BUMBLE BEE SLIM — Complete Recorded Works In Chronological Order Volume 8 · 1937-1951 | DOCD-5268 (1994) FLAC (tracks+.cue), lossless

Tracklist :
1.        Rising River Blues (take 2)    3:06
2.        If I Make It Over    2:50
3.        She Never (take 1)    2:50
4.        She Never (take 2)    2:52
5.        12 O'Clock Southern Train    2:50
6.        12 O'Clock Midnight    2:52
7.        You Sure Look Good To Me    2:44
8.        Woman For Every Man (take 1)    3:13
9.        Woman For Every Man (take 2)    3:13
10.        Bumble Bee's New Muddy Water    2:57
11.        When Your Deal Goes Down    2:55
12.        Goodbye (I'll Try To Forget) (take 1)    2:59
13.        Goodbye (I'll Try To Forget) (take 2)    3:03
14.        Uncertain Blues    2:59
15.        You've Got To Do As I Bid You    2:52
16.        You Brought Me Back (You Brought Me Here)    3:07
17.        Going Back To Florida (Florida Blues)    3:09
18.        Good Old Easy Streets    3:02
19.        Lonesome Trail Blues    2:58
20.        Strange Angel    2:38
21.        Lonesome Old Feeling    3:00
22.        Ida Red    2:11
Credits : 
Alto Saxophone – Maurice Simon (tracks: 20, 21)
Baritone Saxophone – Jewell Grant (tracks: 20, 21)
Bass – Billy Hadnott (tracks: 20 to 24)
Clarinet [Prob.] – Bill Owsley (tracks: 16, 17)
Compilation Producer – Johnny Parth
Drums – Oscar Lee Bradley (tracks: 20 to 24)
Drums [Prob.] – Fred Williams (tracks: 10 to 18)
Guitar – Bumble Bee Slim (tracks: 1, 3 to 9), Tiny Webb (tracks: 20 to 24)
Guitar [Prob.] – Willie B. James (tracks: 1 to 9)
Liner Notes – Jerry Zolten
Piano – Aletha Dickerson (Robinson) (tracks: 10 to 18), Willard McDaniel (tracks: 20 to 24)
Piano [Poss.] – Frank James (tracks: 1 to 9)
Remastered By – Gerhard Wessely
Saxophone [Prob.] – Bill Owsley (tracks: 16, 18)
Tenor Saxophone – Maxwell Davis (tracks: 20, 21)
Trumpet [Poss./Or] – Punch Miller (tracks: 11 to 14)
Trumpet [Prob./Or] – Alfred Bell (tracks: 11 to 14)
Vocals – Bumble Bee Slim
Whistling – Bumble Bee Slim (tracks: 7, 9)

BUMBLE BEE SLIM — Volume 9 · Unissued Tests & Alternate Takes 1934-1951 | DOCD-5570 (1997) FLAC (tracks+.cue), lossless

Tracklist :
1.    Good Morning (take A)    3:01
2.    Good Morning (take B)    3:06
3.    Muddy Water (take A)    2:55
4.    Muddy Water (take B)    2:29
5.    Baby Fare You Well (take A)    2:55
6.    Baby Fare You Well (take B)    2:57
7.    Happy Life Blues (take B)    2:56
8.    Who's Been Here Today (take 2)    2:54
9.    When The Music Sounds Good (take 1)    2:47
10.    I'm Going To Live My Life Alone (take 1)    3:13
11.    I'm Going To Live My Life Alone (take 2)    3:19
12.    One Lonesome Day (take 1)    2:51
13.    One Lonesome Day (take 2)    2:49
14.    Pains In My Body (take 1)    3:07
15.    It Ain't No Trouble (take 1)    2:55
16.    It Ain't No Trouble (take 2)    3:07
17.    12 O'clock Midnight (take 2)    2:59
18.    Uncertain Blues (take 2)    3:05
19.    Cross The Country (take 1)    3:08
20.    Cross The Country (take 2)    3:02
21.    You Brought Me Here (take 2)    3:05
22.    Going Back To Florida (take 2)    3:05
23.    Sometimes    2:33
24.    Tiny's Boogie    2:30
Credits : 
Alto Saxophone – Maurice Simon (tracks: 23)
Baritone Saxophone – Jewell Grant (tracks: 23)
Bass – Billy Hadnott (tracks: 23, 24)
Bass [Sb] – Unknown Artist (tracks: 7, 8, 12, 13)
Clarinet – Arnett Nelson (tracks: 10, 11)
Clarinet, Tenor Saxophone – Bill Owsley (tracks: 19 to 22)
Compilation Producer – Johnny Parth
Drums – Oscar Lee Bradley (tracks: 23, 24)
Drums [Prob.] – Fred Williams (tracks: 10, 11, 18 to 22)
Guitar – Big Bill Broonzy (tracks: 5, 6, 10, 11), Herman "Tiny" Mitchell (tracks: 23, 24), Unknown Artist (tracks: 7, 14 to 17)
Guitar [Or] – Charlie Jackson (tracks: 1, 2)
Guitar [Prob./Or] – Willie Bee James (tracks: 1, 2)
Guitar [Prob.] – Big Bill Broonzy (tracks: 1, 2), Carl Martin (tracks: 3, 4)
Liner Notes – Jerry Zolten
Piano – Aletha Robinson (tracks: 18 to 22), Black Bob (tracks: 5, 6, 8, 10, 11), Unknown Artist (tracks: 1, 2, 7, 14 to 17), Willard McDaniel (tracks: 23, 24)
Piano [Prob.] – Myrtle Jenkins (tracks: 12, 13)
Remastered By – Gerhard Wessely
Speech – Bumble Bee Slim (tracks: 9)
Tenor Saxophone – Maxwell Davis (tracks: 23)
Trombone – Roy Palmer (tracks: 10, 11)
Trumpet [Poss.] – Alfred Bell (tracks: 18)
Vocals – Bumble Bee Slim
Whistling – Bumble Bee Slim (tracks: 12)

