blues~link INCORPORATING WORLD JULY 20p “ I Just Love Everybody” JOHN JACKSON INTERVIEW I was born in Rappahannock County, Virginia, and I grew up around the mountain section. Of course we had to work very hard with a big family, fourteen of us in the family. And father had to take us out to work when we got big enough to work, thinnin' corn, and cuttin' corn, and pickin' apples. You know, just different kinds of work around the farm, and we grew up with workin' people. Of course, after we got big enough, we had to tote walnuts, hull them out, crack the kernels out; to get clothes and shoes. And the scattered apple trees, what we called the wild apple trees, we would go pick those apples up, and wash them and spread them out on a tin roof, and peel the apples and cut them up in small slips, and we would call them dried apples; sell them for half went down and asked him his business. cent a pound. And after he got through talkin' with me, And then I used to trap a lot when I growed he wanted to know what we do around up, like catchin' pole cats, muskrats, here. So I got to tellin' him Daddy played 'possums and moles, minks, 'coons, foxes and Mama played accordion or and that kind of thing, and made fairly french harp, and we pitch horse shoes and good money. The fur man would come play ball, and that kind of thing. So he said, around about every two weeks. "I play guitar; " said, "if you bring it down to the spring. I'll play you some songs." So Father played guitar, mother played french I goes back to the house so I can call for harp and accordion. But when they built the guitar and bring it back to the spring. the road through Rappahannock County, He'd play me a song, then he'd be back for they had prisoners on the road, and they another bucket, and he'd play me another had one named "H appy", and he was the song, and he'd run with it. And so he really water boy. He used to tote water from our had more influence on me than anybody spring, and you know how kids is, they in music. I mean I learned a lot of olden always have to see what grown folks want, tunes; and I learned one, I can't remember and what they doin'. the all of, and that was the Midnight Blues And I was just one of those people. So I that I really learned from him.

STILL PUTTING A SPELL ON - 3 + STARS OF FAITH IN CONCERT - 4 + NEWS - 5 + WALKING TO - 6 + - 7 + BLUES LPS - 7 + ADS - 15 + Continued from front page. Blues-Link (incorporating Blues World) P. O. Box 152, Barnet, Herts., EN5 4HU. And that's the kind of growin' up we had. Editor: Chris Smith People then didn't have no kind of club or General Manager: Alan Balfour nowhere to go at all. People's neighbours Creative Services: Mike Black and all would get together and go out In the fields and sit under the trees, and have Subscription Rates: dinner and play ball. And the ones that UK — 6 issues (including postage) £1. 50 didn't like to play ball would like to pitch 12 issues (including postage) £3. 00 horse shoes, or sit around with and Overseas — Payment should be in sterling play music and that kind of thing. And by IMO or by International Giro — our that's the kind of growin' up I had when I account No. is 32 733 4002. US rates grew up. I really enjoyed that kind of are $4. 00 for 6 issues surface, $8. 00 for growin' up. I don't know that everybody 6 issues by air mail. Double up for 12 along in my time had that kind of growin' issue subs. up. But that's how it was around the Cheques: mountains where I was born and raised. All cheques should be made payable to Blink Publications Ltd. and crossed I didn't start playing professionally until '& Co. ' 1965. I had quit playin' for fifteen years Copyright: and when I was re'scovered. And when this All items in this magazine are copyright song came out. Walk Right In And Let Your Blink Publications Ltd. and may not be Hair Hang Down, my kids got so interested reproduced without written permission in it, till I was playin' it for them one day of the publishers. on the porch, and the mailman came down the road deliverin' mail, and he came over PUBLISHERS' STATEMENT and got so tickled at the kids dancin' and me playin'. And he said, "How about Blues-Link has over the past few issues comin' on and playin' something with me made considerable losses due to rising tonight? I'd like to meet you to this gas postage and printing costs coupled with station. " which was just two blocks from a decline in advertising revenue. For the the house. And so I met him up all that magazine to continue publication it must night and we got to playin', and a man came be a strictly "break-even" concern as the in named Chuck Perdue. He heard us playin', publishers are unable to continue subsidis­ and he got interested in it and wanted to ing it. The publishers regret the necessity know what I was playin'. So I told him I'd to reduce the number of pages but hope hit a couple of chords on the guitar, just that the reduction in cover price will meet like I tell everybody. He got interested in with readers' approval. it, so when he kept after me I played an old song of Candy Man, which was Mississippi John Hurt's. And nothin' would do except Editorial for to come over to his house and play I have little to add to the above, which something for him. So when I didn't go tells it like it was and is, but I would like that evening, he was at my house sittin' on to add my apologies for the delay in the porch when I came in from work. I publication, and hope you enjoy this issue played real smart for him, and he said, "How — and future issues. We will do the best about you comin' over Saturday night? I'd we can with what we have, both money like to make some tapes of you, would you and material. Please keep all reviews mind? " 1 said no. So along about 7: 30, 8 short — and expect them to get shorter in o'clock on Saturday night, I didn't go; he the editorial office. Thank you for your calls me, wanted to know was 1 comin' over, patience. Sorry about the lack of a letters and I told him I didn't know. So I didn't page but it's that space problem again! come over, and he come over and got me, Chris Smith and took me over, and made some record­ ings. On the next week he said, "Since you played Candy Man, how would you like to Still Putting A Spell On meet the man who wrote Candy Man? " And I said, "I know there ain't nobody As a postscript to the feature in Blues-Link livin' after thirty years that wrote that song." 5, I can report that Screamin' Jay Hawkins He said, "Oh, yes, there is, Mississippi John is alive, nearly well, and living in New York. Hurt. He's in Washington playin' at Ontario He's recently been hospitalised for stomach Place right now. " So he kept talkin' to me, operations, but hopefully, by the time you and I decided I would go along the next read this the treatment will be successfully weekend and see him. And sure enough, on completed and he'll be back on the road. a Friday night he came by and picked me up and took me to the Ontario Place. Over the last couple of years Jay has suffered two disappointing setbacks when first the And sure enough, when I walked in, old which he considers his finest (A John Hurt sittin' on the stage just as big as Portrait Of A Man And His Woman, Hot life. I just couldn't believe it was him. So I Line 10024-25), and then the single which got to listen to him play and meet him. was certainly one of his most commercial And then they asked me to play a couple (Monkberry Moon Delight, Queen Bee 101), of songs. And on the next week, it was a failed to reach the public, let alone sell any man came in town name of Mance Lipscomb. copies. Both of the record companies He taken me back to hear him, and that's involved disappeared with Jay's money and when they put me on the stage, and just the records as soon as they were pressed. about the time 1 played half a song, this Although a tew copies trickled over here, man Chris from Arhoolie label jumped up and the rest are either stashed in warehouses said, "1 want to make a record 'bout that somewhere or have been recycled into man. I want to make a record 'bout that Osmond's 45s. man. " And that's how it all happened. I've In October '74 Jay signed with RCA, and been playin' professionally ever since. So at the time of writing was waiting on his that was 1965 in April, between the 10th and 12th, along in there. And so, I've been debut release - She Put The Spell On Me/ doin' pretty good ever since... Voodoo. This time the record should be readily available everywhere, so all that I'm very happy with it. I enjoy it very much. remains is for you to go out and buy it. If It's so nice to meet people and get out it sells enough there are plans for an album amongst the people and see how other containing remakes of some of his early people perform. 1 mean, you get a great songs that were never released, and choice experience, and it is so nice to meet people. selections from many others of similar I just love everybody so much, and it really lunacy that Jay has written over the years. is a great experience. It's really somethin' Any readers who remember Jay and Ginny nice to do. And 1 just love it. I really do. from their British tours in the mid-sixties Interview by Lois Ulrey — they'd love to hear from you. Write care Copyright Lois Ulrey 1974 of the magazine and I'll be happy to forward your letters. Available Recordings Cliff White Blues & Country Dance Tunes From Virginia Arhoolie F 1025 Apologies to Valerie Wilmer, whose photo John Jackson Volume 2 Arhoolie F 1035 of Screamin' Jay we forgot to credit in issue John Jackson In Europe Arhoolie F 1047 no. 5.

