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

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

BUMBLE BEE SLIM — Complete Recorded Works In Chronological Order Volume 3 · 1934-1935 | DOCD-5263 (1994) FLAC (tracks+.cue), lossless

The opening six songs on this volume, which covers the period from November 1934 until April 1935, are decidedly different in texture from much of the material that preceded them in Slim's output. With no more than a guitar or two and perhaps a mandolin backing him up, his music leans less toward the kind of urban R&B sound that his early Vocalion tracks did. The playing is superb, with Carl Martin and Ted Bogan showing off a special virtuosity, while Slim's vocals are brilliantly expressive. The sound is rather rough on some of the material here, leading one to believe that there aren't many copies around of several of these songs -- "Way Down In Georgia" and "There You Stand" would not pass muster for release on most labels, being nearly inaudible amid their extreme surface noise. When Slim resumed his piano-based recording in early 1935, he took on a more sophisticated and less rural sound, and his voice became stronger in this mode, far more expressive and involved, alternately playful, sly, or mournful. The guitar accompaniment on some of the late February 1935 tracks, however, are notable as they include Big Bill Broonzy in the session -- one of these, "Milk Cow Blues," will prove a major frustration, a magnificent, classic piece of Chicago blues with great playing all around, but almost unlistenable because of the surface noise on the master source, which, one assumes, was irreplaceable. But "Everybody's Fishin'," which follows, is so clean and delightful that it almost makes up for the sonic sins of the earlier song. Bruce Eder
Tracklist :
1.        I Tried Everything I Could    2:56
2.        My Troubles    3:04
3.        Blues Before Daylight    2:54
4.        Running Bad Luck Blues    3:14
5.        You Can't Take It Baby    2:53
6.        Way Down In georgia    2:49
7.        My Black Gal Blues No. 1    2:54
8.        My Black Gal Blues No. 2    2:52
9.        Bleeding Heart Blues    2:42
10.        Let's Pitch A Boogie Woogie    2:28
11.        Tired Of Your Low Down Nasty Ways    2:48
12.        Good Evening Blues    2:55
13.        Farewell Mistreater Blues    3:08
14.        B And O Line Blues    2:51
15.        Good Woman Blues    2:26
16.        Some Old Rainy Day    3:06
17.        There You Stand    3:01
18.        Tell Me What It's All About    3:03
19.        You Gotta Change Your Way    3:09
20.        Milk Cow Blues    3:03
21.        Everybody's Fishing    3:03
22.        Guilty Woman Blues    3:06
23.        Big 80 Blues    2:38
24.        Bricks In My Pillow    3:05
Credits : 
Compiled By, Producer – Johnny Parth
Guitar – Big Bill Broonzy (tracks: 17 to 22), Bumble Bee Slim (tracks: 10), Carl Martin (tracks: 1 to 6), Charlie McCoy (tracks: 7 to 9, 11 to 16), Ted Bogan (tracks: 1, 3, 5, 6)
Liner Notes – Jerry Zolten
Piano – Black Bob (tracks: 18 to 22), Bumble Bee Slim (tracks: 17), Charles Segar (tracks: 10), Jimmie Gordon (tracks: 7 to 16), Myrtle Jenkins (tracks: 23, 24)
Remastered By – Gerhard Wessely
Vocals – Bumble Bee Slim, Ted Bogan (tracks: 6)  

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

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

BUMBLE BEE SLIM — Complete Recorded Works In Chronological Order Volume 5 · 1935-1936 | DOCD-5265 (1994) FLAC (tracks+.cue), lossless

