BUMBLE BEE SLIM — Complete Recorded Works In Chronological Order Volume 2 · 1934 | DOCD-5262 (1994) FLAC (tracks+.cue), lossless

Tracklist :
1.    Amos–    Step Child 3:10
Guitar – Carl Martin, Ted Bogan
Piano – Jimmie Gordon
2.    Amos–    Sad And Lonesome 3:19
Guitar – Carl Martin, Ted Bogan
Piano – Jimmie Gordon
3.    Amos–    Bye Bye Baby Blues 3:04
Guitar – Carl Martin, Ted Bogan
Piano – Jimmie Gordon
4.    Bumble Bee Slim–    Cruel Hearted Woman Blues – Part I 2:32
Guitar – Charlie McCoy 
Piano – Unknown Artist
5.    Bumble Bee Slim–    Cruel Hearted Woman Blues – Part II 2:33
Guitar – Charlie McCoy 
Piano – Unknown Artist
6.    Bumble Bee Slim–    The Longest Day You Live – Part 1 2:58
Guitar – Charlie McCoy 
Piano – Unknown Artist
7.    Bumble Bee Slim–    The Longest Day You Live – Part 2 2:43
Guitar – Charlie McCoy 
Piano – Unknown Artist
8.    Bumble Bee Slim–    Deep Bass Boogie 2:54
Piano, Speech – Jimmie Gordon
9.    Bumble Bee Slim–    Blue Blues 3:13
Violin [Plucked, Possibly] – Carl Martin
Violin [Plucked, Probably] – Howard Armstrong
10.    Bumble Bee Slim–    Rough Road Blues 2:36
Guitar [Possibly] – Willie B. James
Piano [Possibly] – Jimmie Gordon
11.    Bumble Bee Slim–    New Mean Mistreater Blues 3:24
Guitar [Possibly] – Willie B. James
Piano [Possibly] – Jimmie Gordon
12.    Bumble Bee Slim–    Climbing On Top Of The Hill 2:51
Guitar [Possibly] – Willie B. James
Piano [Possibly] – Jimmie Gordon
13.    Bumble Bee Slim–    Ain't It A Crying Shame? 3:00
Guitar [Possibly] – Willie B. James
Piano [Possibly] – Jimmie Gordon
14.    Bumble Bee Slim–    Bad Gal (Take A) 2:50
Guitar [Possibly] – Charlie Jackson
Guitar [Probably] – Big Bill Broonzy, Willie B. James
Piano – Unknown Artist
15.    Bumble Bee Slim–    Bad Gal (Take B) 2:58
Guitar [Possibly] – Charlie Jackson
Guitar [Probably] – Big Bill Broonzy, Willie B. James
Piano – Unknown Artist
16.    Bumble Bee Slim–    I Tried Everything I Could (Take A) 2:56
Guitar [Possibly] – Charlie Jackson
Guitar [Probably] – Big Bill Broonzy, Willie B. James
Piano – Unknown Artist
17.    Bumble Bee Slim–    Sail On Little Girl No. 2 3:00
Guitar [Possibly] – Charlie Jackson
Guitar [Probably] – Big Bill Broonzy, Willie B. James
Piano – Unknown Artist
18.    Amos Easton–    Aching Pain Blues 2:57
Guitar [Probably] – Big Bill Broonzy
Piano [Possibly] – Black Bob
19.    Amos Easton–    Cold-Blooded Murder 2:56
Guitar [Probably] – Big Bill Broonzy
Piano [Possibly] – Black Bob
20.    Amos Easton–    Burned Down Mill (Take A) 3:05
Guitar [Probably] – Big Bill Broonzy
Piano [Possibly] – Black Bob
Whistling – Amos Easton
21.    Amos Easton–    Burned Down Mill (Take B) 3:04
Guitar [Probably] – Big Bill Broonzy
Piano [Possibly] – Black Bob
Whistling – Amos Easton
22    Amos–    Mean Mistreatin' Woman 2:52
Guitar [Possibly] – Big Bill Broonzy
Guitar [Probably] – Carl Martin
Piano – Unknown Artist
23.    Amos–    Worrisome Woman Blues 3:12
Guitar [Possibly] – Big Bill Broonzy
Guitar [Probably] – Carl Martin
24.    Amos*–    Mean Bad Man Blues 3:06
Guitar [Possibly] – Big Bill Broonzy
Guitar [Probably] – Carl Martin
Piano – Unknown Artist
25.    Amos–    Muddy Water Blues 2:47
Guitar [Possibly] – Big Bill Broonzy
Guitar [Probably] – Carl Martin
Piano – Unknown Artist
Credits : 
Compiled By, Producer – Johnny Parth
Liner Notes – Jerry Zolten
Remastered By – Gerhard Wessely
Vocals – Amos Easton 

BUMBLE BEE SLIM — Complete Recorded Works In Chronological Order Volume 4 · 1935 | DOCD-5264 (1994) FLAC (tracks+.cue), lossless

