PEETIE WHEATSTRAW — Complete Recorded Works In Chronological Order Volume 2 · 1934- 1935 | DOCD-5242 (1994) RM | FLAC (tracks+.cue), lossless

With the second of seven volumes comprising Document's complete works of Peetie Wheatstraw, we arrive at the threshold of his fully formed style, perfected over many months of steady gigging while the Great Depression prevented him from making any records. Tracks 1-9 were cut in March and August 1934 with guitarist Charley Jordan, and when compared with Peetie's earlier achievements the difference is apparent from the get-go. Until 1938, when he began to vary the structure of his tunes, nearly every Peetie Wheatstraw record would begin with an instrumental introduction he had initiated, while backing vocalist Pretty Boy Walker back in 1932. This patented intro would become Wheatstraw's signature, as instantly recognizable and ubiquitous as those of inner-city graffiti artists during the final decades of the 20th century. The other audible innovation is Peetie's singing style, which by 1934 had undergone a dramatic transformation involving what would swiftly become his other trademark: the soon-to-be-widely-imitated use of the phrase "ooh, well, well" to punctuate and accentuate his delivery. During this period, Wheatstraw recorded for Decca (the label on which his music would appear exclusively beginning in October 1936) and Vocalion, the company responsible for peddling some of his titles to the Sears & Roebuck Co., who released them on their Conqueror label. Originally backed with a title by Tee McDonald, the jazzy "Throw Me in the Alley" is a rare treat in the form of an upbeat Wheatstraw record involving extra instrumentalists. Billed as Peetie Wheatstraw & His Blue Blowers, this hot little group included trombonist Ike Rodgers and pianist Henry Brown, as well as two unidentified individuals playing clarinet and violin. Other participants on this satisfying collection which covers Wheatstraw's progress through July 1935 are guitarists Teddy Darby and Charlie McCoy, as well as steel guitarist Casey Bill Weldon, whose handle derived from K.C., an abbreviation of his old stomping ground, Kansas City. "Keyhole Blues" and "Long Time Ago Blues" pare the instrumentation down once again to Wheatstraw and his guitar, sounding more lonesome and personal than he generally did at the piano. Issued as the flipside of a Jimmie Gordon record, "Doin' the Best I Can" borrows its melody from "Sittin' on Top of the World" which was first introduced by the Mississippi Sheiks. "Good Whiskey Blues" and its sequel "More Good Whiskey Blues" are straightforward appreciations of legalized liquor (including imported Holland gin!) as opposed to the perils of unregulated, often poisonous prohibition booze. "C & A Train Blues," which refers to the Chicago and Alton railroad, is the first recording on which Wheatstraw amends his nickname by calling himself the High Sheriff from Hell. arwulf arwulf
Tracklist :
1.    Back Door Blues    3:09
2.    Packin' Up Blues    3:09
3.    Long Lonesome Drive    3:19
4.    Midnight Blues    3:18
5.    The Last Time    3:21
6.    All Night Long Blues    3:14
7.    Numbers Blues    3:18
8.    Good Home Blues    3:18
9.    These Times    2:57
10.    Throw Me In The Alley    2:50
11.    C & A Train Blues    3:18
12.    Last Week Blues    3:08
13.    Keyhole Blues    3:13
14.    Long Time Ago Blues    3:15
15.    Doin' The Best I Can    2:53
16.    The Rising Sun Blues    3:00
17.    Blues At My Door    3:03
18.    Truthful Blues    3:07
19.    Good Whiskey Blues    3:14
20.    More Good Whiskey Blues    3:02
21.    Letter Writing Blues    3:01
22.    Whiskey Head Blues    2:46
23.    Slave Man Blues    2:50
24.    C And A Train Blues    2:46
Credits : 
Clarinet – Unknown Artist (tracks: 10)
Compilation Producer – Johnny Parth
Guitar – Peetie Wheatstraw (tracks: 10, 13, 14)
Guitar [Poss.] – Charlie McCoy (tracks: 15), Teddy Darby (tracks: 21)
Guitar [Prob.] – Charlie Jordan (tracks: 1 to 6, 8, 9)
Liner Notes – Paul Garon
Piano – Henry Brown (tracks: 10), Peetie Wheatstraw (tracks: 1 to 9, 11, 12, 15 to 24)
Remastered By – Gerhard Wessely
Steel Guitar – Casey Bill Weldon (tracks: 16 to 21)
Trombone [Prob.] – Ike Rodgers (tracks: 10)
Violin – Unknown Artist (tracks: 10)
Vocals – Peetie Wheatstraw 

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)

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

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

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

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

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

MERLINE JOHNSON — The Yas Yas Girl : Complete Recorded Works In Chronological Order ★ Volume 2 • 1938-1939 | DOCD-5293 (1994) RM | FLAC (tracks), lossless