THE HOKUM BOYS & BOB ROBINSON — The Complete Recorded Works 1935-1937 In Chronological Order | DOCD-5237 | RM | FLAC (tracks), lossless

Although hokum had its heyday from 1928-31, the name of the Hokum Boys was revived for some recording dates during the years 1935-37. This CD features selections from a couple very different editions of the Hokum Boys, plus numbers from the related Chicago Five and Bob Robinson. The first seven numbers find the double entendres less subtle than earlier, the music more country-blues-oriented, and the selections featuring Big Bill Broonzy and Casey Bill Weldon on guitars and vocals, and sometimes pianist Black Bob, bassist Bill Settles, and Washboard Sam on washboard. The other performances have singer Bob Robinson (who was with the 1929 version of the band) as a dominant vocalist, Arnett Nelson taking erratic clarinet solos and the supporting cast including on various numbers Broonzy, Black Bob, and trumpeter "Mr. Sheiks." Although not quite up to the level of the 1929 Hokum Boys, there are many fun performances on this CD, including "Keep Your Mind On It," "Nancy Jane," "Do You Catch On," "You Can't Have None of That," "Down in the Alley," and "Just Diddling Around." Two previously unreleased alternate takes are included on the recommended 25-song program. Scott Yanow
Tracklist :
1.    The Hokum Boys–    Caught Us Doing It 2:36
Double Bass [Sb] – Bill Settles
Guitar – Big Bill Broonzy
Speech – Teddy Edwards
Vocals, Guitar – Casey Bill Weldon
2.    The Hokum Boys–    I Ain't Going That Way 3:02
Double Bass [Sb] – Bill Settles
Guitar – Big Bill Broonzy
Vocals, Guitar – Casey Bill Weldon
3.    The Hokum Boys–    Keep Your Mind On It 3:02
Double Bass [Sb; prob.] – Bill Settles
Guitar – Casey Bill Weldon
Guitar, Vocals – Big Bill Broonzy
Washboard, Vocals [Uncredited] – Washboard Sam
4.    The Hokum Boys–    I'm Gonna Get It 3:02
Double Bass [Sb; prob.] – Bill Settles
Guitar – Big Bill Broonzy
Guitar, Vocals – Casey Bill Weldon
Washboard, Vocals [Uncredited] – Washboard Sam
5.    The Hokum Boys–    I'm Gonna Get It 3:06
Double Bass [Sb; prob.] – Bill Settles
Guitar – Big Bill Broonzy
Guitar, Vocals – Casey Bill Weldon
Washboard, Vocals – Washboard Sam
6.    The Hokum Boys–    I'm Gonna Tell My Mama On You 2:57
Double Bass [Sb] – Bill Settles
Guitar – Big Bill Broonzy
Guitar, Vocals [Vocal Chorus] – Casey Bill Weldon
Piano – Black Bob
Vocals – Teddy Edwards
7.    The Hokum Boys–    Nancy Jane 3:00
Double Bass [Sb] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Guitar, Vocals [Vocal Chorus] – Casey Bill Weldon
Piano – Black Bob
8.    Chicago Five–    I Ain't Gonna Do It 3:19
Clarinet – Arnett Nelson
Guitar [possibly] – Tampa Red
Guitar [probably] – Big Bill Broonzy
Piano [possibly] – Black Bob
Vocals – Bob Robinson 
Vocals [2nd v.] – Unknown Artist
Washboard [probably], Wood Block [probably], Percussion [effects, probably] – Washboard Sam
9    Chicago Five–    I'm A Gamblin' Man 2:56
Clarinet – Arnett Nelson
Guitar [possibly] – Tampa Red
Guitar [probably] – Big Bill Broonzy
Piano [possibly] – Black Bob
Vocals – Bob Robinson 
Vocals [2nd v.] – Unknown Artist
Washboard [probably], Wood Block [probably], Percussion [effects, probably] – Washboard Sam
