proper noun is Memphis Al and they call me the hoodoo man." The song is particularly notable for some terrific guitar by the nifty Joe Willie Wilkins. From the same year nosotros hear the guitarist Calvin Frazier rip it up on T.J. Fowler's rocking "Dorsum Biter." Speaking of guitar information technology'south hard to shell T-Bone Walker who lays down some vicious licks on Roy Hawkins' "Doin' All Right" also from 1952.
Source: https://sundayblues.org/?tag=kid-stormy-weather
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