Tracklist :
1.        Policy Dream Blues    2:45
2.        If The Blues Was Whiskey    2:47
3.        Right From Wrong    2:57
4.        Feather Bed Blues    2:55
5.        What's Wrong?    3:06
6.        Mean Bloody Murder Blues    3:08
7.        Walking And Drifting Blues    3:18
8.        When The Sun Goes Down    3:13
9.        Can't You Trust Me No More?    3:04
10.        Where Was You Last Night?    3:04
11.        I Done Lost My Baby    3:03
12.        I'm Needing Someone (Exactly Like You)    3:01
13.        The Death Of Leroy Carr (Dedicated To The Memory Of Leroy Carr)    3:08
14.        Smokey Mountain Blues    3:09
15.        Sail On Sail On Blues    3:01
16.        Hey Lawdy Mama    2:49
17.        I Keep On Drinking - Part 1    3:04
18.        I Keep On Drinking - Part 2    3:09
19.        Sometimes Blues    2:50
20.        Steady Roll Mama Blues    3:14
21.        Fattenin' Frogs For Snakes    2:45
22.        Lemon Squeezing Blues    2:53
23.        When The Sun Goes Down    2:45
24.        Sail On Little Girl - No. 3    3:07
25.        Cold Blooded Murder - No. 2    2:52
Credits : 
Compilation Producer – Johnny Parth
Guitar – Big Bill Broonzy (tracks: 9 to 12, 23 to 25), Charlie McCoy (tracks: 1 to 8, 17 to 22), Scrapper Blackwell (tracks: 13 to 15)
Guitar [Prob.] – Bumble Bee Slim (tracks: 16)
Liner Notes – Jerry Zolten
Piano – Black Bob (tracks: 9 to 12), Jimmie Gordon (tracks: 1 to 8, 13 to 22)
Piano [Poss./Or] – Myrtle Jenkins (tracks: 23 to 25)
Piano [Prob./Or] – Black Bob (tracks: 23 to 25)
Remastered By – Gerhard Wessely
Vocals – Bumble Bee Slim, Washboard Sam (tracks: 12)
Washboard – Washboard Sam (tracks: 11, 12)

BUMBLE BEE SLIM — Complete Recorded Works In Chronological Order Volume 7 · 1936-1937 | DOCD-5267 (1994) FLAC (tracks+.cue), lossless

Tracklist :
1.        I'se Gonna Break 'Em Down    3:19
2.        Blue Expression Blues    3:08
3.        Head Whippin' Party    3:02
4.        Santa Claus Bring Me A New Woman    2:37
5.        I'm Gonna Tear Your Kingdom Down    2:45
6.        Every Goodbye Ain't Gone    3:16
7.        True Blue    3:05
8.        Please Baby    2:51
9.        Green Country Gal (No More To Say)    2:54
10.        If I Could Speak My Mind    2:45
11.        The Jive Of Mine    2:37
12.        Past And Gone    3:07
13.        Hobo Jungle Blues    2:57
14.        Slave Man Blues    3:13
15.        My Big Moments    3:13
16.        I'll Meet You In The Bottom    2:53
17.        Meet Me At The Landing    2:47
18.        Big Six    2:54
19.        Just Yesterday    2:56
20.        Rough Treatment    2:40
21.        Pains In My Body    3:16
22.        I'm Having So Much Trouble    2:59
23.        Rising River Blues (take 1)    3:02
Credits : 
Bass – Unknown Artist (tracks: 18 to 20)
Clarinet [Poss.] – Arnett Nelson (tracks: 7 to 17)
Compilation Producer – Johnny Parth
Guitar – Big Bill Broonzy (tracks: 7 to 16), Bill Gaither (tracks: 1 to 12), Bumble Bee Slim (tracks: 22, 23)
Guitar [Prob.] – Bumble Bee Slim (tracks: 17), Willie B. James (tracks: 22, 23)
Kazoo, Percussion – Unknown Artist (tracks: 1)
Liner Notes – Jerry Zolten
Piano – Black Bob (tracks: 7 to 17), Honey Hill (tracks: 1 to 12)
Piano [Poss.] – Frank James (tracks: 21 to 23)
Piano [Prob.] – Myrtle Jenkins (tracks: 18 to 20)
Remastered By – Gerhard Wessely
Slide Whistle – Unknown Artist (tracks: 13)
Vocals – Bumble Bee Slim
Washboard – Unknown Artist (tracks: 1)

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)

MERLINE JOHNSON — The Yas Yas Girl : Complete Recorded Works In Chronological Order ★ Volume 3 • 1939-1940 | DOCD-5294 (1994) RM | FLAC (tracks), lossless

Most of Chicago blues woman Merline Johnson's recordings were reissued by the Vienna-based Document label during the 1990s. Volume three opens with three remaining titles from her session of August 31, 1939, which resulted in nine selections issued under the heading of "The Yas Yas Girl and Her Jazz Boys." In addition to some fine blowing by old-time New Orleans trumpeter Lee Collins and all-purpose Windy City alto saxophonist Buster Bennett, as well as solid rhythm accompaniments by guitarist Big Bill Broonzy and pianist Blind John Davis, these recordings are intriguing for the presence of Alfred Elkins, a bassist who used only his voice, although it is possible he was huffing away on a big bottle or something as if he were holding down the business end of an old-fashioned jug band. Other participants on volume three are pianist Joshua Altheimer and no-nonsense drummer Fred Williams. Merline Johnson sings a lot of straightforward blues on this collection, occasionally tearing up with lively numbers like "You're a Pain in the Neck to Me," "I'd Rather Be Drunk," "I Just Keep on Drinking," "Want to Woogie Some More," "I Won't Sell My Love," "You Know It Ain't Right," and "Man to Man." The rest of the songs move more gradually and are, in some cases, melodically similar enough to sound like continuous installments in a sort of extended blues oratorio. Certainly tracks 4 through 23, with accompaniment pared down to piano and drums, have the singer sounding less like a jazz artist than ever before; "Stop and Listen" is a peculiarly moving performance similar to Victoria Spivey's bittersweet approach to the blues. This portion of the Yas Yas Girl's chronology ends with eight recordings made on October 7, 1940. Six more Okeh sides from 1941 and a previously unreleased "Bad Whiskey Blues" recorded in 1947 were included in a compilation entitled Female Chicago Blues (Document 5295) along with recordings by Trixie Butler, Clara Morris, and Billie McKenzie. All of the Yas Yas Girl's recordings are well worth obtaining, with Document's volume two offering maximum enjoyment. arwulf arwulf

