MATCHBOX BLUESMASTER SERIES: SET 1: MSESET1 (6 albums) MSE 201 COUNTRY BLUES Ð THE 1st GENERATION (1927) Series Editor: Johnny Parth MSE 202 BUDDY BOY HAWKINS (1927-29) Notes: Paul Oliver MSE 203 BO WEAVIL JACKSON (1926) Produced by: Gef Lucena MSE 204 RAGTlME BLUES GUITAR (1928-30) Remastering from 78s: Hans Klement, Austrophon Studios, Vienna MSE 205 PEG LEG HOWELL (1928-29) MSE 206 TEXAS ALEXANDER VOL. 1 (1927-28) Digitising from vinyl: Norman White MATCHBOX BLUESMASTER SERIES: SET 3: MSESET3 (6 albums) MSE 213 MEMPHIS HARMONICA KINGS (1929-30) Original recordings from the collections of MSE 214 TEXAS ALEXANDER VOL. 2 (1928-29) Werner Benecke, Joe Bussard, Johnny Parth, Guido van Rijn, MSE 215 RAMBLIN' THOMAS (1928-32) MSE 216 COUNTRY GIRLS (1926-29) Bernd Kuefferle, Hans Maitner MSE 217 RUFUS & BEN QUILLIAN (1929-31) MSE 218 DE FORD BAILEY & BERT BILBRO (1927-31) With thanks to Mark Jones of Bristol Folk Publications for the loan of MATCHBOX BLUESMASTER SERIES: SET 4: MSESET4 (6 albums) MSE 219 JULIUS DANIELS Ð LIL McCLlNTOCK (1927-30) vinyl LP copies of the original re-issue series MSE 220 TEXAS ALEXANDER VOL. 3 (1929-30) MSE 221 PEG LEG HOWELL (1926-27) Sleeve Design: Bob Doling/Genny Lucena MSE 222 SANCTIFIED JUG BANDS (1928-30) MSE 223 ST. LOUIS BESSlE (1927-30) MSE 224 TEXAS ALEXANDER VOL. 4 (1934-50) Discographical details from Blues and Gospel Records 1902-1942 MATCHBOX BLUESMASTER SERIES: SET 5: MSESET5 (6 albums) by John Godrich and Robert Dixon MSE 1001 BLIND LEMON JEFFERSON (1926-29) MSE 1002 FRANK STOKES (1927-29) Considering the extreme rarity of the original 78s, condition is generally MSE 1003 BLIND BLAKE (1926-29) MSE 1004 BIG BILL BROONZY (1927-32) better than might be expected, but it must be borne in mind that only MSE 1005 MISSISSIPPI SHEIKS VOL. 1 (1930) one or two copies are known to exist of some titles (marked *) MSE 1006 LONNIE JOHNSON VOL. 1 (1926-28) MATCHBOX BLUESMASTER SERIES: SET 6: MSESET6 (6 albums) MATCHBOX BLUESMASTER SERIES MSE 1007 PAPA CHARLIE JACKSON (1924-29) MSE 1008 MEMPHIS JUG BAND (1927-34) IS A DIVISION OF SAYDISC RECORDS MSE 1009 BARBECUE BOB (1927-30) The Barton, Inglestone Common MSE 1010 LEECAN & COOKSEY (1926-27) Badminton, S Glos, GL9 1BX, England MSE 1011 ROOSEVELT SYKES (1929- 34) MSE 1012 MISSISSIPPI SHEIKS VOL. 2 (1930-34) www.saydisc.com MATCHBOX BLUESMASTER SERIES: SET 7: MSESET7 (6 albums) MSE 1013 LONNIE JOHNSON VOL. 2 (1927-32) MSE 1014 THE FAMOUS HOKUM BOYS (1930-31) MSEX 2001/2002 SONGSTERS AND SANTS VOL. 1 (1925-31) MSEX 2003/2004 SONGSTERS AND SAINTS VOL. 2 (1925-31)

2 31 looks like a duck, quacks like a duck, laugh and exaggerated hoot sounds Matchbox Bluesmaster Series it must be a duck", while Ugly Papa distinctly chauvinistic. is a version of It Won't Be Long, a Barbecue Bob died suddenly of The 42 albums that make up the iconic Matchbox Bluesmaster Series was medicine show standard. If It Looks pneumonia in 1930, and his loss released by Saydisc Records between Nov 1982 and June 1988. Most of the Like Jelly is of course, a sexual deeply affected Charley. He became albums were subtitled “Complete Recordings in Chronological Order” with a inuendo, and so is Doodle Hole notorious for his drinking and his few under the subtitle “The Remaining Titles” or “New to LP”. The originating Blues, which is also to a verse and moods, which often got him in trouble 78 rpm records (many of them extremely rare) were provided by several refrain form. But they are sad with the police. Then, on Christmas versions of mild erotica and Charley Day, 1955, he killed a man in South collectors under the editorship of well known Austrian collector, Johnny Parth seems to have had little relish in Georgia on the Florida border and and were re-mastered by Hans Klement of Austrophon Studios in Vienna. them. He may not have had too was committed to prison in Cairo, Johnny Parth had already created his extensive Roots Records label which much success with women: his first Thomas County. There, eight years Saydisc distributed in the UK and the Matchbox Bluesmaster Series was a marriage (which probably provided later, he died of a heart attack at the carefully sculpted edition of black blues roots music giving a broad spectrum the name Lincoln) soon failed, and age of sixty-three. of the genre. so did his second marriage to Annie Thomas. Behind the tough singing, of Nellie Florence, Charley's raucous All notes by: Paul Oliver The series documented the early days of blues, hokum and gospel music from 1926 to 1934 (1950 for two tracks) and gives an insight into the way that black music was first released on record. From a commercial standpoint, records companies such as OKEH sent out talent scouts to find black singers, many of them “singing for nickels” on street corners. The market that these RACE record companies were after was the black community and they sometimes gave these newly found performers epithets such as “Peg Leg …”, “Blind …”, “Bo Weavil…”, “Buddy Boy…”, “Barbecue…” or “Texas…” to give them more appeal. The music of these singers formed the backbone of later urban blues, rhythm-and-blues and, of course, rock-‘n’-roll. The songs are sometimes raw and primitive in character, but some outstanding playing and singing shines through many of the performances.

30 3 Putting this music into perspective are the very valuable notes by Paul Oliver Weaver, as Savannah was with a rich timbre and probably the who was a world authority on early jazz and blues and travelled in the US nicknamed, introduced it to the saddest tone on record, as on the extensively to try and trace any remaining details of these sometimes obscure whole group. Barbecue Bob made sober Hard Luck Blues. Country people. Along with the work of other field collectors and researchers, we gain the latter a couple of times, as Yo- Breakdown is a title that arouses Yo Blues, but it seems it was too expectations of lively dance rhythms, a rare insight into the world of black musicians of the day by reading his notes fast for Charley, who preferred but it too, is a slow blues which he alongside listening to the music they performed. slower tempos. He made another sings with his voice pitched a little title which he shared with Willie higher than normally. Of his twelve- Paul Oliver not only wrote 10 books on the history of blues and gospel music, Baker, Mama Don't Rush Me, bar, three-line blues Gamblin' but was also a Professor of Architecture on which subject he wrote five which further suggests a link Charley is probably the most seminal books. He was born in May 1927 and died in August 2017. Through between these singers, while the directly related to his way of life, with his blues books and writings he opened many windows into a little researched manner of playing guitar is close to its admission to a gambling Curley Weaver's, using a slide on obsession that has left just about all area which is of such importance to the history of black music in America. The the strings. The tune was one that his possessions and those of his final 4 CDs in the series are entitled “Songsters and Saints” and were put had been recorded only a month woman, Sally, in pawn. together by Paul Oliver to illustrate his book of the same name. before as Sittin' on Top of the Not all his recordings were in the World by the Mississippi Sheiks, standard blues form. Chain Gang The present Matchbox Bluesmaster Series has been transcribed from the though the close proximity of the Trouble is an eight-bar blues which 1980’s vinyl pressings by Norman White using high-end transcription dates suggests that it was not relates directly to Peg Leg Howell's derived from this; in fact Leroy Carr's Rolling Mill (MSE 205) and which techniques. The original master tapes for the vinyl releases vanished long You Got to Reap What You Sow includes a "Captain" verse ago. See page 31 for details of the rest of the series. (MSE 210) is essentially the same suggesting a link with work song. tune. Barbecue Bob is known to have Saydisc has in its vaults many more pre-Bluesmaster blues albums which Generally, Charley Lincoln's worked on a medicine show; the may be issued on CD in due course. guitar playing was far less smooth same has not been said of Charley, and accomplished than Barbecue but both If It Looks Like Jelly and GEF LUCENA, Series Producer Bob's, using just one or two chords Ugly Papa have the structure of and simple phrases. His voice show songs. The former appears to though, was strong and expressive, be a play on the folk saying "if it

4 29 seems, for his brother Robert, rather select area to the north-east of MATCHBOX BLUESMASTER SERIES younger by two years, was much the the city, which earned him the name SET 2: DISC 1: Original vinyl release date: Jan or Feb 1983 as more outgoing of the two and would of "Barbecue Bob" and which got MSE207 SKIP JAMES 1931 have been more "visible" to the talent engagements for the two of them. Subtitled “Complete Recordings in Chronological Order” 52’43” scouts. It was almost certainly Bob Charley was recalled as being a who got his elder brother on record. moody and often morose person, Grafton, Wis., c. Feb 1931 ( * denotes poor quality original 78) Charley Hicks had been playing which his laughter on record seems Nehemiah "Skip" James, vcl acc. by own gtr. guitar for about a dozen years by to belie. But it is a mirthless laugh, 1 Devil Got My Woman L-746-1 then. He had been born on a farm in almost a minstrel entertainment 2 Cypress Grove Blues L-747-2 Walton or Clarke county to the east laugh, and it opens such sombre 3 Cherry Ball Blues L-748-2 of Atlanta where he worked in the items as Jealous Hearted and 4 Illinois Blues L-749-1 cotton-fields and reportedly, saved Mojoe Blues: he was probably the 5 4 O’Clock Blues * L-750-1 enough money from picking cotton to only blues singer to make his buy his first guitar. Savannah recording debut with laughter, 6 HardÐLuck Child * L-751-2 Weaver, the mother of Curley whatever he meant by it. 7 Hard Time Killin’ Floor Blues L-752-2 Weaver, another well-known guitarist Jealous Hearted Blues is a 8 Yola My Blues Away L-753-2 of the Atlanta school, taught him to couplet-and-refrain song, modelled 9 Jesus Is a Mighty Good Leader L-754-1 play, and with his brother he began on Sweet Patunia, an apparent 10 Be Ready When He Comes L-755-2 playing for picnics and country favourite among members of this 11 Drunken Spree L-758-2 suppers. They moved closer to group of blues singers. It was the first Atlanta, to the small town of Lithonia title to be recorded by Curley 12 I’m So Glad L-759-1 Ð now virtually a suburb of the city. Weaver, and Willie Baker made no 13 Special Rider Blues * L-760-2 Then Charley got married and, doing less than four recordings of it, though Skip James, vcl acc. by own pno; with own foot-tapping where audible. odd jobs and playing for cash when only the last was acceptable to the 14 How Long “Buck” * L-761-1 he could, he tried to settle down. Gennett company. The unidentified 15 Little Cow and Calf Is Gonna Die Blues L-763-1 Of the two Robert was more Willie Baker also made No No Blues 16 What Am I To Do Blues * L-764-1 as well as a couple of remakes of the restless, but he was also more 17 22Ð20 Blues L-765-1 dynamic and it was his playing for a title, which Curley Weaver also chose barbecue stand at Buckhead, a for his first session; perhaps "Dip" 18 If You Haven’t Had Any Hay, Get On Down the Road L-766-1 AlI titles composed by Nehemiah James

