PEETIE WHEATSTRAW — The Devil's Son~In~Law : Complete Recorded Works In Chronological Order Volume 1 · 1930- 1932 | DOCD-5241 (1994) RM | FLAC (tracks+.cue), lossless

In 1994, more than 160 of Peetie Wheatstraw's recordings were rounded up, placed in chronological sequence, and reissued by the Document label in an unprecedented effort that filled seven compact discs. The contents of volume one stand as a fascinating prologue to Wheatstraw's main body of work, providing valuable insights as a composite portrait of this legendary and influential bluesman continues to emerge from the shadows. Born in Ripley, TN in 1902 and raised in Cotton Plant, AK, William Bunch was already operating under his colorful new name when, in 1929, he landed in East St. Louis and quickly earned a reputation as a blues guitarist and barrelhouse piano player. According to his biographer Paul Garon, when Bunch drew upon African American folklore to reinvent himself as Peetie Wheatstraw, the Devil's Son in Law, he was transcending his racially imposed second-class citizenship by initiating "a poetic motive force in the direction of freedom and liberation." This uncompromising and individualistic power is especially evident in the recordings that Wheatstraw made during his first 19 months as a recording artist. His earliest 78 rpm platter was cut for the Vocalion record company on August 13 1930, in the company of a musician whose name may have been J.D. Short or Willie Fields, but is listed only as "Neckbones." The two men shared the vocals, with Neckbones coming across as the comparative lightweight while Wheatstraw expressed himself through gritty, passionate moaning and groaning, pushing his voice to the limit and sounding at times almost like Charley Patton. This is quite different from the way he would sound beginning in 1934, and even those who are accustomed to Southern African American dialect will probably find much of his singing on this album to be difficult to comprehend. The listener is forced instead to focus upon the singer's emotive texture and intonation, and that's a good way to listen. In September and October of 1930, Wheatstraw recorded eight sides with his close friend Charley Jordan, a well-known bootlegger who was responsible for hooking Peetie up with Vocalion to begin with. These were the first records to appear with the words "The Devil's Son-in-Law" right on the label. In September, 1931, Wheatstraw went to Chicago and cut four sides for Bluebird with a guitarist who is believed to have been Charlie McCoy. Although for a change he was not identified on the label as such, the first song of the session was titled "Devil's Son-In-Law," and the song on the flipside was "Pete Wheatstraw." Distributed by Victor, these Bluebird recordings provided him with terrific publicity, spreading his colorful name and distinctive sound throughout the land. Wheatstraw's next opportunity to record was in March 1932 at a studio in New York City, playing piano behind vocalist Pretty Boy Walker, and this marks the first appearance of what would become Wheatstraw's signature introduction. Every recording up until this point had opened with a rhythmic pulse that made it feel like part of a continuum. Without the signature intro, those sides fit together like segments of a longer ritual, and that is the best way to appreciate them, as the three-minute duration was an invention of the recording industry. While the only extant photograph of Peetie Wheatstraw shows him playing a National brand Style 3 Tricone guitar, he recorded almost exclusively as a pianist. The last four titles on this collection feature him singing and playing guitar, and the picture in question was probably taken during that week in 1932. These records should be savored as definitive proof of Wheatstraw's influence on Robert Johnson, Johnny Shines, Big Joe Williams, Muddy Waters, and Bukka White. arwulf arwulf