 Tracklist :
1    You're a Pain in the Neck to Me 2:52 (A)
2    I'd Rather Be Drunk 2:38 (A)
3    I Just Keep on Drinking 2:45 (A)
4    Front Door Blues 2:37 (B)
5    I'll Try to Forget 2:44 (B)
6    Want to Woogie Some More 2:48 (B)
7    You Don't Know My Mind 2:42 (B)
8    Mama's Bad Luck Child 2:50 (B)
9    Black Gypsy Blues 3:01 (C)
10    Screaming the Blues 2:48 (C)
11    Yellow Basket Blues 2:46 (C)
12    I'm Not Your Fool 3:02 (C)
13    I Won't Sell My Love 2:45 (C)
14    Don't Forget It 2:41 (C)
15    Stop and Listen 2:39 (C)
16    You Know It Ain't Right 2:36 (D)
17    Man to Man 2:51 (D)
18    Evil Old Nightmare 2:45 (D)
19    See Saw Blues 3:01 (D)
20    Black Ghost Blues 2:52 (D)
21    Worried Heart Blues 2:51 (D)
22    Milkman Blues 2:51 (D)
23    Got the Blues for My Baby 2:38 (D)

JAZZ GILLUM — Complete Recorded Works In Chronological Order ★ Volume 1 • 1936-1938 | DOCD-5197 (1993) RM | FLAC (tracks), lossless

William McKinley "Jazz" Gillum was a good-time singer and a fine harmonica player whose style predated the first Sonny Boy Williamson but was more advanced than the players of the 1920s. His complete output up to 1949 has been made available by the Austrian Document label on four CDs. The first volume has his first five sessions and one song from his sixth. Gillum is joined by guitarist Big Bill Broonzy on all of the dates with appearances by pianist John Davis, Washboard Sam and electric guitarist George Barnes (who is heard a year before Charlie Christian debuted). Highlights include "Jockey Blues," "Don't You Scandalize My Name," "Reefer Head Woman," "Good Old 51 Highway" and "You're Laughing Now." Fine blues-oriented music. Scott Yanow
 