In the next issue will be an exclusive feature about Son House, a look at Otis Rush — which is a good 'un plus lots of blues and ragtime LP reviews and a look at Right On by Michael Haralambos. So don't delay — subscribe now! The Stars of Faith in concert at even delighting us with some spirituals L'Eglise St. Denis, Liege, 11/12/74. (without the usual piano accompaniment). The Stars of Faith maintained their The second half of the concert was even reputation, doing their utmost to put across more extraordinary; the public was by now their religious and/or musical message to welcoming artists whom they appreciated the five hundred or so in the audience. The better, and the artists, now more at ease, church vaulting rang with an unaccustomed gave out with a stunning display of vocal rhythmic fire. virtuosity. Kitty Parham and Matty Harper The audience didn't really know what it went into the audience by turns to sit next was in for, and the first half of the concert to spectators, into their ears and consisted of vehement attempts by the Stars shaking hands before returning to the to make contact with their audience. Part sanctuary. As each member of the group of the trouble lay in bad amplification, which has the talent to take a solo, the concert was fairly quickly corrected, but the main was extremely varied, and the audience was problem was obviously that most of those shouting for encores after more than two present were expecting something quite hours. Both audience and artists were different. A lot of polite but embarrassed greatly disappointed that the evening had smiles were in evidence. Miraculously, after to end so soon. four numbers the Stars overcame this reserve Bo Sacre and completely won over the audience, which began to clap to the rhythm and (The Stars of Faith appeared on BBC-2 on applaud each number almost before it had 27th December 1974, in a programme made finished. In an extremely subtle manner, in a Birmingham West Indian church. Then, the singers alternated fast and slow numbers. too, they were great. - Ed. ) News And Things Blues Legends 7 5 tour ended prematurely; reissue series postponed — no vinyl ( and no reason known as yet... Brownie McGhee, no JOB, Age, USA, etc.)... Mercy Dee hospitalised on UK visit, now OK... but additions and corrections (see 4 & 5): guitar sadly, T-Bone Walker died March 16th... on Bayou 003 (Please Understand) is very and Axel Kustner reports Butch Cage and like T-Bone's, who plays on the 4 matrices Smoky Babe dead, according to Robert preceding (Bob Groom); Five Card Hand is Pete Williams... Atlantic selling new Blues based on Bone's You're My Best Poker Power at £2. 79. Naughty... LeibI Hand (Capitol 57-70023, T-1958) (M. S. Rosenberg still needs your help with the Geeves)... Okay, Gatemouth Brown doesn't Blues Bibliography. Write to 8 München 90, sound like Horton on harp, and yes, he does Rotwandstr. 4, West Germany... GREAT sound like Gillum; maybe I was drunk new Son House LP on Blue Goose, review when I wrote the review... Tony Nielsen next time... Sonet now distributing Alligator reports Hound Dog, F. King, Sonny & in UK... Speaking of Sonet, Sam Charters Brownie toured New Zealand recently. BB, interviewed in the Guardian on May 31st on Muddy and Dixon's All Stars also recent publication of "Legacy” book. Let's hope visitors... Beware Everest FS 289 (Ivory Joe it's better than the Robert Johnson... John Hunter). 10 tracks at £2. 74; 4 of them are Wrencher has album out on Big Bear, Billy by Memphis Sliml... Nick Peris has turned Boy Arnold on Red Lightnin'... Living up a copy of Skip James's Illinois Blues/ Blues 21 carries exc. features on Little Yola My Blues Away in MINT condition - Johnny Taylor, Georgia Tom. Now undoubt­ maybe there's still hope for those missing edly the world's best blues mag, bringin' it Willie Browns etc.... Dave Moore working all back home... Hi Tide Harris to be singing on Barbecue Bob LP for Oldie Blues, to voice of Leadbelly in new movie; I was include detailed booklet and transcripts of hoping for Johnny Mathis... Jewel's all his songs... Great New Issues On and

ADVENT 2805 MUSKADINE 103 Sorrow, Come Pass Me Around ALLA

As always. ADVENT has issued something special. This is one of ihe first comprehensive surveys of rural black religious music. Another important issue, this album reissues some of the great Based on field recordings by noted researcher David Evans, the country blues sides recorded in between 1947 and 1954. album includes music by a fife and drum band, unaccompanied The album features some of the very rarest post-war country blues and accompanied vocals of many styles, music on primitive recordings. It is the first in a series of albums to document the instruments, etc. II is accompanied by a 12 page illustrated booklet with extensive notes and complete lyric transcripts by David Evans. blues scene m CALIFORNIA, An important ar>d enterlaining document.