Tracklist :
1.    Shelley Armstrong–    How Long How Long Blues    2:53
2.    Shelley Armstrong–    You Don't Mean Me No Good    2:43
3.    Shelley Armstrong–    New B & O Blues    2:49
4.    Shelley Armstrong–    Prison Bound Blues    3:13
5.    Bumble Bee Slim–    My Old Pal Blues (Dedicated To The Memory Of Leroy Carr)    3:07
6.    Bumble Bee Slim–    Last Respects (Dedicated To The Memory Of Leroy Carr)    3:05
7.    Shelley Armstrong–    Sloppy Drunk Blues    2:47
8.    Shelley Armstrong–    D.B.A. Blues    3:13
9.    Bumble Bee Slim And His Rhythm Riffers–    I'll Take You Back    3:00
10.    Bumble Bee Slim And His Rhythm Riffers–    Sick And Tired Of Singing The Blues    2:57
11.    Bumble Bee Slim–    New When The Sun Goes Down    2:45
12.    Bumble Bee Slim–    Happy Life Blues    3:01
13.    Bumble Bee Slim–    When Somebody Loses    2:45
14.    Bumble Bee Slim–    Ramblin' With That Woman    2:47
15.    Bumble Bee Slim–    This Old Life I'm Living    2:44
16.    Bumble Bee Slim–    Dumb Tricks Blues (take 1)    3:15
17.    Bumble Bee Slim–    Dumb Tricks Blues (take 2)    2:58
18.    Bumble Bee Slim–    New Orleans Stop Time    2:48
19.    Bumble Bee Slim–    You Got To Live And Let Live    2:42
20.    Bumble Bee Slim–    Hard Rocks In My Bed    2:34
21.    Bumble Bee Slim–    Who's Been Here Today    3:20
22.    Bumble Bee Slim–    I Done Caught My Death Of Cold    3:07
23.    Bumble Bee Slim–    No More Biscuit Rolling Here (take 1)    2:57
24.    Bumble Bee Slim–    No More Biscuit Rolling Here (take 2)    2:40
Credits : 
Alto Saxophone, Tenor Saxophone – Unknown Artist (tracks: 9, 10)
Bass – Unknown Artist (tracks: 9 to 12, 18 to 24)
Compilation Producer – Johnny Parth
Guitar – Casey Bill Weldon (tracks: 13 to 19, 22 to 24), Unknown Artist (tracks: 9, 10)
Guitar [Poss./Or] – Charley Jordan (tracks: 7), Willie B. James (tracks: 7)
Guitar [Prob.] – Peetie Wheatstraw (tracks: 5), Willie B. James (tracks: 1 to 6, 11, 12)
Liner Notes – Jerry Zolten
Percussion [Poss.] – Bumble Bee Slim (tracks: 18, 19)
Piano – Black Bob (tracks: 18 to 24), Myrtle Jenkins (tracks: 13 to 17)
Piano [Poss./Or] – Peetie Wheatstraw (tracks: 7, 8)
Piano [Prob./Or] – Jimmie Gordon (tracks: 7, 8)
Piano [Prob.] – Jimmie Gordon (tracks: 1 to 5, 9 to 12), Peetie Wheatstraw (tracks: 6)
Remastered By – Gerhard Wessely
Speech – Myrtle Jenkins (tracks: 15)
Trumpet – Unknown Artist (tracks: 9, 10)
Vocals – Bumble Bee Slim, Jimmie Gordon (tracks: 9)
Vocals, Guitar [Prob.] – Memphis Minnie (tracks: 18)

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

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

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

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

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

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

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

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

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

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 6 • 1934-1935 | DOCD-5206 (1993) RM | FLAC (tracks+.cue), lossless

At the sessions of June and October 1934, Tampa Red’s repertoire was very much a mixture of what he had recorded for Vocalion (DOCD-5073 – 5076). There were, however, some notable exceptions. For the first three months of 1934 Tampa had been absent from recording and during that time Leroy Carr had found success with his “Mean Mistreater Mama” (DOCD-5137). Perhaps at Bluebird’s behest Tampa Red recorded a word for word, vocal inflection for vocal inflection, copy of the song as Mean Mistreater Blues. To his own bottleneck accompaniment and augmented by a jug player and strumming guitarist, the song was driven along by the compelling rhythm that the simple use of such instruments produced. At his next session for Bluebird in October one number, Worried Devil Blues, featured Tampa’s Jimmie Rodgers inspired “yodelling” phrases. This affectation may possibly have been occasioned by the popularity of the Mississippi Sheiks who used the technique to great commercial success for Okeh (DOCD-5083-5086) and who early in 1934 had joined the Bluebird roster.Along with Big Bill Broonzy, one of the stand-out figures in the transactional period of pre-war “Country Blues” to post war “City Blues” and on through to the energised, electric “Chicago Blues” of the 1950s is Hudson Whittaker better known as ‘Tampa Red’. His recordings influenced many, including Robert Nighthawk, Elmore James and BB King. Volume Six of fifteen volumes dedicated to Tampa’s recording career stretching from 1929 to 1953 features 22 tracks recorded at three sessions between June 1934 and February 1935.
Experimenting with rhythm lines being underlined by jugs and washboards and kazoo, many of the tracks hail the emergence of a hip, swing influenced Tampa of the mid 30s. Carrying on the successful guitar piano formula that he had with his early recording partner Georgia Tom Dorsey, most of the tracks find him accompanied by piano players Black Bob or Henry “45” Scott plus occasional second guitar. Although Tampa’s dreaded kazoo makes an occasional appearance it is mostly his powerful vocals and his distinctive single string slide guitar work that carries the CD along. The material is varied and includes a couple of topical items Christmas And New Years Blues and Stockyard Fire. It is fairly likely that such a fire occurred and Tampa’s reference to eating only one meal in three may have been something he and his wife experienced as a result. It is suggested that I’ll Get A Break Someday (I’ll Be Up Someday”) is not by Tampa but Carl Martin who has a session listed right after Tampa’s – a fine cut whoever it is though.
Tampa returns to the studio in February in chirpy mood the following year, recording a further seven sides. Armed with his guitar and his small but potent kazoo, and accompanied by “probably” Black Bob on piano and “probably” the mysterious Mississippi Sarah on jug he romps his way through Worthy Of You and If It Ain’t That Gal Of Mine, a little ditty about Sally, who, on the street, can make more money than Henry Ford.
Thankfully, after this number Tampa seems to have mislaid his Kazoo. Or has Sarah slipped it into her jug, if you pardon the phrase?
Two takes of Mean Old Tom Cat is a pounding blues with Tampa peppering the accompaniment with the use of some bottleneck licks on his National steel guitar. Both takes are excellent and were worthy of release though the pace is picked up a little more on the second.
We’re then given a breather with two, very nice, blues including the excellent, rolling, Singing And Crying Blues.
But Tampa really is in party mood and falling back onto his Hokum style he leaves volume 6 with the spicy Shake It Up A Little.  DOCD-5206

