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

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 4 • 1935-1936 | DOCD-5126 (1992) RM | FLAC (tracks+.cue), lossless

Swing might have been king by 1935-36, but Big Bill Broonzy was a different type of royalty, one of the major bluesmen in Chicago. Always a technically skilled guitarist, Broonzy's vocalizing had grown in maturity and depth during the first half of the 30s. On the fourth of 11 Document CDs that contain all of Big Bill's prewar recordings as a leader (and many as a sideman), Broonzy is heard on two religious numbers with the Chicago Sanctified Singers, one tune ("Keep Your Mind On It") with the Hokum Boys, and 21 songs either in duets with pianist Black Bob or trios with Black Bob and bassist Bill Settles. Among the more memorable selections are "Bad Luck Blues," "I'm Just a Bum," "Keep Your Hands Off Her," "The Sun Gonna Shine In My Door Someday" and "Match Box Blues."  Scott Yanow

Abridged from this album’s original booklet notes. Big Bill Broonzy was known by just about everybody involved in the music scene in Chicago. By mid-1935, when this volume takes up the story, the depression was easing somewhat and the juke box was countering its threat to one aspect of the musician’s livelihood by providing an opportunity in another in the form of increased recording activity and wider distribution of the product. Although he always worked at one or more “normal” jobs, labouring or serving in stores, Bill seems to have spent most of his life between the studios and the bars at this time and it is strange that, despite his involvement in enumerable sessions, only twenty tracks appeared under his own name on the Bluebird label (those not appearing here can be found on volumes 2 and 3 of this series). After much research and controversy Black Bob‘s real name remains uncertain though it seems probable that he was the Bob Hudson remembered by Memphis Slim. Louis Lasky, whose own work appears on DOCD 5045 The Songster Tradition, is alleged to have taught Bill how to flat-pick; he is also speculated to be the Louis Leslie associated (by “circumstantial” evidence, to quote Dixon and Godrich) with the Chicago Sanctified Singers. Certainly Leslie, Big Bill and Black Bob were all present in the ARC studios when the two Sanctified Singers sides were cut so a likely line up for this group might be Bill or Leslie, guitar, Bob, piano, and a vocal trio made up of Bill, with either Bob or Leslie and an unknown female. The influence of Leroy Carr on Big Bill Broonzy‘s work at this time is marked both on such upbeat numbers as the bouncy Keep Your Hands Off Her (a gentler title than the more usual Keep Your Hands Off It) and such sadly reflective songs as Bad Luck Blues. His voice was never as wistful as Carr’s but he made a conscious effort to study and reproduce the guitar sound of Scrapper Blackwell and supported by the outstandingly sympathetic piano of Black Bob (sometimes augmented by Bill Settles‘ string bass) produced a string of satisfying blues recordings to counterbalance the flood of hokum material that was washing over the market during those years. Big Bill Broonzy‘s involvement with this side of the business saw him working with such groups as The Midnight Ramblers and The State Street Boys. One representative track, The Hokum Boys‘ Keep Your Mind On It, is included here; it sees Big Bill Broonzy taking the vocal backed up by the guitar of Casey Bill Weldon and the sud-busting of Bill’s alleged half-brother Washboard Sam. DOCD-5126
Tracklist :
1    Chicago Sanctified Singers–    Tell Me What Kind Of Man Jesus Is 2:53
Guitar [Probably], Vocals [Probably] – Louie Lasky
Guitar, Vocals [Probably] – Big Bill Broonzy
Piano [probably] – Black Bob
2    Chicago Sanctified Singers–    I Ain't No Stranger Now 2:52
Guitar [Probably], Vocals [Probably] – Louie Lasky
Guitar, Vocals [Probably] – Big Bill Broonzy
Piano [probably] – Black Bob
3    Big Bill Broonzy–    Mountain Blues 3:02
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
4    Big Bill Broonzy–    Bad Luck Blues 3:07
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
5    Big Bill Broonzy–    I Can't Make You Satisfied 3:11
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
6    Big Bill Broonzy–    I'm Just A Bum 2:58
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
7    Big Bill Broonzy–    Keep Your Hands Off Her 2:51
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
8    Big Bill Broonzy–    The Sun Gonna Shine In My Door Someday 3:01
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
9    Big Bill Broonzy–    Good Liquor Gonna Carry Me Down 2:43
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
10    Big Bill Broonzy–    Down The Line Blues 3:17
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
11    Big Bill Broonzy–    Bricks In My Pillow 3:06
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
12    Big Bill Broonzy–    Tell Me What You Been Doing 2:53
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
13    Big Bill Broonzy–    Ash Hauler 2:34
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
14    Big Bill Broonzy–    Evil Women Blues 2:57
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
15    Big Bill Broonzy–    These Ants Keep Biting Me 2:49
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
16    Big Bill Broonzy–    Big Bill Blues (These Blues Are Doggin' Me) 2:54
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
17    Big Bill Broonzy–    You Know I Need Lovin' 3:10
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
18    Big Bill Broonzy–    Match Box Blues 2:59
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
19    Big Bill Broonzy–    Low Down Woman Blues 3:00
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
20    The Hokum Boys–    Keep You Mind On It 3:02
Bass [Probably] – Bill Settles
Guitar, Vocals – Big Bill Broonzy, Casey Bill Weldon
Washboard – Washboard Sam
21    Big Bill Broonzy–    Bull Cow Blues, No. 3 3:06
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
22    Big Bill Broonzy–    Married Life's A Pain 3:02
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
23    Big Bill Broonzy–    Black Mare Blues 2:54
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
24    Big Bill Broonzy–    Pneumonia Blues (I Keep On Aching) 2:38
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob

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

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 7 • 1937-1938 | DOCD-5129 (1993) RM | FLAC (tracks+.cue), lossless

Big Bill Broonzy's 1930s recordings (reissued in full on this extensive series of Document CDs) are remarkably consistent and have an impressive amount of variety within the blues idiom. During the 11 months covered by this seventh volume, Broonzy recorded as part of three different trios with either Blind John Davis or Joshua Altheimer on piano and Fred Williams, Bill Settles or Ransom Knowling on bass; a "modern" quartet with tenorman Bill Owsley and the pioneering electric guitar of George Barnes (on Mar. 1, 1938); and with a few slightly expanded groups, including one with trumpeter Punch Miller. Broonzy was open to the influence of swing (thus the occasional horns) while sticking to his Chicago blues base. Such numbers as "Hattie Blues," "Somebody's Got to Go," "It's a Low Down Dirty Shame," "Unemployment Stomp," "Night Time Is the Right Time No. 2" and "W.P.A. Rag" show off his versatility and talents. Scott Yanow

Abridged from this album’s original booklet notes. “I sold a one-eyed mule and I bought me an automobile” Big Bill Broonzy sang on his 1937 recording Good Boy. Metaphorically this had been true for several years as he had moved away from the simpler instrumentation and rural images of his earlier records into a world that was decidedly metropolitan. On his session of 1st March 1938 he augmented his basic piano, guitar, bass and drums line-up with the introduction of a tenor sax and the electric guitar of George Barnes. Barnes, a virtuoso who often performed as a duo with Jazzman Carl Kress, brought an entirely new sound to Sweetheart Land a rather trite song on which Bill calls to the sax player to “Play that thing” in a tone of voice that makes it sound as if he doesn’t even know what “that thing” is! The sound was edging towards what would come to be known as R & B. The pianist on the following session was Josh Altheimer who would fill the role of Big Bill Broonzy‘s premier accompanist up until his death on the 18th of February 1940. Altheimer, who was born in 1910, never had a record issued over his own name but was well known for his work with Lonnie Johnson, Jazz Gillum, Washboard Sam and John Lee “Sonny Boy” Williamson. He was never a hard boogie man either, though he could rock when called upon to do so, but preferred to work in a band setting where he would seldom take a solo but would hold everything together with his rolling style. Trumpet star Punch Miller was on hand again to liven up the 30th March 1938 session which produced Unemployment Stomp, a topical up-tempo number that made reference to Mr. Roosevelt’s unemployment cards, and Bill’s ode to his own sexual potency I Got To Get Ready Tonight. “Here come a train”, he calls, and his order for a pint of oysters and a dozen eggs indicates that although he intends to ride it won’t be down the I. C. track. At the same session, but without Miller, Bill cut a version of the Dirty Mother Fuyer theme as Truckin’ Little Woman. The stripped-down trio of piano, guitar and string bass was used on Bill’s next studio appointment when he cut It’s Your Time Now with his wry observation to his girl-friend “Men tell you that you’re beautiful (but) they don’t have to keep you that way”. The electric guitar and tenor sax were back for the next set, probably being played by Georges Barnes and Bill Owsley, who doubled on clarinet, respectively. Big Bill Broonzy used them to cash in on an extension of Roosevelt Sykes‘ Night Time hit, which had been recorded the previous year, and a version of Shake ‘Em On Down that was about as far removed from that of Bukka White as it could get. The last two tracks on this disc from a session labelled as being by Big Bill and The Memphis Five. This was a jazz date featuring both the trumpet and an alto sax. Let Me Dig It, a selection from the bawdy “butcher’s son” chain of verses, has what sounds like a twin trumpet lead while W. P A. Rag is a straight ahead jazz band work out. DOCD-5129
Tracklist :
1        Made A Date With An Angel [Take 2] (A) 3:07
2        Play Your Hand (A) 2:55
3        Hattie Blues [Take 3] (B) 2:42
4        Somebody's Got To Go     (B) 2:56
5        Good Boy (B)     2:50
6        I Want You By My Side (B)     2:51
7        Border Blues (B) 2:49
8        Sweetheart Land    (C) 2:46
9        It's A Low Down Dirty Shame (C) 2:53
10        Got To Get Ready Tonight (D) 2:54
11        Trucking Little Woman     (D) 2:36
12        Unemployment Stomp (D) 2:35
13        Why Do You Do That To Me? (D) 2:56
14        It's Your Time Now (E) 2:48
15        I'll Start Cutting On You (E) 2:42
16        Sad Letter Blues (E) 2:48
17        The Mill Man Blues (E) 2:41
18        I'll Do Anything For You (F) 2:54
19        Sad Pencil Blues (F) 2:32
20        New Shake-em On Down [Take 2] (F) 2:52
21        Night Time Is The Right Time No. 2 (F) 2:47
22        Let Me Dig It    (G) 2:35
23        W.P.A. Rag (G) 2:47
Credits :
(A) Big Bill Broonzy, vocal, guitar; Blind John Davis, piano; Fred Williams, drums. 13/10/1937
(B) Big Bill Broonzry, vocal, guitar; Blind John Davis, piano; Bill Settles, stand-up bass. 21/19/1937
(C) Big Bill Broonzy, vocal, guitar; accompanied probably by Bill Owsley, tenor sax; Blind John Davis, piano; George Barnes, electric guitar.  01/03/1938
(D) Big Bill Broonzy, vcl; acc. Punch Miller, trumpet; Joshua Altheimer, piano; Fred Williams. drums. 30/03/1938
(E) Big Bill Broonzy, vocal, guitar; Joshua Altheimer, piano; probably Ransom Knowling, stand-up bass. 05/04/1938
(F) Big Bill Broonzy, vocal, guitar; Bill Owsley, clarinet 19,20,21 / tenor sax on18,19; probably Joshua Altheimer, piano; probably George Barnes, electric guitar; Ransom Knowling, stand-up bass.  05/05/1938
(G) Big Bill And The Memphis Five: Big Bill Broonzy, vocal, guitar; accompanied by Walter Williams, trumpet; Buster Bennett, alto sax; Blind John Davis, piano; possibly Ransom Knowling, stand-up bass. 15/09/1938