10.    The Hokum Boys–    Do You Catch On 3:07
Clarinet – Arnett Nelson
Double Bass [Sb] – Bill Settles
Guitar – Big Bill Broonzy
Piano – Black Bob
Vocals [2nd v.] – Unknown Artist
Vocals [probably] – Bob Robinson 
11.    The Hokum Boys–    Something Good 2:59
Clarinet – Arnett Nelson
Double Bass [Sb] – Bill Settles
Guitar – Big Bill Broonzy
Piano – Black Bob
Vocals [2nd v.] – Unknown Artist
Vocals [probably] – Bob Robinson 
12.    The Hokum Boys–    Every Man For Himself 3:03
Clarinet [probably] – Arnett Nelson
Double Bass [Sb; prob.] – Bill Settles
Piano – Black Bob
Vocals [probably] – Bob Robinson 
13.    The Hokum Boys (2)–    You Can't Have None Of That 3:03
Clarinet [probably] – Arnett Nelson
Double Bass [Sb; prob.] – Bill Settles
Piano – Black Bob
Vocals [probably] – Bob Robinson 
14.    Bob Robinson And His Bob-Cats–    Down In The Alley 3:28
Double Bass [Sb] – Unknown Artist
Piano [possibly] – Myrtle Jenkins
Piano [probably] – Frank "Springback" James
Trumpet – "Mr. Sheiks"
Vocals – Bob Robinson 
15.    Bob Robinson And His Bob-Cats–    Makin' A Fool Out Of Me 3:18
Double Bass [Sb] – Unknown Artist
Piano [possibly] – Myrtle Jenkins
Piano [probably] – Frank "Springback" James
Trumpet – "Mr. Sheiks"
Vocals – Bob Robinson 
16.    Bob Robinson And His Bob-Cats–    Can Use It Myself 3:07
Double Bass [Sb] – Unknown Artist
Piano [possibly] – Myrtle Jenkins
Piano [probably] – Frank "Springback" James
Trumpet – "Mr. Sheiks"
Vocals – Bob Robinson 
17.    Bob Robinson And His Bob-Cats–    She's A Mellow Thing 3:07
Double Bass [Sb] – Unknown Artist
Piano [possibly] – Myrtle Jenkins
Piano [probably] – Frank "Springback" James
Trumpet – "Mr. Sheiks"
Vocals – Bob Robinson 
18.    The Hokum Boys–    Swing That Thing 2:55
Clarinet [probably] – Arnett Nelson
Double Bass [Sb; prob.] – Bill Settles
Piano – Aletha Robinson
Vocals [probably] – Bob Robinson 
19.    The Hokum Boys–    Georgia Mule 2:51
Clarinet [probably] – Arnett Nelson
Double Bass [Sb; prob.] – Bill Settles
Piano – Aletha Robinson
Vocals [probably] – Bob Robinson 
20.    Bob Robinson Trio–    Crying For Love 2:57
Clarinet [probably] – Arnett Nelson
Double Bass [Sb] – Unknown Artist
Piano – Unknown Artist
Vocals – Bob Robinson 
21.    Bob Robinson Trio–    Heart-Breaking Blues 2:53
Clarinet [probably] – Arnett Nelson
Double Bass [Sb] – Unknown Artist
Piano – Unknown Artist
Vocals – Bob Robinson 
22.    The Hokum Boys–    It Started In The Garden Of Eden 2:53
Clarinet [probably] – Arnett Nelson
Double Bass [Sb; prob.] – Bill Settles
Piano – Aletha Robinson
Vocals [probably] – Bob Robinson 
23.    The Hokum Boys–    It Started In The Garden Of Eden 2:51
Clarinet [probably] – Arnett Nelson
Double Bass [Sb; prob.] – Bill Settles
Piano – Aletha Robinson
Vocals [probably] – Bob Robinson 
24.    The Hokum Boys–    Just Diddling Around 2:55
Clarinet [probably] – Arnett Nelson
Double Bass [Sb; prob.] – Bill Settles
Piano – Aletha Robinson
Vocals [probably] – Bob Robinson 
25.    The Hokum Boys (7)–    You Got Your Ribs Out Of Pawn 2:59
Clarinet [probably] – Arnett Nelson
Double Bass [Sb; prob.] – Bill Settles
Piano – Aletha Robinson
Vocals [probably] – Bob Robinson 