 Tracklist :
1    Tampa Red–    I'm Just Crazy 'Bout You (A) 2:49
2    Tampa Red–    I Still Got California On My Mind (A) 2:54
3    Tampa Red–    Grievin' And Worryin' Blues  (A) 3:01
4    Tampa Red–    Give It Up Buddy And Get Goin'    (A) 2:32
5    Tampa Red–    Somebody's Been Using That Thing (take 1) (A) 2:56
6    Tampa Red–    Somebody's Been Using That Thing (take 2)  (A) 3:09
7    Tampa Red–    Mean Mistreater Blues     (A) 2:47
8    Tampa Red–    Happy Jack  (B) 3:16
9    Tampa Red–    I'm So Disappointed In You   (B) 2:50
10    Tampa Red–    Worried Devil Blues   (B) 3:24
11    Tampa Red–    Christmas And New Year's Blues  (B) 3:22
12    Tampa Red–    Sweet Woman  (B) 3:20
13    Tony Hollins–    Big Time Woman   (B) 2:36
Bass [Imb./Uncredited] – Unknown Artist
Vocals [Uncredited], Guitar [Uncredited/Prob.] – Tony Hollins
Washboard [Uncredited] – Unknown Artist
14    Tampa Red–    Witchin' Hour Blues (B) 3:13
15    Tampa Red–    Stockyard Fire   (B) 3:12
16    Tampa Red–    Worthy Of You  (C) 2:50
17    Tampa Red–    If it Ain't That Gal Of Mine (C)    3:00
18    Tampa Red–    Mean Old Tom Cat Blues (take 1) (C)    2:52
19    Tampa Red–    Mean Old Tom Cat Blues (take 3) (C)    2:40
20    Tampa Red–    Don't Dog Your Woman (C)    3:30
21    Tampa Red–    Singing And Crying Blues (C) 3:13
22    Tampa Red–    Shake It Up A Little (C) 2:42

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 7 • 1935-1936 | DOCD-5207 (1993) RM | FLAC (tracks+.cue), lossless

Tracklist :
1    Tampa Red–    My Baby Said Yes (A) 2:56
2    Tampa Red–    I'm Betting On You  (A) 2:57
3    Tampa Red–    Rowdy Woman Blues  (A) 3:18
4    Tampa Red–    Keep On Dealin' (Play Your Hand)  (A) 3:26
5    Tampa Red–    (I Could Learn To Love You) So Good  (A) 3:19
6    Tampa Red–    When I Take My Vacation In Harlem  (B) 3:07
7    Tampa Red–    Drinkin' My Blues Away  (B) 2:47
8    Tampa Red–    Dark And Stormy Night  (B) 3:23
9    Tampa Red–    Good Woman Blues  (B) 3:00

10    Tampa Red–    You Missed A Good Man  (B) 3:35
11    Tampa Red–    Waiting Blues  (B) 3:14
12    Tampa Red And The Chicago Five–    When You Were A Gal Of Seven  (C) 3:10
13    Tampa Red And The Chicago Five–    Let's Get Drunk And Truck  (C) 3:05
14    Tampa Red And The Chicago Five–    Maybe It's Someone Else You Love  (C) 3:25
15    Tampa Red And The Chicago Five–    I Wonder What's The Matter  (C) 2:46
16    Tampa Red And The Chicago Five–    She Don't Know My Mind  (C) 2:58
17    Tampa Red And The Chicago Five–    She Don't Know My Mind - Part 2  (C) 3:36
18    Tampa Red–    Stormy Sea Blues  (D) 2:44
19    Tampa Red–    Nutty And Buggy Blues  (D) 2:39
20    Tampa Red And The Chicago Five–    You Stole My Heart  (E) 3:05
21    Tampa Red And The Chicago Five–    You Got Me Worryin'  (E) 3:14
22    Tampa Red And The Chicago Five–    All Night Long  (E) 2:34
23    Tampa Red And The Chicago Five–    That's The Way I Do  (E) 2:55
24    Tampa Red And The Chicago Five–    I Hate Myself  (E) 2:41