Tracklist :
1.    Peetie Wheatstraw, Neckbones–    Tennessee Peaches Blues 2:59
Bass – Unknown Artist
Guitar – Unknown Artist
Vocals – "Neckbones" (prob. J. D. Short)
Vocals, Piano [Poss.] – Peetie Wheatstraw
2.    Peetie Wheatstraw, Neckbones–    Four O' Clock In The Morning 2:42
Bass – Unknown Artist
Guitar – Unknown Artist
Vocals – "Neckbones" (prob. J. D. Short)
Vocals, Piano [Poss.] – Peetie Wheatstraw
3.    Peetie Wheatstraw–    Don't Feel Welcome Blues 3:08
Vocals, Piano – Peetie Wheatstraw
4.    Peetie Wheatstraw–    Strange Man Blues 3:09
Vocals, Piano – Peetie Wheatstraw
5.    Peetie Wheatstraw–    School Days 3:24
Guitar [Prob.] – Charlie Jordan
Vocals, Piano – Peetie Wheatstraw
6.    Peetie Wheatstraw–    So Soon 3:23
Guitar [Prob.] – Charlie Jordan
Vocals, Piano – Peetie Wheatstraw
7.    Peetie Wheatstraw–    So Long Blues 3:16
Guitar – Charlie Jordan
Vocals, Piano – Peetie Wheatstraw
8.    Peetie Wheatstraw–    Mama's Advice 3:16
Bass – Unknown Artist
Guitar – Charlie Jordan
Vocals, Piano – Peetie Wheatstraw
9.    Peetie Wheatstraw–    Ain't It A Pity And A Shame? 3:13
Guitar – Charlie Jordan
Vocals, Piano – Peetie Wheatstraw
10.    Peetie Wheatstraw–    Don't Hang My Clothes On No Barb Wire Line 3:03
Guitar – Charlie Jordan
Vocals, Piano – Peetie Wheatstraw
11.    Peetie Wheatstraw–    C And A Blues 3:05
Guitar – Charlie Jordan
Vocals, Piano – Peetie Wheatstraw
12.    Peetie Wheatstraw–    Six Weeks Old Blues 3:16
Guitar – Charlie Jordan
Vocals, Piano – Peetie Wheatstraw
13.    Peetie Wheatstraw–    Devil's Son-In-Law 3:22
Guitar [Poss.] – Charlie McCoy 
Vocals, Piano – Peetie Wheatstraw
14.    Peetie Wheatstraw–    Pete Wheatstraw 3:14
Guitar [Poss.] – Charlie McCoy 
Vocals, Piano – Peetie Wheatstraw
15.    Peetie Wheatstraw–    Creeping Blues 2:58
Guitar [Poss.] – Charlie McCoy (2)
Vocals, Piano – Peetie Wheatstraw
16.    Peetie Wheatstraw–    Ice And Snow Blues 2:32
Guitar [Poss.] – Charlie McCoy (2)
Vocals, Piano – Peetie Wheatstraw
17.    Pretty Boy Walker–    The Break I'm Gettin' 2:52
Piano – Peetie Wheatstraw
Vocals – Pretty Boy Walker
18.    Pretty Boy Walker–    Hog-Love Blues 3:12
Piano – Peetie Wheatstraw
Vocals – Pretty Boy Walker
19.    Peetie Wheatstraw–    Police Station Blues 3:02
Vocals, Guitar – Peetie Wheatstraw
20.    Peetie Wheatstraw–    All Alone Blues 3:06
Vocals, Guitar – Peetie Wheatstraw
21.    Peetie Wheatstraw–    Can't See Blues 2:58
Vocals, Guitar – Peetie Wheatstraw
22.    Peetie Wheatstraw–    Sleepless Nights Blues 2:49
Vocals, Guitar – Peetie Wheatstraw
Credits : 
Compilation Producer – Johnny Parth
Liner Notes – Paul Garon
Remastered By – Gerhard Wessely 

PEETIE WHEATSTRAW — Complete Recorded Works In Chronological Order Volume 2 · 1934- 1935 | DOCD-5242 (1994) RM | FLAC (tracks+.cue), lossless