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 8 • 1938-1939 | DOCD-5130 (1993) RM | FLAC (tracks+.cue), lossless

Big Bill Broonzy's popularity continued to rise during the five months covered by this CD (the eighth of 11) in Document's "complete" Broonzy series. In addition to 21 studio sides (five previously unissued) made in Chicago, Broonzy is heard performing "Done Got Wise" and "Louise, Louise" at John Hammond's "Spirituals to Swing" concert at Carnegie Hall (with the backing of pianist Albert Ammons and bassist Walter Page). Otherwise, the influential guitarist/singer is featured with the Memphis Five (a group including trumpeter Walter Williams and altoist Buster Bennett) and various trio/quartets with his regular pianist of the period, Joshua Altheimer. This CD is particularly notable for including the original version of "Just a Dream," which became a standard. Otherwise, Broonzy shows off the influence of both swing and country-blues in varying combinations; his repertoire here includes "Trouble and Lying Woman," "Flat-Foot Susie With Her Flat Yes Yes," "Preachin' the Blues" and "Fightin' Little Rooster." Scott Yanow

Abridged from this album’s original booklet notes. It was probably no accident that Big Bill Broonzy should follow his W. P. A. Rag with Going Back To Arkansas. In the depressed northern cities of 1938 life in the south could take on a golden glow of a nostalgia that ignored the facts of the case. The world of collard greens, ham hock and the benign “boss” that Broonzy evokes was just a myth and he had no plans for returning. Maybe Vocalion recognized this feeling as being a fanciful fabrication of the truth. Arkansas nor I Believe I’ll Go Back Home from this session were issued at the time. There was certainly nothing countrified about the treatment afforded last track cut by The Memphis Five at this time where the instrumental sound of Louise approaches swing – and I believe that Bill was bluffing when he threatened, on Trouble And Lying Woman, to “get me a sissy man and let all you women go”. Just over a month later Bill was back in the studio capitalizing on his hit Trucking Little Woman with a No. 2. At the same time he failed to make an acceptable cut of Flat Foot Susie. He tried again in October but the result had to wait almost ten years before it was released. 1938 was a seminal year for both Big Bill Broonzy and the blues generally. For the first time the music was brought to the notice of the white public at large. The story of John Hammond‘s search for Robert Johnson to represent the blues on his ‘Spirituals To Swing’ concert of December 1938 is well known. That, in his failure to locate Johnson alive, he should turn to Big Bill seems an odd course today, the similarities between the intense Johnson and the laid-back Broonzy being marked. Maybe the choice was made on the strength of Bill’s earlier recordings and his proficiency on the guitar; maybe it was just a panic reaction to fill out the program. Whatever, Bill, playing with support from Albert Ammons and Walter Page, charmed his audience, as can be heard from their reaction to Done Got Wise, and, almost inadvertently, set ajar a door for the blues that was to open further after the war and finally swing wide in the 1960s. When, in February of 1939 he cut a session with his stalwarts Josh Altheimer and Fred Williams, he included Done Got Wise and a statement of his personal philosophy in Whiskey And Good Times – “and a woman will do the rest”. Also on the sheets was that rarity a “gospel blues” on which Bill warns that “you may be having a good time with other women, but you may go to hell that way” and then qualifies his advice with the coda “don’t do as I do – just do as I tell you to”. The ironic Just A Dream was to become one of Bill’s best known songs and later, during his concert hall period, he converted it into a mild protest song that went down well with his liberal white audience. Five days after he cut Just A Dream Bill re-convened The Memphis Five using a trumpet, alto and a string bass along with the piano of Blind John Davis to produce the last five recordings on this disc, including the Mother Fuyer variant Fightin’ Little Rooster which was issued under his own name’. DOCD-5130
Tracklist :
1        Going Back To Arkansas (A) 2:49
2        Rider Rider Blues (A) 2:41
3        Living On Easy Street (B) 2:53
4        Good Time Tonight  (B) 2:30
5        Trouble And Lying Woman (B) 2:36
6        I Believe I'll Go Back Home     (B) 2:25
7        Flat Foot Susie With Your Flat Yas Yas  (C) 2:57
8        Trucking Little Woman No. 2  (C) 2:43
9        Hell Ain't But A Mile And A Quarter     (D) 2:54
10        Don't You Lay It On Me (D) 2:38
11        Done Got Wise (E) 2:37
12        Louise, Louise     (E) 2:53
13        Spreadin' Snake Blues    (F) 2:40
14        Baby Don't You Remember    (F) 2:43
15        Whiskey And Good Time Blues (F) 2:52
16        Baby I Done Got Wise    (F) 2:30
17        Preachin' The Blues (F) 2:41
18        Just A Dream (F)     2:34
19        Fightin' Little Rooster    (G) 2:33
20        Mary Blues (G) 2:34
21        You Can't Sell 'em In Here    (G) 2:37
22        Just Got To Hold You Tight [Take 1] (G) 2:30
23        Just Got To Hold You Tight [Take 2]     (G) 2:32