28 5 SET 2: DISC 2: Original vinyl release date: May 1983 as having been written just a couple of that matter, from Buster Johnson MSE208 COLEY JONES & THE DALLAS STRING BAND 1927-29 years before by Will J. Harris and whose Undertaker Blues, pitched Subtitled “Complete Recordings in Chronological Order” 51’21” Victor Young; James Cole high like Bradley's Window Pane, is camouflaged it perfunctorily by among the excellent small group Coley Jones, vcl/gtr calling it Sweet Lizzie, not blues performed by the group. 1 Army Mule In No Man’s Land 145324-1 Dallas, Tex., Dec 3, 1927 apparently worried that "Lizzie" didn't Perhaps this album will prompt 2 Traveling Man 145329- Dallas, Tex., Dec 4, 1927 fit the tune. It was a smash hit in someone to do some research on Dallas String Band: Coley Jones, md/vcl (on track 4); unknown, 2nd md; 1928 and was readily available in this unjustly neglected cluster of prob. Sam Harris, gtr; Marco Washington, sb; three-voice chorus sheet music. musicians Ð they could do worse presumably members of the group on track 4 Blues enters the recordings of than start in Cincinatti. 3 Dallas Rag 145343-2 Dallas, Tex., Dec 6, 1927 members of the group with Tommie Bradley's Pack Up Her Trunk, based MSE 212 CHARLEY LINCOLN: 4 Sweet Mama Blues 145344-3 Ð on Arthur Petties' Out on Santa Fe 1927 Ð 30 Dallas String Band with Coley Jones: three unknowns, vcl; acc. Coley while When You're Down and Out Subtitled “Complete Recordings in Jones, md; others prob. same group as, or similar to, the Dallas String was a version of Jimmie Cox's Chronological Order” Band on Dec 6, 1927 composition Nobody Knows You 5 So Tired 147612-1 Dallas, Tex., Dec 8, 1928 When You're Down and Out which Atlanta, Georgia played an important 6 Hokum Blues 147613-1 Ð was made famous in Bessie Smith's part in blues history in the 1920s. It 7 Chasin’ Rainbows 147622-2 Dallas, Tex., Dec 9, 1928 recording, and only a few months was the location for the earliest field before had been the last title made recording by a rural blues singer, the 8 I Used To Call Her Baby 147623-2 Ð by Pine Top Smith. Tommie Bradley obscure Ed Andrews, who was Bobbie Cadillac and Coley Jones, vcl duets; acc. poss. Alex Moore, pno; seems to have liked blues-songs; his recorded there as early as March Coley Jones, gtr version of Nobody's Business If I 1924. The subject of this collection, 9 I Can’t Stand That 149536-2 Dallas, Tex., Dec 5, 1929 Do (incidentally, one of Bessie Charley Hicks Ð or "Lincoln" Ð? was 10 He Throws That Thing 149537-1 Ð Smith's earliest titles) is a bouncy, already living there at that time, but it Coley Jones, vcl/gtr swinging number.James Cole's was some three years before Columbia recorded his brother, 11 Drunkard’s Special 149558-2 Dallas, Tex., Dec 6, 1929 Mistreated The Only Friend You Had gained a lot from Sam Soward's Barbecue Bob, and a further six 12 The Elder’s He’s My Man 149559-2 Ð slow off-beat piano and it is a pity we months before Charley was himself Bobbie Cadillac and Coley Jones, vcl duets; acc. poss. Alex Moore, pno; didn't hear more of this player, or for recorded. It had to be in that order it

6 27 have very similar voices, with a amusing songs stick in the mind, and Coley Jones, gtr certain harsh edge and intonation it is a pity that he didn't have more 13 Listen Everybody 149566-1 Dallas, Tex., Dec 6, 1929 which, I believe, places them in the titles issued at this time. His 14 Easin’ In 149567-1 Ð "border" states of Kentucky or Ohio. Everybody Got Somebody has Dallas String Band with Coley Jones: as for Dec 8, 1928 Louisville, then? It's a possible stompy piano by Sam Soward while source, but John Randolph and Fred James Cole saws away on fiddle; 15 Shine 149568-2 Dallas, Tex., Dec 6, 1929 Cox who have been researching Cole accompanied Tommie Bradley a 16 Sugar Blues 149569-1 Ð Louisville jug bands, would have few days later on his first items, turned up something about them by which have a smoother, dance-hall SET 2: DISC 3: Original vinyl release date: May 1983 as now. Still, the possibility that sound with the addition of the MSE209 GREAT HARP PLAYERS 1927Ð30 Lockwood Lewis of the Dixieland Jug saxophone and harmonised singing. Subtitled “Complete Recordings in Chronological Order” 56’30” Blowers prompted the use of the alto Bradley's version of the old minstrel sax can't be ruled out. As for the show song Adam and Eve in the washboard player, he had an attack Garden of Eden is slightly updated William Francis, gtr; Richard Sowell, hca and use of cowbells and woodblocks with its reference to the Suzie-Q 1 John Henry Blues E-4603 New York City, Feb 28, 1927 that recalls Floyd Casey, who played dance. The tune is related to Tickle 2 Roubin Blues E-4606 Ð for Clarence Williams. Before that Britches, a favourite among small El Watson, hca solo; acc Charles Johnson, gtr on track 3 Casey worked out of St. Louis on the string bands. 3 Pot Licker Blues 39732-2 Bristol, Tenn., July 28, 1927 riverboats. It's just one of the James Cole's Washboard Band 4 Narrow Gauge Blues 39733-2 Ð circumstantial fragments that inclines gave an opportunity for the boards me to the view that these were player to show his stuff. Runnin' El Watson, hca solo/speech on track 5; acc. Robert Cooksey, hca on Cincinatti groups Ð for doubtless Wild was a sensational all-black track 5/ speech on track 6; unknown, bones on track 6; Watson or Casey would have been heard on the show in 1923 for which much of the Cooksey, vcl effects on track 5 boats at Cincinatti. There's other, music, including The Charleston, 5 El Watson’s Fox Chase 43952-2 New York City, May 7, 1928 firmer evidence, but this must wait to was written by Cecil Mack and 6 Bay Rum Blues 43953-2 Ð a later Bluesmaster issue. James P. Johnson. Over thirty 7 Sweet Bunch of Daisies 43954-2 Ð First to record was Walter Cole, recordings were made of the theme 8 One Sock Blues 43955-2 Ð (probably the same person as Walter of the show and doubtless Cole's Coleman, who later recorded Goin' group could have learned it from a Palmer McAbee, hca to Cincinatti). His two catchy, record. Sweet Sue was more recent, 9 Lost Boy Blues 41929-2 Atlanta, Ga., Feb 21, 1928

26 7 10 McAbee’s Railroad Piece 41930-2 Ð name, and again under that of remains unknown; a washboard Freeman Stowers, hca solo (tracks 11,13), animal imitations (tracks James Cole.Part of the reason for player too. On a couple of titles with 12,14), speech (track 11) the obscurity of these artists must be James Cole, one Sam Soward the fact that they recorded over fifty played piano. Obviously, we know 11 Railroad Blues 14711 Richmond, Ind., Jan 19, 1929 years ago, but part of the reason nothing about him, but in the search 12 Texas Wild Cat Chase 14898 Richmond, Ind., Mar 11, 1929 why we know so little about them is for information, his is an unusual 13 Medley Of Blues 14899 Ð simply prejudice. name which might just provide a (All Out and Down; Old Time Blues; Hog In the Mountain) Until very recently there was little lead. These are not the instruments 14 Sunrise On the Farm 14900-B Ð interest in groups like these, who of a straight string band Ð like the Blues Birdhead (James Simons), hca solo; acc, unkown pno played blues for part of the time, but Dallas String Band on Matchbox 15 Mean Low Blues 403111-A included in their range a variety of Bluesmaster MSE 208 Ð but of one other types of music and song. They augmented by instruments that are Richmond, Va., Oct 13, 1929 were considered as being less more suited to a dance hall, and a 16 Harmonica Blues 403112-A Ð "authentic" and to have compromised fixed location, than for street playing Alfred Lewis, hca solo/vcl effects/speech their music. Only now is there a and serenading. Roosevelt Pursley, 17 Mississippi Swamp Moan C-4481 Chicago, May 5, 1930 growing awareness of the complexity also an uncommon name, played jug 18 Friday Moan Blues C-4482 Ð of black folk music forms and their on most sides. Where would one find bearing on popular music, and this combined washboard and jug SET 2: DISC 4: Original vinyl release date: May 1983 as belated interest has developed at a accompanied string bands? time when the trails must have gone One hypothesis might be MSE210 LEROY CARR 1928 completely cold. Now, for the first Memphis. Somehow it seems Leroy Carr, vcl/pno, Scrapper Blackwell, gtr time, the titles by the Bradley and unlikely; the guitar playing hasn't the Subtitled “Complete Recordings in Chronological Order” 41’06” Cole groups are brought together in Memphis roll, and though there's recording order, and both the lively some slight resemblance to the later 1 My Own Lonesome Blues IND-622-A diversity and the intrinsic merit of Charlie Burse sides, the Indianapolis, Ind. June 19, 1928 their work becomes apparent. BradleyÐCole titles are more The groups have differing accomplished. Vocally, there are few 2 How Long‚ How Long Blues IND-623-A Ð personnels which file data have connections one could identify with 3 Broken Spoke Blues C-2219 Chicago, Aug 13, 1928 revealed. These are not complete: Memphis, but Bradley, James and 4 Tennessee Blues C-2220 Chicago, Aug 14, 1928 there's an alto saxophone player who Walter Cole, and Buster Johnson

8 25 piano, fractional pauses and repeat confident, and remained so on You 5 Truthful Blues C-2221 Ð refrain was a particularly attractive Don't Mean Me No Good. It was a 6 Mean Old Train Blues C-2222 Ð theme, so memorable in fact that few days before Christmas 1928 and 7 You Got To Reap What You Sow C-2223 Ð years later, in 1940, Leadbelly they could look back on an 8 Low Down Dirty Blues C-2224 Ð recorded it for a Bluebird session. immensely successful six months. As Tired of Your Lowdown Ways was the New Year approached they had 9 How Long How Long Blues No. 2 C-2688-A Chicago, Dec 19, 1928 another innovative blues, on which every reason to be optimistic for 10 How Long How Long Blues Part 3 C-2689-A Ð Leroy half-spoke the lines of the Leroy Carr was now the best-known 11 Baby Don't You Love Me No More C-2690-A Ð verse against repeat notes by new name in blues. 12 Tired Of Your Low Down Ways C-2691-B Ð Scrapper Blackwell before going into 13 I'm Going Away and Leave My Baby C-2692-B Chicago, Dec 20, 1928 a hard-rolling piano chorus. The MSE 211 TOMMIE BRADLEY Ð 14 Prison Bound Blues C-2694-A Ð suspension created by the spoken JAMES COLE GROUPS 1930Ð32 15 You Don't Mean Me No Good C-2695 Ð lines was exploited brilliantly in the Subtitled “Complete Recordings in eight-line concluding verse. Chronological Order” It was an exciting, exploratory SET 2: DISC 5: Original vinyl release date: Sept 1983 as phase but I'm Going Away And Who was Tommie Bradley? Who was MSE211 TOMMIE BRADLEY Ð JAMES COLE GROUPS 1930Ð32 Leave My Baby was on the verge of Walter Cole? There are very many Subtitled “Complete Recordings in Chronological Order” 46’30” sentimentality in both the melody and major gaps in our knowledge of early the delicate guitar runs, and did not blues, and these are most serious 1 Mama Keep Your Yes Ma’am Clean (A) 16996 Richmond, Ind., Sep 4 1930 have a strong piano bass to offset its where the instrumental groups with a 2 Everybody Got Somebody (A) 16998 Ð sweetness.Vocalion decided not to wider repertoire than blues, are issue it, but Carr and Blackwell were concerned. In the case of Tommie 3 Where You Been So Long? (B) 17083 Richmond, Ind., Sept 27, 1930 probably aware of the thin ground Bradley and Walter Cole, there's 4 Adam and Eve (C) 17084 Ð that they were treading and came in nothing definite that has come to 5 Runnin’ Wild (D) 17204 Richmond, Ind., Oct 27, 1930 powerfully with Prison Bound, a light, as far as I am aware. Their 6 Sweet Lizzie (D) 17205 Ð narrative blues which is known to records are also confusing Ð so 7 Pack Up Her Trunk Blues (E) 17206 Ð almost every blues pianist even much so that even after three 8 When You’re Down and Out (C) 17883 Richmond, Ind., July 17, 1931 today, and one of the duo's most editions Ð John Godrich and Bob remembered recordings. Scrapper's Dixon are still listing Tommie 9 Please Don’t Act That Way (C) 17884 Ð guitar responses were clear and Bradley's records under his own 10 I Love My Mary (F) 17885 Ð