MERLINE JOHNSON — The Yas Yas Girl : Complete Recorded Works In Chronological Order ★ Volume 1 • 1937-1938 | DOCD-5292 (1994) RM | FLAC (tracks), lossless

Back in the middle of the 1990s, the Vienna-based Document label reissued 71 tasty blues recordings made during the years 1937-1940 by Mississippi native Merline Johnson. Each of the three volumes is superb, and once you've caught her act you might find yourself seeking out the entire set. Volume one covers the first 11 months of her five-year reign as one of Chicago's most prolific prewar blues women. Backed by trumpeter Alfred Bell, clarinet and saxman Bill Owsley, guitarists Lonnie Johnson, Big Bill Broonzy, Willie Bee (James) and George Barnes; pianists Eddie Miller, Horace Malcolm, Blind John Davis and Joshua Altheimer, and drummer Fred Williams, Merline Johnson wrestles and wrangles with the human condition, from domestic relationships and law enforcement to government sponsored work programs, subterranean mining in the deep south, self-medication using hard liquor, and a pact with the devil himself. The first six titles were recorded on May 4, 1937 and issued on the Victor subsidiary Bluebird label. Beginning with "Sold It to the Devil," all of her recordings (issued on the ARC and Vocalion labels) identified her as the "Yas Yas Girl." Right from her opening performance, a fine version of "I'd Rather Drink Muddy Water," this woman's gutsy warmth is difficult to resist. Note that "Pallet on the Floor" is not the familiar traditional tune about sneaking around and dogging one's mate, but a straightforward answer song devised by Merline Johnson herself. "Jelly Bean Blues" was written by Ma Rainey, who recorded it in 1924 with Louis Armstrong and a little group led by Fletcher Henderson. Merline's marvelous cover, recorded on April 7, 1938, is greatly enhanced by the electrically amplified guitar of 16-year-old prodigy George Barnes. arwulf arwulf

Tracklist :
1        New Muddy Water Blues    3:03 (A)
2        He Roars Like A Lion    3:21 (A)
3        I'm Leavin' You    3:07 (A)
4        My Baby Left Me    2:59 (A)
5        Pallet On The Floor    2:49 (A)
6        Mean Mistreatin' Daddy    2:54 (A)
7        Sold It To The Devil    2:59 (B)
8        Grandpa And Grandma    3:12 (B)
9        I'd Rather Be Drinking Muddy Water, No. 2    2:59 (B)
10        Blues Everywhere    2:50 (C)
11        Working On The Project    2:55 (D)
12        I Drink Good Whiskey    3:09 (D)
13        Patrol Wagon Blues    2:47 (D)
14        Got A Man In The 'Bamma Mines    3:04 (D)
15        Jackass For Sale    2:52 (E)
16        You Got To Pay    2:49 (E)
17        My Independent Man    2:47 (F)
18        He May Be Your Man    2:39 (F)
19        New Drinking My Blues Away    2:52 (G)
20        Crime Don't Pay    2:44 (G)
21        Please Come Back To Me (Take 5)    2:34 (H)
22        Love Shows Weakness (Take 4)    2:38 (H)
23        About My Time To Check    2:49 (H)
24        Squeeze Me Tight    2:50 (H)
25        Jelly Bean Blues    2:44 (H)
26        My Man Is Gone    2:38 (H)

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 5 • 1936-1937 | DOCD-5127 (1992) FLAC (tracks+.cue), lossless

Big Bill Broonzy recorded a great deal in Chicago during the 1930s, and fortunately, every one of the selections (except for a few that cannot be located) have been reissued on CD by the Austrian Document label in this "complete" series. In addition to selections with a trio (which includes pianist Black Bob and bassist Bill Settles), Broonzy is heard on this fifth volume with the Hokum Boys (on "Nancy Jane"), the Midnight Ramblers (which include Washboard Sam) and the Chicago Black Swans, a band similar to the Harlem Hamfats that adds guitarist Tampa Red). The final four numbers return to the trio format but add trumpeter Punch Miller to two of the songs. Throughout, Broonzy is heard in prime form. Among the selections are "Big Bill's Milk Cow No. 2," "Nancy Jane," "Detroit Special," "Out With the Wrong Woman," "Southern Flood Blues" and "Let's Reel and Rock." Scott Yanow