Sorrow. Come Pass Me Around • Oo Remember Me • The Ship Is at the Lar

A L L A L B U M S $5 . 98 ADVENT PRODUCTIONS* P. O. BOX 635 • MANHATTAN BEACH • CALIFORNIA 90266 Reviews WALKING TO NEW ORLEANS - John the views of the men behind the scenes, Broven. Published by Blues Unlimited, producers and session men, are largely new £2. 25 (paperback), £3. 75 (hardback). to print and deserve exposure, while Mac Rebennack's lucidity earns him frequent This book is a labour of love, and it shows. acknowledgment. Al Reed's comparison of Before mentioning a few doubts, I should Guitar Slim and Jimi Hendrix is particularly say that is absolutely indispensable to anyone thought provoking. But the most revealing even remotely interested in the subject insight of all, to my mind, is the reprint of defined by the work's subtitle, the story of an article in the New Orleans Times-Picayune, New Orleans Rhythm & Blues. 217 pages describing the Fats Domino session at which of closely packed text plus an excellent Whole Lotta Loving was recorded. historical introduction by Tom Stagg, around seventy photographs, maps, charts The structure of the book is not entirely and a list of New Orleans records successful satisfactory. The need to clarify individual in the Billboard charts. The photos, all topics in short chunks has led to bittiness: black and white, include shots of significant it is much easier to read individual sections streets and buildings, of record labels, and than the whole book. Another compromise of many of the musicians Broven (and others) is the absence of any attempt to achieve a interviewed, plus rare promotional material musical analysis of the "New Orleans sound" such as a pose of Bobby Charles with a or where it came from. The distinctive ludicrous kiss-curl. The inevitable barrier rhythm and horn sections are considered of the author's being an "outsider" is biographically instead, particularly the surmounted by intensive use of interviews, Imperial and Instant/Minit housebands. This although several critical figures are not is typical of the deliberate emphasis on direct contributors — Huey Smith, Professor recorded material, rather than the (somewhat Longhair, Fats Domino. On the other hand. different) sound of the small groups live. Any other approach would, admittedly, have been impracticable: but the under­ standable desire to reinstate those forgotten gems results in a failure to make the necessary distinction between the native New Orleans sound, as exemplified by Big Chief, Popeye and all those Mardi Gras records, and the attempts to make the city the centre for a style selling nationally, alongside the Motown or sounds. The New Orleans sound appears in peter russell's hot record store novelties like Mother-In-Law and Sea Cruise, 24 market avenue, plymouth which sold on the strength of the song, not of the singer. Artists like Lee Dorsey and england dial 0752-60255 had to move out of New Orleans to continue their careers. Broven regards the cause of this isolation as the failure of N. O. companies to arrange nationwide distribution. This is true in records individual cases, but if the rock'n'roll or soul potential had been there in quantity, books the incursions of Chess, Vee-Jay, Fire and magazines other independents would have been h i-fi, & followed up. There is an intimacy about the music scene in the city which has led "the good noise" producers — even Bartholomew and 6 Toussaint — to direct their sessions towards recording o f Haunting Rag by Walter B. Rogers' the city's own market. A classic example, Band: and a delightful chiming break by the reed section of the Rishell Dance Band in a version of along with Mississippi Delta blues and Zam-A-Zam Rag from about 1918. This tune Memphis rockabilly, of an environment (properly titled Zamp-A-Zamp Rag) is stolen from which creates local hits and, in time, the Zampa Overture — and this particular classic collectors' items, but little national success. was ragged by one Wagner, believe it or not! The album is compiled by David Jasen, who also A final note: events have already added a supplies good notes. couple of postscripts to the book. Joe Banashek has followed Huey Smith into RAGTIME PIANO ORIGINALS Folkways the bosom of the church, and is no longer RF23 A companion LP to the above, and very welcome interested in the record industry; tragically, too, this represents an opportunity to hear a variety the entire remaining Instant/Minit stock was of pianists playing their own works between recycled at the end of 1974. Alas for the 1913 and 1929. Several o f them have never been unissued material by Huey Smith, Earl reissued on LP before, and w ill be unfam iliar, even to veteran collectors of ragtime 78s. Most King and others! Secondly, the first LP of break away from the straight classical rag expression; Longhair recorded at length has been in fact, some of the items are surprisingly modern announced for release on Barclay's Blue in content — a useful reminder that during the Star label; as Broven says, one good album 1920s a substantial number of second rank pianists were performing quite advanced and experimental would do him the world of good. Maybe music. this book will stimulate a revival of interest Most "prim itive" of the artists here is Mike in him, and in his fellow musicians, whose Bernard, with two well known recordings, the treatment, as says, is a national 1913 Tantalizing Tingles and 1918 Blaze Away. disgrace. Bernard, a white pianist, enjoyed huge popularity after winning a famous ragtime contest in 1900. Bryan Pickup His recordings indicate a style astonishingly like 's, although he recorded some (The above, though published belatedly, is years earlier than Jelly. If I remember, Jelly owned included as being the best review we've yet to being an admirer of Bernard. Interesting... seen of this book. — Ed.) Out of this fascinating collection of solos it is impossible to pick any as being better than the RAGTIME REVIEWS rest, although Willy White's 1924 waxing of Butter Scotch deserves special mention. Highly RAGTIME ENTERTAINMENT RBF 22 intriguing, too, is an untitled, undated test record This album contains transcriptions of 16 78s by an unknown pianist! dating from 1902 to 1922, and recorded by a wide variety o f artists and bands. A lm ost all are Folkways are to be congratulated on bringing this well w orth having; several are so rare and so superb collection together. Good liner notes, again by that each alone is worth more than the price of David Jasen. the LP. Ragtime Skedaddle, for instance — a Roger Millington piccolo solo recorded in 1902 by George Schwein- fest. There must be something special about the BLUES REVIEWS tonal quality of the piccolo, as the audio quality of this early recording is particularly good. K. C. DOUGLAS The Country Boy Another unconventional ragtime instrument, the Arhoolie LP 1073 mandolin, takes the solo role in Toots, a 1914 Fanny Lou/Hear Me Howling/Your Crying Won't recording by Dr. Clarence Penney. But collectors Make Me Stay/Country Girl/Black Cat Bone/Good of the unusual will reap their richest rewards from Looking Women//Woke Up This Morning/High a 1915 recording of The Georgia Grind, played Water Rising/Mercury Boogie/My Mind's Going on a street organ or hurdy-gurdy! This beautiful Back To 1929/Catfish Blues and haunting tune is the only known composition of an American negro called . Blues This album is divided between solo guitar (side one) and small band, both aided by the splendid historians who would like to hear a snatch of downhome harp of Richard Riggins. I prefer side early "jig chorus" singing should listen out for one, but I may be prejudiced. K. C. starts w ith an King Of The Bungaloos, one of the few recordings almost John Byrd guitar accompaniment, followed of this early form of . Gene Greene's by the very popular Howling Wolf Blues of Funny recording comes from 1917, though he also Paper Smith, very much "a fte r the manner o f". recorded it twice in 1911. Crying is a beautiful collection of traditional Other things worth noting; a nice xylophone solo verses, w ith John Hurt's ghost on guitar. Country on W illiam Elmer Coates' 1911 version o f Black Girl and Black Cat are familiar formats, but with & White Rag; good woodblock playing on a 1911 interesting lyrics and good harp/guitar interplay. Women is a Tommy Johnson styled piece of BIG JOE WILLIAMS Malvina My Sweet misogyny with an irresistible swing. Woman Oldie Blues OL2804 Woke Up is not the Elmore song, but comes across, Whistling Pine Blues/Mama Don't Allow No after a shaky start, very reminiscent of Boyd Doggin' All Night Long/Thousand Year Blues[1] / Gilmore, though less frantic. High Water is an She's Been Shaking A Little Boogie[1 ] /Strange excellently played Muddy Waters look-alike, with Girl Blues[2] /Early Morning Blues[2] /Shake A splendid lyrics on that frequent topic of Mississippi Little Boogie[3l /Early In The Morning[3] /New blues, flooding. Mercury was done definitively by Car Blues/Tailor Made Stomp//You Done Me K. C. and Sidney Maiden in 1948, and I see little Wrong/Black Rat Blues/Poor Beggar/Everyday point in issuing this inferior remake. 