With the second of seven volumes comprising Document's complete works of Peetie Wheatstraw, we arrive at the threshold of his fully formed style, perfected over many months of steady gigging while the Great Depression prevented him from making any records. Tracks 1-9 were cut in March and August 1934 with guitarist Charley Jordan, and when compared with Peetie's earlier achievements the difference is apparent from the get-go. Until 1938, when he began to vary the structure of his tunes, nearly every Peetie Wheatstraw record would begin with an instrumental introduction he had initiated, while backing vocalist Pretty Boy Walker back in 1932. This patented intro would become Wheatstraw's signature, as instantly recognizable and ubiquitous as those of inner-city graffiti artists during the final decades of the 20th century. The other audible innovation is Peetie's singing style, which by 1934 had undergone a dramatic transformation involving what would swiftly become his other trademark: the soon-to-be-widely-imitated use of the phrase "ooh, well, well" to punctuate and accentuate his delivery. During this period, Wheatstraw recorded for Decca (the label on which his music would appear exclusively beginning in October 1936) and Vocalion, the company responsible for peddling some of his titles to the Sears & Roebuck Co., who released them on their Conqueror label. Originally backed with a title by Tee McDonald, the jazzy "Throw Me in the Alley" is a rare treat in the form of an upbeat Wheatstraw record involving extra instrumentalists. Billed as Peetie Wheatstraw & His Blue Blowers, this hot little group included trombonist Ike Rodgers and pianist Henry Brown, as well as two unidentified individuals playing clarinet and violin. Other participants on this satisfying collection which covers Wheatstraw's progress through July 1935 are guitarists Teddy Darby and Charlie McCoy, as well as steel guitarist Casey Bill Weldon, whose handle derived from K.C., an abbreviation of his old stomping ground, Kansas City. "Keyhole Blues" and "Long Time Ago Blues" pare the instrumentation down once again to Wheatstraw and his guitar, sounding more lonesome and personal than he generally did at the piano. Issued as the flipside of a Jimmie Gordon record, "Doin' the Best I Can" borrows its melody from "Sittin' on Top of the World" which was first introduced by the Mississippi Sheiks. "Good Whiskey Blues" and its sequel "More Good Whiskey Blues" are straightforward appreciations of legalized liquor (including imported Holland gin!) as opposed to the perils of unregulated, often poisonous prohibition booze. "C & A Train Blues," which refers to the Chicago and Alton railroad, is the first recording on which Wheatstraw amends his nickname by calling himself the High Sheriff from Hell. arwulf arwulf
Tracklist :
1.    Back Door Blues    3:09
2.    Packin' Up Blues    3:09
3.    Long Lonesome Drive    3:19
4.    Midnight Blues    3:18
5.    The Last Time    3:21
6.    All Night Long Blues    3:14
7.    Numbers Blues    3:18
8.    Good Home Blues    3:18
9.    These Times    2:57
10.    Throw Me In The Alley    2:50
11.    C & A Train Blues    3:18
12.    Last Week Blues    3:08
13.    Keyhole Blues    3:13
14.    Long Time Ago Blues    3:15
15.    Doin' The Best I Can    2:53
16.    The Rising Sun Blues    3:00
17.    Blues At My Door    3:03
18.    Truthful Blues    3:07
19.    Good Whiskey Blues    3:14
20.    More Good Whiskey Blues    3:02
21.    Letter Writing Blues    3:01
22.    Whiskey Head Blues    2:46
23.    Slave Man Blues    2:50
24.    C And A Train Blues    2:46
Credits : 
Clarinet – Unknown Artist (tracks: 10)
Compilation Producer – Johnny Parth
Guitar – Peetie Wheatstraw (tracks: 10, 13, 14)
Guitar [Poss.] – Charlie McCoy (tracks: 15), Teddy Darby (tracks: 21)
Guitar [Prob.] – Charlie Jordan (tracks: 1 to 6, 8, 9)
Liner Notes – Paul Garon