Credits :
(A) Big Bill And The Memphis Five: Big Bill Broonzy, vocal, guitar; accompanied by Walter Williams, trumpet; Buster Bennett, alto sax; Blind John Davis, piano; possibly Ransom Knowling, stand-up bass. 15/09/1938
(B) Big Bill Broonzy, vocal, guitar; Joshua Altheimer, piano; unknown, stand-up bass. 15/09/1938
(C) Big Bill Broonzy, vocal, guitar; accompanied probably Walter Williams, trumpet on 7; probably Buster Bennett, drums on 8; probably Horace Malcolm, piano; probably Fred Williams, drums on, 8. 27/09/1938
(D) Big Bill Broonzy, vocal; accompanied by Joshua Altheimer, piano; unknown, guitar; Ransom Knowling, stand-up bass. 10/11/1938
(E) Big Bill Broonzy, vocal, guitar; Albert Ammons, piano; Walter Page, stand-up bass. 23/12/1938
(F) Big Bill Broonzy, vocal, guitar; Joshua Altheimer, piano; Fred Williams, drums. 10/02/1939
(G) Big Bill And His Memphis Five: Big Bill Broonzy, vocal, guitar; Walter Williams, trumpet; Buster Bennett, alto sax; Blind John Davis, piano; probably Ransom Knowling, stand-up bass. 10/02/1939

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 9 • 1939 | DOCD-5131 (1993) FLAC (tracks+.cue), lossless

During the latter half of 1939, blues guitarist/singer Big Bill Broonzy was near the height of his fame and was recording quite prolifically. For the ninth of 11 Document CDs in the comprehensive Broonzy series, he is joined throughout by pianist Joshua Altheimer and either bassist Ransom Knowling (the first nine numbers) or drummer Fred Williams. The erratic clarinetist Odell Rand (who also plays some alto sax) is on the first session and does not help things much, but Broonzy is so strong that it really does not matter. Among the more notable numbers are "She Never," "Too Many Drivers," "That's All Right Baby" and "Dreamy Eyed Baby," while "Just a Dream No. 2" is a remake/continuation of his hit from earlier in the year. Scott Yanow

Abridged from this album’s original booklet notes. Big Bill Broonzy was as popular and prolific an artist in 1939 as at any time in his career. For his first session after the Memphis Five date in February Bill called upon the talents of Odell Rand and Ransom Knowling for back up to his own guitar, Josh Altheimer‘s piano and Fred Williams drums. Knowling was probably one of the most sought-after bass players in the city, listen to his slapping on Ride Alberta Ride to see why, and Rand never seemed to want for work for his clarinet, although listening to some of the lack-lustre and lifeless performances here it is hard to see just what Bill appreciated about his work. Maybe he just thought it helped to produce a more sophisticated overall sound. One stand-out track from this session is She Never, a tale of female duplicity that inspired many, Brownie McGhee and the obscure Harvey Hill among them, to produce versions of their own at a later date. Even more popular was Too Many Drivers, (“you told me you had one driver – you got two or three”) which further extended the “female as automobile” metaphor so prevalent in blues lyrics and which spawned a post war hit for Lowell Fulson. It was back to old standbys Josh Altheimer and drummer Fred Williams for his next round in the studio which produced a follow up to Bill’s hit Just A Dream, labelled No. 2, on which Altheimer plays a cascading piano part while Williams bashes away at the drums with far more force than finesse. In view of his later trips to these shores Big Bill Broonzy‘s observation, on Dreamy Eyed Woman, that “if you was born in England I believe you would ‘pass’ over there” may seem prescient but it was only a facet of his oft-made contention that “beauty is only skin deep – ugly is to the bone”. By the end of 1939 war had broken out in Europe and, although America was not yet directly involved, Europe’s misfortune, after the WPA and CCC and other manifestations of Roosevelt’s New Deal, represented a final nail in the coffin of depression in America. It looked as if Bill’s Big Money might come round again. DOCD-5131
Tracklist :
1        Just Wondering (A) 2:45
2        Keep On A-Smilin'     (A) 2:43
3        She Never  (A) 2:43
4        Woodie Woodie  (A) 2:54
5        Too Many Drivers (A) 2:34
6        You Can't Win (A) 2:40
7        Ride, Alberta, Ride  (A) 2:48
8        That's All Right Baby (A) 2:55
9        Please Be My So And So  (A) 2:42
10        I.C. Blues  (B) 3:00
11        Cotton Choppin' Blues (B) 2:45
12        Hot Dog Mama (B) 2:40
13        Dreamy Eyed Baby (B) 2:48
14        My Last Goodbye To You (B) 2:36
15        Don't You Want To Ride (B) 2:47
16        Don't You Be No Fool (B) 2:44
17        Just A Dream No. 2 (B) 2:47
18        Tell Me What I Done (B) 2:53
19        Oh Yes (B) 2:33
20        I'm Still Your Sweetheart, Baby     (C) 2:46
21        Down And Lost In Mind (C)    2:52
22        Let's Have A Little Fun (C)    2:55
23        Messed Up In Love (C)    2:42
Credits :
(A) BBB, vocal, guitar; accompanied by Odell Rand, clarinet / alto sax; Joshua Altheimer, piano; Ransom Knowling, stand-up bass. 11/05/1939
(B) BBB, vocal, guitar; accompanied by Joshua Altheimer, piano (except on 19); Fred Williams, drums. 14/09/1939
(C) BBB, vocal, guitar; accompanied by Joshua Altheimer, piano; Fred Williams, drums. 08/12/1939