24 9 11 Four Day Blues (B) 17886 Ð one and he was soon notorious for been accused, and you ain't done 12 Undertaker Blues (G) 18323 Richmond, Ind., Jan 16, 1932 the quantities of liquor that he could nothin' wrong?," he asked on 13 Mistreated the Only Friend You Had (H) 18324 Ð consume. In this he had the Broken Spoke Blues. There was a 14 Nobody’s Business If I Do (I) 18325 Ð companionship of a drinking buddy, strong strain of nostalgia in many of Francis "Scrapper" Blackwell, a part his songs, but especially on 15 Window Pane Blues (I) 18326 Ð Cherokee Indian just two years his Tennessee Blues. On this and on senior who played a clean-toned Mean Old Train someone shrilled A = Walter Cole, vcl; prob.James Cole, vn; prob. Sam Soward, pno; claw-picking style of guitar. They imitations of a train whistle and tolled prob. own gtr worked out a piano and guitar (out of key) a bell on the latter; it was B = Tommie Bradley, vcl/gtr; unk, as; James Cole, vn/vcl on track 3; routine together which paid off well unashamed hokum but somehow the Eddie Dimmitt, md; Roosevelt Pursley, jug on track 3 enough for Leroy to give up his innocent imitation came off, with the menial job in a meat-packing plant. train rhythm of the piano bass C = Tommie Bradley, vcl/gtr; Eddie Dimmitt, md They were playing the spots on figures. They were now becoming D = James Cole’s Washboard Four:James Cole,vn; Tommie Bradley, gtr; Indiana Avenue when they attracted more confident; Scrapper Blackwell's Eddie Dimmitt, md; unknown, wbd/kazoo on track 6 the attention of Vocalion talent scout guitar playing was more evident and E = Tommie Bradley, vcl/gtr; poss.Walter Cole or Eddie Dimmitt, gtr and these first memorable recordings they were experimenting with new F = James Cole, vcl/vn; with Tommie Bradley, gtr; Eddie Dimmitt, md; were the result. tunes, as on their You Got to Reap Roosevelt Pursley, jug Blues like Broken Spoke, What You Sow, which, his wife G = Buster Johnson, vcl/gtr;James Cole, vn; Tommie Bradley, gtr; prob. Tennessee Blues and Truthful Margaret recalled to Duncan Scheidt, Blues were all in a straight twelve- he sang to her when they separated. Eddie Dimmitt, md; unk. wbd bar vein; they were taken at a In contrast with its title Low Down H = James Cole, vcl/vn; poss. Sam Soward, pno; prob. Eddie Dimmitt, md; medium or medium-slow pace in Dirty Blues had a pretty introduction Tommie Bradley or Buster Johnson, gtr; unknown, wbd which the stompy piano did not with a neat descending phrase, while I = Tommie Bradley, vcl/gtr;James Cole, vn on track 15; intrude on Leroy's plaintive lyrics. His the "new" versions of How Long prob. Eddie Dimmitt, md; unk. wbd words were often poetically phrased used a walking bass and effective even when dealing with familiar guitar runs. But the most ambitious themes, and he had a way of titles were to come, Baby Don't You embracing the listener by addressing Love Me No More with its hummed him on the record: "Have you ever verse introductions and rocking

10 23 sophistication, a slightly suave style John Carr and his wife Katie Dozier, SET 2: DISC 6: Original vinyl release date: Sept 1983 as which was admired for its modernity Leroy was born in 1905 in Nashville MSE212 CHARLEY LINCOLN 1927-30 and its urbane qualities which but raised by his mother in Subtitled “Complete Recordings in Chronological Order” 45’25” Indianapolis. Duncan Schiedt, who somehow did not get in the way of ( * denotes poor quality original 78) the essential nature of blues interviewed Carr's sister Eva over expression. This comes across in the twenty years ago, recounted her Charley Lincoln, vcl/gtr opening stanza of Carr's very first description of Leroy teaching himself 1 Jealous Hearted Blues 145103-2 Atlanta, Ga., Nov 4, 1927 recording, My Own Lonesome in his mother's absence by playing 2 Hard Luck Blues 145104-2 Ð Blues with its moaning voice, the parlour player-piano. He seems to 3 Mojoe Blues 145105-3 Ð moderately high pitch and steady, have been something of a handful; 4 My Wife Drove Me From My Door 145106- Ð medium pace. All the same, it was as a boy he ran away with a travelling 5 Country Breakdown 145107-1 Ð the other side or the record, How circus and later served in the Army at 6 Chain Gang Trouble * 145108-2 Ð Long How Long Blues which really Port Huachuca in Arizona, though he made an impact. It wasn't entirely was considerably under age. He was 7 If It Looks Like Jelly, Shakes Like Jelly, new; in fact Ida Cox had made her tall though and noted for his amiable It Must Be Gelatine 146016-1 Atlanta, Ga., April 11, 1928 How Long Daddy How Long years spirits which seem to have led him 8 Ugly Papa 146019-1 Ð before, and in its eight-bar structure into an early marriage and Nellie Florence, vcl; acc. poss. Charley Lincoln or poss. Barbecue Bob, and repeat of the title syllables it fatherhood by the time he was gtr/laughing/speech linked with the Crow Jane theme. eighteen. 9 Jacksonville Blues 146174-1 Atlanta, Ga. April 21, 1928 But Carr's blues had a unique, Back in Indianapolis, or 10 Midnight Weeping Blues 146175-2 yearning character which was "Naptown" as the black sector was curiously emphasised by his careful punningly but affectionately known, Charley Lincoln, vcl/gtr enunciation of the words; "I cannot he was soon in the tough West side 11 Depot Blues 147354-2 Atlanta, Ga., Oct 30, 1928 see no train..." or "it's deep down in sector playing piano, and running a 12 Gamblin’ Charley 147355-2 Ð my heart baby, there lies an aching profitable little bootlegging business 13 Doodle Hole Blues 150275-2 Atlanta, Ga., April 18, 1930 pain..." Somehow, the style and the on the side. Unfortunately he was not 14 Mama Don’t Rush Me 150276-2 Ð timing were just right for the mood of too discreet with this operation and the day. served time on the prison farm for his At the time he started recording illegal "alky cooking". Alcohol was a he was just twenty-three. The son of problem for him in more ways than

22 11 MSE 207 SKIP JAMES 1931 remained with him. Clearly he had an confirming the evidence of the Wild MSE210 LEROY CARR 1928 Subtitled “Complete Recordings in early interest in music, beginning to Cat Chase that this was his state of Subtitled “Complete Recordings in Chronological Order” play guitar from the age of eight or origin. These then, were some of the Chronological Order” nine. A fiddle player named Green routes into blues harmonica playing That single copies of previously McCloud and his guitarist Henry which find their resolution in Pot It is almost impossible for us, fifty-five undiscovered blues records should Stuckey taught him some of the Licker and One Sock. played by years later to capture the sense of still be in existence after more than rudiments of his music. Though Skip Palmer MacAbee, on which he both excitement and delight that Leroy fifty years seems scarcely possible. was later to claim that all his songs states and "answers" each phrase on Carr's first records brought to those But such a disc by a major bluesman were original there appears to have the harp. They gain their purest who bought them in the late 1920s. It was recovered quite recently: been a local Bentonia tradition which expression in the virtually unbroken must have been a remarkable Paramount 13111, which revealed a survivors such as Jack Owens were improvisation by Alfred Lewis. contrast to the singing of the further surprise that What Am I To able to demonstrate in the 1960s. But Mississippi Swamp Moan and barrelhouse blues pianists who Do Blues was not by Son House as there is no doubt that James, by his Friday Moan, in which he sings and played in the country joints and the had been previously thought, but by own admission an "odd fellow", even shrieks into the reeds house parties, as they half-shouted Skip James. It appears in this album, developed a singular way of working fragments of lines "... Lord have their lyrics above the noise of the reissued for the first time, in a within the local idiom. mercy ... I'm gonn’ play these blues dancers and the thunder of their own collection of the complete work of its Unlike many bluesmen Skip for my baby ...." His falsetto words left-hand bass figures. Leroy Carr uniquely talented composer. James had a fairly good education, are blended into the harp phrases so presented a new image for the blues Nehemiah James was born June going to High School in Yazoo City that the instrument becomes an singer which had a smoother contour 9th, 1902 on the Woodbine plantation for a couple of years. But there were extension of his voice.From the and yet was drawn in with bold and near Bentonia in Yazoo County, few opportunities for young blacks various sources of chase and train strong tones. Mississippi, about twenty miles south and in his teens he moved to Leona, imitations, ballad and dance tunes, Compared with the piano blues of of Yazoo City. His father was a Arkansas to work in a sawmill. The even jazz influences, the techniques his contemporaries Leroy Carr Baptist minister and an influence on move was an important one for it of "cross harp" playing and bending paralleled Lonnie Johnson's position him throughout his life; though he introduced him to the piano playing of notes through lip, tongue and in relation to the guitarists. They both was to play in many rough joints in of a local pianist, Will Crabtree. He breath control were evolved, enabling had full command of their his young manhood he was never far learned to play piano from Crabtree, the players to exploit the potential of instruments, they both could play from the church. A light dancer as a developing an unusual style in the the mouth harp as a blues instru m e n t . mean and lowdown if they wished. child he was called "Skippy" by his process. It is possible that his piano Yet they both had a certain friends and the name "Skip" playing, which shows no special