Piano – Henry Brown (tracks: 10), Peetie Wheatstraw (tracks: 1 to 9, 11, 12, 15 to 24)
Remastered By – Gerhard Wessely
Steel Guitar – Casey Bill Weldon (tracks: 16 to 21)
Trombone [Prob.] – Ike Rodgers (tracks: 10)
Violin – Unknown Artist (tracks: 10)
Vocals – Peetie Wheatstraw 

PEETIE WHEATSTRAW — Complete Recorded Works In Chronological Order Volume 3 · 1935- 1936 | DOCD-5243 (1994) RM | FLAC (tracks+.cue), lossless

The third installment in Document's seven-volume Peetie Wheatstraw edition opens with songs about pimping and hustling, mixing cocktails, and making love like a spider. Tracks 1-11 were recorded in Chicago, alone at the piano and with guitarists Charley Jordan or Charlie McCoy. Peetie and Charley Jordan were the best of friends, and many of the songs in the Wheatstraw discography have Jordan listed as composer. The two men maintained a musicians' club and rehearsal space adjacent to Jordan's pad at 17th and O'Fallon where people like Roosevelt Sykes, Walter Davis, and Big Joe Williams would pay their 35-cent dues in order to be able to practice, jam, and prepare for their own recording sessions. Peetie gigged all over the Midwest during this period, and listening to his records, one can imagine him performing at length in all kinds of settings without ever running out of stories to tell. "Up the Road Blues" and "Last Dime Blues" are noteworthy for the absence of the famous Wheatstraw introduction, a musical fingerprint that instantly stamped dozens of other records with his unmistakable presence because he used the same structural template as a reusable canvas for his many improvised lyrics. "Johnnie Blues" kicks up the tempo a bit, and is considered one of this artist's stronger offerings. Peetie's first recording of 1936 was "No Good Woman (Fighting Blues)," a duet with Amos Easton, popularly known as Bumble Bee Slim. During the spoken introduction, Slim tries to pick a fight over a disputed female companion, to which Peetie replies "...don't fight, just play the blues and sing a little while, forget it." In his well-researched biography of Wheatstraw, Paul Garon marvels over the words to the "Kidnapper's Blues," noting the unlikelihood of a Depression-era bluesman being able to pay $10,000 ransom for a kidnapped black woman, or that a Chief Detective of that time period would even bother with such a case. He also points out that low-profile abductions were not unknown in the high-crime neighborhoods where Peetie and his primary audience lived and worked. Five days after this Vocalion record was cut in Chicago, Wheatstraw was in New York City making records for Decca with guitarist Kokomo Arnold, forging a working friendship that would bear fruit while strengthening Wheatstraw's relations with Decca. In October of 1936, he would become an exclusive Decca artist and would remain so until his sudden death in 1941. arwulf arwulf
Tracklist :
1.    Good Hustler Blues    2:58
2.    Cocktail Man Blues    2:43
3.    King Spider Blues    2:58
4.    Hi-De-Ho Woman Blues 3:11
Guitar [Possibly/Or] – Charlie Jordan
Guitar [Probably/Or] – Charlie McCoy 
5.    Sorrow Hearted Blues 3:13
Guitar [Possibly/Or] – Charlie Jordan
Guitar [Probably/Or] – Charlie McCoy 
6.    Up The Road Blues 3:05
Guitar [Possibly/Or] – Charlie Jordan
Guitar [Probably/Or] – Charlie McCoy 
7.    Last Dime Blues 3:10
Guitar [Possibly/Or] – Charlie Jordan
Guitar [Probably/Or] – Charlie McCoy 
8.    King Of Spades 3:00
Guitar [Possibly/Or] – Charlie Jordan
Guitar [Probably/Or] – Charlie McCoy 
9.    Johnnie Blues 2:42
Guitar [Possibly/Or] – Charlie Jordan