1929 is (on Brings Out A Change/Baby Don't You Wanna Go/ reflection) even better than anything on side one, Highway 61 Blues/Rooster Blues/Rollin' In Your a reflective, autobiographical number, with more Arms/You Are My Sunshine Muddy Waters guitar and highly original lyrics. Vocals; Tree Top Slim [1 ], Lee W ill lams [2 ], Harp Catfish...... again?? Blowing Sam (Fowler) [3]. Nothing tremendously original here; just good Big Joe Williams has been turning out fine blues singing, good playing and (mostly) good numbers. fo r 40 years, and these sides are no exception. Three out of 4 is good enough for me. Side one presents the rare 1951/52 Baul recordings, long awaited material that showcases Joe not Hugh Jampton only as a soloist but also as backup musician to several relatively unknown St. Louis artists. The Fuller's Blues second side is from a concert Joe gave in Holland Bluesmaker BM 3801 in 1973. Mercy, Mercy/Bad Luck Overtook Me/1009 Blues/ The album starts in great style with rousing Tin Pan Alley/Strange Land/You Got Me Whistling// performances of 2 classic numbers which get the But Bruce/Fool's Paradise/Crying Won't Make Me stomping feel of Big Joe at his best. His guitar is Stay/Hard Luck Blues/Miss You So/A Good Lett­ relentless, emphasising the beat, and perfectly ing Go complementing the fine harmonica of Sam Fowler with cutting bottleneck breaks. The rough, vibrant Johnny Fuller has had a very varied career, from sound is further enhanced by J. D. Short on wash- blues through to soul and gospel. tub bass. The Tree Top Slim (Willie Ealey) tracks Here, he is back with the blues, with support are very enjoyable, with good, well played material from the superb Philip Walker band. So good is much in the vein of early . Shaking the music that one wonders why he has not been sounds remarkably like Johnny B, Goode, and recorded more often as a bluesman. Comparing features Slim's honking piano and more fine Big these sides w ith those recorded fo r Bob Geddins Joe guitar. Lee Williams' sides show him to be a in the early fifties, his voice seems to have good vocalist, with an easy and original style, developed a greater richness, while his guitar particularly well evinced on the traditional Early playing has remained remarkably downhome, Morning Blues, with Joe's snapping guitar evidenced especially by the solo Crying Won’t Make Me Stay, and 1009 Blues with just guitar prominent, and good Sonny Boy styled harp and harp backing. Both numbers recapture the from Fowler. Fowler's vocal solos are a little sound of his fine 1954 Flair sides, w ith that easy, disappointing, and lacking in spark. As a backup relaxed West Coast/Texas style so similar in feeling player he is invariably good, but tends to be to Lowell Fulson's. monotonous as a front man. Big Joe winds up side one in great fashion w ith the driving guitar Fuller turns in a remarkably varied programme that has become his trademark, and Ealey's piano. with a wide variety of formats, ranging from full band, complete with horns, harp and Philip The concert material on side 2 brings us old Walker's magnificent, stinging guitar work, to just favourites together with some fairly unfamiliar harp or rhythm backing. His style runs the tracks. Egged on by an enthusiastic audience, the gamut from country bluesman on the tracks "O ld Pro" gets better as he goes on. He comes mentioned above, to urban bluesman on Bad over pretty menacingly on Black Rat, but it's a Luck Overtook Me, to blues shouter on Hard pity that the track is marred by an out of tune Luck Blues. He even turns in a quite successful and badly amplified guitar (a point that spoils pop-blues effort. You Got Me Whistling. These several other great performances). There are nice are all performed very well, and recreations of versions of Rooster and Rollin' In Your Arms, early fifties Geddins hits such as Tin Pan Alley with Joe singing strongly and pushing away on (Jimmy Wilson) and ' Strange Land his nine string. The Baul sides alone make this a are equally successful. pretty im portant release, and well worth the price. The recording quality is not outstanding, This incredibly varied set not only shows a wide but shouldn't deter purchasers. range and fle x ib ility on the part o f the artist, but also imagination on the part of producer Kevin Garry Bready Hall. Credit must also go to the Philip Walker Band for their fine, tight backing. This really is a MARTIN BOGAN & ARMSTRONG superb album in every way. Flying Fish 003 Let's Give A Party/Chinatown/Do You Call That Hugh Fleming A Buddy/They Cut Down The Old Pine Tree/If You'se A Viper/Sweetheart Of Sigma Chi//Blue is less interesting, though Hard really rocks. I Ridge Mountain Blues/Naggin' Woman/Mexicali particularly disliked Mellow, which (would you Rag/Nobody Knows You When You're Down And believe) is about a girl called Stella! This album Out/You'll Never Find Another Kanaka Like Me. can only be described as average; take a listen to Slim's recent Jewel and Bluesway efforts instead. This is not your average blues album, despite featuring three names that w ill be well known to Tony Travers country blues fans: Carl Martin, Howard (Louie Bluie) Armstrong and Ted Bogan, plus Howard's FRED McDOWELL Keep Your Lamp son Tom on bass. The range on this LP is extra­ Trimmed And Burning Arhoolie LP 1068 ordinarily wide, from blues and ragtime to hillbilly/ I Heard Somebody Calling/Amazing Grace/Where bluegrass and pop, I must adm it to being a nut Could I Go But To The Lord/Keep Your Lamp for string bands, and this is a nice example of the Trimmed And Burning/Bye And Bye/Dig My genre. The lineup is guitar, mandolin, violin and Grave With A Silver Spade//Don't Look For Me bass, and it's not made clear in the notes who plays On A Sunday/Good Morning Little Schoolgirl/ what at all times; discographers can worry, but Little Girl, Little Girl/Levee Camp Blues the rest o f us can sit back and enjoy it. Three previously unissued recordings from Fred Things start splendidly with Let's Give A Party, McDowell's first Arhoolie session (February, which is exactly the mood of the performance. 1964) are included in this beautifully produced Other especial delights are the fam iliar Viper, with tribute album, along with material from 1965 sparkling mandolin, the brief, but equally sparkling and 1969 sessions. Fred was such a magnificent Mexicali (better known as Dill Pickles), and musician and such a wonderful person that it's Kanaka, which is one of those "Hawaiian love still hard to accept that he is no longer with us. songs" which were at one time so popular. The The warmth of his personality comes through on bouncy playing on this and other tracks is rem­ every track of this varied LP. Calling and Grace iniscent of Broonzy and Weldon's 1935 Hokum come from a Berkeley concert and are introduced Boys items. by Fred. Lord and Lamp feature Annie Mae The h illb illy tracks are also splendidly played in McDowell and the Hunter's Chapel Singers. Bye thoroughly white style; less successful are the pop And Bye Is the song once recorded by Blind songs and, surprisingly, the blues numbers. Naggin' Willie Johnson. Dig My Grave, w ith Mike Russo Is roughly Cousin Joe's Beggin' Woman, and like playing second guitar, ends side one on a sombre Nobody Knows You (which has great new lyrics) note, Sunday, which Is long (nearly 7 minutes) and Do You Call That A Buddy, is a bit too and brilliant. Schoolgirl and Little Girl (a masterly funereally paced to succeed completely. China­ town is fun, complete with "Chinese" chorus and sobbing saxophone-toned violin, but Sigma Chi is pretty dire — a comic parody, but done too straight musically. Johnny Fuller Altogether, not a completely successful album; backed by but the musicianship is superlative and the range incredible. Recommended to all lovers of string Phillip Walker And His Band bands. Chris Smith Currently receiving high praise from SUNNYLAND SLIM Legacy Of The Blues collectors and critics alike is Johnny Volume II Sonet SNTP 671 Fuller's first ever LP, The record, "Fuller's Couldn't Find Me A Mule/Gonna Be My Baby/ Blues" contains 12 varied tracks ranging Woman I Ain't Gonna Drink No More Whiskey/ from the driving "Mercy Mercy" to the Days Of Old/She Got A Thing Goin' On//She's Lightnin' Hopkins style country blues So Mellow/Get Hip To Yourself/Bessie Mae/I Had It Hard/She Used To Love Me "1009 Blues", Sonet's "Legacy" series draws towards its end with a slightly below par solo album from Sunny- The record is available for Australian land. Mule is an interesting piece, almost out of $4, 50 from: the worksong idiom, but marred by nonrhyming stanzas. The pace is picked up w ith Baby, In the preamble to Whiskey he recalls having recorded Bluesmaker Records it in 1952, and indeed it is a theme he has used P. O, Box 88 more than once. Old is a reflective piece, as are La verton many of the others here, with Slim reaching back Victoria 3028 to describe rural black life over 50 years ago. Thing is a fine composition, though he has recorded Australia it more than once before, and it really comes across better w ith a small band. Nevertheless it Dealer enquiries welcome neatly illustrates Slim's views on women. Side 2 rendition of the I'll Overcome Someday theme) Johnson. Ninth Street Jive and Jam Session are are from the February, 1964 session, and feature from a date where the musicians were encouraged acoustic slide guitar. Levee Camp is a splendid to have a good tim e, and they succeed completely. example of the empathy between Fred and Rock Little Baby is possibly the outstanding harmonica player Johnny Woods, whose uncanny track, even in this distinguished company — ability to echo Fred's guitar made him the rock'n'roll in 1951, complete with amazing perfect foil. An LP that should be in every rockabilly guitarist. collection. There's more to the man than boogie, though. Bob Groom Some very fine, sensitive slow blues are included, influenced (as so often) by Leroy Carr and Big CECIL GANT Rock Little Baby Flyright Maceo. Blues In L. A. is particularly Maceo-like, LP 4710 and in no way inferior to that master's creations. Screwy Boogie/Train Time Blues/Blues In Los Train Time is similar in mood, with sensitive Angeles/Cecil Boogie No. 2/Playin' Myself The sidemen in attendance. Blues/What's On Your Worried Mind/Ninth Street One of the biggest stars has fin ally been given a Jive//Rock Little Baby/Boogie Blues/Sloppy Joe's/ decent run on LP. Consider the fact that Gant Owl Stew/I'm A Good Man, But A Poor Man/ apparently composed I'm A Good Man, But A Cecil's Jam Session/I Got A Gal Poor Man, picked up by city and country blues Cecil Gant, despite his tremendous popularity masters B. B. King and Skip James, On that with black audiences in the late forties, has always composition alone his reputation should have been very much a footnote in the standard been established long ago. H opefully, the long histories of the blues. The Gant form ula was to neglected Cecil Gant, "The G. l. Sing-sation", will couple a strong boogie with a sentimental blues- be a sing-sation once again — this time to the ballad, and I suspect that the Nat "King" Cole- white blues audience. ishness o f some of his balladry has caused the lack Chris Smith of response. Now the position is splendidly rectified by this release, covering virtually the whole o f Gant's career. JOHNNY WATSON Hot Guitar Black He is revealed as one hell of a boogie man on Diamond 4503 Too Tired/Someone Cares For Me/I Got Eyes// such tracks as Screwy Boogie, with its rocksteady left hand, and Cecil Boogie, which alludes to Oh B aby/D on't Touch Me/The Eagle Is Back Pinetop's and compares with the best of Pete Johnny "G uitar" Watson is mostly known as an