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 11 • 1940-1942 | DOCD-5133 (1993) FLAC (tracks+.cue), lossless

The final of Document's prewar Big Bill Broonzy CDs (documenting all of his 1927-42 recordings) features Broonzy playing in a timeless style. Most of the performances could be considered goodtime music, with Broonzy sounding as if he were ready to party. On three of the four complete sessions that are included (plus "Rockin' Chair Blues," left over from the 1940 date otherwise included on Vol. 10), Broonzy is joined by either Memphis Slim, Horace Malcolm or Blind John Davis on piano, plus Washboard Sam (his half-brother) on washboard; Jazz Gillum sits in on harmonica during "Key to the Highway." The final set has Broonzy, pianist Memphis Slim and drummer Judge Riley joined by trumpeter Punch Miller and altoist Buster Bennett. Overall, this is a pretty strong program, with such numbers as "Sweet Honey Bee," "When I Been Drinking," "Key to the Highway," "Conversation With the Blues," "All By Myself," "I Feel So Good," "I'm Gonna Move to the Outskirts of Town" and "I'm Woke Up Now" being among the 25 selections. Big Bill Broonzy fans will want all of the releases in this remarkable series. Scott Yanow

Abridged from this album;s original booklet notes. The later thirties saw the first sign of economic recovery in America but Europe was in flames and it would only be a matter of time before the USA was drawn into the conflict. It was a time of turmoil but very little of it was reflected in the work of Big Bill Broonzy. He continued to produce good time music, proto R & B, personal blues and hokum with the occasional piece of nostalgia thrown in.  After the death of his long-time associate Josh Altheimer, Bill utilized the piano playing talents of Horace Malcolm and the young Memphis Slim, usually filling out the sound with a string bass or his half-brother’s washboard. Malcolm was on the date which produced the untypical Green Grass Blues a piece of nonsense about the rural bliss typified by windmills and wells, owls and roosters and log cabins with dirt chimneys; a never-never land where Bill could “make love on the grass with no bills to pay”. More in line with his usual philosophy is When I Been Drinking, a song much favoured, later, by Sunnyland Slim. It underlines Bill’s comment on the last page of his biography that “some blues singers can and do sing and don’t drink, but not Big Bill”. The last track cut on this session was a one-off on which Bill sang with the support of Jazz Gillum’s harmonica to produce the rural sounding and justly famous Key To The Highway, a song that was to be sung by just about everybody in the 1960’s. His next session produced two of his most successful songs in Double Trouble and All By Myself, the latter to become a standard in the repertoire of Memphis Slim who was responsible for the vigorous piano that appears on this jaunty up-tempo boast. Another Big Bill Broonzy standard, I Feel So Good was cut at the session of 2nd December 1941. At the same time Bill, who had been drafted in 1918, also sang about getting a letter from “a dear old uncle” on In The Army Now. Ironically this session took place just days before the Japanese attacked Pearl Harbor. Two of the recordings made at this session would be featured on V-Discs supplied to the armed forces as a morale booster during the conflict that was about to begin. Big Bill’s last pre-war session was a date with his Chicago Five, a renamed Memphis Five involving the trumpet of Kid Punch Miller and the sometimes filthy alto sax of Buster Bennett. Bill seemed preoccupied by the subject of betrayal at this gig when he sang Casey Bill Weldon‘s Outskirts Of Town (he had played guitar on Casey Bill‘s 1936 recording) and I’m Woke Up Now where he says of his some-time friends “they will hide their hands, boys, – after they throw a brick”. Big Bill Broonzy would resume his career on record as soon as the war ended – at the same time starting a second career that would extend his popularity to make him one of the best-loved blues singers of all time. DOCD-5133
Tracklist :
