ISHMAN BRACEY & CHARLEY TAYLOR — 1928-1929 Complete Recorded Works In Chronological Order | DOCD-5049 (1991) RM | FLAC (tracks+.cue), lossless

Bracey's complete recorded works (1928-1929) are presented in chronological order on this single disc, with the bonus of four tracks by the elusive Charley Taylor. Since Bracey only recorded a handful of sides, this compilation is far more accessible than most of Document's Complete Recorded Works discs. Furthermore, Bracey was one of the best Delta blues artists of the '20s and his work is consistently engaging. Complete Recorded Works (1928-1929) is the best compilation available on Bracey -- not only does it work as a concise introduction, it has everything completists will need. Cub Koda

Abridged from this album’s original booklet notes. There is something hard and uncompromising about the personality of Ishmon Bracey, something challenging and direct. It is evident in the known photographs of him when he was in his late twenties, staring fixedly at the photographer. In one shot his expression is steady, even sullen; in the more familiar cut from an old Victor catalogue he struggled a mirthless and unfriendly smile. Dressed in a suit, with collar and tie, in each case he was carefully up-to-date. “A rare combination of braggart, entertainer, musician, showman and eventually an ordained minister” is how Gayle Dean Wardlow, who interviewed him many times, chose to describe him in Blues Unlimited (No. 142). By Ishmon Bracey‘s own account to Dave Evans, he was a fighter too, “mixing it” with Saturday night drunks and the jealous lovers who came after his friend Tommy Johnson. Bracey’s blues are an extension of the man but they come it seems, from two basic sources. “Rock, church, rock…” comments Charlie McCoy at one point, and the moaning of the elders on the “mourner’s” bench at the Baptist church of his childhood can be heard coming through his blues stanzas. His delivery is powerful, the singing of a field hand; the holler is never far away. Ishmon synthesised these two contemporary currents in his youthful experience as a singer in a convincing and personal style. With him on the 1928 sessions was Charlie McCoy: “Charlie couldn’t lead. He just seconded” as Bracey explained. But he was a remarkably sensitive “seconder” and the matching of the two guitars is impeccable. On Leavin’ Town Blues the manner in which one guitar echoes the phrase of the other, and then moves into integrated phrasing is a joy to hear. “44 Charley” Taylor a pianist on the session, worked with Bracey in Mississippi. At this last session we hear Bracey unaccompanied and on Woman Woman Blues introducing a hint of Tommy Johnson‘s falsetto. They worked together intermittently for another ten years or so and must have made a formidable team. DOCD-5049
1    Rosie Mae Moore–    Stranger Blues
Guitar – Ishman Bracey
Vocals – Rosie Mae Moore
2    Ishman Bracey–    Saturday Blues
Guitar – Charlie McCoy
Guitar, Vocals – Ishman Bracey
3    Ishman Bracey–    Left Alone Blues
Guitar – Charlie McCoy (
Guitar, Vocals – Ishman Bracey
4    Ishman Bracey–    Leavin' Town Blues (Take 1)
Guitar, Mandolin – Charlie McCoy
Guitar, Vocals – Ishman Bracey
5    Ishman Bracey–    Leavin' Town Blues (Take 2)
Guitar, Mandolin – Charlie McCoy
Guitar, Vocals – Ishman Bracey
6    Ishman Bracey–    Brown Mamma Blues (Take 1)
Guitar, Mandolin – Charlie McCoy
Guitar, Vocals – Ishman Bracey
7    Ishman Bracey–    Brown Mamma Blues (Take 2)
Guitar, Mandolin – Charlie McCoy
Guitar, Vocals – Ishman Bracey
8    Ishman Bracey–    Trouble Hearted Blues (Take 1)
Guitar – Charlie McCoy
Guitar, Vocals – Ishman Bracey
9    Ishman Bracey–    Trouble Hearted Blues (Take 2)
Guitar – Charlie McCoy
Guitar, Vocals – Ishman Bracey
10    Ishman Bracey–    The Four Day Blues (Take 1)
Guitar – Charlie McCoy
Guitar, Vocals – Ishman Bracey
11    Ishman Bracey–    The Four Day Blues (Take 2)
Guitar – Charlie McCoy
Guitar, Vocals – Ishman Bracey
12    Ishman Bracey And New Orleans Nehi Boys–    Jake Liquor Blues
Clarinet – Kid Ernest Michall
Guitar, Vocals – Ishman Bracey
Piano – Charley Taylor
13    Ishman Bracey And New Orleans Nehi Boys–    Family Stirving
Clarinet – Kid Ernest Michall
Guitar, Vocals – Ishman Bracey
Piano, Speech – Charley Taylor
14    New Orleans Nehi Boys–    Moblie Stomp
Clarinet – Kid Ernest Michall
Guitar, Speech – Ishman Bracey
Piano – Charley Taylor
15    New Orleans Nehi Boys–    Farish St. Rag
Clarinet – Kid Ernest Michall
Guitar, Speech – Ishman Bracey
Piano – Charley Taylor
16    Ishman Bracey–    Woman Woman Blues
Guitar, Vocals – Ishman Bracey
17    Ishman Bracey–    Suitcase Full Of Blues
Guitar, Vocals – Ishman Bracey
18    Ishman Bracey And New Orleans Nehi Boys–    Bust Up Blues
Clarinet – Kid Ernest Michall
Guitar, Vocals – Ishman Bracey
Piano – Charley Taylor
19    Ishman Bracey And New Orleans Nehi Boys–    Pay Me No Mind
Clarinet – Kid Ernest Michall
Guitar, Vocals – Ishman Bracey
Piano – Charley Taylor
20    Charley Taylor–    Heavy Suitcase Blues
Vocals, Piano – Charley Taylor
21    Charley Taylor–    Louisiana Bound
Vocals, Piano – Charley Taylor
22    Charley Taylor–    Too Damp To Be Wet
Piano – Charley Taylor
Vocals – Ishman Bracey
23    Charley Taylor–    Where My Shoes At?
Piano, Speech – Charley Taylor
Speech – Ishman Bracey