If the first volume of Merline Johnson's complete recordings was highly rewarding, volume two is utterly essential, as it contains some of her all-time best, most exciting, and jazz-infused performances. Susceptible listeners may find it difficult to remain seated during "Running Down My Man" (which sounds a lot like one of Washboard Sam's upbeat creations), as a fine trumpeter (possibly Punch Miller) and a tenor saxophonist (probably Bill Owsley) swing like mad atop a well-oiled rhythm section that includes pianist Blind John Davis and electrically amplified guitarist George Barnes. This level of enjoyment is maintained during a kicking cover of Louis Armstrong's "Ol' Man Mose" and a brusque version of "Don't You Leave Me Here," previously recorded by Monette Moore with Charlie Johnson's Original Paradise Ten in 1927 and by wandering Texas guitarist Henry Thomas in 1929. Identified as the Louisiana Kid on Vocalion C-2296 ("Separation Blues"), Punch puts his horn down and sings a duet with the Yas Yas Girl. Sometimes billed as the Rhythm Rascals, Merline's bands as heard on this collection were mightily stoked by players like guitarists Big Bill Broonzy and Willie B. James; steel guitarist Casey Bill Weldon, saxophonist Buster Bennett, and trumpeters Alfred Bell, Walter Williams, and venerable Lee Collins, a New Orleans legend who made records with Jelly Roll Morton in 1924. Collins is heard here on tracks 17-22 as a member of the Yas Yas Girl's Jazz Boys, an ensemble anchored by bass vocalist Alfred Elkins, who sounds like he might have been blowing across a whiskey jug, old style. While Merline Johnson was quite capable of whipping up her own ideas, the occasional cover tunes pack a wallop, as does Billie Holiday's "Fine and Mellow" and New Orleans guitarist Danny Barker's "Don't You Make Me High," which he wrote for his wife Blue Lu Barker, who made her soon-to-be-famous recording for Decca only weeks before Merline Johnson took it on accompanied by Buster Bennett's persuasive soprano sax. Decades later, diminutive Maria Muldaur enjoyed a spate of success with her sultry update of this naughty little masterpiece. arwulf arwulf

Tracklist :
1        Running Down My Man 2:53 (A)
2        Ol' Man Mose 2:57 (B)
3        Don't You Leave Me Here 2:55 (B)
4        Separation Blues 2:56 (C)
5        You Can't Shoot Your Pistol 2:40 (D)
6        Whiskey Fool 2:40 (E)
7        Don't You Make Me High 2:40 (F)
8        Love With A Feeling 2:52 (F)
9        Some Day I'll Be Gone Away 2:42 (G)
10        Easy Towing Mama 2:40 (G)
11        Grieving Heart Blues 2:43 (G)
12        Reckless Life Blues 2:27 (G)
13        Breakin' 'Em Down Tonight 2:32 (H)
14        Someone To Take Your Place 2:48 (H)
15        Got A Mind To Ramble 2:30 (H)
16        True Love 2:41 (H)
17        Fine And Mellow 2:55 (I)
18        Nobody Knows How I Feel 2:54 (I)
19        I Need You By My Side 2:51 (I)
20        You Can't Have None Of That 2:46 (I)
21        I Got To Have It Daddy 2:47 (I)
22        Don't Have To Sing The Blues 2:47 (I)

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

CHARLEY JORDAN — Complete Recorded Works In Chronological Order ★ Volume 3 • 1935-1937 | Plus The Complete LEROY HENDERSON 1935 | DOCD-5099 (1992) RM | FLAC (tracks), lossless

This volume is somewhat less compelling than the other two in the series, if only because even the producers themselves acknowledge that eight of the 23 songs here, credited to "The Two Charlies," probably don't feature the St. Louis-based Charley Jordan at all, but another artist of the same name, while four others, credited to Leroy Henderson, may feature Jordan. On other songs, Jordan sings duets with Verdi Lee and Mary Harris (possibly also Verdi Lee working under a pseudonym), and those are great tracks, to be recommended without reservation, except perhaps for the fact that the guitar is a bit muted on these numbers, compared with Jordan's solo stuff. "Signifying at You" is a great piece of female-sung blues, raw, angry, defiant and funny. The Two Charlies tracks, featuring a Charley Jordan working with a guitarist/singer named Charlie Manson, are fine acoustic blues, all good songs (especially "Don't Put Your Dirty Hands On Me") and even better guitar duets, including the surprisingly dissonant "Pork Chop Blues," but they sound much more like Atlanta blues than St. Louis material -- their inclusion here adds nothing to the St. Louis Charley Jordan's reputation, but they make an enjoyable interlude. Bruce Eder  

 