1    Big Bill Broonzy–    Rockin' Chair Blues    2:47
 Big Bill Broonzy / Tommy McClennan
2    Big Bill Broonzy–    Shine On, Shine On    2:57
3    Big Bill Broonzy–    Green Grass Blues    2:59
 Big Bill Broonzy
4    Big Bill Broonzy–    My Little Flower    2:47
5    Big Bill Broonzy–    Sweet Honey Bee    2:58
 Big Bill Broonzy
6    Big Bill Broonzy–    When I Been Drinking    2:50
 Big Bill Broonzy
7    Big Bill Broonzy–    Key To The Highway    3:01
 Big Bill Broonzy / Charles Segar
8    Big Bill Broonzy–    Double Trouble    2:46
9    Big Bill Broonzy–    Going Back To My Plow    2:55
10    Big Bill Broonzy–    I'm Having So Much Trouble    2:47
11    Big Bill Broonzy–    Wee Wee Blues    2:57
 Big Bill Broonzy
12    Big Bill Broonzy–    Conversation With The Blues    2:34
 Big Bill Broonzy
13    Big Bill Broonzy–    All By Myself    2:26
 Big Bill Broonzy
14    Big Bill Broonzy–    Keep Your Hand On Your Heart    2:53
 Big Bill Broonzy
15    Big Bill Broonzy–    Why Should I Spend My Money?    2:49
16    Big Bill Broonzy–    What's Wrong With Me?    2:35
 Big Bill Broonzy
17    Big Bill Broonzy–    I Feel So Good    2:45
 Big Bill Broonzy
18    Big Bill Broonzy–    In The Army Now    2:42
 Big Bill Broonzy
19    Big Bill Broonzy–    Bad Acting Woman    2:44
20    Big Bill Broonzy–    Night Watchman Blues    2:48
 Big Bill Broonzy
21    Big Bill Broonzy–    She's Gone With The Wind    2:41
22    Big Bill And His Chicago Five–    I'm Gonna Move To The Outskirts Of Town    2:52
 Andy Razaf / Will Weldon
23    Big Bill And His Chicago Five–    Tell Me, Baby    2:55
 Big Bill Broonzy
24    Big Bill And His Chicago Five–    Hard Hearted Woman    3:00
 Big Bill Broonzy
25    Big Bill And His Chicago Five–    I'm Woke Up Now    2:58
All Credits :

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 12 • 1945-1947 | BDCD-6047 (1995) MONO | FLAC (tracks+.cue), lossless

Tracklist :
1        Bull Cow Blues No.3 [Alt. Take]    3:07
2        Married Life Is A Pain [Alt. Take]    2:53
3        Black Mare Blues [Alt. Take]    2:51
4        W.P.A. Blues [Alt. Take]    3:13
5        Oh Babe (Don't Do Me That Way) [Alt. Take]    3:04
6        Little Bug [Alt. Take]    2:50
7        (I'm A) Wanderin' Man     3:06
8        I Love My Whiskey    3:03
9        You've Been Mistreatin' Me    2:53
10        I Stay Blue All The Time    2:27
11        Water Coast Blues    2:49
12        Five Feet Seven    3:21
13        I Wonder    2:52
14        Keep Your Hands Off Her    2:55
15        Mindin' My Own Business    3:09
16        John Henry    3:24
17        In The Evening When The Sun Goes Down    4:46
18        I Feel So Good    2:55
19        Who's Sorry Now    3:04
20        Trouble In Mind    3:07
21        Keep Your Hands Off Her    3:32
22        Mama Don't Allow    5:10
23        When The Saints Go Marching In    2:55
Credits :
Alto Saxophone – Buster Bennett (tracks: 5 - 12), Oett "Sax" Mallard (tracks: 13 - 16, 19 - 25)
Bass – John Levy (tracks: 1 - 4), Ransom Knowling (tracks: 13 - 18, 22 - 25)
Compiled By – Johnny Parth
Drums – Lawrence "Judge" Riley (tracks: 13 - 16, 19 - 25), Slick Jones (tracks: 1 - 4), Tyrell Dixon (tracks: 5 - 11, 17, 18)
Guitar, Vocals – Big Bill Broonzy
Piano – Big Maceo (tracks: 5 - 9), Bob Call (tracks: 19 - 25), Charles Belcher (tracks: 13 - 16), Kenny Watts (tracks: 1 - 4), Memphis Slim (tracks: 17, 18)
Tenor Saxophone – Bill Casimir (tracks: 13 - 16, 19 - 21), Don Byas (tracks: 1 - 4)
Trumpet – Johnny Morton (tracks: 13 - 16, 22 - 25)

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 13 • 1949-1951 | DOCD-5696 (2014) MONO | FLAC (tracks+.cue), lossless

This thirteenth volume of recordings by Big Bill Broonzy gives some idea of how this consummate performer was able to adapt to the many musical styles, trends, settings and eras that he encountered from the pre-war to post war years. From recording studios and night clubs of Chicago, Illinois, to the concert stage and night clubs Europe; Big Bill was one of the most remarkable of the blues artists to come from the pre-war period and ultimately became a pioneer as one of the blues world’s most famous ambassadors.