12 21 and train imitations were popular with harmonica, took John Henry at a relationship to his approach to the the first time, even on record, the white players too. Lost Boy Blues is medium pace and with a mellow guitar, may have been close to sound of his voice is strangely also a kind of train improvisation with quality, only occasionally introducing Crabtree's style, and that Crabtree in ethereal; in person it was quite a slight dance beat, while El a more howling note. Roubin Blues turn represented a localised uncanny. His talking voice was Watson's Narrow Gauge Blues is a ballad seldom recorded by black Arkansas tradition. But the culpable medium-toned and he occasionally imitates a "dummy line" train, or spur musicians and singers, but which lack of interest in researching blues sang at this level, as he did on Be to the work camps, and has more of was popular among white performers piano has meant that the Ready When He Comes. Generally a blues character. who also knew it as Nine Hundred opportunities to investigate the though, he pitched his voice Playing for dancing was expected Miles, which was a railroad song. possibility have already passed. extremely high, as he did on of any player with a melody And in fact, Richard Sowell does play In the next few years Skip played Cypress Grove or Illinois Blues. "I instrument. Watson's Bay Rum a short and fast train imitation at one for "country frolics" as he termed used to cut a lot of timber in Cypress Blues is a skipping dance of point. them, picnics and parties, occasional Grove" he explained, and also at, or considerable age for it is modelled on Compared with these folk functions in dance halls and the near, Jacksonville, Illinois, his songs Polly Wolly Doodle. He also performances Blues Birdhead, as joints of Jackson and Memphis. He coming from what he confirmed to contributes a waltz, Sweet Bunch of James Simon called himself, seems was something of a loner and not Ed Morris was his "self-experience." Daisies, which gives food for quite sophisticated. He obviously had enthusiastic about the world of jukes Cypress Grove is not about cutting thought, for it was composed by been listening to records, especially and barrel-houses. By about 1925 he timber though, but the basis for a Anita Owen in 1894 and made those by Louis Armstrong. His Mean was registered at a divinity school in figure of speech: "I'd rather be buried popular by a white singer, Phyllis Low Blues owes a lot to Armstrong's Memphis.Just a few years later he in some cypress grove, than have Allen; perhaps Watson played it for solos, while Harmonica Blues is was playing around the Mississippi some woman Lord that I can't white dances. Ballads were generally also jazzy in feeling, with a vaudeville towns when H. C. Speir, the Jackson control." Hard Time Killing Floor as good for dancing as they were tune of the type popularised by record salesman and talent scout Blues was on the theme of the useful as work songs, the sixteen-bar Butterbeans and Susie. Standard invited him to audition. Skip barely Depression, the economic collapse form of so many ballads fitting the blues tunes also form a basis for played a couple of verses of his song that ended his recording career just structure of many country reels. The Freeman Stowers' Medley, on which before Speir stopped him and offered as it had begun: "If I ever get off this totally obscure William Francis and he plays All Out and Down, Old to sign him for a contract. The killin' floor, I'll never get down this low Richard Sowell recorded just two Time Blues and a blues tune of recordings on this album were the no more." His accompaniments to titles, both of them ballads and possible white derivation, Hog in the result. these blues were played with great common among both white and black Mountain. All Out and Down was a To anyone hearing Skip James for sensitivity, but the guitar playing on communities. Sowell, who played favourite theme in Texas, apparently

20 13 I'm So Glad with its extraordinarily Calf is Gonna Die and If You In common with concertina because the Fox Chase here is still rapid and clear finger-picking was of Haven't Any Hay, Get on Down the players and fiddlers, harmonica a tune. It is likely that the chase, a quality virtually unparalleled by any Road are as quirkish as the man players seem to have learned much which is still a standby for harp other blues player. who played them. On some of these of their technique through mimicry. In players, has its origins in fiddler's Drunken Spree, one of the newly piano pieces he stomped the time an idiom like the blues, which is so showcase playing of the same discovered items, enlarges our with his foot while still performing dominated by the voice, it is not theme. knowledge of Skip James at this with cascading flurries of notes in his surprising if vocal elements of wailing Another subject for mimicry was time, being a ballad song which singular fashion. and moaning are to be heard played the train. Stowers imitates a journey relates to the white tradition. Special Shortly after, James was ordained on the harp. But the techniques may from a platform parting to arrival in Rider on the other hand, derives at the Missionary Baptist Church in have been learned by other St. Louis, but he doesn’t spend much from Little Brother Montgomery Birmingham where his father now imitations. Freeman Stowers for time on starting off; his skill is in whom he had befriended in preached. He continued to do heavy instance, reveals on Sunrise on the shrieking into the reeds to imitate the Vicksburg, though Skip chose to play work, labouring in an iron ore mine, Farm, a very close familiarity with train whistle. A note in the Gennett it on a guitar. After this, and but later he formed a gospel group animal noises which he convincingly ledgers after his name says "the apparently at the same session, he and for several years travelled imitates by purely vocal means. Cotton Belt Porter" so perhaps this is turned to the piano to perform a intermittently with it to Texas and Dogs, chickens, cockerels, cats, a sound he had heard very often. number of pieces in a vividly original elsewhere. In the 1950s he was cows, donkeys and hogs are all Palmer Mc Abee's Railroad Piece, style. Some of these relate indirectly working on a plantation in Tunica, captured by "impressions." So his recorded in Atlanta is that of a player to other blues of the day: How Long Mississippi and it was at the Tunica Texas Wild Cat Chase with its with a keen ear for nuances of "Buck" is a version of Leroy Carr's hospital that John Fahey, Bill Barth participants, Charlie and John, and sound, from the letting off steam at How Long How Long but the short and Harry Vestine found him in 1964, dogs like Yellow-hammer, sound as if the start, to the flares of noise as the stabs of descending phrases are recovering from an operation. During they are accurately portrayed as the train is heard passing objects or peculiarly Skip's own. 22.20 Blues the next four years he performed at wild cat is treed, spitting and trees and crossing bridges. He too, is one of the several blues festivals and clubs, toured in Europe snarling, before being killed by the appears to use a form of cyclic composed around weapons, the and recorded a couple of albums. dogs. In fact, the vocal imitation is breathing for the sustained fast- numbers being an archaic method for Courteous, diffident, often more accurate than El Watson’s Fox rolling passages and you can detect expressing both calibre and seeming detached, not only from his Chase, partly because Robert the sound of his intake of air.A percentage of cordite in the charge. surroundings, but from other blues Cooksey’s second harmonica ledger note "hillbilly" raises a doubt But the oddly titled Little Cow and singers too, he was quietly confident overcrowds the sound, partly as to whether he is black, but chase

14 19 Regretfully it seems that Coley Jones wants to play the instrument by in his own great talent. Not an easy sought out by the talent scouts: their and the Dallas String Band's kind of studying a manual and is instructive man to get on with, he was reputations survive but not their "hokum blues" was not as appealing on modern blues harmonica nonetheless, unquestionably one of music. Luckily, two bands of note to the Chicago-based record techniques. But it says little about the most outstanding of all blues were recorded: the Mississippi companies as Georgia Tom and origins and nothing about the early artists whose death on October Sheiks and the Dallas String Band, Tampa Red's urbane variety. In Texas players who are to be heard here 3rd,1969 was an immeasurable loss the former led by Bo Chatmon and the band continued to enjoy its state- and who certainly did not learn to to music. the latter by Coley Jones, the subject wide fame, and throughout the 1930s play from a manual. This selection of this significant collection. provided music for both black and gives many pointers to the formation MSE 208 COLEY JONES & THE In Texas. everyone it seems, white functions. They did not record of blues techniques on the "mouth DALLAS STRING BAND 1927Ð29 heard Coley Jones and the Dallas again though, and efforts to trace harp"Ð since the beginning of the Subtitled “Complete Recordings in String Band in the 1920s and 30s, Coley Jones in the 1960s, or even to century the American term for the Chronological Order” and the older people remember the ascertain his subsequent career, harmonica. band that his father, Old Man Coley, were sadly unsuccessful. Modern harmonicas were first It is to be expected that we base our ran early in the century. It was a big commercially developed by M. knowledge of blues and related black family band with a varying personnel MSE 209 VARIOUS ARTISTS: Great Höhner of Trossingen in Germany in music on the records that are that sometimes included one or two Harp Players (1929Ð30) 1857 but it was the influx of German available to us, and tend to overlook violins, two guitars, at least one Subtitled “Complete Recordings in immigrants at the end of the 19th the importance of the idioms that are mandolin and a string bass. In later Chronological Order” Century that popularised the thinly represented on disc. This is years it was noted for the clarinet instrument in America. Even today particularly unfortunate when string playing of Jesse Hooker and There are many neglected areas of the states with concentrations of bands are considered, because they sometimes a trumpet player would sit blues research, but one of the most German immigrants Ð Texas, the were extremely active in black in. Most of the time it was a five or seriously overlooked is blues Carolinas, Illinois Ð also appear to communities throughout the South six piece string band which worked harmonica playing. Only one book have higher concentrations of black during the period when the blues for dances, picnics and shows, or has been written on the subject Ð harp players. Bluesmen still play was emerging and maturing. serenaded. "Serenading'' bands were Blues Harp by Tony "Lillie Sun" harmonicas made in Germany by Important string bands like Sid a feature of the South: string bands Glover. Though written in a Höhner or Holz, with the Höhner Hemphill's in Mississippi, Willie which performed in the streets, relentlessly mid-sixties hip style, it is Marine Band ten-hole, twenty-reed Walker's in the Carolinas and the outside theatres, or in the an informative guide to anyone who instrument the most popular. Wright Brothers in Texas were not courthouse squares. They would play

18 15 a tune for a small sum of money to A group like the Dallas String group on Hokum Blues."No” says vocal. On Sugar Blues, composed in serenade a lover, probably acquiring Band played where they were Coley. "I lost my voice in jail; I was 1923 by Lucy Fletcher and Clarence the technique from the Mexican wanted, and where they could draw a always behind a few bars and could Williams, he concludes with a scat bands and mariachi groups who crowd. They were professional never get a key''. The item was vocal, but there is more than a touch played in south Texas. They were musicians who performed on Central recorded just as the Hokum Boys of Jolson-styled singing and the also known as "shivaree" bands, their Tracks in Dallas by Ella B. Moore's were being recorded in Chicago and "coon" song on Chasin' Rainbows name being a corruption of Park Theatre for the "sporting" it is a moot point as to which group and I Used to Call Her Baby set “charivari” by which Italian groups people, appeared on stage at the had the term on record first. The against jaunty playing and with that played on home-made Park from time to time, and blues element is fairly conventional occasional harmonising. instruments were once known. entertained the crowds at ball with familiar words, for a string band In the appropriate setting, at an Coley was about forty when he games. They travelled from Tyler to of this kind played blues as a song entertainment or on stage. Coley was recorded, so Alex Moore recalled, Fort Worth, to Waco, to Austin. type rather than as a form for also a monologuist, aiming a few and this would place his date of birth Houston and Beaumont Ð “they had personal expression. This is evident light barbs at the church deacons before 1890. He had a brother Little Texas covered”T-Bone Walker said. too, on Sweet Mama Blues, which is with the Elder He's My Man (the Coley, or Kid Coley, (who may or may They played for white dances and equally well played. label had a misprint) and his alleged not be the singer who recorded barbecues as well as black functions Minstrel show songs were still affairs, and gently mocking on Army under that name) who played fiddle; and all these facets of their popular: in fact Ella Moore had Mule in No Man's Land. His other Sam Harris played guitar and the performances are hinted at in their minstrel shows at the Park. It is solo items draw from both white and bass player was Marco Washington recordings. probably through them and other black traditions: Drunkard's Special who had himself run a string band Dallas Rag is one of the very few stage productions that they picked is an 18th Century European song, which included his stepson, Aaron folk recordings of a rural rag, and if it up such a song as So Tired by Jack known as Our Goodman (Child 274) Walker (later,T-Bone Walker) as a were only for this beautifully Little, who was also the composer of in Britain and the eastern United child guitarist. Coley Jones himself integrated performance the name of A Shanty in Old Shanty Town. States. while Travelin' Man was a played guitar somewhat indifferently the band would be assured. Each Another show song is Shine by the standby of the minstrel shows and a and mandolin which he played strain is made of a pair of sub-strains black writers Cecil Mack, Lew Brown popular folk song from Texas to brilliantly. His voice was strong and and the sequence of the fast piece is and Ford Dabney which was Virginia. With Bobbie Cadillac, a coarsened by years of street singing, abbaabcba led with great elan by published in 1924; the String Band Dallas woman of some reputation, and his sense of timing was that of Coley's mandolin. "Say Coley, can plays it with accomplishment and he made four titles, all of them an experienced entertainer. you sing?" asks one member of the there's a hint of parody in Coley’s variants of Tight Like That.