10 R & B artist, and that's why he was overlooked instrumentals, Georgia Camp Meeting and Blues by blues lovers. However, his early work was very In A, are full of originality and the always bluesy, and deserved to be in Blues Records impressive Davis runs, but marred a little by the 1943-66 (and will be in the new edition). John recording quality. The harmonica solo Fox Chase Harmer and Frank Scott here give us an opportun­ (over 6 minutes) drives as much as ever, and no ity to discover this side of Watson's music. one plays harp quite like the Reverend! The final track shows us some of the Reverend's humour I Got Eyes was recorded in L. A. on May 29th when he imitates crying. 1953, and first issued as Federal 12143. It is a fantastic boogie number, with pianist Milt E. All in all, a pleasant album, and very desirable for Bradford stealing the show, punctuating Johnny's the many Davis fanatics, but not an album on singing with rocking piano a la Camille Howard. which to start a collection of his work. It should The four numbers around it were recorded be of interest to all guitar students. The sleeve c. 1954-56 w ith a small band, and issued on RPM. notes are a conversation with the Reverend about Too Tired is a rocking blues on which Johnny his playing, etc., and good reading. shows how he got his nickname, and Don't Robert Tilling Touch Me is still better, a great blues. Someone Cares For Me is a slow blues w ith a fine virtuoso JIMMY WALKER AND ERWIN HELFER guitar solo. Oh Baby is perhaps the weakest spot, and the last number, recorded c. 1958-60 and Blues And Boogie-Woogie Piano Duets And issued on Escort 106, is more in the commercial Solos Flying Fish 001 R & B vein. Dirty Dozen/Within/Sneaky Pete/J. W. Boogie/ Why Don't You Hurry Home? /Rodez Stomp/Day All in all, one of the best selections of early Dreaming//Give Me 10^ Worth Of Love/Mr. Watson work that could be made, and ample Freddie/Pinetop's Boogie/Sweet Patootie/Getting demonstration of what a great blues guitarist Out Of Town/Come In Here Baby/Boogie With he was. I have less liking fo r his vocals, but the Alvino guitar work and some great songs make this worth hunting for. White pianist Erwin Heifer's style is more con­ temporary and more complex than Jimmy Bob Sacre Walker's straightforward, rather heavy, but more genuinely rolling sound. For example compare REV. GARY DAVIS Let Us Get Together Jimmy's performance of the classic Pinetop's Kicking Mule 103 Boogie, or Sweet Patootie, or his own Memphis Oh Glory, How Happy I Am/Cocaine Blues/Death Slim influenced Come In Here Baby, with the D on't Have No M ercy/Let Us Get Together/There's more involved performances by Heifer on Within Destruction In The Land//Tired, My Soul Needs and Rodez Stomp. I am not decrying Heifer's Restin’/Georgia Camp Meeting/Blues In A/Fox efforts — he is an accomplished pianist and an Chase/You're Goin' Quit Me Baby obvious enthusiast — but I prefer his performances There are at present 9 readily available albums as lead pianist in the duets, where Walker lays by the Reverend, and although on this release we down a solid rhythmic base and Heifer elaborates hear his usual mastery, it does not tell us anything over it. Particularly strong in this respect are Give new. It is an interesting album, with one or two Me 10^ Worth Of Love and the improvised songs that are no longer available elsewhere, but Boogie With Alvino (Bennett, who plays drums none o f the tracks are anywhere near his best. on side 2; Sam Lay appears on side one). This is good Davis, though, (was he ever bad? l), The performances are taken from live sessions at and an interesting m ixture o f blues, gospel, the Quiet Knight in Chicago, where the audience harmonica and guitar instrumentals. were obviously appreciative, and from studio Side one opens w ith one of his favourite songs, sessions. The recording quality and pressing are follow ed by his famous Cocaine Blues, here sung excellent, and the album presents an interesting and played right through, unlike previous insight into contemporary American blues — recordings which were only partly sung, or certainly worth investigating. purely instrumental. For me one of the highlights Martin Cowlyn of the album is Death D on't Have No Mercy, a beautiful rendition: the guitar break is among his MA RAINEY Milestone M47021 best! Let Us Get Together was one of Gary's Jealous Hearted Blues/See See Rider Blues/Jelly concert favourites, and he often had the audience Bean Blues/Countin' The Blues/Slave To The singing along, but it does not have the same Blues/Chain Gang Blues/Bessemer Bound Blues/ impact as a solo. It is good to hear There's Wringin' And Twistin' Blues//Mountain Jack Destruction In The Land, lyrically one of his Blues/Trust No Man/Morning Hour Blues/Dead most moving compositions. Drunk Blues/Blues Oh Blues/Gone Daddy Blues/ The other highlight opens side 2, when the Oh Papa Blues/Slow Driving Moan//Ma Rainey's Reverend plays behind a lady singer, whose name Black Bottom/New Boweavil Blues/Moonshine is not given, but who I suspect is one of the Blues/Black Cat, Hoot Owl Blues/Hear Me Talking Davis's friends from their chapel. Gary's fine To You/Prove It On Me Blues/Victim Of The playing well complements the strength and Blues/Deep Moanin' Blues//Sleep Talkin' Blues/ conviction of the lady's singing. The two guitar Tough Luck Blues/Blame It On The Blues/Daddy, 11 Goodbye Blues/Sweet Rough Man/Black Eye THE LATE BILL WILLIAMS Blues, Rags Blues/Leavin' This M ornin'/Runaway Blues And Ballads Blue Goose 2013 This is one of those disappointing records which Salty Dog/Corn Liquor Blues/Listen To The are often released by companies w ith legitimate Mockingbird/Make Me A Pallet On The Floor/ rights. A t 12½p a track, it is superficially a bargain: That's The Human Thing To Do/Bubblegum// but every single track has been available on the Darktown Strutter's Ball/Nobody's Business/ 4 previous Milestone Rainey LPs, and the claim Buckdance/Some Of These Days/Blake's Rag/ that Ma's finest work is included falls down because Railroad Bill/When The Roses Bloom Again there is nothing from the first session which, fo r Bill Williams was one of the tru ly great songsters, me, was the greatest of all. On the other hand drawing his material from a wide variety of conflict is tacitly avoided with the Biograph LP sources: blues, rags, country dance tunes, even pop of the first 16 sides. Among the later sides the standards were performed with great skill and choice is more representative, although Weepin' originality. Woman Blues, Yonder Come The Blues and Stack O'Lee are surprising omissions. Salty Dog is, for the most part, a hackneyed tune, but Bill injects new life into a worn theme, drawing In spite of these drawbacks, the sheer quality of on Blind Boy Fuller for several o f the verses, and the music conquers even Paramount's pet hurricane. reworking the guitar part into a masterpiece of Ma was undoubtedly the greatest of the female improvisation. Make Me A Pallet and Nobody's country blues singers. She was also very lucky w ith Business are in some ways similar to the John her accompanists — Armstrong on the first 3 and Hurt/Frank Stokes versions, and are equally Tampa Red on the last 8 are a real joy, although enjoyable, the playing having a direct and basic Coleman Hawkins' bass sax gets on my nerves. A quality. Of all the guitar pieces featured. Mocking­ set to approach w ith caution. bird ranks as the most outstanding. It is a fiendishly Bryan Pickup difficult adaptation of a fiddle tune, and shows ESTHER MAE SCOTT Mama A in't o ff Bill's guitar prowess to the fu ll. The sleeve Nobody's Fool Bomp 1 notes state Bubblegum and Blake's Rag are evocations of unrecorded Blake themes, but in Gulf Coast Blues/Golden Bells/Can't Buy Me any case they both stand well on their own merit. Love/Mama Ain't Nobody's Fool/I'm Walkin'/ Come To Me/God Called Adam/T For Texas/ Darktown Strutter's is a catchy version of the Black Jesus: Alleluia pop standard, with more stunning guitar and some goodtime vocals. Nice versions of the evergreens This is an amazing album by a Mississippi born Railroad Bill and Buckdance are both given a Negress who was 78 when these recordings were slightly more raggy feel than usual. One of my made. Esther Mae Scott may be an old lady, but favourite tracks is the humourous prohibition her vocal performances have a strength and fresh­ ballad When The Roses Bloom Again. Unlike the ness which belie her years, and she displays majority of Bill's material, the guitar part is considerable versatility in this programme of played down: just a basic A. P. Carter styled pick, blues, spirituals, popular songs (she successfully tackles ' Can't Buy Me Love and the with the emphasis on the vocal line. Fats Domino/Ricky Nelson hit I'm Walkin') and A ll in all, this is a really fine release: the sound even a Jim m y Rodgers blue yodel, T For Texas, quality is good and the material varied. As the which was recorded at a Washington D. C. club. first of two planned memorial albums, it is a fine Gulf Coast is a vintage performance which reminds and fitting tribute to an outstanding artist. us that Miss Scott was a contemporary of Bessie Smith and Ma Rainey and worked with them for Garry Bready a short period when she was with the Rabbit Foot BLIND BLAKE That Lovin' I Crave Minstrels. For many years she has been active in Whoopee 101 religion and civil rights, and her personal affirm ­ Sweet Jivin' Mama/Keep It Home/Baby Lou Blues/ ation of faith shines through in Golden Bells and Cold Love Blues/Tootie Blues/That Lovin I Crave/ the long and beautiful final track, which begins Lonesome Christmas/Third Degree Blues//Diddie with the moving anti-discrimination Black Jesus Wa Diddie No. 2/Hard Pushing Papa/Ice Man Blues/ and concludes with the traditional When I Lay Chump Man Blues/What A Lowdown Place The My Burden Down, complete with supporting Jailhouse Is/Ain't Gonna Do That No More/Steel chorus who provide the long fadeout. Mill Blues/I Was Afraid Of That Part 2 The title track is a potent blues performance This collection of mainly rare sides deserves the which would do credit to a singer half her age. attention even of those possessing the 4 Biograph Her voice dominates despite the powerful under­ LPs. Only Sweet Jivin' Mama and Chump Man lay of electric guitars, bass and percussion. Come have previously been reissued (Yazoo L-1040), To Me features fiddle accompaniment by Vassar and with the appearance of this album there are Clements, one of the musicians who provide the now only 6 issued songs awaiting reissue. The modern sounds Esther wanted on this record. mastering varies considerably at times, and on (She plays acoustic guitar on Gulf Coast, and Hard Pushing Papa the sound level drops suddenly, this is the sole accompaniment on T For Texas. ) though this could be due to the state of the An LP fu ll o f pleasant surprises. original. Lonesome Christmas benefits from the Bob Groom piano of Tiny Parham, as does the reverse. Third 12 AVGARDE Gallery Ltd JAZZ BLUES FOLK 41 KING STREET WEST MANCHESTER 3 061-834 2178