Abridged from this album’s original booklet notes. Like so many others living in the black ghettos of Chicago, Jazz Gillum had been born in the south; in Indianola, Mississippi, to be exact, on September 11th 1904. He was one of an indeterminate number of children born to Irving Gillum and Celia Buchanan. When both these parents died in his early childhood Bill, or Jazz as he was already nicknamed, along with his brothers fell under the control of their mother’s brother, the church deacon, Ed Buchanan. It was now that Gillum’s interest in music came to the fore and he taught himself to play the harmonium and badgered his brothers into teaching him the harmonica. However, either because of Buchanan’s religious convictions or naturally harsh nature life under this new regime was pretty unbearable and Jazz was only seven when he followed the example of his brothers and ran away to join relatives in Charleston, Mississippi. By the time he was eleven or twelve Gillum ran away again to work as a field hand in Minter City, Mississippi. In 1918 he got himself a job in a drug store in Greenwood, Mississippi. All this time he had continued with his music and had progressed to working the streets to supplement his income. Finally, in 1923, he followed the developing black drift and moved north to Chicago. In the Windy City Gillum kept up his casual involvement in music and gradually became a part of the local scene. Eventually he started working in clubs where his ability as a singer brought him somewhat to the fore. Through this work he came into contact with many other musicians, one of whom was the hustling Big Bill Broonzy. It may have been through this connection that Jazz Gillum made his first appearance in a Bluebird recording studio in June, 1934. Working with Big Bill and a pianist who was probably Black Bob he produced an instrumental Harmonica Stomp and sung Early In The Morning. These tracks were released as the two sides of BB B5565 (Document DOCD-5574) Jazz Gillum was still in the company of Big Bill Broonzy when he returned to the studio and this disc opens with the four recordings he made for Bluebird in April 1936. Their first number, in praise of Gillum’s “cross-eyed consumptive Sara Jane” is also well known in the white rural tradition of the period and illustrates just how well Gillum and Broonzy worked together. In June of that year Gillum followed a practice common at the time and “moonlighted”, recording for another company under an assumed name. In this case he became Bill McKinley for ARC but either because he was badly treated at ARC or because Victor reminded him of his contractual obligations, he had returned to the fold by October of 1938. Jazz or Bill Gillum’s Jazz Boys appeared at this time spreading their existence over some ten titles. Initially they were just Big Bill’s guitar and Blind John Davis‘ piano augmented by an unknown drummer but on the second of the two dates utilising the name Washboard Sam took over as percussionist and extra sophistication was introduced with George Barnes‘ electric guitar. DOCD-5197
Tracklist :
1    Jazz Gillum–    Sarah Jane 3:01
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
2    Jazz Gillum–    I Want You By My Side 3:21
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
3    Jazz Gillum–    Jockey Blues 2:47
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
4    Jazz Gillum–    Don't You Scandalize My Name 2:18
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
5    Bill McKinley–    She Keeps On Rickin' 2:48
Double Bass – Unknown Artist
Guitar [possibly] – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
6    Bill McKinley–    I Went To The Gypsy 2:48
Double Bass – Unknown Artist
Guitar [possibly] – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
7    Bill Gillum And His Jazz Boys–    My Old Lizzie 3:20
Drums – Unknown Artist
Guitar – Big Bill Broonzy
Piano [probably] – Blind John Davis
Vocals, Harmonica – Jazz Gillum
8    Bill Gillum And His Jazz Boys–    Alberta Blues 2:50
Drums – Unknown Artist
Guitar – Big Bill Broonzy
Piano [probably] – Blind John Davis
Vocals, Harmonica – Jazz Gillum
9    Bill Gillum And His Jazz Boys–    My Old Suitcase 2:59
Drums – Unknown Artist
Guitar – Big Bill Broonzy
Piano [probably] – Blind John Davis
Vocals – Jazz Gillum
10    Bill Gillum And His Jazz Boys–    Birmingham Blues 3:19
Drums – Unknown Artist
Guitar – Big Bill Broonzy
Piano [probably] – Blind John Davis
Vocals, Harmonica – Jazz Gillum
11    Jazz Gillum And His Jazz Boys–    Just Like Jesse James 2:47
Double Bass – Unknown Artist
Electric Guitar – George Barnes
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
12    Jazz Gillum And His Jazz Boys–    Reefer Head Woman 2:59
Double Bass – Unknown Artist
Electric Guitar – George Barnes
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
13    Jazz Gillum And His Jazz Boys–    Gillum's Windy Blues 2:25
Double Bass – Unknown Artist
Electric Guitar – George Barnes
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
14    Jazz Gillum And His Jazz Boys–    New "Sail On, Little Girl" 3:03
Double Bass – Unknown Artist
Electric Guitar – George Barnes
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
15    Jazz Gillum And His Jazz Boys–    Sweet, Sweet Woman 2:51
Double Bass – Unknown Artist
Electric Guitar – George Barnes
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
16    Jazz Gillum And His Jazz Boys–    Boar Hog Blues 2:47
Double Bass – Unknown Artist
Electric Guitar – George Barnes
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
17    Jazz Gillum And His Jazz Boys–    Worried And Bothered 3:19
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
18    Jazz Gillum And His Jazz Boys–    I'm That Man Down In The Mine 2:46
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
19    Jazz Gillum And His Jazz Boys–    Uncertain Blues 2:54
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
20    Jazz Gillum And His Jazz Boys–    Good Old 51 Highway 2:33
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
21    Jazz Gillum And His Jazz Boys–    You're Laughing Now 2:42
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
22    Jazz Gillum And His Jazz Boys–    I'm Gonna Get It 2:38
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
23    Jazz Gillum And His Jazz Boys–    Mule Blues 3:13
Double Bass [probably] – Ransom Knowling
Guitar [probably] – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Vocals, Harmonica – Jazz Gillum

JAZZ GILLUM — Complete Recorded Works In Chronological Order ★ Volume 2 • 1938-1941 | DOCD-5198 (1993) RM | FLAC (tracks), lossless

Although a minor figure in blues history, Jazz Gillum recorded 100 selections during 1934-49 as a leader plus an album in 1961. Of those 100, the first two seem to be completely lost but the other 98 have all been reissued on four Document CDs. An expressive singer and an effective harmonica player, Gillum, holds his own with his better-known sidemen which on Vol. 2 include guitarist Big Bill Broonzy, pianist Joshua Altheimer, bassist Ransom Knowing, Washboard Sam and (on one session) a so-so tenor-saxophonist. Among the better selections from these performances covering the 1938-41 period are such numbers as "Get Away Old Woman," "Keyhole Blues," "Hard Drivin' Woman," "Key To The Highway" and "Is That A Monkey You Got?" Scott Yanow
 