16 17 a tune for a small sum of money to A group like the Dallas String group on Hokum Blues."No” says vocal. On Sugar Blues, composed in serenade a lover, probably acquiring Band played where they were Coley. "I lost my voice in jail; I was 1923 by Lucy Fletcher and Clarence the technique from the Mexican wanted, and where they could draw a always behind a few bars and could Williams, he concludes with a scat bands and mariachi groups who crowd. They were professional never get a key''. The item was vocal, but there is more than a touch played in south Texas. They were musicians who performed on Central recorded just as the Hokum Boys of Jolson-styled singing and the also known as "shivaree" bands, their Tracks in Dallas by Ella B. Moore's were being recorded in Chicago and "coon" song on Chasin' Rainbows name being a corruption of Park Theatre for the "sporting" it is a moot point as to which group and I Used to Call Her Baby set “charivari” by which Italian groups people, appeared on stage at the had the term on record first. The against jaunty playing and with that played on home-made Park from time to time, and blues element is fairly conventional occasional harmonising. instruments were once known. entertained the crowds at ball with familiar words, for a string band In the appropriate setting, at an Coley was about forty when he games. They travelled from Tyler to of this kind played blues as a song entertainment or on stage. Coley was recorded, so Alex Moore recalled, Fort Worth, to Waco, to Austin. type rather than as a form for also a monologuist, aiming a few and this would place his date of birth Houston and Beaumont Ð “they had personal expression. This is evident light barbs at the church deacons before 1890. He had a brother Little Texas covered”T-Bone Walker said. too, on Sweet Mama Blues, which is with the Elder He's My Man (the Coley, or Kid Coley, (who may or may They played for white dances and equally well played. label had a misprint) and his alleged not be the singer who recorded barbecues as well as black functions Minstrel show songs were still affairs, and gently mocking on Army under that name) who played fiddle; and all these facets of their popular: in fact Ella Moore had Mule in No Man's Land. His other Sam Harris played guitar and the performances are hinted at in their minstrel shows at the Park. It is solo items draw from both white and bass player was Marco Washington recordings. probably through them and other black traditions: Drunkard's Special who had himself run a string band Dallas Rag is one of the very few stage productions that they picked is an 18th Century European song, which included his stepson, Aaron folk recordings of a rural rag, and if it up such a song as So Tired by Jack known as Our Goodman (Child 274) Walker (later,T-Bone Walker) as a were only for this beautifully Little, who was also the composer of in Britain and the eastern United child guitarist. Coley Jones himself integrated performance the name of A Shanty in Old Shanty Town. States. while Travelin' Man was a played guitar somewhat indifferently the band would be assured. Each Another show song is Shine by the standby of the minstrel shows and a and mandolin which he played strain is made of a pair of sub-strains black writers Cecil Mack, Lew Brown popular folk song from Texas to brilliantly. His voice was strong and and the sequence of the fast piece is and Ford Dabney which was Virginia. With Bobbie Cadillac, a coarsened by years of street singing, abbaabcba led with great elan by published in 1924; the String Band Dallas woman of some reputation, and his sense of timing was that of Coley's mandolin. "Say Coley, can plays it with accomplishment and he made four titles, all of them an experienced entertainer. you sing?" asks one member of the there's a hint of parody in Coley’s variants of Tight Like That.

16 17 Regretfully it seems that Coley Jones wants to play the instrument by in his own great talent. Not an easy sought out by the talent scouts: their and the Dallas String Band's kind of studying a manual and is instructive man to get on with, he was reputations survive but not their "hokum blues" was not as appealing on modern blues harmonica nonetheless, unquestionably one of music. Luckily, two bands of note to the Chicago-based record techniques. But it says little about the most outstanding of all blues were recorded: the Mississippi companies as Georgia Tom and origins and nothing about the early artists whose death on October Sheiks and the Dallas String Band, Tampa Red's urbane variety. In Texas players who are to be heard here 3rd,1969 was an immeasurable loss the former led by Bo Chatmon and the band continued to enjoy its state- and who certainly did not learn to to music. the latter by Coley Jones, the subject wide fame, and throughout the 1930s play from a manual. This selection of this significant collection. provided music for both black and gives many pointers to the formation MSE 208 COLEY JONES & THE In Texas. everyone it seems, white functions. They did not record of blues techniques on the "mouth DALLAS STRING BAND 1927Ð29 heard Coley Jones and the Dallas again though, and efforts to trace harp"Ð since the beginning of the Subtitled “Complete Recordings in String Band in the 1920s and 30s, Coley Jones in the 1960s, or even to century the American term for the Chronological Order” and the older people remember the ascertain his subsequent career, harmonica. band that his father, Old Man Coley, were sadly unsuccessful. Modern harmonicas were first It is to be expected that we base our ran early in the century. It was a big commercially developed by M. knowledge of blues and related black family band with a varying personnel MSE 209 VARIOUS ARTISTS: Great Höhner of Trossingen in Germany in music on the records that are that sometimes included one or two Harp Players (1929Ð30) 1857 but it was the influx of German available to us, and tend to overlook violins, two guitars, at least one Subtitled “Complete Recordings in immigrants at the end of the 19th the importance of the idioms that are mandolin and a string bass. In later Chronological Order” Century that popularised the thinly represented on disc. This is years it was noted for the clarinet instrument in America. Even today particularly unfortunate when string playing of Jesse Hooker and There are many neglected areas of the states with concentrations of bands are considered, because they sometimes a trumpet player would sit blues research, but one of the most German immigrants Ð Texas, the were extremely active in black in. Most of the time it was a five or seriously overlooked is blues Carolinas, Illinois Ð also appear to communities throughout the South six piece string band which worked harmonica playing. Only one book have higher concentrations of black during the period when the blues for dances, picnics and shows, or has been written on the subject Ð harp players. Bluesmen still play was emerging and maturing. serenaded. "Serenading'' bands were Blues Harp by Tony "Lillie Sun" harmonicas made in Germany by Important string bands like Sid a feature of the South: string bands Glover. Though written in a Höhner or Holz, with the Höhner Hemphill's in Mississippi, Willie which performed in the streets, relentlessly mid-sixties hip style, it is Marine Band ten-hole, twenty-reed Walker's in the Carolinas and the outside theatres, or in the an informative guide to anyone who instrument the most popular. Wright Brothers in Texas were not courthouse squares. They would play

18 15 I'm So Glad with its extraordinarily Calf is Gonna Die and If You In common with concertina because the Fox Chase here is still rapid and clear finger-picking was of Haven't Any Hay, Get on Down the players and fiddlers, harmonica a tune. It is likely that the chase, a quality virtually unparalleled by any Road are as quirkish as the man players seem to have learned much which is still a standby for harp other blues player. who played them. On some of these of their technique through mimicry. In players, has its origins in fiddler's Drunken Spree, one of the newly piano pieces he stomped the time an idiom like the blues, which is so showcase playing of the same discovered items, enlarges our with his foot while still performing dominated by the voice, it is not theme. knowledge of Skip James at this with cascading flurries of notes in his surprising if vocal elements of wailing Another subject for mimicry was time, being a ballad song which singular fashion. and moaning are to be heard played the train. Stowers imitates a journey relates to the white tradition. Special Shortly after, James was ordained on the harp. But the techniques may from a platform parting to arrival in Rider on the other hand, derives at the Missionary Baptist Church in have been learned by other St. Louis, but he doesn’t spend much from Little Brother Montgomery Birmingham where his father now imitations. Freeman Stowers for time on starting off; his skill is in whom he had befriended in preached. He continued to do heavy instance, reveals on Sunrise on the shrieking into the reeds to imitate the Vicksburg, though Skip chose to play work, labouring in an iron ore mine, Farm, a very close familiarity with train whistle. A note in the Gennett it on a guitar. After this, and but later he formed a gospel group animal noises which he convincingly ledgers after his name says "the apparently at the same session, he and for several years travelled imitates by purely vocal means. Cotton Belt Porter" so perhaps this is turned to the piano to perform a intermittently with it to Texas and Dogs, chickens, cockerels, cats, a sound he had heard very often. number of pieces in a vividly original elsewhere. In the 1950s he was cows, donkeys and hogs are all Palmer Mc Abee's Railroad Piece, style. Some of these relate indirectly working on a plantation in Tunica, captured by "impressions." So his recorded in Atlanta is that of a player to other blues of the day: How Long Mississippi and it was at the Tunica Texas Wild Cat Chase with its with a keen ear for nuances of "Buck" is a version of Leroy Carr's hospital that John Fahey, Bill Barth participants, Charlie and John, and sound, from the letting off steam at How Long How Long but the short and Harry Vestine found him in 1964, dogs like Yellow-hammer, sound as if the start, to the flares of noise as the stabs of descending phrases are recovering from an operation. During they are accurately portrayed as the train is heard passing objects or peculiarly Skip's own. 22.20 Blues the next four years he performed at wild cat is treed, spitting and trees and crossing bridges. He too, is one of the several blues festivals and clubs, toured in Europe snarling, before being killed by the appears to use a form of cyclic composed around weapons, the and recorded a couple of albums. dogs. In fact, the vocal imitation is breathing for the sustained fast- numbers being an archaic method for Courteous, diffident, often more accurate than El Watson’s Fox rolling passages and you can detect expressing both calibre and seeming detached, not only from his Chase, partly because Robert the sound of his intake of air.A percentage of cordite in the charge. surroundings, but from other blues Cooksey’s second harmonica ledger note "hillbilly" raises a doubt But the oddly titled Little Cow and singers too, he was quietly confident overcrowds the sound, partly as to whether he is black, but chase

14 19 and train imitations were popular with harmonica, took John Henry at a relationship to his approach to the the first time, even on record, the white players too. Lost Boy Blues is medium pace and with a mellow guitar, may have been close to sound of his voice is strangely also a kind of train improvisation with quality, only occasionally introducing Crabtree's style, and that Crabtree in ethereal; in person it was quite a slight dance beat, while El a more howling note. Roubin Blues turn represented a localised uncanny. His talking voice was Watson's Narrow Gauge Blues is a ballad seldom recorded by black Arkansas tradition. But the culpable medium-toned and he occasionally imitates a "dummy line" train, or spur musicians and singers, but which lack of interest in researching blues sang at this level, as he did on Be to the work camps, and has more of was popular among white performers piano has meant that the Ready When He Comes. Generally a blues character. who also knew it as Nine Hundred opportunities to investigate the though, he pitched his voice Playing for dancing was expected Miles, which was a railroad song. possibility have already passed. extremely high, as he did on of any player with a melody And in fact, Richard Sowell does play In the next few years Skip played Cypress Grove or Illinois Blues. "I instrument. Watson's Bay Rum a short and fast train imitation at one for "country frolics" as he termed used to cut a lot of timber in Cypress Blues is a skipping dance of point. them, picnics and parties, occasional Grove" he explained, and also at, or considerable age for it is modelled on Compared with these folk functions in dance halls and the near, Jacksonville, Illinois, his songs Polly Wolly Doodle. He also performances Blues Birdhead, as joints of Jackson and Memphis. He coming from what he confirmed to contributes a waltz, Sweet Bunch of James Simon called himself, seems was something of a loner and not Ed Morris was his "self-experience." Daisies, which gives food for quite sophisticated. He obviously had enthusiastic about the world of jukes Cypress Grove is not about cutting thought, for it was composed by been listening to records, especially and barrel-houses. By about 1925 he timber though, but the basis for a Anita Owen in 1894 and made those by Louis Armstrong. His Mean was registered at a divinity school in figure of speech: "I'd rather be buried popular by a white singer, Phyllis Low Blues owes a lot to Armstrong's Memphis.Just a few years later he in some cypress grove, than have Allen; perhaps Watson played it for solos, while Harmonica Blues is was playing around the Mississippi some woman Lord that I can't white dances. Ballads were generally also jazzy in feeling, with a vaudeville towns when H. C. Speir, the Jackson control." Hard Time Killing Floor as good for dancing as they were tune of the type popularised by record salesman and talent scout Blues was on the theme of the useful as work songs, the sixteen-bar Butterbeans and Susie. Standard invited him to audition. Skip barely Depression, the economic collapse form of so many ballads fitting the blues tunes also form a basis for played a couple of verses of his song that ended his recording career just structure of many country reels. The Freeman Stowers' Medley, on which before Speir stopped him and offered as it had begun: "If I ever get off this totally obscure William Francis and he plays All Out and Down, Old to sign him for a contract. The killin' floor, I'll never get down this low Richard Sowell recorded just two Time Blues and a blues tune of recordings on this album were the no more." His accompaniments to titles, both of them ballads and possible white derivation, Hog in the result. these blues were played with great common among both white and black Mountain. All Out and Down was a To anyone hearing Skip James for sensitivity, but the guitar playing on communities. Sowell, who played favourite theme in Texas, apparently