Guitar [Probably/Or] – Charlie McCoy 
10.    Santa Claus Blues 3:12
Guitar [Possibly] – Charlie Jordan
11.    Lonesome Lonesome Blues 3:00
Guitar [Possibly] – Charlie Jordan
12.    No Good Woman (Fighting Blues) 2:49
Vocals – Bumble Bee Slim
13.    First And Last Blues 2:46
Guitar – Unknown Artist
14.    True Blue Woman 2:35
Guitar – Unknown Artist
15.    Kidnapper's Blues (C-1259) 2:40
Guitar – Unknown Artist
16.    Sweet Home Blues (Take 1) 2:44
Guitar – Unknown Artist
17.    Sweet Home Blues (Take 2) 2:44
Guitar – Unknown Artist
18.    Good Woman Blues 2:41
Guitar – Unknown Artist
19.    Working Man (Doing The Best I Can) 2:31
Guitar – Kokomo Arnold
20.    Low Down Rascal 2:51
Guitar – Kokomo Arnold
21.    When I Get My Bonus (Things Will Be Coming My Way) 2:32
Guitar – Kokomo Arnold
22.    Coon Can Shorty 2:52
Guitar – Kokomo Arnold
23.    Meat Cutter Blues 3:00
Guitar – Kokomo Arnold
24.    The First Shall Be Last And The Last Shall Be First 2:46
Guitar – Kokomo Arnold
25.    Kidnapper's Blues (60527) 3:04
Credits : 
Compiled By, Producer – Johnny Parth
Liner Notes – Paul Garon
Piano – Peetie Wheatstraw
Remastered By – Gerhard Wessely
Vocals – Peetie Wheatstraw (tracks: 1 to 11, 13 to 25) 

PEETIE WHEATSTRAW — Complete Recorded Works In Chronological Order Volume 4 · 1936- 1937 | DOCD-5244 (1994) RM | FLAC (tracks+.cue), lossless

The recordings compiled onto the fourth of Document's sevenfold Peetie Wheatstraw retrospective were made in 1936 and 1937 when the East St. Louis-based bluesman was experiencing his greatest surge of popularity. Singing while kneading the piano, he was accompanied by guitarists Charlie McCoy and (on eight out of 23 titles) Kokomo Arnold, whose wonderful technique added an extra dimension to Peetie's musical landscape. Interestingly, "Deep Sea Love" appears to have been the only record ever to be released with "The High Sheriff from Hell" printed right on the label. Like "Beggar Man Blues," his "Jungle Man Blues" describes the plight of the homeless during the Great Depression. Wheatstraw didn't have to look very far to find a "hobo jungle" in St. Louis, as most cities of that size contained sizeable homeless encampments. On October 26, 1936, Wheatstraw became an exclusive Decca recording artist and cut half-a-dozen sides including the animated "Little House (I'm Gonna Chase These Peppers)," which has references to feline measles, a canine cough, and Peetie's pressing need to get his hambone boiled. The participation of a string bassist added rhythmic ballast to this session as well as the next, with the two takes of the "Peetie Wheatstraw Stomp" standing out among the liveliest, most entertaining performances in his entire discography. Here more than anywhere else, the Devil's Son-In-Law presents his definitive self portrait. arwulf arwulf
Tracklist :
1.    Old Good Whiskey Blues 2:56
Guitar – Kokomo Arnold
2.    When A Man Gets Down 2:50
Bass [String Bass] – Unknown Artist
Guitar – Unknown Artist
3.    Deep Sea Love 2:53
Bass [String Bass] – Unknown Artist
Guitar – Kokomo Arnold
4.    Drinking Man Blues 3:09
Bass [String Bass] – Unknown Artist
Guitar – Kokomo Arnold
5.    Country Fool Blues 3:10
Guitar – Kokomo Arnold
6.    Jungle Man Blues 3:05
Guitar – Unknown Artist
7.    Santa Fe Blues 3:07
Guitar – Unknown Artist
8.    Mistreated Love Blues 3:07
Guitar – Unknown Artist
9.    Remember And Forget Blues 3:09
Guitar – Unknown Artist
10.    Don't Take A Chance 3:05
Guitar – Unknown Artist
11.    Froggie Blues 3:02
Guitar – Unknown Artist