Abridged from this album’s original booklet notes. When Jazz Gillum made his first recordings the influence of his country background was still strong upon him. His dark but clear voice and piping high-register harp were redolent of the country juke joint or small town street corner. Gillum’s uncomplicated straight ahead style continued to sell records and attempts to render his image more hip by the use of an electric guitar seemed to have been modestly successful. For his recording date in May 1939 Gillum played his harmonica alongside a tenor-sax player who is tentatively identified as one John Cameron. This trend towards big city sophistication was general among the group of Chicago musicians of which Gillum was a member and would see its final fruition, after a fresh injection from the south, as the bar blues which dominated the post-war Chicago scene. In May of 1940 Gillum cut one of his most successful and at the same time controversial numbers; Key To The Highway was to become a blues standard and both Jazz Gillum and Big Bill Broonzy claimed authorship. Investigations over the years would seem to indicate that Gillum had the stronger case. Gillum himself was not above swiping a good tune, say that generally known as Dust My Broom (common property and used on the uptempo Against My Will), or a whole song (like everybody else he was to take a swing at Casey Bill Weldon‘s Outskirts of Town) or even a stylistic tag such as Peetie Wheatstraw‘s “Oh well, well”. His own compositions often tended to hark back to his days in the south. On Mule Blues from his December 1938 session Gillum had boasted that he could “look at forty acres of cotton and tell you every bale you’ll make” and this preoccupation with southern concerns continued with his hymn in praise of the Mississippi steam boat Big Katy Adams and his invocation of the folk-hero Stavin Chain. Strangely when he recorded I’m Still Walking The Hi-Way, to cash in on the success Key To The Highway, with which it shared the same tune, in March 1941 – a month before Big Bill Broonzy recorded the latter number – the writer credit was made out to … “Broonzy”! It was at Broonzy’s May 1941 session for Okeh, when his version of Key To The Highway was cut, that “Bill McKinley“, reappeared as Jazz Gillum took the opportunity to lay down a couple of, extracurricular, tracks himself, including the mildly salacious Is That A Monkey You Got?, which, possibly for contractual reasons, did not see release until the compact disc age of the 1990s. DOCD-5198
Tracklist :
1    Jazz Gillum And His Jazz Boys–    Let Her Go 2:53
Double Bass [probably] – Ransom Knowling
Guitar [probably] – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Vocals, Harmonica – Jazz Gillum
2    Jazz Gillum And His Jazz Boys–    Get Away, Old Woman 2:50
Double Bass [probably] – Ransom Knowling
Guitar [probably], Speech [vocal responses, probably] – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Vocals, Harmonica – Jazz Gillum
3    Jazz Gillum And His Jazz Boys–    Stavin' Chain 2:27
Double Bass [probably] – Ransom Knowling
Guitar [probably] – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Vocals, Harmonica – Jazz Gillum
4    Jazz Gillum And His Jazz Boys–    She Won't Treat Me Kind 2:34
Double Bass [probably] – Ransom Knowling
Guitar [probably] – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Vocals, Harmonica – Jazz Gillum
5    Jazz Gillum And His Jazz Boys–    I'll Get Along Somehow 2:21
Double Bass [probably] – Ransom Knowling
Guitar [probably] – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Vocals, Harmonica – Jazz Gillum
6    Jazz Gillum–    Got To Reap What You Sow 3:01  
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals, Harmonica – Jazz Gillum
7    Jazz Gillum–    Big Katy Adams 2:57
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals, Harmonica – Jazz Gillum
8    Jazz Gillum–    Against My Will 3:04
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals, Harmonica – Jazz Gillum
9    Jazz Gillum–    Keyhole Blues 2:57
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals, Harmonica – Jazz Gillum
10    Jazz Gillum–    Talking To Myself 2:48
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals, Harmonica – Jazz Gillum
11    Jazz Gillum–    Hard Drivin' Woman  3:08         
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals – Jazz Gillum
12    Jazz Gillum–    Somebody Been Talking To You 3:03
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals, Harmonica – Jazz Gillum
13    Jazz Gillum–    One Time Blues 2:58
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals, Harmonica – Jazz Gillum
14    Jazz Gillum–    It Sure Had A Kick 2:27
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
15    Jazz Gillum–    She Belongs To Me 2:52
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
16    Jazz Gillum–    Longest Train Blues 2:27
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
17    Jazz Gillum–    Key To The Highway 2:39
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
18    Jazz Gillum–    I'm Still Walking The Hi-Way 2:54
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Washboard Sam
Washtub Bass [probably] – Alfred Elkins
19    Jazz Gillum–    Get Your Business Straight 2:49
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Washboard Sam
Washtub Bass [probably] – Alfred Elkins
20    Jazz Gillum–    Muddy Pond Blues 2:58
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Washboard Sam
Washtub Bass [probably] – Alfred Elkins
21    Jazz Gillum–    Little Woman 2:59
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Washboard Sam
Washtub Bass [probably] – Alfred Elkins
22    Bill McKinley–    Poor Boy Blues 2:53
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Washboard Sam
23    Bill McKinley–    Is That A Monkey You Got? 2:43
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Washboard Sam
24    Jazz Gillum–    Riley Springs Blues 3:08
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Amanda Sorter*
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
25    Jazz Gillum–    That's What Worries Me 2:49
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Amanda Sorter
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins

JAZZ GILLUM — Complete Recorded Works In Chronological Order ★ Volume 3 • 1941-1946 | DOCD-5199 (1993) RM | FLAC (tracks), lossless

The third of four volumes that include all of Jazz Gillum's recordings (other than a later album) features 25 more vocals by the fine 1930s-style harmonica player. 20 of the selections are from 1941-42 while the final five (from 1945-46) find him playing and singing in an unchanged style. Guitarist Big Bill Broonzy is on all but the final selection and the pianists are Horace Malcolm, Blind John Davis, Roosevelt Sykes or Big Maceo. Gillum was an effective if not overly distinctive singer while his harmonica solos are fairly basic, particularly compared to Sonny Boy Williamson and the soon-to-be discovered Little Walter. The tunes include "Me And My Buddy," "War Time Blues," "I'm Gonna Leave You On The Outskirts Of Town" (a different variation of "We're Going To Move To The Outskirts Of Town"), "You're Tearing Your Playhouse Down" and "Whiskey Head Buddies." Scott Yanow
 
Abridged from this album’s original booklet notes. This collection picks up the Jazz Gillum story during the session of July 1941! On this date Washboard Sam was replaced by one Amanda Porter (also known as Ann Sortier or Sorter the wife of Charlie McCoy) a lady whose collection of household utensils makes Sam’s scullery appear impoverished. Hear Jazz Gillum and Big Bill Broonzy strain to remain serious as Amanda clouts, scrapes or rattles everything in sight; pots, pans and what sounds like the kitchen sink! At times the affect is similar to the arrival of a piece of modern sculpture at the bottom of a lift-shaft. The last song done that day was Gillum’s hymn to male bonding Me and My Buddy,
Me and my buddy never will have no fallin’ out ‘Cos we got wise to wimmin; we know what it’s all about.