20 13 MSE 207 SKIP JAMES 1931 remained with him. Clearly he had an confirming the evidence of the Wild MSE210 LEROY CARR 1928 Subtitled “Complete Recordings in early interest in music, beginning to Cat Chase that this was his state of Subtitled “Complete Recordings in Chronological Order” play guitar from the age of eight or origin. These then, were some of the Chronological Order” nine. A fiddle player named Green routes into blues harmonica playing That single copies of previously McCloud and his guitarist Henry which find their resolution in Pot It is almost impossible for us, fifty-five undiscovered blues records should Stuckey taught him some of the Licker and One Sock. played by years later to capture the sense of still be in existence after more than rudiments of his music. Though Skip Palmer MacAbee, on which he both excitement and delight that Leroy fifty years seems scarcely possible. was later to claim that all his songs states and "answers" each phrase on Carr's first records brought to those But such a disc by a major bluesman were original there appears to have the harp. They gain their purest who bought them in the late 1920s. It was recovered quite recently: been a local Bentonia tradition which expression in the virtually unbroken must have been a remarkable Paramount 13111, which revealed a survivors such as Jack Owens were improvisation by Alfred Lewis. contrast to the singing of the further surprise that What Am I To able to demonstrate in the 1960s. But Mississippi Swamp Moan and barrelhouse blues pianists who Do Blues was not by Son House as there is no doubt that James, by his Friday Moan, in which he sings and played in the country joints and the had been previously thought, but by own admission an "odd fellow", even shrieks into the reeds house parties, as they half-shouted Skip James. It appears in this album, developed a singular way of working fragments of lines "... Lord have their lyrics above the noise of the reissued for the first time, in a within the local idiom. mercy ... I'm gonn’ play these blues dancers and the thunder of their own collection of the complete work of its Unlike many bluesmen Skip for my baby ...." His falsetto words left-hand bass figures. Leroy Carr uniquely talented composer. James had a fairly good education, are blended into the harp phrases so presented a new image for the blues Nehemiah James was born June going to High School in Yazoo City that the instrument becomes an singer which had a smoother contour 9th, 1902 on the Woodbine plantation for a couple of years. But there were extension of his voice.From the and yet was drawn in with bold and near Bentonia in Yazoo County, few opportunities for young blacks various sources of chase and train strong tones. Mississippi, about twenty miles south and in his teens he moved to Leona, imitations, ballad and dance tunes, Compared with the piano blues of of Yazoo City. His father was a Arkansas to work in a sawmill. The even jazz influences, the techniques his contemporaries Leroy Carr Baptist minister and an influence on move was an important one for it of "cross harp" playing and bending paralleled Lonnie Johnson's position him throughout his life; though he introduced him to the piano playing of notes through lip, tongue and in relation to the guitarists. They both was to play in many rough joints in of a local pianist, Will Crabtree. He breath control were evolved, enabling had full command of their his young manhood he was never far learned to play piano from Crabtree, the players to exploit the potential of instruments, they both could play from the church. A light dancer as a developing an unusual style in the the mouth harp as a blues instru m e n t . mean and lowdown if they wished. child he was called "Skippy" by his process. It is possible that his piano Yet they both had a certain friends and the name "Skip" playing, which shows no special

12 21 sophistication, a slightly suave style John Carr and his wife Katie Dozier, SET 2: DISC 6: Original vinyl release date: Sept 1983 as which was admired for its modernity Leroy was born in 1905 in Nashville MSE212 CHARLEY LINCOLN 1927-30 and its urbane qualities which but raised by his mother in Subtitled “Complete Recordings in Chronological Order” 45’25” Indianapolis. Duncan Schiedt, who somehow did not get in the way of ( * denotes poor quality original 78) the essential nature of blues interviewed Carr's sister Eva over expression. This comes across in the twenty years ago, recounted her Charley Lincoln, vcl/gtr opening stanza of Carr's very first description of Leroy teaching himself 1 Jealous Hearted Blues 145103-2 Atlanta, Ga., Nov 4, 1927 recording, My Own Lonesome in his mother's absence by playing 2 Hard Luck Blues 145104-2 Ð Blues with its moaning voice, the parlour player-piano. He seems to 3 Mojoe Blues 145105-3 Ð moderately high pitch and steady, have been something of a handful; 4 My Wife Drove Me From My Door 145106- Ð medium pace. All the same, it was as a boy he ran away with a travelling 5 Country Breakdown 145107-1 Ð the other side or the record, How circus and later served in the Army at 6 Chain Gang Trouble * 145108-2 Ð Long How Long Blues which really Port Huachuca in Arizona, though he made an impact. It wasn't entirely was considerably under age. He was 7 If It Looks Like Jelly, Shakes Like Jelly, new; in fact Ida Cox had made her tall though and noted for his amiable It Must Be Gelatine 146016-1 Atlanta, Ga., April 11, 1928 How Long Daddy How Long years spirits which seem to have led him 8 Ugly Papa 146019-1 Ð before, and in its eight-bar structure into an early marriage and Nellie Florence, vcl; acc. poss. Charley Lincoln or poss. Barbecue Bob, and repeat of the title syllables it fatherhood by the time he was gtr/laughing/speech linked with the Crow Jane theme. eighteen. 9 Jacksonville Blues 146174-1 Atlanta, Ga. April 21, 1928 But Carr's blues had a unique, Back in Indianapolis, or 10 Midnight Weeping Blues 146175-2 yearning character which was "Naptown" as the black sector was curiously emphasised by his careful punningly but affectionately known, Charley Lincoln, vcl/gtr enunciation of the words; "I cannot he was soon in the tough West side 11 Depot Blues 147354-2 Atlanta, Ga., Oct 30, 1928 see no train..." or "it's deep down in sector playing piano, and running a 12 Gamblin’ Charley 147355-2 Ð my heart baby, there lies an aching profitable little bootlegging business 13 Doodle Hole Blues 150275-2 Atlanta, Ga., April 18, 1930 pain..." Somehow, the style and the on the side. Unfortunately he was not 14 Mama Don’t Rush Me 150276-2 Ð timing were just right for the mood of too discreet with this operation and the day. served time on the prison farm for his At the time he started recording illegal "alky cooking". Alcohol was a he was just twenty-three. The son of problem for him in more ways than

22 11 11 Four Day Blues (B) 17886 Ð one and he was soon notorious for been accused, and you ain't done 12 Undertaker Blues (G) 18323 Richmond, Ind., Jan 16, 1932 the quantities of liquor that he could nothin' wrong?," he asked on 13 Mistreated the Only Friend You Had (H) 18324 Ð consume. In this he had the Broken Spoke Blues. There was a 14 Nobody’s Business If I Do (I) 18325 Ð companionship of a drinking buddy, strong strain of nostalgia in many of Francis "Scrapper" Blackwell, a part his songs, but especially on 15 Window Pane Blues (I) 18326 Ð Cherokee Indian just two years his Tennessee Blues. On this and on senior who played a clean-toned Mean Old Train someone shrilled A = Walter Cole, vcl; prob.James Cole, vn; prob. Sam Soward, pno; claw-picking style of guitar. They imitations of a train whistle and tolled prob. own gtr worked out a piano and guitar (out of key) a bell on the latter; it was B = Tommie Bradley, vcl/gtr; unk, as; James Cole, vn/vcl on track 3; routine together which paid off well unashamed hokum but somehow the Eddie Dimmitt, md; Roosevelt Pursley, jug on track 3 enough for Leroy to give up his innocent imitation came off, with the menial job in a meat-packing plant. train rhythm of the piano bass C = Tommie Bradley, vcl/gtr; Eddie Dimmitt, md They were playing the spots on figures. They were now becoming D = James Cole’s Washboard Four:James Cole,vn; Tommie Bradley, gtr; Indiana Avenue when they attracted more confident; Scrapper Blackwell's Eddie Dimmitt, md; unknown, wbd/kazoo on track 6 the attention of Vocalion talent scout guitar playing was more evident and E = Tommie Bradley, vcl/gtr; poss.Walter Cole or Eddie Dimmitt, gtr and these first memorable recordings they were experimenting with new F = James Cole, vcl/vn; with Tommie Bradley, gtr; Eddie Dimmitt, md; were the result. tunes, as on their You Got to Reap Roosevelt Pursley, jug Blues like Broken Spoke, What You Sow, which, his wife G = Buster Johnson, vcl/gtr;James Cole, vn; Tommie Bradley, gtr; prob. Tennessee Blues and Truthful Margaret recalled to Duncan Scheidt, Blues were all in a straight twelve- he sang to her when they separated. Eddie Dimmitt, md; unk. wbd bar vein; they were taken at a In contrast with its title Low Down H = James Cole, vcl/vn; poss. Sam Soward, pno; prob. Eddie Dimmitt, md; medium or medium-slow pace in Dirty Blues had a pretty introduction Tommie Bradley or Buster Johnson, gtr; unknown, wbd which the stompy piano did not with a neat descending phrase, while I = Tommie Bradley, vcl/gtr;James Cole, vn on track 15; intrude on Leroy's plaintive lyrics. His the "new" versions of How Long prob. Eddie Dimmitt, md; unk. wbd words were often poetically phrased used a walking bass and effective even when dealing with familiar guitar runs. But the most ambitious themes, and he had a way of titles were to come, Baby Don't You embracing the listener by addressing Love Me No More with its hummed him on the record: "Have you ever verse introductions and rocking