12.    Block And Tackle 3:16
Guitar – Unknown Artist
13.    Cut Out Blues 3:18
Guitar – Unknown Artist
14.    When A Man Gets Down 2:50
Bass [String Bass] – Unknown Artist
Guitar – Unknown Artist
15.    I Don't Want No Pretty Faced Woman
Bass [String Bass] – Unknown Artist
Guitar – Unknown Artist
16.    False Hearted Woman 2:46
Bass [String Bass] – Unknown Artist
Guitar – Kokomo Arnold
17.    Little House (I'm Gonna Chase These Peppers) 2:42
Bass [String Bass] – Unknown Artist
Guitar – Kokomo Arnold
18.    Fairasee Woman (Memphis Woman) 2:43
Bass [String Bass] – Unknown Artist
Guitar – Kokomo Arnold
19.    Beggar Man Blues 2:41
Bass [String Bass] – Unknown Artist
Guitar – Kokomo Arnold
20.    Crazy With The Blues 3:06
Bass [String Bass] – Unknown Artist
Guitar – Unknown Artist
21.    Ramblin' Man 3:03
Bass [String Bass] – Unknown Artist
Guitar – Unknown Artist
22.    Peetie Wheatstraw Stomp 2:27
Bass [String Bass] – Unknown Artist
Guitar – Unknown Artist
23.    Peetie Wheatstraw Stomp No. 2 2:37
Bass [String Bass] – Unknown Artist
Guitar – Unknown Artist
Credits : 
Compiled By, Producer – Johnny Parth
Liner Notes – Paul Garon
Remastered By – Gerhard Wessely
Vocals, Piano – Peetie Wheatstraw
Notes :
Mispress: Track 2 listed as "Poor Millionaire's Blues," but "When A Man Gets Down," identical to track 14, plays instead. This error was corrected by Document Records when they issued "Poor Millionaire's Blues" on "Too Late, Too Late": More Newly Discovered Titles And Alternate Takes, Volume 6 (1924-1946) (DOCD-5461). 

PEETIE WHEATSTRAW — Complete Recorded Works In Chronological Order Volume 5 · 1937- 1938 | DOCD-5245 (1994) RM | FLAC (tracks), lossless

Peetie Wheatstraw's complete recordings were reissued during the '90s by the Document label in an unprecedented seven-CD series. Vol. 5, which covers a timeline from March 1937 through October 1938 and features some fine guitar work by Kokomo Arnold and Lonnie Johnson, contains several songs inspired by the harsh realities in the St. Louis area during a time when an already disenfranchised African American working class faced difficult working conditions, low wages, job insecurity, unemployment, poverty, and homelessness. "Working on the Project" and its sequel describe what it was like to try and subsist on the lean earnings awarded to laborers who signed up with the Federal relief program known as the Works Progress (and later Work Projects) Administration, or W.P.A. While during the '30s various blues musicians referenced this program on their records (Big Bill Broonzy, Casey Bill Weldon, and Merline Johnson, for example), few laid down as many consecutive W.P.A.-related tunes as Peetie Wheatstraw did in 1937 and 1938. The context for "304 Blues" lies in a slip of paper that would appear in your pay envelope when your job was being terminated. "The Wrong Woman" has as its subtitle the straightforward message: "Lost My Job on the Project." Appropriately, the photograph on the cover of this album, which first appeared in the St. Louis Post-Dispatch on February 25, 1936, depicts a group of workers standing at the riverfront which was in the process of being radically altered; before the project was over with, the workers had to go on strike in order to be provided with hip boots while working in standing water. "Third Street's Going Down" is a poignant account of what happened to entire neighborhoods when highways were installed smack on top of areas where people lived and worked. In Peetie's case, this hit very close to home, because