Did Gillum and Big Bill  have a falling out, perhaps over the authorship of Key To The Highway? It is strange that, despite their long association there is no mention at all of Jazz Gillum in Big Bill Broonzy’s autobiography. By the time of Gillum’s next session Pearl Harbor had been attacked and the US was at war. In these last two sessions before the Petrillo ban on recording took effect Jazz knocked out sixteen titles including his version of Casey Bill Weldon’s Outskirts Of Town and Tell Me Mama, a number previously passed around between Big Bill and Louis Lasky. Two tracks, Water Pipe Blues and You’re Tearing Your Playhouse Down did not see issue until well into the age of the long playing record. It is some measure of Bill Gillum’s popularity that of the sixty six sides he had cut for Bluebird since 1936 these were the first to stay in the can. If these were Jazz Gillum’s glory days they were soon to be cut short when Uncle Sam tore his playhouse down by inducting him into the army. Gillum remained in the service until 1945 when he returned to civilian life and tried to pick up the reins of his recording career while supporting himself by working at more mundane jobs. At his first post-war session he took advantage of the presence of Roosevelt Sykes to record Five Feet Four over Sykes’ “44s” backing. For a couple of years it seemed as if the old times had revived – but there were soon to be some major changes in public taste that would spell the end for Jazz and a lot of his contemporaries. DOCD-5199
Tracklist :
1        I Got Somebody Else 3:02
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Amanda Sorter
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
2        Maybe You'll Love Me Too 3:11
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Amanda Sorter
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
3        It Looks Bad For You 2:49
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Amanda Sorter
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
4        Me And My Buddy 3:05
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Amanda Sorter
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
5        It's All Over Now 2:53
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
6        War Time Blues 2:44
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
7        You Are Doing Me Wrong 2:51
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
8        One Letter Home 2:39
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
9        Down South Blues 3:14
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
10        You Drink Too Much Whiskey 3:03
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
11        No Friend Blues 2:53
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
12        From Now On 2:39
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
13        I'm Gonna Leave You On The Outskirts Of Town 2:58
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Jazz Gillum
14        I Couldn't Help It Blues 2:56
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Jazz Gillum
15        My Big Money 2:54
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Jazz Gillum
16        Woke Up Cold In Hand 2:47
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Jazz Gillum
17        Water Pipe Blues 2:50
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Jazz Gillum
18        Tell Me, Mama 3:12          
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals – Jazz Gillum
19        Deep Water Blues 3:18
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals – Jazz Gillum
20        You're Tearing Your Playhouse Down 2:52
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Jazz Gillum
21        Go Back To The Country 2:47
Double Bass – Ransom Knowling
Guitar – Big Bill Broonzy
Piano – Roosevelt Sykes
Vocals, Harmonica – Jazz Gillum
22        Five Feet Four 3:04
Double Bass – Ransom Knowling
Guitar – Big Bill Broonzy
Piano – Roosevelt Sykes
Vocals, Harmonica – Jazz Gillum
23        Afraid To Trust Them 3:24
Double Bass – Ransom Knowling
Guitar – Big Bill Broonzy
Piano – Roosevelt Sykes
Vocals, Harmonica – Jazz Gillum
24        Whiskey Head Buddies 2:50
Double Bass – Ransom Knowling
Guitar – Big Bill Broonzy
Piano – Roosevelt Sykes
Vocals, Harmonica – Jazz Gillum
25        Reckless Rider Blues 3:02
Double Bass – Alfred Elkins
Guitar – Leonard Caston
Piano – Big Maceo Merriweather
Vocals, Harmonica – Jazz Gillum

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 1 • 1927-1932 | DOCD-5050 (1991) FLAC (tracks+.cue), lossless

This is a particularly fascinating CD, for it has the first 26 selections ever recorded by Big Bill Broonzy as a leader. The beginning of Document's complete reissuance of all of Broonzy's early recordings, the set starts with four duet numbers that Broonzy cut during 1927-28 with fellow guitarist John Thomas. Although his style was already a bit recognizable, the young guitarist/vocalist really started coming into his own in 1930. There are 15 selections from that year included on this set, with Big Bill often using the pseudonyms of Sammy Sampson or Big Bill Johnson; in fact, even the final seven numbers (from 1932) had him billed as the latter. The CD finds Broonzy evolving from a country-blues musician who already had strong technique into a star of hokum records. Among the many highlights are "Big Bill Blues" (different versions in 1928 and 1932), "I Can't Be Satisfied," "Pig Meat Strut," "Beedle Um Bum" and "Selling That Stuff." Pianist Georgia Tom Dorsey helps out on three numbers. Big Bill Broonzy fans have a right to rejoice about the existence of this wonderful series. Scott Yanow

Abridged from this album’s original booklet notes. When Big Bill Broonzy came to Chicago from Arkansas in 1920 he was still ‘country’ but, as he was to prove time and again in his long career, he was also adaptable and despite his supremely affable, easy-going manner he knew what he wanted and was prepared to persevere until he got it. One of the things he wanted was to make records. His break came when he approached Paramount Records. They cut four tracks, which remained unissued but later re-cut two of the titles. The resultant record presented Big Bill and Thomas performing House Rent Stomp and Big Bill Blues. Bill later justified knowing that he was bilked on the pay he received because he and Thomas alone bought at least fifty copies!