FINE SOUND EQUIPMENT

AND RECORDS

Degree. Both are concerned w ith experiences in singing. Despite the material, however, Edith jail. Diddie Wa Diddie, as might be expected, is manages to bring a certain power and conviction similar to Blake's version of the previous year. to all the songs, and the more obviously blues Tootie Blues is Sweet Petunia, recorded before numbers like Wicked Blues, What Do You Care Curley Weaver's more famous version. and Evil Blues are excellent. Dixie, from the final The standout track is without doubt Chump Man, session, is particularly interesting, as it includes with fine lyrics and excellent guitar. Blake's some early use o f the voice as an instrument. trium ph vocally is to project such a casual attitude Johnny Dunn was an individual, b ut rather dated, that you know he is hiding his true feelings. Also cornet stylist. He favoured some peculiarly stiff notable lyrically is Ice Man Blues. Cold Love bears runs, especially in the earlier records, but can be no relation to the Gabriel Brown classic, but is an heard taking fairly strong solos on Take It, Rules interesting piece, with lovely chiming guitar. On And Regulations, What Do You Care and Evil most selections here Blake plays excellent guitar, Blues — the latter one of the best tracks, with double time passages and all. Considering the Edith, Dunn and the Jazz Hounds all superb. high price (£2. 95) o f this LP, I cannot give it a wholehearted recommendation, but the wealthy The best sideman is Herb Fleming, who makes his record buyer and the Blind Blake freak will be gutsy trombone felt on Old Time Blues and delighted by it. Frankie: although Earl Grandstaff, a relatively unknown musician, hardly lets the side down Tony Travers when he deputises fo r Herb on Wicked Blues. Technically, this album maintains the outstanding EDITH WILSON 1921-1922 quality of Fountain's Ida Cox album, proving Fountain FB 302 conclusively that it is possible to present vintage Nervous Blues/Vampin' Liza Jane/Old Time Blues/ material to a standard acceptable to today's ears: Frankie/I Don't Want Nobody Blues/West Texas and the comprehensive discography, notes and Blues/Wicked Blues/Birmingham Blues/Mammy, photographs add to one's enjoyment. I'm Thinking Of You//Take It Cause It's A ll Yours/ He May Be Your Man/Rules And Regulations Martin Cowlyn "Signed Razor Jim"/Lonesome Mama Blues/What Do You Care/Evil Blues/Pensacola Blues/Dixie PEE WEE CRAYTON Running Wild Blues/He Used To Be Your Man But He's My Man Black Diamond 4504 Now Running Wild/I Got News For You/A Frosty Night//You Know Yeah/The Telephone Is Ringing/ Edith Wilson was only 15 when she was backed Eyes Full Of Tears by Johnny Dunn's Original Jazz Hounds on her first recording, Nervous Blues, which was sufficiently Pee Wee Crayton is a great guitarist, too long successful fo r Columbia to record another 17 sides neglected. His output since 1947 has been consid­ in the next 12 months. A ll these are collected erable, but until now his work has been unreissued. here in chronological order, enabling one to Maybe his new LP on Blues Spectrum w ill prom pt analyse the development of both Edith and the a reissue programme? Jazz Hounds. Four of these titles are from Imperial, and were Nervous Blues, like many other socalled blues recorded in New Orleans in 1954-55, probably (including many in this collection) is really a with Dave Bartholomew's band — hence the strong vaudeville song, as is Vam pin' Liza Jane. West N. O. R & B feel. Of these tracks. You Know Yeah Texas Blues, too, reveals itself in its opening line: and Running Wild are solid, fast, rocking numbers, Honey won't you come and listen to this ragtime while Eyes Full Of Tears shows Pee Wee in a very melody: and Mammy, I'm Thinking, with tear- sentimental mood: this is more ballad than blues, jerking violin, relates only remotely to blues but a very good guitar solo saves it. I Got News 13 For You is the best selection, with stunning guitar work and an unobtrusive but effective horn section. JOHN STIFF The remaining 2 items were recorded in Chicago 14 Foxgrove Lane, Felixstowe in 1956, and issued on Vee Jay 214. A Frosty Suffolk, England. Night is a fine instrumental, with excellent solos from the pianist and sax men as well as Pee Wee, Good Deals For The Collector: — and solid support from the rhythm section. Telephone Is Ringing is another high spot, thanks to Pee Wee's voice and guitar and great piano Any 3 items on work from Horace Palm. CHICAGO PIANO/PHONOJAZZ A valuable reissue, which could fill an im portant GANNET gap in your collection. COLLECTORS ITEMS/WHOOPEE Bob Sacre for £7. 50 SONNY BOY WILLIAMSON King Biscuit Time Arhoolie LP 2020 Any 3 items on BOISEC La Musique Creole Arhoolie BIOGRAPH/BLUE GOOSE LP1070 HISTORICAL/HERWIN/YAZOO FOLKSONGS OF THE LOUISIANA OLDIE BLUES/ARHOOLIE ACADIANS VOL. 2 Arhoolie LP 5015 BLUES CLASSICS TRIO SAN ANTONIO Viva El West Side! for £7.80 Arhoolie LP 3004 These are all slightly "frin g e " to us, so space Any 3 items on regrettably does not permit track listings or detailed reviews. Nevertheless, all readers should RED LIGHTNIN' be aware of their existence and importance. SYNDICATE CHAPTER/77 The Williamson is his Trum pet sides, form erly on for £6. 45 Blues Classics, now remade from masters leased from Mrs. McMurry. As a result, they sound even better. If you haven't got 'em, get 'em. How can Any 3 items on you live without Mighty Long Time, to mention VJM LC SERIES but one o f the 16 masterpieces here? SAYDISC LP SERIES Boisec Ardoin and his family and Canray Fontenot for £6. 00 (and his fam ily, not featured) are the leading exponents of black cajun styles (as opposed to zydeco), and La Musique Creole is an impeccably Any 3 items on produced sample of their art. Particularly interest­ FOUNTAIN/BLUES BEACON ing are Home Sweet Home (which really is the music hall tear jerker!) and Le Boss, Morris FLYRIGHT Ardoin's funky improvisation about not getting for £6. 30 a raise that morning. T ypically excellent fiddle and accordion, and characteristically constricted vocals. Any 3 items on Side 2 of Folksongs (Oster recordings) was once BLACK & BLUE/AMERICA part of Cajun Folk Music (Prestige 25015), and DELMARK/STORYVILLE features Milton Molitor (accordion and vocals), VJM VLP SERIES Austin Pitre (fiddle and vocals) and guitarist Lurlin Lejune. Side one appears for the first time, for £7. 20 and is devoted to fiddler Wallace "Cheese" Reed and friends. Reed is a really excellent musician POSTAGE - All prices quoted are post in the old string band tradition. Recommended free in UK. Overseas write first and we to cajun fans. shall advise total cost (enclose IRC). Finally, an album of Norteño (Tex-Mex) music, All offers subject to availability from which combines Mexican duet singing with suppliers. All prices are fo r single LPs, German accordion styles (and note the bajo sexto playing "oom-pah-pah" on Yo Me Enamore!). double albums = 2 selections. All prices A fascinating and important set, beautifully played, current at time of advert but subject to and deserving high sales. Take a listen if your alteration. All payments in Sterling interest is in all forms of US folk music. to JOHN STIFF please. Chris Smith 14 Classified Advertisements Articles Wanted, Contact — 15p per insertion (2 IRCs) Records For Sale, Publications — 5p per word Display Rate — £1. 20 per single column centimetre