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 8 • 1936-1937 | DOCD-5208 (1993) RM | FLAC (tracks+.cue), lossless

For completists, specialists and academics, Document's Complete Recorded Works, Vol. 8 (1936-1937) is invaluable, offering an exhaustive overview of Tampa Red's early recordings. For less dedicated listeners, the disc is a mixed blessing. There are some absolutely wonderful, classic performances on the collection, but the long running time, exacting chronological sequencing, poor fidelity (all cuts are transferred from original acetates and 78s), and number of performances are hard to digest. The serious blues listener will find all these factors to be positive, but enthusiasts and casual listeners will find that the collection is of marginal interest for those very reasons. Thom Owens 

Tracklist :
1        I Need Yoz By My Side (A) 3:24
2        Blue And Evil Blues (A) 3:05
3        If It Wasn't For You (B) 3:04
4        Right Or Wrong (B) 3:21
5        Stop Truckin' And Suzy-Q (B) 2:46
6        Cheatin' On Me (B) 2:47
7        Your One And Only (B) 3:10
8        My Za Zu Girl (B) 3:02
9        Someday I'm Bound To Win (C) 3:11
10        Taking It And Make My Get Away  (C) 3:04
11        She Said It  (D) 2:53
12        It's Hard To Believe It's True  (D) 2:50
13        When Love Comes In  (D) 2:53
14        You Got To Learn To Do It  (D)  2:50
15        I Give My Love To You  (D) 3:14
16        I See You Can't Take It  (D) 2:44
17        My Gal Is Gone  (E) 3:11
18        When The One You Love Is Gone  (E)  3:05
19        You're More Than A Palace To Me  (F) 3:10
20        Harlem Swing  (F) 3:08
21        Oh Babe, Oh Baby  (F) 3:18
22        I'm Gonna Get High  (F) 3:03

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 10 • 1938-1939 | DOCD-5210 (1993) FLAC (tracks+.cue), lossless

Over ten years into Tampa Red's career and ten discs into their voluminous, multi-decade-spanning series of Complete Recorded Works, Document continued as strong as ever. These 22 tracks, recorded from mid-1938 to late 1939, embrace blues, rhythm tunes, and an occasional novelty like "Booze Head Woman" or "I Got a Big Surprise for You." As on previous volumes, collectors and serious blues fans will have the most interest in this completist format; everything from poor fidelity to chronological sequencing and a lengthy running time will prevent casual listeners from enjoying the entire proceedings. Thom Owens

Tracklist :
1    Tampa Red–    When Bad Luck Is On You (A) 3:09
2    Tampa Red–    When I Had A Good Woman (You Keep On Doggin' Me)     (A) 3:05
3    Tampa Red And The Chicago Five–    Mr. Rhythm Man (B) 2:51
4    Tampa Red And The Chicago Five–    Just You And I Alone (B) 3:01
5    Tampa Red And The Chicago Five–    Checkin' Up On You (B) 2:45
6    Tampa Red And The Chicago Five–    Oh, Yes, My Darling (B) 3:01
7    Tampa Red–    Forgive Me Please (C) 2:46
8    Tampa Red–    Blues For My Baby      (C) 3:16
9    Tampa Red–    Hellish Old Feeling (C)     3:11
10    Tampa Red–    She Got The Best In Town (C) 2:45
11    Tampa Red–    You Say It's Love  (D)     2:52
12    Tampa Red–    Bessemer Blues  (D) 2:45
13    Tampa Red–    Please Don't Throw Me Down  (D) 2:51
14    Tampa Red–    Sad Letter Blues  (D) 3:01
15    Tampa Red–    Booze Head Woman  (D) 3:00
16    Tampa Red–    If I Had Known  (D) 2:46
17    Tampa Red–    You Got To Give Me Some  (D) 3:11
18    Tampa Red–    Poor Old Gal Blues  (D) 2:48
19    Tampa Red–    No Good Woman Blues    (D) 3:15
20    Tampa Red–    Nobody Knows How Bad I Feel (D) 2:43
21    Tampa Red–    Ready For Rhythm      (E) 2:41
22    Tampa Red–    I Got A Big Surprise For You (E) 2:43

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