Abridged from this album’s original booklet notes. Charley Jordan was not the strongest of blues singers but his voice is not off-putting, in fact it has quite an unusual characteristic which one easily brings to mind when one returns to any of his records. The strengths of his recordings are in his guitar playing and his song writing. Steffan Grossman wrote; “The often whimsical songs recorded belie the violent world that he apparently lived”. He was shot in 1928 during his bootlegging activities leaving him with a bullet lodged in his spine and having to use crutches. “There’s a wry, gentle humour in Jordan’s songs, a child-like delight in playing with words and imagery. His melodies, too, often evince a naive charm. Jordan’s guitar picking masterfully combines an airy delicacy with punchy dynamics he may have gathered from such Mississippians as Big Joe Williams. Paul Oliver has praised Jordan’s “uncorrupted country style of blues guitar with an effortless, light technique”. Chris Smith observes in Jordan “an extraordinary sense of rhythm. The steady pulse that underlies his playing and singing is often a long way removed from the accenting of the guitar part.”” Having switched from Vocalion to Decca in 1934 (see Document DOCD-5098), Charlie Jordan was on the move again the following year; in 1935 he was back with Vocalion. As leaves began to turn during the fall of that year the thoughts of Xmas was already in the mind of Charley or was it that of the record execs…? Charley goes Seasonaltastic with four yuletide blues recorded within the same day. The first, Xmas Blues sung by Charley Jordan on his own finds him very pleased that Xmas is here but only because of the prospect of getting a decent meal for a change. At first, he would be grateful if he gets a little piece of chicken but then it starts getting a little out of hand; turtledoves, goose, biscuits, pie, fruitcake. And then things really start getting serious with demands for “eggnog, whiskey and gin”. “Let’s have a good time”, Charley says. “The fun is going to begin” (what with all of that inside you?) and there the record ends as if we have had the door closed on us just the party is about to really heat up. DOCD-5099
Tracklist  
1 –Charley Jordon Christmas Christmas Blues 2:37
Piano – Peetie Wheatstraw
2 –Charley Jordan Christmas Tree Blues 2:55
Piano Accordion – Peetie Wheatstraw
Vocals – Verdi Lee
3 –Charley Jordan Get It If You Can 2:44
Piano – Peetie Wheatstraw
Vocals – Verdi Lee
4 –Charley Jordan Signifying At You 2:43
Piano – Peetie Wheatstraw
Vocals – Verdi Lee
5 –Charley Jordan No Christmas Blues 2:36
Piano – Peetie Wheatstraw
Vocals – Mary Harris 
6 –Charley Jordan Happy New Year Blues 2:59
Piano – Peetie Wheatstraw
Vocals – Mary Harris 
7 –The Two Charlies I Couldn't Stay Here 2:45
8 –The Two Charlies Bad Feeling Blues 2:57
9 –The Two Charlies Got Your Water On 2:59
10 –The Two Charlies Don't Put Your Dirty Hands On Me 3:16
11 –The Two Charlies Pork Chop Blues 2:56
12 –The Two Charlies Tired Feelin' Blues 2:50
13 –The Two Charlies Low Moan Blues 3:05
14 –The Two Charlies Hard Time Papa 3:02
15 –Charlie Manson     Nineteen Women Blues 2:48
16 –Uncle Skipper Twee Twee Twa 2:56
Contrabass – Unknown Artist
Piano – Peetie Wheatstraw
17 –Uncle Skipper Cutting My ABC's 3:20
Contrabass – Unknown Artist
Piano – Peetie Wheatstraw
18 –Uncle Skipper Chifferobe 3:18
Contrabass – Unknown Artist
Piano – Peetie Wheatstraw
19 –Uncle Skipper Look What A Shape I'm In (Bonus Blues) 2:58
Contrabass – Unknown Artist
Piano – Peetie Wheatstraw
20 –Leroy Henderson Deep Sea Diver 3:02
Guitar – Casey Bill Weldon
Guitar [Or Probably] – Teddy Darby
Guitar [Possibly] – Charley Jordan
Piano – Peetie Wheatstraw
21 –Leroy Henderson Good Scuffler Blues 3:26
Guitar – Casey Bill Weldon
Guitar [Or Probably] – Teddy Darby
Guitar [Possibly] – Charley Jordan
Piano – Peetie Wheatstraw
22 –Leroy Henderson Low Mellow Man Blues 3:20
Guitar – Casey Bill Weldon
Guitar [Or Probably] – Teddy Darby
Guitar [Possibly] – Charley Jordan
Piano – Peetie Wheatstraw
23 –Leroy Henderson Good Grinder Blues
Guitar – Casey Bill Weldon
Guitar [Or Probably] – Teddy Darby
Guitar [Possibly] – Charley Jordan
Piano – Peetie Wheatstraw
Credits
Vocals, Guitar – Charley Jordan (tracks: 1 to 3, 7 to 14, 16 to 19)