INFORMATION REQUIRED CONTACT Anybody who knows how to get photographs of Mississippi John CHANGE OF ADDRESS Nicholas Get your kicks from Mr. R & B Holt has moved to 7 Lichfield Hurt, Cripple Clarence Lofton, 500 different LPs always in House, Bishops Walk, Aylesbury, Billiken Johnson and Reverend stock. Best o f post-war blues, Bucks. HP21 7LE. A yl. 81206. Louis Overstreet or literature R & B, Doo Wop, Rockabilly WISH TO GET IN TOUCH with about them. Please contact Joseph and mid-sixties soul. 45s and amateurs w ith large BLU E S and/or van Helt, 29 Oldenburg, Nedder- 78s also. Many cut outs, GOSPEL record collection with a end 50, W. Germany. deletions, rare ones. 1 IRC to view to tape swapping. I'm also Jonas "Mr. R & B" Bernholm, WANTED Old and new issues from looking for unissued concerts, pri­ Halsingegatan 14A, 11323 Downbeat, Jazz Forum, BU, Jazz vate parties, studio sessions (radio, Stockholm, Sweden. Monthly, Matrix, Collecta, RSVP, TV) and the like... taped copies. Coda, Jazz Digest, Disco Forum, Contact Bo Sacre, 16 Avenue Phonograph, Record Finder, Rec­ Observatoire, B-4000 Liege, ord Mirror, Fusion, Record Ex­ Belgium. changer, Creem, , CONTACT Winifried Freyer ARTICLES WANTED Living Blues and many other Jazz, would like to hear from you at Pop and Blues magazines fo r 6906 Kahla, Friedends tr. 14, East study. I pay your price! Contact Germany (GDR). FOR TRADE Sealed copy of Jürgen Jahreis, 8580 Bayreuth 14 Verve LP VPM-1 (Babe Stovall). 1/2, West Germany. RECORDS FOR SALE NEED LPs Cook 5002 (K. C. Douglas): Vulcan 2502 (Robert FOR DISPOSAL 1) 5 Herwin 78s McCoy): Okeh 12103 (Jack PUBLICATIONS issued by B. K latzko:- Skip James Dupree): King 684 (Gatemouth SHOUT The longest established (2), Son House/Willie Brown/ Moore): King 762 (Freddie King): R & B/R & R specialist magazine, Bukka White. 2) German Bruns­ Kokomo 1003 (Buddy Moss): featuring session discographies, wick 004-626 Kokomo Arnold — Score 4022 (L. Hopkins): Stax label listings and in-depth inter­ very rare. Offers to Terry Sutton, 702 (G. Cannon): Phillips Int. views on postwar R & B, 50s R & R 1 Blackberry Way, Sands Lane, 1975 (Frank Frost). Offers, and contemporary soul artists and Lowestoft, Suffolk. enquiries, lists to: Cliff Warnken, their music. Plus record, concert AUCTION of Pre and Postwar 1005 N. Grove, A-8, Bowling and book reviews and R & B 78s, post-war 45s and ephemera. Green, Ohio 43402, USA. ephemera. 25p 5’/2p post. 6 issues Everything from Bukka White on WANTED Any information con­ £1. 45, 12 issues £2. 80. 78, L. Walter "Chance", Willie cerning Mississippi John Hurt Nix "Sabre" and "Checker" to including rare tapes, photos, inter­ BLUES-LINK Back issues are Elmore James Ace 45 & Horton views or magazine articles. Contact available at 25p + 5p postage. "Sun" 45. Send 3 Reply Coupons Alan Carpenter, 5 Clifts Buildings, BRITISH LONDON-AMERICAN or 3 US 10^ stamps fo r lists to Frome, Somerset, BA11 1 LY, UK. Label Listings. Part 1 — LPs from John Harmer, Box T, Altadena, W ANTED Memphis Slim LPs as 1951-62, Part 2 - LPs from 1962- Ca. 91001, USA. W ill trade, send follows: - Bluesville BVLP 1018/ 74, Part 3 - 78s/45s from 1949- disposal & want lists please also. BVLP 1031 or Fontana 688- 74, Part 4 - EPs/Coral etc. LP FOR SALE Thousands of early 302ZL. Contact B ill Pearson, 11 listings include year and month of obscure Blues, Gospel, Rockabilly, The Gables, Haddenham, Bucks. issue, US label and no., full track Rhythm & Blues, Rock & Roll, W ANTED 45s must be in good listings. Part 1 and 2 - 75p 10p Soul, Jazz — 45s, 78s, LPs. Mike condition: - Guitar Geble Excello postage each. Part 3 and 4 — 85p Valle, P.O. Box 538V, Springfield, 21 53, anything by Johnny Fuller, + 10p postage each. Record Virginia 22150, USA. Prof. Longhair, Bobby Charles, Information Services, 31 Holbeach BEST OFFER secures for the Cookie/Shelton/Betty Cups/Cup Road, London SE6. follow ing new LPs. Beale Street Cakes etc. Lists welcome. Rod Mess Around — Revival, George Patton, 62 Kedleston Street, BLUES WORLD Back issues 25 to Henry Bussey/Jim Bunkley — Derby DEI 3SK. 41 at 25p each and no. 50 at 15p Revival, Romance In The Dark by WANTED Early B. B. King mat­ from 22 Manor Crescent, Knuts- Lil Green — RCA, Recording The erial on Kent label. Also B. B. King ford, Cheshire WA16 8DL. Issues Blues — CBS, John The Revelator Story Vol. II, Blue Horizon 42 to 45 at 25p each and 46/9 by Son House — Liberty, Louisiana 7-63226 and Take A Swing With (double issue) at 50p from Amon- Red Sings The Blues - Avco, Me, Blue Horizon 2431 004. All Ra Fine Art Ltd., Meeting House, Mississippi Fred McDowell Live in letters answered, your price paid. Frenchay, Bristol BS16 1NT, UK. London Vol. I & II - Xtra. Mike Contact Peter Fletcher, 37 Cam­ Full set of back issues (25-50) fo r Black c/o P. O. Box 152, Barnet, bridge Drive, Blackburn, Lancs £5 (SI 5) from either address. A ll Herts. EN5 4HU, UK. BB1 2DG, UK. prices include postage. 15 BLUES GOSPEL CAJUN BLUEGRASS OLD TIMEY 5 0 'S ROCK & ROLL ENGLISH FOLK AMERICAN FOLK

It you want the finest selection of blues records on album, 45 or 78’s, you will lind them in our giant 100 page catalog listing thousands of items. Send $1. 00 or 7 International Reply Coupons to receive this catalog plus regular supplements for the next twelve months. In addition to an unparalleled selection, we also give you the fastest and most efficient service. A selection of some new and recent acquisitions is presented below.