BO CARTER — The Complete Recorded Works In Chronological Order ★ Volume 1 • 1928-1931 | DOCD-5078 (1991) RM | FLAC (tracks+.cue), lossless

Abridged from this album’s original booklet notes. Bo’s first appearance on record seems to be a Columbia session held in Atlanta, Georgia on November 2, 1928, where he, Charlie and Joe McCoy, and an unknown pianist, backed a singer named Alec Johnson. A Columbia session did take place on December 17, 1928 in New Orleans, with Bo Carter, Charlie McCoy and Walter Vincson, where two titles were cut as the Jackson Blue Boys. But before that session, the group ran into the Brunswick mobile unit and recorded as Charlie McCoy and Bo Chatman, as well as backing Mary Butler on four titles. After Good Old Turnip Greens the vocal chores were turned over to Mary Butler for four blues titles. Bungalow Blues was handled smoothly, although a bit stiffly, with its occasional II and VI chords lending it a vaudeville flavour. On Mary Blues the blues style in the vocal was harder and the guitarist (probably Vincson) begins the instrumental introduction with a few bluesy slurs. On Electric Chair Blues the mandolinist had the same difficulty as on Mary Blues, and Butler cut Mad Dog Blues to better effect with only Vincson on guitar (including some mandolin imitation on the breaks). Chatman and McCoy returned with Bo’s standard Corrine Corrina a lilting vocal duet, but closer to Hillbilly blues than to the tracks just laid down by Mary Butler. Finally, Bo appeared to give in and sang East Jackson Blues, although he didn’t seem quite comfortable with the style. At his first session using the name Bo Carter in Jackson, Mississippi on December 15, 1930, the guitarist had the benefit of two years of varying recording experiences. He neatly divided the songs into three categories. The two finger picked blues numbers were the standouts (I’m An Old Bumble Bee and Mean Feeling Blues); with the next two (I’ve Got The Whole World In My Hands – a version of the Sheiks’ “Sitting On Top Of The World” – and She’s Your Cook) sounding like the Hillbilly approximations of the blues so often favoured by Bo and his brothers. The last two tracks on this date were hokum blues in deference to the popularity of Tampa Red, Georgia Tom, Big Bill and numerous others who rode the wave of the hokum fad into lengthy careers. Clearly, Bo Carter was doing his homework. DOCD-5078
Tracklist :
1    Bo Chatman–    Good Old Turnip Greens    3:06
2    Mary Butler–    Bungalow Blues    2:48
3    Mary Butler–    Mary Blues    2:40
4    Mary Butler–    Electrocuted Blues    2:45
5    Bo Chatman–    Corrine Corrina    3:17
6    Bo Chatman–    East Jackson Blues    2:55
7    Bo Carter–    I’m An Old Bumble Bee    2:53
8    Bo Carter–    Mean Feeling Blues    3:10
9    Bo Carter–    I’ve Got The Whole World In My Hand    2:46
10    Bo Carter–    She’s Your Cook But She Burns My Bread Sometimes    2:58
11    Bo Carter–    Same Thing The Cats Fight About    3:20
12    Bo Carter–    Times Is Tight Like That    3:08
13    Bo Carter–    My Pencil Won’t Write No More    2:55
14    Bo Carter–    Banana In Your Fruit Basket    3:06
15    Bo Carter–    Pin In Your Cushion    3:04
16    Bo Carter–    Pussy Cat Blues    2:52
17    Bo Carter–    Ram Rod Daddy    2:58
18    Bo Carter–    Loveless Love    2:55
19    Bo Carter–    I Love That Thing    2:44
20    Bo Carter–    Backache Blues    2:59
21    Bo Carter–    Sorry Feeling Blues    3:07
22    Bo Carter–    Baby, When You Marry    2:55
23    Bo Carter–    Boot It    3:04
24    Bo Carter–    Twist It, Baby    3:17