Abridged from this album’s original booklet notes. In 1934 Big Bill Broonzy had recorded Milk Cow Blues for Bluebird (see volume two of this series) and it had been a sufficient hit for him to assay a Milk Cow Blues No. 2 for ARC, this time filling out the sound by utilising Black Bob‘s piano for support. This basic line-up of guitar, piano, string bass and woodblocks was given an extra dimension when Charlie McCoy was added playing the mandolin. Charlie, like Big Bill, was a jobbing musician about Chicago. He had found his niche when, along with his brother ‘Hallelujah’ Joe McCoy he became part of the basic line-up of the Harlem Hamfats. This group used a ‘New Orleans’ front line of trumpet and clarinet backed-up by a piano and a guitar/mandolin/drums rhythm section. The session with Charlie produced Bill’s complaint about his addiction to playing craps in Seven-Eleven (“My point was a nine, I stopped at six – and that trey came flyin”‘) and about his girl-friend’s bad actin’ in You Know I Got A Reason. (Is there an accusation of lesbianism in the line “You say that woman you run with is your lady friend, it don’t look much like it for the shape I caught y’all in”?) During the same period, May / June 1936, Bill was still performing as part of The Hokum Boys, singing and playing the guitar on Nancy Jane a number they had recorded before, without it being released, as far back as 1930. A further Big Bill / Black Bob session took place in the September of 1936. It included Black Widow Spider in which Bill may have mixed his genders by representing himself as a spider with “red stripes under my belly” after making it sore by “crawlin’ down your wall”. The same combination also recorded in November of that year, one track, Out With The Wrong Woman being issued as by The Midnight Ramblers. Several songs and alternative takes of material recorded around this time, i. e. Cherry Hill Take 2, were not issued until they appeared on LP in the late 60s / early 70s. On the 26th January 1937 Big Bill Broonzy took the vocal and guitar part for a group called the Chicago Black Swans. This was a loose collection of musicians including Herb Morand and Arnett Nelson, the front line of the Hamfats. The same group recorded the same two titles on the same day with vocals by Mary Mack for release as by The State Street Swingers. Further confusion is added by the fact that Bill had already recorded Don’t Tear My Clothes (presumably implicitly “No. 1”, see volume three of this series) with a group known as The State Street Boys whose more rural sound had been built around the violin of Zeb Wright. Never slow to adapt to trends Bill featured a trumpet and drums on his next session (although he refers to a cornet on Come Up To My House). After cutting his commentary on the recent flooding of the Ohio River in his magnificent Southern Flood he brought forward “Mr Sheiks” and Fred Williams to up-date his sound to that of Big Bill’s Orchestra (?). “Mr Sheiks“, whose identity has been the subject of much speculation, was no Herb Morand and two days later Big Bill Broonzy was back in the studio to try again – this time in the company of Ernest ‘Kid Punch’ Miller, who came, like Morand, from a New Orleans background and was one of the foremost jazzmen of his generation. Hedging, Bill also cut for his older audience on this session producing the delicately picked Horny FIog which included references to the south, north migration along with the wonderful line dismissing his troublesome girlfriend: “I’m tired of poppin’ my belly for you”. DOCD-5127
Tracklist :
1        Big Bill's Milk Cow No. 2 (A) 3:07
2        W.P.A. Blues (B) 3:01
3        I'm A Southern Man (B) 2:47
4        Nancy Jane (C) 3:00
5        Lowland Blues (D)    3:02
6        Seven-Eleven     (D)    2:57
7        You Know I Got A Reason (D) 2:49
8        Oh, Babe (D)    3:08
9        Detroit Special  (E) 2:50
10        Falling Rain  (E) 3:17
11        Black Widow Spider (F) 2:52
12        Cherry Hill  (G) 3:12
13        Out With The Wrong Woman (H) 2:57
14        Don't Tear My Clothes No. 2 (I)    2:42
15        You Drink Too Much (I) 3:08
16        Southern Flood Blues (J) 3:13
17        My Big Money     (J) 3:12
18        My Woman Mistreats Me (J) 3:00
19        Let's Reel And Rock (J) 3:15
20        Come Up To My House (J) 3:11
21        Get Away (K) 2:57
22        Terrible Flood Blues (K) 3:04
23        Little Bug (K) 3:05
24        Horny Frog [Take 1] (K) 3:08
Credits :
(A) Big Bill Broonzy, vocal, guitar; Black Bob, piano; “Heebie Jeebies”, wood blocks  01/05/1936
(B) Big Bill Broonzy, vocal, guitar; Black Bob, piano; Bill Settles, stand-up bass “Heebie Jeebies” woodblocks on 3. 27/05/1936
(C) The Hokum Boys: Big Bill Broonzy, vocal, guitar; Casey Bill Weldon, guitar, vocal / chorus; Black Bob, piano: Bill Settles, stand-up bass.   11/06/1936
(D)  Big Bill Broonzy, vocal, guitar; accompanied by Punch Miller, trumpet on 15, 16, 17; Leeford or Aletha Robinson, piano; own guitar on 15, 16, 17; Fred Williams, drums. 03/09/1936
(E) Big Bill Broonzy, vocal, guitar; Probably Horace Malcolm, piano; Charlie McCoy, mandolin. Big Bill Broonzy, vocal, guitar; Black Bob, piano; Bill Settles, stand-up bass.  16/09/1936
(F)  Big Bill Broonzy, vocal, guitar; probably Myrtle Jenkins, piano; Bill Settles, stand-up bass.  28/10/1936
(G) Chicago Black Swans: Big Bill Broonzy, vocal, guitar; accompanied probably by Herb Morand or possibly Alfred Bell, trumpet; Arnett Nelson, clarinet; Black Bob, piano; possibly Tampa Red, guitar; unknown, percussion. 19/11/1936
(H) Midnight Ramblers: Big Bill Broonzy, vocal, guitar; Black Bob, piano; unknown, stand-up bass; possibly Washboard Sam, scat vocal. 19/11/1936
(I) Big Bill Broonzy, vocal, guitar; probably Myrtle Jenkins, piano; Bill Settles, stand-up bass. 26/01/1937
(J) Big Bill Broonzy, vocal, guitar; accompanied by “Mr. Sheiks (Alfred Bell), trumpet, on 16, 17, 19, 20; possibly . Fred Williams. drums on 19 and 20. Bill Settles, stand-up bass; possibly Fred Williams, drums on 19, 20. 29/01/1937
(K) Big Bill Broonzy, vocal, guitar; accompanied by Punch Miller, trumpet on 21, 23; Black Bob, piano; Bill Settles, stand-up bass; Fred Williams, drums on 23 / woodblocks on 22, 24. 31/01/1937

