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 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