10 23 piano, fractional pauses and repeat confident, and remained so on You 5 Truthful Blues C-2221 Ð refrain was a particularly attractive Don't Mean Me No Good. It was a 6 Mean Old Train Blues C-2222 Ð theme, so memorable in fact that few days before Christmas 1928 and 7 You Got To Reap What You Sow C-2223 Ð years later, in 1940, Leadbelly they could look back on an 8 Low Down Dirty Blues C-2224 Ð recorded it for a Bluebird session. immensely successful six months. As Tired of Your Lowdown Ways was the New Year approached they had 9 How Long How Long Blues No. 2 C-2688-A Chicago, Dec 19, 1928 another innovative blues, on which every reason to be optimistic for 10 How Long How Long Blues Part 3 C-2689-A Ð Leroy half-spoke the lines of the Leroy Carr was now the best-known 11 Baby Don't You Love Me No More C-2690-A Ð verse against repeat notes by new name in blues. 12 Tired Of Your Low Down Ways C-2691-B Ð Scrapper Blackwell before going into 13 I'm Going Away and Leave My Baby C-2692-B Chicago, Dec 20, 1928 a hard-rolling piano chorus. The MSE 211 TOMMIE BRADLEY Ð 14 Prison Bound Blues C-2694-A Ð suspension created by the spoken JAMES COLE GROUPS 1930Ð32 15 You Don't Mean Me No Good C-2695 Ð lines was exploited brilliantly in the Subtitled “Complete Recordings in eight-line concluding verse. Chronological Order” It was an exciting, exploratory SET 2: DISC 5: Original vinyl release date: Sept 1983 as phase but I'm Going Away And Who was Tommie Bradley? Who was MSE211 TOMMIE BRADLEY Ð JAMES COLE GROUPS 1930Ð32 Leave My Baby was on the verge of Walter Cole? There are very many Subtitled “Complete Recordings in Chronological Order” 46’30” sentimentality in both the melody and major gaps in our knowledge of early the delicate guitar runs, and did not blues, and these are most serious 1 Mama Keep Your Yes Ma’am Clean (A) 16996 Richmond, Ind., Sep 4 1930 have a strong piano bass to offset its where the instrumental groups with a 2 Everybody Got Somebody (A) 16998 Ð sweetness.Vocalion decided not to wider repertoire than blues, are issue it, but Carr and Blackwell were concerned. In the case of Tommie 3 Where You Been So Long? (B) 17083 Richmond, Ind., Sept 27, 1930 probably aware of the thin ground Bradley and Walter Cole, there's 4 Adam and Eve (C) 17084 Ð that they were treading and came in nothing definite that has come to 5 Runnin’ Wild (D) 17204 Richmond, Ind., Oct 27, 1930 powerfully with Prison Bound, a light, as far as I am aware. Their 6 Sweet Lizzie (D) 17205 Ð narrative blues which is known to records are also confusing Ð so 7 Pack Up Her Trunk Blues (E) 17206 Ð almost every blues pianist even much so that even after three 8 When You’re Down and Out (C) 17883 Richmond, Ind., July 17, 1931 today, and one of the duo's most editions Ð John Godrich and Bob remembered recordings. Scrapper's Dixon are still listing Tommie 9 Please Don’t Act That Way (C) 17884 Ð guitar responses were clear and Bradley's records under his own 10 I Love My Mary (F) 17885 Ð

24 9 10 McAbee’s Railroad Piece 41930-2 Ð name, and again under that of remains unknown; a washboard Freeman Stowers, hca solo (tracks 11,13), animal imitations (tracks James Cole.Part of the reason for player too. On a couple of titles with 12,14), speech (track 11) the obscurity of these artists must be James Cole, one Sam Soward the fact that they recorded over fifty played piano. Obviously, we know 11 Railroad Blues 14711 Richmond, Ind., Jan 19, 1929 years ago, but part of the reason nothing about him, but in the search 12 Texas Wild Cat Chase 14898 Richmond, Ind., Mar 11, 1929 why we know so little about them is for information, his is an unusual 13 Medley Of Blues 14899 Ð simply prejudice. name which might just provide a (All Out and Down; Old Time Blues; Hog In the Mountain) Until very recently there was little lead. These are not the instruments 14 Sunrise On the Farm 14900-B Ð interest in groups like these, who of a straight string band Ð like the Blues Birdhead (James Simons), hca solo; acc, unkown pno played blues for part of the time, but Dallas String Band on Matchbox 15 Mean Low Blues 403111-A included in their range a variety of Bluesmaster MSE 208 Ð but of one other types of music and song. They augmented by instruments that are Richmond, Va., Oct 13, 1929 were considered as being less more suited to a dance hall, and a 16 Harmonica Blues 403112-A Ð "authentic" and to have compromised fixed location, than for street playing Alfred Lewis, hca solo/vcl effects/speech their music. Only now is there a and serenading. Roosevelt Pursley, 17 Mississippi Swamp Moan C-4481 Chicago, May 5, 1930 growing awareness of the complexity also an uncommon name, played jug 18 Friday Moan Blues C-4482 Ð of black folk music forms and their on most sides. Where would one find bearing on popular music, and this combined washboard and jug SET 2: DISC 4: Original vinyl release date: May 1983 as belated interest has developed at a accompanied string bands? time when the trails must have gone One hypothesis might be MSE210 LEROY CARR 1928 completely cold. Now, for the first Memphis. Somehow it seems Leroy Carr, vcl/pno, Scrapper Blackwell, gtr time, the titles by the Bradley and unlikely; the guitar playing hasn't the Subtitled “Complete Recordings in Chronological Order” 41’06” Cole groups are brought together in Memphis roll, and though there's recording order, and both the lively some slight resemblance to the later 1 My Own Lonesome Blues IND-622-A diversity and the intrinsic merit of Charlie Burse sides, the Indianapolis, Ind. June 19, 1928 their work becomes apparent. BradleyÐCole titles are more The groups have differing accomplished. Vocally, there are few 2 How Long‚ How Long Blues IND-623-A Ð personnels which file data have connections one could identify with 3 Broken Spoke Blues C-2219 Chicago, Aug 13, 1928 revealed. These are not complete: Memphis, but Bradley, James and 4 Tennessee Blues C-2220 Chicago, Aug 14, 1928 there's an alto saxophone player who Walter Cole, and Buster Johnson

8 25 have very similar voices, with a amusing songs stick in the mind, and Coley Jones, gtr certain harsh edge and intonation it is a pity that he didn't have more 13 Listen Everybody 149566-1 Dallas, Tex., Dec 6, 1929 which, I believe, places them in the titles issued at this time. His 14 Easin’ In 149567-1 Ð "border" states of Kentucky or Ohio. Everybody Got Somebody has Dallas String Band with Coley Jones: as for Dec 8, 1928 Louisville, then? It's a possible stompy piano by Sam Soward while source, but John Randolph and Fred James Cole saws away on fiddle; 15 Shine 149568-2 Dallas, Tex., Dec 6, 1929 Cox who have been researching Cole accompanied Tommie Bradley a 16 Sugar Blues 149569-1 Ð Louisville jug bands, would have few days later on his first items, turned up something about them by which have a smoother, dance-hall SET 2: DISC 3: Original vinyl release date: May 1983 as now. Still, the possibility that sound with the addition of the MSE209 GREAT HARP PLAYERS 1927Ð30 Lockwood Lewis of the Dixieland Jug saxophone and harmonised singing. Subtitled “Complete Recordings in Chronological Order” 56’30” Blowers prompted the use of the alto Bradley's version of the old minstrel sax can't be ruled out. As for the show song Adam and Eve in the washboard player, he had an attack Garden of Eden is slightly updated William Francis, gtr; Richard Sowell, hca and use of cowbells and woodblocks with its reference to the Suzie-Q 1 John Henry Blues E-4603 New York City, Feb 28, 1927 that recalls Floyd Casey, who played dance. The tune is related to Tickle 2 Roubin Blues E-4606 Ð for Clarence Williams. Before that Britches, a favourite among small El Watson, hca solo; acc Charles Johnson, gtr on track 3 Casey worked out of St. Louis on the string bands. 3 Pot Licker Blues 39732-2 Bristol, Tenn., July 28, 1927 riverboats. It's just one of the James Cole's Washboard Band 4 Narrow Gauge Blues 39733-2 Ð circumstantial fragments that inclines gave an opportunity for the boards me to the view that these were player to show his stuff. Runnin' El Watson, hca solo/speech on track 5; acc. Robert Cooksey, hca on Cincinatti groups Ð for doubtless Wild was a sensational all-black track 5/ speech on track 6; unknown, bones on track 6; Watson or Casey would have been heard on the show in 1923 for which much of the Cooksey, vcl effects on track 5 boats at Cincinatti. There's other, music, including The Charleston, 5 El Watson’s Fox Chase 43952-2 New York City, May 7, 1928 firmer evidence, but this must wait to was written by Cecil Mack and 6 Bay Rum Blues 43953-2 Ð a later Bluesmaster issue. James P. Johnson. Over thirty 7 Sweet Bunch of Daisies 43954-2 Ð First to record was Walter Cole, recordings were made of the theme 8 One Sock Blues 43955-2 Ð (probably the same person as Walter of the show and doubtless Cole's Coleman, who later recorded Goin' group could have learned it from a Palmer McAbee, hca to Cincinatti). His two catchy, record. Sweet Sue was more recent, 9 Lost Boy Blues 41929-2 Atlanta, Ga., Feb 21, 1928

26 7 SET 2: DISC 2: Original vinyl release date: May 1983 as having been written just a couple of that matter, from Buster Johnson MSE208 COLEY JONES & THE DALLAS STRING BAND 1927-29 years before by Will J. Harris and whose Undertaker Blues, pitched Subtitled “Complete Recordings in Chronological Order” 51’21” Victor Young; James Cole high like Bradley's Window Pane, is camouflaged it perfunctorily by among the excellent small group Coley Jones, vcl/gtr calling it Sweet Lizzie, not blues performed by the group. 1 Army Mule In No Man’s Land 145324-1 Dallas, Tex., Dec 3, 1927 apparently worried that "Lizzie" didn't Perhaps this album will prompt 2 Traveling Man 145329- Dallas, Tex., Dec 4, 1927 fit the tune. It was a smash hit in someone to do some research on Dallas String Band: Coley Jones, md/vcl (on track 4); unknown, 2nd md; 1928 and was readily available in this unjustly neglected cluster of prob. Sam Harris, gtr; Marco Washington, sb; three-voice chorus sheet music. musicians Ð they could do worse presumably members of the group on track 4 Blues enters the recordings of than start in Cincinatti. 3 Dallas Rag 145343-2 Dallas, Tex., Dec 6, 1927 members of the group with Tommie Bradley's Pack Up Her Trunk, based MSE 212 CHARLEY LINCOLN: 4 Sweet Mama Blues 145344-3 Ð on Arthur Petties' Out on Santa Fe 1927 Ð 30 Dallas String Band with Coley Jones: three unknowns, vcl; acc. Coley while When You're Down and Out Subtitled “Complete Recordings in Jones, md; others prob. same group as, or similar to, the Dallas String was a version of Jimmie Cox's Chronological Order” Band on Dec 6, 1927 composition Nobody Knows You 5 So Tired 147612-1 Dallas, Tex., Dec 8, 1928 When You're Down and Out which Atlanta, Georgia played an important 6 Hokum Blues 147613-1 Ð was made famous in Bessie Smith's part in blues history in the 1920s. It 7 Chasin’ Rainbows 147622-2 Dallas, Tex., Dec 9, 1928 recording, and only a few months was the location for the earliest field before had been the last title made recording by a rural blues singer, the 8 I Used To Call Her Baby 147623-2 Ð by Pine Top Smith. Tommie Bradley obscure Ed Andrews, who was Bobbie Cadillac and Coley Jones, vcl duets; acc. poss. Alex Moore, pno; seems to have liked blues-songs; his recorded there as early as March Coley Jones, gtr version of Nobody's Business If I 1924. The subject of this collection, 9 I Can’t Stand That 149536-2 Dallas, Tex., Dec 5, 1929 Do (incidentally, one of Bessie Charley Hicks Ð or "Lincoln" Ð? was 10 He Throws That Thing 149537-1 Ð Smith's earliest titles) is a bouncy, already living there at that time, but it Coley Jones, vcl/gtr swinging number.James Cole's was some three years before Columbia recorded his brother, 11 Drunkard’s Special 149558-2 Dallas, Tex., Dec 6, 1929 Mistreated The Only Friend You Had gained a lot from Sam Soward's Barbecue Bob, and a further six 12 The Elder’s He’s My Man 149559-2 Ð slow off-beat piano and it is a pity we months before Charley was himself Bobbie Cadillac and Coley Jones, vcl duets; acc. poss. Alex Moore, pno; didn't hear more of this player, or for recorded. It had to be in that order it