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 6 • 1937 | DOCD-5128 (1993) RM | FLAC (tracks+.cue), lossless

1937 was a busy year for Big Bill Broonzy, who was turning 44. A greatly in-demand blues guitarist in Chicago, Broonzy was also an underrated singer and a major solo artist. This CD from the Austrian Document label (the sixth of 11 that trace his entire prewar recording career) includes 26 selections with plenty of alternate takes and nine previously unreleased performances. Broonzy is joined by either Black Bob, Leeford or Aletha Robinson or Joshua Altheimer on piano (Blind John Davis joins up for the final session), and sometimes bassist Bill Settles, drummer Fred Williams, unidentified players and (on three occasions) trumpeter Punch Miller. Although not quite essential, this CD will be desired by Broonzy's greatest fans, along with all of the releases in this very valuable series. Among the more notable selections are "Mean Old World," "Down in the Alley," "Louise, Louise Blues" and "It's Too Late Now."  Scott Yanow

Abridged from this album’s original booklet notes. This volume picks up the recorded works of Big Bill Broonzy half way through the session of 31st January 1937. One of the tracks he sat out was Horny Frog, an alternative take of which opens this set to complement the last track on Volume 5, however he joined in for Mean Old World and’ contributed some nice growling trumpet to You Do Me Any Old Way. On 10th of March that year Bill was one of the Midnight Ramblers, a group which featured piano, string bass (probably of the “tea chest” variety) and the shared vocals of himself and Washboard Sam. The partnership between Black Bob and Big Bill seems to have ended with the session of 9th June 1937 and, by July Leeford Robinson was occupying the piano stool. The session opened with Bill pleading for the return of one “Hattie” to save him from descending into a life of drinking and gambling (a joke surely!) and continued with a song in praise of his “crankie” Model T Ford

“You can have your V8 and your Lincoln too, Give me my Model T, I know what she will do”.

The trumpet and drums are prominent on this up-tempo cut. Another of Bill’s possessions comes in for praise on Come Home Early where he sings

“Don’t be scared, it won’t bite, My damper’s made to fit an eight inch pipe”.