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 5 • 1936-1937 | DOCD-5127 (1992) FLAC (tracks+.cue), lossless

Big Bill Broonzy recorded a great deal in Chicago during the 1930s, and fortunately, every one of the selections (except for a few that cannot be located) have been reissued on CD by the Austrian Document label in this "complete" series. In addition to selections with a trio (which includes pianist Black Bob and bassist Bill Settles), Broonzy is heard on this fifth volume with the Hokum Boys (on "Nancy Jane"), the Midnight Ramblers (which include Washboard Sam) and the Chicago Black Swans, a band similar to the Harlem Hamfats that adds guitarist Tampa Red). The final four numbers return to the trio format but add trumpeter Punch Miller to two of the songs. Throughout, Broonzy is heard in prime form. Among the selections are "Big Bill's Milk Cow No. 2," "Nancy Jane," "Detroit Special," "Out With the Wrong Woman," "Southern Flood Blues" and "Let's Reel and Rock." Scott Yanow

Abridged from this album’s original booklet notes. In 1934 Big Bill Broonzy had recorded Milk Cow Blues for Bluebird (see volume two of this series) and it had been a sufficient hit for him to assay a Milk Cow Blues No. 2 for ARC, this time filling out the sound by utilising Black Bob‘s piano for support. This basic line-up of guitar, piano, string bass and woodblocks was given an extra dimension when Charlie McCoy was added playing the mandolin. Charlie, like Big Bill, was a jobbing musician about Chicago. He had found his niche when, along with his brother ‘Hallelujah’ Joe McCoy he became part of the basic line-up of the Harlem Hamfats. This group used a ‘New Orleans’ front line of trumpet and clarinet backed-up by a piano and a guitar/mandolin/drums rhythm section. The session with Charlie produced Bill’s complaint about his addiction to playing craps in Seven-Eleven (“My point was a nine, I stopped at six – and that trey came flyin”‘) and about his girl-friend’s bad actin’ in You Know I Got A Reason. (Is there an accusation of lesbianism in the line “You say that woman you run with is your lady friend, it don’t look much like it for the shape I caught y’all in”?) During the same period, May / June 1936, Bill was still performing as part of The Hokum Boys, singing and playing the guitar on Nancy Jane a number they had recorded before, without it being released, as far back as 1930. A further Big Bill / Black Bob session took place in the September of 1936. It included Black Widow Spider in which Bill may have mixed his genders by representing himself as a spider with “red stripes under my belly” after making it sore by “crawlin’ down your wall”. The same combination also recorded in November of that year, one track, Out With The Wrong Woman being issued as by The Midnight Ramblers. Several songs and alternative takes of material recorded around this time, i. e. Cherry Hill Take 2, were not issued until they appeared on LP in the late 60s / early 70s. On the 26th January 1937 Big Bill Broonzy took the vocal and guitar part for a group called the Chicago Black Swans. This was a loose collection of musicians including Herb Morand and Arnett Nelson, the