6 27 seems, for his brother Robert, rather select area to the north-east of MATCHBOX BLUESMASTER SERIES younger by two years, was much the the city, which earned him the name SET 2: DISC 1: Original vinyl release date: Jan or Feb 1983 as more outgoing of the two and would of "Barbecue Bob" and which got MSE207 SKIP JAMES 1931 have been more "visible" to the talent engagements for the two of them. Subtitled “Complete Recordings in Chronological Order” 52’43” scouts. It was almost certainly Bob Charley was recalled as being a who got his elder brother on record. moody and often morose person, Grafton, Wis., c. Feb 1931 ( * denotes poor quality original 78) Charley Hicks had been playing which his laughter on record seems Nehemiah "Skip" James, vcl acc. by own gtr. guitar for about a dozen years by to belie. But it is a mirthless laugh, 1 Devil Got My Woman L-746-1 then. He had been born on a farm in almost a minstrel entertainment 2 Cypress Grove Blues L-747-2 Walton or Clarke county to the east laugh, and it opens such sombre 3 Cherry Ball Blues L-748-2 of Atlanta where he worked in the items as Jealous Hearted and 4 Illinois Blues L-749-1 cotton-fields and reportedly, saved Mojoe Blues: he was probably the 5 4 O’Clock Blues * L-750-1 enough money from picking cotton to only blues singer to make his buy his first guitar. Savannah recording debut with laughter, 6 HardÐLuck Child * L-751-2 Weaver, the mother of Curley whatever he meant by it. 7 Hard Time Killin’ Floor Blues L-752-2 Weaver, another well-known guitarist Jealous Hearted Blues is a 8 Yola My Blues Away L-753-2 of the Atlanta school, taught him to couplet-and-refrain song, modelled 9 Jesus Is a Mighty Good Leader L-754-1 play, and with his brother he began on Sweet Patunia, an apparent 10 Be Ready When He Comes L-755-2 playing for picnics and country favourite among members of this 11 Drunken Spree L-758-2 suppers. They moved closer to group of blues singers. It was the first Atlanta, to the small town of Lithonia title to be recorded by Curley 12 I’m So Glad L-759-1 Ð now virtually a suburb of the city. Weaver, and Willie Baker made no 13 Special Rider Blues * L-760-2 Then Charley got married and, doing less than four recordings of it, though Skip James, vcl acc. by own pno; with own foot-tapping where audible. odd jobs and playing for cash when only the last was acceptable to the 14 How Long “Buck” * L-761-1 he could, he tried to settle down. Gennett company. The unidentified 15 Little Cow and Calf Is Gonna Die Blues L-763-1 Of the two Robert was more Willie Baker also made No No Blues 16 What Am I To Do Blues * L-764-1 as well as a couple of remakes of the restless, but he was also more 17 22Ð20 Blues L-765-1 dynamic and it was his playing for a title, which Curley Weaver also chose barbecue stand at Buckhead, a for his first session; perhaps "Dip" 18 If You Haven’t Had Any Hay, Get On Down the Road L-766-1 AlI titles composed by Nehemiah James

28 5 Putting this music into perspective are the very valuable notes by Paul Oliver Weaver, as Savannah was with a rich timbre and probably the who was a world authority on early jazz and blues and travelled in the US nicknamed, introduced it to the saddest tone on record, as on the extensively to try and trace any remaining details of these sometimes obscure whole group. Barbecue Bob made sober Hard Luck Blues. Country people. Along with the work of other field collectors and researchers, we gain the latter a couple of times, as Yo- Breakdown is a title that arouses Yo Blues, but it seems it was too expectations of lively dance rhythms, a rare insight into the world of black musicians of the day by reading his notes fast for Charley, who preferred but it too, is a slow blues which he alongside listening to the music they performed. slower tempos. He made another sings with his voice pitched a little title which he shared with Willie higher than normally. Of his twelve- Paul Oliver not only wrote 10 books on the history of blues and gospel music, Baker, Mama Don't Rush Me, bar, three-line blues Gamblin' but was also a Professor of Architecture on which subject he wrote five which further suggests a link Charley is probably the most seminal books. He was born in May 1927 and died in August 2017. Through between these singers, while the directly related to his way of life, with his blues books and writings he opened many windows into a little researched manner of playing guitar is close to its admission to a gambling Curley Weaver's, using a slide on obsession that has left just about all area which is of such importance to the history of black music in America. The the strings. The tune was one that his possessions and those of his final 4 CDs in the series are entitled “Songsters and Saints” and were put had been recorded only a month woman, Sally, in pawn. together by Paul Oliver to illustrate his book of the same name. before as Sittin' on Top of the Not all his recordings were in the World by the Mississippi Sheiks, standard blues form. Chain Gang The present Matchbox Bluesmaster Series has been transcribed from the though the close proximity of the Trouble is an eight-bar blues which 1980’s vinyl pressings by Norman White using high-end transcription dates suggests that it was not relates directly to Peg Leg Howell's derived from this; in fact Leroy Carr's Rolling Mill (MSE 205) and which techniques. The original master tapes for the vinyl releases vanished long You Got to Reap What You Sow includes a "Captain" verse ago. See page 31 for details of the rest of the series. (MSE 210) is essentially the same suggesting a link with work song. tune. Barbecue Bob is known to have Saydisc has in its vaults many more pre-Bluesmaster blues albums which Generally, Charley Lincoln's worked on a medicine show; the may be issued on CD in due course. guitar playing was far less smooth same has not been said of Charley, and accomplished than Barbecue but both If It Looks Like Jelly and GEF LUCENA, Series Producer Bob's, using just one or two chords Ugly Papa have the structure of and simple phrases. His voice show songs. The former appears to though, was strong and expressive, be a play on the folk saying "if it

4 29 looks like a duck, quacks like a duck, laugh and exaggerated hoot sounds Matchbox Bluesmaster Series it must be a duck", while Ugly Papa distinctly chauvinistic. is a version of It Won't Be Long, a Barbecue Bob died suddenly of The 42 albums that make up the iconic Matchbox Bluesmaster Series was medicine show standard. If It Looks pneumonia in 1930, and his loss released by Saydisc Records between Nov 1982 and June 1988. Most of the Like Jelly is of course, a sexual deeply affected Charley. He became albums were subtitled “Complete Recordings in Chronological Order” with a inuendo, and so is Doodle Hole notorious for his drinking and his few under the subtitle “The Remaining Titles” or “New to LP”. The originating Blues, which is also to a verse and moods, which often got him in trouble 78 rpm records (many of them extremely rare) were provided by several refrain form. But they are sad with the police. Then, on Christmas versions of mild erotica and Charley Day, 1955, he killed a man in South collectors under the editorship of well known Austrian collector, Johnny Parth seems to have had little relish in Georgia on the Florida border and and were re-mastered by Hans Klement of Austrophon Studios in Vienna. them. He may not have had too was committed to prison in Cairo, Johnny Parth had already created his extensive Roots Records label which much success with women: his first Thomas County. There, eight years Saydisc distributed in the UK and the Matchbox Bluesmaster Series was a marriage (which probably provided later, he died of a heart attack at the carefully sculpted edition of black blues roots music giving a broad spectrum the name Lincoln) soon failed, and age of sixty-three. of the genre. so did his second marriage to Annie Thomas. Behind the tough singing, of Nellie Florence, Charley's raucous All notes by: Paul Oliver The series documented the early days of blues, hokum and gospel music from 1926 to 1934 (1950 for two tracks) and gives an insight into the way that black music was first released on record. From a commercial standpoint, records companies such as OKEH sent out talent scouts to find black singers, many of them “singing for nickels” on street corners. The market that these RACE record companies were after was the black community and they sometimes gave these newly found performers epithets such as “Peg Leg …”, “Blind …”, “Bo Weavil…”, “Buddy Boy…”, “Barbecue…” or “Texas…” to give them more appeal. The music of these singers formed the backbone of later urban blues, rhythm-and-blues and, of course, rock-‘n’-roll. The songs are sometimes raw and primitive in character, but some outstanding playing and singing shines through many of the performances.

30 3 MATCHBOX BLUESMASTER SERIES: SET 1: MSESET1 (6 albums) MSE 201 COUNTRY BLUES Ð THE 1st GENERATION (1927) Series Editor: Johnny Parth MSE 202 BUDDY BOY HAWKINS (1927-29) Notes: Paul Oliver MSE 203 BO WEAVIL JACKSON (1926) Produced by: Gef Lucena MSE 204 RAGTlME BLUES GUITAR (1928-30) Remastering from 78s: Hans Klement, Austrophon Studios, Vienna MSE 205 PEG LEG HOWELL (1928-29) MSE 206 TEXAS ALEXANDER VOL. 1 (1927-28) Digitising from vinyl: Norman White MATCHBOX BLUESMASTER SERIES: SET 3: MSESET3 (6 albums) MSE 213 MEMPHIS HARMONICA KINGS (1929-30) Original recordings from the collections of MSE 214 TEXAS ALEXANDER VOL. 2 (1928-29) Werner Benecke, Joe Bussard, Johnny Parth, Guido van Rijn, MSE 215 RAMBLIN' THOMAS (1928-32) MSE 216 COUNTRY GIRLS (1926-29) Bernd Kuefferle, Hans Maitner MSE 217 RUFUS & BEN QUILLIAN (1929-31) MSE 218 DE FORD BAILEY & BERT BILBRO (1927-31) With thanks to Mark Jones of Bristol Folk Publications for the loan of MATCHBOX BLUESMASTER SERIES: SET 4: MSESET4 (6 albums) MSE 219 JULIUS DANIELS Ð LIL McCLlNTOCK (1927-30) vinyl LP copies of the original re-issue series MSE 220 TEXAS ALEXANDER VOL. 3 (1929-30) MSE 221 PEG LEG HOWELL (1926-27) Sleeve Design: Bob Doling/Genny Lucena MSE 222 SANCTIFIED JUG BANDS (1928-30) MSE 223 ST. LOUIS BESSlE (1927-30) MSE 224 TEXAS ALEXANDER VOL. 4 (1934-50) Discographical details from Blues and Gospel Records 1902-1942 MATCHBOX BLUESMASTER SERIES: SET 5: MSESET5 (6 albums) by John Godrich and Robert Dixon MSE 1001 BLIND LEMON JEFFERSON (1926-29) MSE 1002 FRANK STOKES (1927-29) Considering the extreme rarity of the original 78s, condition is generally MSE 1003 BLIND BLAKE (1926-29) MSE 1004 BIG BILL BROONZY (1927-32) better than might be expected, but it must be borne in mind that only MSE 1005 MISSISSIPPI SHEIKS VOL. 1 (1930) one or two copies are known to exist of some titles (marked *) MSE 1006 LONNIE JOHNSON VOL. 1 (1926-28) MATCHBOX BLUESMASTER SERIES: SET 6: MSESET6 (6 albums) MATCHBOX BLUESMASTER SERIES MSE 1007 PAPA CHARLIE JACKSON (1924-29) MSE 1008 MEMPHIS JUG BAND (1927-34) IS A DIVISION OF SAYDISC RECORDS MSE 1009 BARBECUE BOB (1927-30) The Barton, Inglestone Common MSE 1010 LEECAN & COOKSEY (1926-27) Badminton, S Glos, GL9 1BX, England MSE 1011 ROOSEVELT SYKES (1929- 34) MSE 1012 MISSISSIPPI SHEIKS VOL. 2 (1930-34) www.saydisc.com MATCHBOX BLUESMASTER SERIES: SET 7: MSESET7 (6 albums) MSE 1013 LONNIE JOHNSON VOL. 2 (1927-32) MSE 1014 THE FAMOUS HOKUM BOYS (1930-31) MSEX 2001/2002 SONGSTERS AND SANTS VOL. 1 (1925-31) MSEX 2003/2004 SONGSTERS AND SAINTS VOL. 2 (1925-31)

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