he lived on Third Street in East St. Louis, which was at the heart of "The Valley," a rough section of town largely consisting of gin joints, gambling dens, and houses of prostitution. While the city, state, and federal authorities obviously saw nothing wrong with evicting the inhabitants and razing many of the buildings to make way for a new highway, Peetie felt strongly enough about it to devote an entire song to the subject. Another tune in this set that references part of the urban landscape is "Cake Alley," one of three short thoroughfares that ran "from Blair Avenue on out to Fifteenth Street," According to Wheatstraw biographer Paul Garon, this existed at the edge of one of St. Louis' biggest African American ghettos, near Biddle Street and the red light district known as Deep Morgan. The alley was named for a bakery that once stood on the corner at Blair. According to the lyrics, Wheatstraw lived there at some point, but by the time he immortalized it with a song, the neighborhood had become so dangerous that visitors were likely to get assaulted and robbed, leading him to declare: "I don't go there no more." arwulf arwulf
Tracklist :
1.    Crapshooter's Blues 3:08
Bass [String Bass] – Unknown Artist
Guitar – Unknown Artist
2.    Would You Would You Mama 2:50
Bass [String Bass] – Unknown Artist
Guitar – Unknown Artist
3.    Give Me Black Or Brown 2:55
Guitar – Kokomo Arnold
4.    Working On The Project 3:01
Guitar – Kokomo Arnold
5.    Sick Bed Blues 3:11
Bass [String Bass] – Unknown Artist
Guitar [Possibly] – Charlie Jordan
6.    I'm Gonna Cut Out Everything 2:55
Bass [String Bass] – Unknown Artist
Guitar [Possibly] – Charlie Jordan
7.    New Working On The Project 3:02
Bass [String Bass] – Unknown Artist
Guitar [Possibly] – Charlie Jordan
8.    Baby Lou, Baby Lou 3:02
Bass [String Bass] – Unknown Artist
Guitar [Possibly] – Charlie Jordan
9.    Devilment Blues 3:06
Bass [String Bass] – Unknown Artist
Guitar [Possibly] – Charlie Jordan
10.    Third Street's Going Down 3:03
Bass [String Bass] – Unknown Artist
Guitar [Possibly] – Charlie Jordan
11.    304 Blues 3:04
Bass [String Bass] – Unknown Artist
Guitar – Lonnie Johnson
12.    The Wrong Woman (Lost My Job On The Project) 3:03
Bass [String Bass] – Unknown Artist
Guitar – Lonnie Johnson 
13.    Hard Headed Black Gal 3::12
Bass [String Bass] – Unknown Artist
Guitar – Lonnie Johnson 
14.    Banana Man 3:11
Bass [String Bass] – Unknown Artist
Guitar – Lonnie Johnson
15.    Shack Bully Stomp 2:31
Bass [String Bass] – Unknown Artist
Drums – Unknown Artist
Guitar – Lonnie Johnson 
16.    Road Tramp Blues 2>59
Bass [String Bass] – Unknown Artist
Guitar – Lonnie Johnson 
17.    Sweet Lucille 3:09
Bass [String Bass] – Unknown Artist
Guitar – Lonnie Johnson 
18.    Saturday Night Blues 3:11
Bass [String Bass] – Unknown Artist
Guitar – Lonnie Johnson
19.    Good Little Thing 2:58
Bass [String Bass] – Unknown Artist
Guitar – Lonnie Johnson 
20.    Cake Alley 3:00
Bass [String Bass] – Unknown Artist
Guitar – Lonnie Johnson
21.    What More Can A Man Do? 3:02
Bass [String Bass] – Unknown Artist
Drums – Unknown Artist
Guitar – Lonnie Johnson 
22.    Truckin' Thru Traffic 2:23
Drums – Unknown Artist
Guitar – Lonnie Johnson 
23.    Hot Springs Blues (Skin And Bones) 2:56
Drums – Unknown Artist
Guitar – Lonnie Johnson 
24.    A Man Ain't Nothin' But A Fool 3:04
Drums – Unknown Artist
Guitar – Lonnie Johnson 
Credits : 
Compiled By, Producer – Johnny Parth
Liner Notes – Paul Garon
Remastered By – Gerhard Wessely
Vocals, Piano – Peetie Wheatstraw