This collection begins, rather retrospectively, by presenting six alternative takes of titles recorded in Chicago for ARC by Big Bill between April, 1936 and January 1937. Other takes of these titles can be found on DOCD-5126 “Big Bill Broonzy Vol 4 1935 – 1936” and DOCD-5127 “Big Bill Broonzy Vol 5 1936 – 1937”. Having filled in some earlier gaps in Big Bill’s recording history, we move on to his first two recording sessions for the then fledgling, yet rapidly expanding, Mercury label, based in Chicago. There he met up with sax player Antonio Casey, pianist Carl Sharp, bass player Ransom Knowling and drummer Alfred Wallace.  Big Bill and his colleagues recorded five numbers. All of the performances were of a high and some might say flawless standard.These recordings, made as “Bill Broonzy and his Fat Four”, represent Bill as one of the leading figures of Chicago’s “City” or “Urban Blues”. The band’s “down-home” sound, with Bill’s electric guitar and Knowling’s miked-up bass gives a warm yet energetic feel to the performances. Added to this, the characteristic 1940’s sound of the urban blues is accentuated further by dominant passages, crafted by the cries of Antonio Casey’s alto sax. In the same way that Bill’s earliest recordings, made in the late 1920’s and throughout the 30s, presented him as a fine exponent of the earlier “country blues” style, with, at times, extraordinary acoustic guitar accompaniment to his instantly agreeable vocal style, so did this first powerhouse session for Mercury underline Bill’s successful ability to move with the times and with great authority.

One of the best examples of his willingness to experiment and reinvent his music came with his return visit to the Mercury studios only a month later, this time with just the drummer Alfred Wallace. Following the full, urban, sound that the band had unquestionably produced in the previous session, Bill was about to successfully achieve a remarkable sea change by using a minimalistic approach to this second set of recordings for Mercury.

Track 16 and its subsequent tracks represent the final regeneration of Big Bill’s music, his career as a musician and his private life. In Europe the gathering interest in blues music came from an already large and vibrant fan-base for jazz. The Düsseldorf concert would be significant for two reasons. First, it would be one of the first concerts performed by non-German jazz musicians in Germany after World War Two. Secondly, the recording of the event, presented here, would become the only recording of his “live” performances to survive from his first tour of Europe.

Undoubtedly, compared to playing in the clubs of Chicago, during the twenties, thirties and forties, to stand on a stage in grand concert building in post-war Germany, in front of a large, white, seated audience, must have been a daunting experience for a black American performer who was relatively unknown beyond his own country. Yet, standing there alone in the spot light with only his acoustic guitar between him and his audience, Bill gently laughs and with that his audience gently laughs with him. Perhaps they are both acknowledging the extraordinary situation that they find themselves in. Indeed, Bill sounds genuinely happy as he moves with seemingly great confidence and rapport through his set. Perhaps he had taken a little “preparation” before he walked onto the stage. Who would blame him?

Instead of taking an easy route and easing himself into the set with a calm and gentle number, Bill introduces his first “title” and then opens up with a fizzing version of John Henry, using his rapid plectrum style, which he memorably used with great effect on such titles as “How You Want It Done?” recorded for the Banner label back in 1932. With the first two “thank you”’s of many to follow for his new audience, Bill by contrast, then plays the “calm” number; In The Evening When The Sun Goes Down. With perfect execution Bill has already won them over and one can only imagine the look of wonder and admiration if not curiousness of the faces in front of him as he gently eases his way, without another sound from the hall, through the song written by his old friend, the late Leroy Carr. By the end of the concert this new, enthralled audience, many, perhaps, becoming firm fans of Bill and his music for the first time, leave the hall for the bars or home, happy and satisfied. DOCD-5696
Tracklist :
1        Bull Cow Blues No.3 [Alt. Take]    3:07
2        Married Life Is A Pain [Alt. Take]    2:53
3        Black Mare Blues [Alt. Take]    2:51
4        W.P.A. Blues [Alt. Take]    3:13
5        Oh Babe (Don't Do Me That Way) [Alt. Take]    3:04
6        Little Bug [Alt. Take]    2:50
7        (I'm A) Wanderin' Man     3:06
8        I Love My Whiskey    3:03
9        You've Been Mistreatin' Me    2:53
10        I Stay Blue All The Time    2:27
11        Water Coast Blues    2:49
12        Five Feet Seven    3:21
13        I Wonder    2:52
14        Keep Your Hands Off Her    2:55
15        Mindin' My Own Business    3:09
16        John Henry    3:24
17        In The Evening When The Sun Goes Down    4:46
18        I Feel So Good    2:55
19        Who's Sorry Now    3:04
20        Trouble In Mind    3:07
21        Keep Your Hands Off Her    3:32
22        Mama Don't Allow    5:10
23        When The Saints Go Marching In    2:55
Credits :
Big Bill Broonzy - Vocal, Guitar
Includes : Black Bob - Piano
Charley McCoy - Mandolin
Antonio Casey - Alto Sax
Ransom Knowling - Bass
Alfred Wallace - Drums
Graham Bell’s Australian Jazz Band