There was to be only one more release on Paramount before Big Bill hit his big year of 1930, when, using the pseudonym of Sammy Sampson he cut five tracks, four of which appear here, for the Perfect label in New York, then, learning the tricks of the trade he became Big Bill Johnson for Gennett in Richmond before returning to Paramount as Big Bill Broomsley. From his country origins he moved on to investigate hokum numbers and vaudeville songs. Always keeping an eye out for the main chance, he upgraded his sound by the addition of a piano when he cut three sides utilising the talents of Georgia Tom Dorsey; forever malleable at the same time moulding himself into his basic, unchanging role of good-time rounder, some-time philosopher and full-time bluesman. DOCD-5050

Tracklist :
1        House Rent Stomp (A) 2:30
2        Big Bill Blues (B) 2:57
3        Down In The Basement Blues (C) 3:27
4        Starvation Blues (C) 3:15
5        I Can't Be Satisfied (D) 2:45
6        Grandma's Farm (D) 2:23
7        Skoodle Do Do (D) 2:44
8        Tadpole Blues  (E) 2:54
9        Skoodle Do Do  (F) 2:44
10        Saturday Night Rub  (F) 2:54
11        Pig Meat Strut   (F) 2:47
12        Papa's Gettin' Hot  (F) 2:44
13        Police Station Blues  (G) 2:41
14        They Can't Do That (G) 2:48
15        State Street Woman  (H) 2:58
16        Meanest Kind Of Blues  (H) 2:58
17        I Got The Blues For My Baby  (H) 2:53
18        The Banker's Blues  (I) 2:32
19        How You Wan't Done?    (I) 2:46
20        Too Too Train Blues (J) 2:58
21        Mistreatin' Mamma  (J) 2:57
22        Big Bill Blues (J) 2:55
23        Brown Skin Shuffle (J) 2:55
24        Stove Pipe Stomp (J) 2:45
25        Beedle Um Bum (J) 3:00
26        Selling That Suff (J) 2:57

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 2 • 1932-1934 | DOCD-5051 (1991) RM | FLAC (tracks+.cue), lossless

By early 1932, the point at which this second volume in Document's series begins, Big Bill Broonzy was well established on the Chicago music scene; although his music was beginning to take on an urbanized flavor, his forté was still country-blues, and the opening tracks here -- "Mr. Conductor Man," "Too-Too Train Blues" and "Bull Cow Blues" among them -- are among his finest examples of the form. Of equal interest are the sides he subsequently recorded with his Jug Busters, a rather mysterious group which yielded just two tracks -- "Rukus Juice Blues" and "M and O Blues" -- but which pushed Broonzy further away from his rural roots; in all likelihood, the group also inaugurated his collaboration with the enigmatic yet renowned Black Bob, with whom he would cut a series of classic guitar and piano duets in the months to follow. Jason Ankeny

Abridged from this album’s original booklet notes. By 1932 Big Bill Broonzy had got the measure of the music business. He was well known in Chicago and, with his winning ways and talent, had become intimate with the leading musicians of his time and place and was laying down the base of the edifice he graced so easily in later years when he became a father figure for the post war blues. He had also become a member of a loose group who performed knockabout and sometimes salacious numbers in a style that they advertised by the use of the name The Famous Hokum Boys. He also often appeared backing “Jane Lucas“, in more than one of her manifestations, and these recordings, along with further explanation, will be appearing on other albums in this series. Bill was still playing country blues though, and having worked conscientiously on his guitar playing could turn out masterpieces like Mr. Conductor Man, The Too Too Train and Bull Cow Blues but he also around this time put together his ‘ Jug Busters‘. This group, whose exact membership is still a matter of contention, was made up of Bill, another guitarist, a pianist, a bass player, a kazooist and a washboard beater. A later grouping included a trumpet player, trombonist and a jug-blower. It was an indication of the way the urban blues was going. The pianist may have been the still obscure Black Bob. DOCD-5051

Tracklist :
1    Steel Smith–    You Do It (A)    3:07
2    Big Bill Johnson–    Mr. Conductor Man (B)    2:59
3    Big Bill–    Too-Too Train Blues (Matrix 11605-2) (C) 2:50
4    Big Bill–    Worrying You Off My Mind - Part 1 (C) 3:04
5    Big Bill–    Worrying You Off My Mind - Part 2 (C) 3:06
6    Big Bill–    Shelby County Blues (C) 3:16
7    Big Bill–    Mistreatin' Mama Blues (Matrix 11609-2)     (C) 3:01
8    Big Bill–    Bull Cow Blues (C)     2:50
9    Big Bill–    How You Want It Done? (Matrix 1161-2)     (C) 2:51
10    Big Bill–    Long Tall Mama (D) 2:47
11    Big Bill And His Jug Busters–    M And O Blues (E)    3:10
12    Big Bill And His Jug Busters–    Rukus Juice Blues (E) 3:03
13    Big Bill–    Friendless Blues (F) 3:22
14    Big Bill–    Milk Cow Blues (F) 3:16
15    Big Bill–    Hungry Man Blues (F) 3:30
16    Big Bill–    I'll Be Back Home Again (F) 2:52
17    Big Bill–    Bull Cow Blues - Part 2 (F) 3:33
18    Big Bill–    Serve It To Me Right (F) 3:24
19    Big Bill–    Starvation Blues (Matrix 80394-1) (F) 3:23
20    Big Bill–    Mississippi River Blues (F) 2:40
21    Big Bill–    At The Break Of Day (G) 2:56
22    Big Bill–    I Want To Go Home (G) 2:45
23    Big Bill–    Hard Headed Woman (H) 3:21
24    Big Bill–    Dying Day Blues (H) 3:02