50’s ROCK ‘N’ ROLL AND ROCK-A-BILLY AUCTION

Sun 6467 025. 027. 028 SU N R O C K A B ILLY S Vols. 1, 2, 3 • Fabulous We are featuring regular auctions of blues, country and gospel on 45 and reissues of classic rock-a-billy from Sun - many rare and unissued 78. See our new Supplement (#15) for more great auction items. sides - now deleted • get 'em while we still have stock • im p o rt...... each $5. 75 NEW U. S. ISSUES B rookvllle 311 ELV IS P R ESLEY : The Hillbilly Cat • Includes 1956 Ed Sullivan sh o w s...... $6. 50 Advent 2805 SO RR O W C O M E P A S S M E ARO U N D • Fabulous field Bopcat 200 W E W A N N A BO OG IE • Rare and unissued rock-a-billy from recordings from David Evans of rural black religious music • Blind Pete the 50’s • Sonny Burgess. Jack Earl es, etc...... $6. 50 Burrell. Annie Mae Jones, Furry Lewis, etc ...... $4. 50 Collector: All items on this Dutch reissue label now available • some fine Alligator 4705 • Somebody Loan Me a Dime • Fine rock-a-billy and 50’s rock ‘n’ roll...... each $5. 75 new recordings by one of the best modern style bluesmen around • Star 312 C H A RLIE FE A T H E R S - 22 tracks! • all his recordings except his ‘The Getaway', 'Going to Chicago', etc ...... $5. 00 King sides • some classic rock-a-billy...... $5. 75 Arhoolie 1073 K. C. DO U G LAS • The Country Boy • Nice new sides with Bopcat 100 GOOD R O C KIN ' TONIGHT • Incredible albums with unissued hca by Richard Riggen s...... $5. 00 Elvis plus alternate cuts by Jerry Lee, Warren Smith, Billy Barrelhouse BH 04 CH ICAG O BO OG IE • Legendary 1947 recordings cut R i l e y ...... $6. 50 on Maxwell Street • mostly unissued - Jimmy Rogers. Little Walter, Othum Brown. Johnny Young, Johnny Williams, John Estes. BLUEGRASS, COUNTRY etc...... $4. 50 Blue Goose 2013 BILL WILLIAMS - Blues. Rags and Ballads • Fine East Our 44 page catalog of bluegrass. old time country music, and traditional Coast country bluesman and songster ...... $4. 50 American folk music is now ready with details of over 1000 albums. Send Bluesway 8075 JO HN NY YOUNG • I Can't Keep My Foot From Jumping • $1. 00 or 7 IR S 's for a copy and twelve months worth of supplements. with Louis Myers, etc...... $4. 00 New additions listed in our regular supplements. Boogie Woogie 1002 M EAD E LUX LEW IS • Classic early sides • 'Honkey Tonk Train Blues', ‘M essin' Around’, etc...... $4. 50 WE ALSO CARRY AN UNPARALLELED Delmark 635 JUNIOR W ELLS -On Top • New recordings with A. C. Reed, SELECTION OF EUROPEAN IMPORTS ‘Big Moose' Walker, Phillip Guy. Sammy Lawhorn ...... $5. 00 Euphonic 1208 CRIPPLE CLARENCE LOFTON/MEADE LUX LEWIS - Barclay 920. 411 C LA R EN C E ‘GATEMOUTH’ BROW N • The Drifter Rides Previously unissued sides...... $4. 50 Again’ • Recorded in France and Memphis. Tenn. • ‘Jelly. Herwin 208 CANNON’S JUG STOMPERS • Double album • the blues Jelly’ ...... $6. 50 release of 1974 • all 35 great Jug Stompers and Banjo Joe sides in Munich/Big Bear 150. 202 AM ER ICA N BLU ES LEGENDS. 1974 • chronological order • beautiful sound • detailed notes with full lyric Recorded live • Eddie Taylor, Doctor Ross. Cousin Joe, Big John transcripts...... ^...... $9. 50 Wrencher. etc...... $5. 75 Muskadine 103 ALLA B LU E S - Great reissue of fine and rare country Black & Blue 33. 504 JIM M Y RO G ER S • ‘That’s Alright' • Recorded In blues from California, 1947-1954 - Ernest Lewis, Lowell Fulson, R. France with the Aces • ‘Sloppy Drunk’, etc...... $5. 75 Green & Turner. Black Diamond, etc ...... $4. 50 Flyright 512 HIGH W ATER BLU ES - Country blues from La. and Miss. Yazoo 1045 ST RING RAG T IM E - Ragtime on guitar, banjo, mandolin and recorded by David Evans • Isaiah Chatman, etc...... $5. 75 harp (not harmonica!! )...... $4. 50 Flyright 4710 C EC IL G A N T : Rock Little Baby • Long due reissue of fine boogie and blues piano player...... $5. 75 ENGLISH FOLK MUSIC Gannet 5137 JIM M Y YA N C EY/C R IPPLE C LA R E N C E LOFTON • Fine 1943 Solo Art sides • 'I Received a Letter*, etc...... $5. 75 We are now carrying extensive stocks of English. Irish and Scottish folk M & M 101 LITTLE HATCHETT BAND • Down home blues band from music on all the important labels - Topic. Leader, Trailer. Transatlantic, Kansas C ity - hca, gtr. organ, drum s...... $8. 50 XTRA. Claddagh. Outlet. Tara. Argo. etc. We have everything by Planxty, M unich/Big Bear 150. 203 EDD IE TAYLOR • ‘Ready for Eddie' - Recorded Steeleye Span. Tim Hart and Maddy Prior, etc. Catalog in preparation - in Europe, 1974...... $5. 75 see our latest supplement for preliminary listings. Roots RSF 2 LEGENDARY SESSIONS. MEMPHIS STYLE. 1929*1939 • Great sides - Kid Bailey, Garfield Akers. Joe Calicott, etc...... $5. 75 BOOKS Sonet 5018 S M O K E Y HOGG - 'You Better Watch That Jive’ - Reissue of Specialty sid e s...... $5. 75 W ALKIN G TO NEW O R L E A N S by John Broven - Definitive survey of post Texas Blues Piano T BP 1 SA N T A FE B LU ES • Great pre war sides • war blues and R & B In New Orleans - much new material. Pinetop Burkes. Rob Cooper, Son Becky, etc...... $5. 75 Paperback $6 00: Hardback $9. 50 W hoopie 101 BLIN D BLAKE, 1927-30 • 16 very rare sides not previously RO BER T J O H N SO N by Sam Charters • Includes lyrics and m usic of all of on album ...... $7. 50 Johnson's so ngs - $3. 95 Xtra 1142 JO HN NY SH IN E S • 'Country Blues' • Recent sides - some with SU N S E S S IO N FILES. Vol. 1 Jerry Lee Lewis and Billy Roy - Rockabilly rhythm section • the rest so lo ...... $4. 60 discography - $2. 25

RETAIL STORE POSTAGE. PACKING AND INSURANCE If you're in the area, visit us at our retail store at 44 North Lake, W ITHIN U. S. A.; $0 70 first album. $0. 05 each additional album; Outside Pasadena. California 91101 • 213/795-1091 U. S. A.: $1 40 first two albums. $1 70 first three or four albums. $0. 50 each additional two albums; lnsurance: $0 50 extra.