Leeford Robinson seems to have been a stop-gap too and after that date Big Bill Broonzy turned to Blind John Davis for support on the 88 before beginning his long association with Josh Altheimer, although it may be Altheimer working on My Girl Is Gone. The two men, working with Fred Williams, drums, held down the session of 13 October 1937 when Bill explained his wariness in commercial transactions. “When I’m ready to buy, I want my hands on it – so it won’t fly”, and dragooned the tune best known as Sitting 0n Top of The World into service for the slow and reflective blues It’s Too Late, to which Davis adds some delicate piano. This set winds up with Made A Date With An Angel – “Poor me, I can’t fly”, which is not the pop song it appears to be and is more correctly sub-titled Got No Walking Shoes. DOCD-5128
Tracklist :
1        Horny Frog [Take 2] (A) 3:04
2        Mean Old World [Take 1] (A) 3:00
3        Mean Old World [Take 2] (A) 3:08
4        Barrel House When It Rains (A)     2:49
5        You Do Me Any Old Way [Take 1] (A) 2:50
6        You Do Me Any Old Way [Take 2] (A) 3:02
7        Down In The Alley [Take 1]     (B) 2:51
8        Down in The Alley [Take 2]     (B) 2:47
9        Stuff They Call Money     (B) 2:50
10        Louise Louise Blues [Take 1] (C) 2:44
11        Louise Louise Blues [Take 2]  (C) 2:42
12        Let Me Be Your Winder (C)    3:10
13        Hattie Blues [Take 1] (D) 2:57
14        Hattie Blues [Take 2] (D) 2:58
15        My Old Lizzie [Take 2] (D) 2:52
16        Come Home Early [Take 1] (D) 3:02
17        Come Home Early [Take 2]    (D) 3:00
18        Come Home Early [Take 3] (E) 2:58
19        Come Home Early [Take 4] (E) 2:53
20        My Gal Is Gone (F) 2:46
21        Evil Hearted Me (F) 2:40
22        I Want My Hands On It [Take 1] (G)    2:56
23        I Want My Hands On It [Take 2] (G) 2:53
24        It's Too Late Now [Take 1]     (G)    3:05
25        It's Too Late Now [Take 2] (G)    3:01
26        Made A Date With An Angel [Take 1] (G)    2:57
Credits :
(A) Big Bill Broonzy, vocal, guitar; Punch Miller, trumpet on 1, 5, 6; Black Bob, piano; Bill Settles, stand-up bass; Fred Williams, drums.  31/01/1937
(B) Midnight Ramblers: Big Bill Broonzy, vocal, guitar; Black Bob, piano; unknown, imitation bass; Washboard Sam, vocal.  10/03/1937
(C) Big Bill Broonzy, vocal, guitar; Alfred Bell, trumpet on 12; Black Bob, piano; Fred Williams, drums.  09/06/1937
(D)  Big Bill Broonzy, vocal, guitar; accompanied by Punch Miller, trumpet on 15, 16, 17; Leeford or Aletha Robinson, piano; own guitar on 15, 16, 17; Fred Williams, drums. 08/07/1937
(E) Big Bill Broonzy, vocal, guitar; Leeford or Aletha Robinson, piano on 18; Black Bob, piano on 19; unknown, stand-up bass.  16/08/1937
(F)  Big Bill Broonzy, vocal, guitar; Black Bob, or probably Joshua Altheimer, piano on 20; unknown 2nd guitar; unknown stand-up bass.   19/08/1937
(G)Big Bill Broonzy, vocal, guitar; Blind John Davis, piano; Fred Williams, drums. 13/10/1937

BLIND BLAKE — Complete Recorded Works In Chronological Order ★ Volume 4 : 1929-1932 | DOCD-5027 (1991) FLAC (tracks+.cue), lossless

The fourth and final volume in Document's series assembles a wide range of Blind Blake material, from sides cut under the name Blind Arthur ("Guitar Chimes" and "Blind Arthur's Breakdown"), collaborations with vaudeville singer Chocolate Brown (a.k.a. Irene Scruggs), and even his sole two-part blues, the morbid "Rope Stretchin' Blues." Among the final pair of tracks, from mid-1932, the first, "Champagne Charlie Is My Name," is so atypical that some question whether it is even Blake at all; however, his last known side, "Depression's Gone from Me Blues," is a career-capping triumph -- just why he never recorded again is just one of the many mysteries which continue to swirl about this legendary figure.   Jason Ankeny