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 3 • 1934-1935 | DOCD-5052 (1991) RM | FLAC (tracks+.cue), lossless

Big Bill Broonzy's absorption of the urbanized Chicago blues style was essentially complete by the time of the 1934-35 recordings assembled here. The highlight is a highly productive session featuring the State Street Boys, a group featuring Broonzy alongside harpist Jazz Gillum, guitarist Carl Martin, pianist Black Bob and violinist Zeb Wright, whose dissonant, scraping style lends the combo a highly distinctive sound; their material is fascinatingly diverse, ranging from the train songs "Midnight Special" and "Mobile and Western Line" to the saucy "She Caught the Train" and the much-covered "Don't Tear My Clothes." Also with Black Bob, Broonzy continued recording more simplified guitar/piano duets -- their "Southern Blues" is a lovely and nostalgic reminiscence about life on the other side of the Mason-Dixon line, while "Good Jelly" ranks among his most lyrically inventive efforts. Jason Ankeny

Abridged from this album’s original booklet notes. Prior to the recordings presented here Bill had worked with Georgia Tom Dorsey to produce one of the many successful guitar/piano combinations that were so popular in the wake of Leroy Carr and Scrapper Blackwell, the latter being a man to whom Bill gave a lot of attention. They had worked with Jane Lucas and the results were nothing like the blues and stomps of Bill’s first appearances in the recording studios. Following this he had formed an alliance with pianist Black Bob with whom he worked the clubs and recorded. Along with Bob he would join with a group of other humble toilers in the local entertainment industry to produce the State Street Boys. At this stage such groups rarely featured the trumpets and clarinets that they later inherited from The Harlem Hamfats and had not yet sunk into the moribund repeated celebration of “it” being “tight like that, beedle um bum”. One commentator has pointed out that apart from the use of a string bass in lieu of drums the two-guitar line-up of Bill and Carl Martin; the harmonica of Jazz Gillum and Black Bob’s piano equates with the basic make-up of the classic post war Chicago bar bands. This may be so but the addition of Zeb Wright’s harshly scraped violin and the choice of material denies such comparisons. Bill and Jazz shared the vocals with Jazz taking the lead on Crazy About You and the two train songs Midnight Special and Mobile And Western Line. They split a bowdlerised version of The Dozen between them, which never reaches the acerbic level of the exchanges for which the game was designed. Indeed there is something of a “parlour” feel to all the Boy’s recordings, probably due to Wright’s violin work, which even aspires to pizzicato on The Dozen. However this is balanced somewhat by Bill’s vocal on She Caught The Train:
“Some low-down man learned my baby how to Cadillac 8  Ever since she learned that position I can’t keep my business straight”

Don’t Tear My Clothes has a long history that included versions by Big Joe Turner and Smokey Hogg before Bob Dylan took it over as “Baby Let Me Follow You Down” and bequeathed it to The Animals in the mid-sixties. Bill was also using Black Bob for recordings under his own name and it is almost certainly that adroit ivory agitator working so well on Southern Blues and the up-tempo Good Jelly which includes the wonderful observation that “It’s a sin and a shame; it’s a sin when you can get it – and a shame when you can’t”. Bill’s guitar is well to the fore on these skilful collaborations. Another of Bill’s friends was the under-recorded Louis Lasky, from whom he is alleged to have taken some of his guitar style, and it is probably that individual working with Bill on the justly acclaimed C And A Blues. The blues staple “Sitting On Top Of The World” forms the basis of You May Need My Help a title, and idea that later found an echo in the work of Bill’s most famous protégé, Muddy Waters. DOCD-5052

Tracklist :
1    Big Bill–    I Want To See My Baby (A) 3:20
2    Big Bill–    Serve It To Me Right (A) 2:53
3    Big Bill–    Dirty-No-Gooder (A) 3:20
4    Big Bill–    Let Her Go - She Don't Know (B) 3:32
5    Big Bill–    Hobo Blues (B) 3:12
6    Big Bill–    Prowlin' Ground Hog (B) 3:01
7    Big Bill–    C-C Rider [Take A] (C) 3:15
8    Big Bill–    C-C Rider [Take B] (C)     3:17
9    State Street Boys–    Mobile And Western Line (D) 3:06
10    State Street Boys–    Crazy About You (D) 2:55
11    State Street Boys–    Sweet To Mama (D) 2:47
12    State Street Boys–    Rustlin' Man (D) 3:08
13    State Street Boys–    She Caught The Train (D) 3:03
14    State Street Boys–    Midnight Special (D) 2:50
15    State Street Boys–    The Dozen (D) 3:01
16    State Street Boys–    Don't Tear My Clothes (D) 3:08
17    Big Bill–    The Southern Blues (E) 3:34
18    Big Bill–    Good Jelly (E) 3:16
19    Big Bill–    C & A Blues (F) 2:56
20    Big Bill–    Something Good (F) 2:51
21    Big Bill–    You May Need My Help Someday (G) 3:02
22    Big Bill–    Rising Sun Shine On (G) 3:08