SONNY BOY WILLIAMSON — Complete Recorded Works In Chronological Order ★ Volume 2 • 1938-1939 | DOCD-5056 (1991) RM | FLAC (tracks+.cue), lossless

Document's Complete Recorded Works, Vol. 2 (1938-1939) picks up where the first volume left off, reissuing 24 tracks from the 13-month period of June 1938 to July 1939. Unfortunately, there weren't as many classic performances during this era, leaving this the odd one out from the many volumes in this set. Serious blues fans will still find much of interest here, including versions of "Susie-Q" and "You've Been Foolin' Round Town," plus a second stab at his classic "Sugar Mama Blues."  Thom Owens

Abridged from this album’s original booklet notes. By 1938 any lingering doubts Bluebird might have had about Sonny Boy Williamson had been laid to rest and they had him in the studio three times that year. Sonny Boy was joined by Big Joe Williams and Yank Rachell during his second session in the studio and it is speculated to be the latter playing guitar on the rather hastily arranged title track My Baby I’ve Been Your Slave. For the second number Yank Rachell is on his more usual instrument, the Mandolin, to contribute to the crisp backing of Whiskey Headed Blues, a number that has since been given various treatments by artists such as Tommy McClennan and John Lee Hooker. On Shannon Street Sonny Boy describes getting drunk in Jackson and his wife’s reaction to the event. Alcohol and Sonny Boy Williamson were not a good mix and he would have increasing problems with it throughout his life. Deep Down In The Ground is built on the base of another song “Stack of Dollars”, a song associated with Sleepy John Estes and often performed by Big Joe Williams. For the next session Sonny Boy Williamson found himself in the recording company of Robert Lee McCoy (Nighthawk) on guitar, Rufus ‘Speckled Red’ Perryman on piano and an unknown (speculated to be Willie Hatcher) on mandolin. This time round the songs were more of a mixture and Sonny Boy illustrates that both he and his Harmonica have made the transition from a country style of playing to a big city environment sound. On the tracks Little Girl Blues and Low Down Ways it is almost impossible to believe that the same man can be both playing and singing. Other tracks include the swing dance numbers Susie Q, and Goodbye Red which is a reply to Harlem Hamfats’ hugely successful “Oh Red!”. These upbeat, foot tapping, down-home numbers are balanced by the urban inspired tracks Insurance Man and The Right Kind Of Life. More innovations were to follow on the 1939 session where Sonny Boy was joined by Walter Davis and Big Bill Broonzy. One of the outstanding tracks Little Low Woman Blues has Sonny Boy playing a high register harmonica which foreshadows the sound of Jimmy Reed. Big Bill‘s guitar work is more sophisticated than that of Sonny Boy‘s previous partners, shown to good effect on the tracks Good For Nothing Blues and Sugar Mama Blues No.2 where his delicate runs and fills almost over-shadow the harmonica. On the final track Good Gravy Big Bill and Sonny Boy spark off each other to perform a bravura performance that really swings. DOCD-5056
Tracklist :
1        My Baby, I've Been Your Slave 3:02
Guitar, Speech [possibly] – "Jackson" Joe Williams
Mandolin, Speech [possibly] – Yank Rachell
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
2        Whiskey Headed Blues 2:54
Guitar – "Jackson" Joe Williams
Mandolin – Yank Rachell
Vocals, Harmonica – Sonny Boy Williamson
3        Lord, Oh Lord Blues 2:59
Guitar – "Jackson" Joe Williams
Mandolin – Yank Rachell
Vocals, Harmonica – Sonny Boy Williamson
4        You Give An Account 3:10
Guitar – "Jackson" Joe Williams
Mandolin – Yank Rachell
Vocals, Harmonica – Sonny Boy Williamson
5        Shannon Street Blues 3:20
Guitar – "Jackson" Joe Williams
Mandolin – Yank Rachell
Vocals, Harmonica – Sonny Boy Williamson
6        You've Been Foolin' 'Round Town 2:45
Guitar – "Jackson" Joe Williams
Mandolin – Yank Rachell
Vocals, Harmonica – Sonny Boy Williamson
7        Deep Down In The Ground 3:14
Guitar – "Jackson" Joe Williams
Vocals, Harmonica – Sonny Boy Williamson
8        Number Five Blues 3:27
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
9        Christmas Morning Blues 3:21
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
10        Susie-Q 3:10
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
11        Blue Bird Blues - Part 2 3:22
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
12        Little Girl Blues 3:17
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
13        Low Down Ways 3:10
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
14        Goodbye Red 3:10
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
15        The Right Kind Of Life 3:20
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
16        Insurance Man Blues 3:17
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
17        Rainy Day Blues 3:16
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
18        Bad Luck Blues 2:39
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
19        My Little Baby 2:56
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
20        Doggin' My Love Around 3:12
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
21        Little Low Woman Blues 2:45
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
22        Good For Nothing Blues 3:01
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
23        Sugar Mama Blues No. 2 3:07
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
24        Good Gravy 2:45
Guitar – Big Bill Broonzy
Vocals, Harmonica – Sonny Boy Williamson