Abridged from this album’s original booklet notes. Despite the name of Blind Arthur being used for two guitar solos recorded in October 1929, there can be little doubt that it is Blind Blake who is playing his “famous piano-sounding guitar” (to quote a Paramount advertisement) on Guitar Chimes. It has the same use of harmonics as in Police Dog Blues (DOCD-5026) but played in the key of C and latterly commented on by a noted musicologist thus, “most country blues guitarists were not sufficiently well versed in C to have hazarded such an instrumental”. By comparison, Blind Arthur’s Breakdown is an object lesson in finger-picking, the playing more in keeping with the technique of Virginian, William Moore. For Baby Lou and Cold Love, Blake again returns to his theme of the mistreating lover, Baby Lou having the chord structure and tempo of the South American tango. In May the following year Blake was in the studio, both in his own right and as accompanist to former St. Louis vaudeville singer, Irene Scruggs. Recording as Chocolate Brown, on one song, Itching Heel, Scruggs scoffs at chauvinistic blues singers (“he don’t do nothing but play on his old guitar, while I’m busting suds in the white folks yard”) to which Blake, in knee-jerk reaction, responds by speeding up the rhythm indicating that the remark hadn’t escaped unnoticed. Diddie Wa Diddie No. 2, unlike the first song (DOCD-5026), now finds Blake admitting that he knows what “diddie wa diddie means” which he delivers with heavy irony. In his long career Blind Blake only once recorded a two part blues and in Rope Stretchin’ Blues, suitably sung to the tune of “St James Infirmary”, he uses the occasion to recount, with a degree of morbidity, the ultimate penalty resulting from the infidelities of others;

Don’t trust no woman who mistreats a man, when you think she’s in your kitchen cooking, she’s got a stranger by the hand,

I have a lots of women I sure don’t want none now, she always milks me dry, than ever you milk a cow.

Blind Blake’s final two recordings took place in June 1932 and so uncharacteristic is one of the songs that commentators have argued that perhaps two singers were involved with the session. Despite doubts it is fairly certain that Blake sings on Champagne Charlie Is My Name, a song composed by George Leybourne and set to music by Alfred Lee in 1868, found fame in the Victorian music hall. The equally topical Depression’s Gone From Me, appropriately sung to the tune of “Sitting On The Top Of The World”, witnessed Blind Blake ending his six year recording career and, one assumes, his life, on a positive note. DOCD-5027
Tracklist :
1    Blind Blake–    Sweet Jivin' Mama    2:56
2    Blind Blake–    Lonesome Christmas Blues 3:36
Piano [Poss./Or] – Aletha Dickerson, Tiny Parham
Vocals, Guitar – Blind Blake
3    Blind Blake–    Third Degree Blues 3:19
Piano [Poss./Or] – Aletha Dickerson, Tiny Parham
Vocals, Guitar – Blind Blake
4    Blind Arthur–    Guitar Chimes 2:57
Guitar – Blind Blake
5    Blind Arthur–    Blind Arthur's Breakdown 2:59
Guitar – Blind Blake
6    Blind Blake–    Baby Lou Blues    2:59
7    Blind Blake–    Cold Love Blues    2:54
8    Papa Charlie Jackson And Blind Blake–    Papa Charlie And Blind Blake Talk About It - Part I 3:14
Vocals, Banjo, Speech – Papa Charlie Jackson
Vocals, Guitar, Speech – Blind Blake
9    Papa Charlie Jackson And Blind Blake–    Papa Charlie And Blind Blake Talk About It - Part II 3:16
Vocals, Banjo, Speech – Papa Charlie Jackson
Vocals, Guitar, Speech – Blind Blake
10    Chocolate Brown–    Stingaree Man Blues 3:21
Guitar, Speech [comments] – Blind Blake
Vocals – Irene Scruggs
11    Chocolate Brown–    Itching Heel 3:16
Guitar, Speech [comments] – Blind Blake
Vocals – Irene Scruggs
12    Chocolate Brown–    You've Got What I Want 2:29
Guitar, Speech [comments] – Blind Blake
Vocals – Irene Scruggs
13    Chocolate Brown–    Cherry Hill Blues 3:00
Guitar, Speech [comments] – Blind Blake
Vocals – Irene Scruggs
14    Blind Blake–    Diddie Wa Diddie No. 2    3:25
15    Blind Blake–    Hard Pushing Papa    2:34
16    Blind Blake–    What A Low Down Place The Jailhouse Is    2:55
17    Blind Blake–    Ain't Gonna Do That No More    3:11
18    Blind Blake–    Playing Policy Blues    2:24
19    Blind Blake–    Righteous Blues    2:35
20    Laura Rucker–    Fancy Tricks 2:55
Guitar – Blind Blake
Vocals – Laura Rucker
21    Blind Blake–    Rope Stretchin' Blues - Part 2    2:46
22    Blind Blake–    Rope Stretchin' Blues - Part 1    2:58
23    Blind Blake–    Champagne Charlie Is My Name    2:29
24    Blind Blake–    Depression's Gone From Me Blues    3:30