front line of the Hamfats. The same group recorded the same two titles on the same day with vocals by Mary Mack for release as by The State Street Swingers. Further confusion is added by the fact that Bill had already recorded Don’t Tear My Clothes (presumably implicitly “No. 1”, see volume three of this series) with a group known as The State Street Boys whose more rural sound had been built around the violin of Zeb Wright. Never slow to adapt to trends Bill featured a trumpet and drums on his next session (although he refers to a cornet on Come Up To My House). After cutting his commentary on the recent flooding of the Ohio River in his magnificent Southern Flood he brought forward “Mr Sheiks” and Fred Williams to up-date his sound to that of Big Bill’s Orchestra (?). “Mr Sheiks“, whose identity has been the subject of much speculation, was no Herb Morand and two days later Big Bill Broonzy was back in the studio to try again – this time in the company of Ernest ‘Kid Punch’ Miller, who came, like Morand, from a New Orleans background and was one of the foremost jazzmen of his generation. Hedging, Bill also cut for his older audience on this session producing the delicately picked Horny FIog which included references to the south, north migration along with the wonderful line dismissing his troublesome girlfriend: “I’m tired of poppin’ my belly for you”. DOCD-5127
Tracklist :
1        Big Bill's Milk Cow No. 2 (A) 3:07
2        W.P.A. Blues (B) 3:01
3        I'm A Southern Man (B) 2:47
4        Nancy Jane (C) 3:00
5        Lowland Blues (D)    3:02
6        Seven-Eleven     (D)    2:57
7        You Know I Got A Reason (D) 2:49
8        Oh, Babe (D)    3:08
9        Detroit Special  (E) 2:50
10        Falling Rain  (E) 3:17
11        Black Widow Spider (F) 2:52
12        Cherry Hill  (G) 3:12
13        Out With The Wrong Woman (H) 2:57
14        Don't Tear My Clothes No. 2 (I)    2:42
15        You Drink Too Much (I) 3:08
16        Southern Flood Blues (J) 3:13
17        My Big Money     (J) 3:12
18        My Woman Mistreats Me (J) 3:00
19        Let's Reel And Rock (J) 3:15
20        Come Up To My House (J) 3:11
21        Get Away (K) 2:57
22        Terrible Flood Blues (K) 3:04
23        Little Bug (K) 3:05
24        Horny Frog [Take 1] (K) 3:08
Credits :
(A) Big Bill Broonzy, vocal, guitar; Black Bob, piano; “Heebie Jeebies”, wood blocks  01/05/1936
(B) Big Bill Broonzy, vocal, guitar; Black Bob, piano; Bill Settles, stand-up bass “Heebie Jeebies” woodblocks on 3. 27/05/1936
(C) The Hokum Boys: Big Bill Broonzy, vocal, guitar; Casey Bill Weldon, guitar, vocal / chorus; Black Bob, piano: Bill Settles, stand-up bass.   11/06/1936
(D)  Big Bill Broonzy, vocal, guitar; accompanied by Punch Miller, trumpet on 15, 16, 17; Leeford or Aletha Robinson, piano; own guitar on 15, 16, 17; Fred Williams, drums. 03/09/1936
(E) Big Bill Broonzy, vocal, guitar; Probably Horace Malcolm, piano; Charlie McCoy, mandolin. Big Bill Broonzy, vocal, guitar; Black Bob, piano; Bill Settles, stand-up bass.  16/09/1936
(F)  Big Bill Broonzy, vocal, guitar; probably Myrtle Jenkins, piano; Bill Settles, stand-up bass.  28/10/1936
(G) Chicago Black Swans: Big Bill Broonzy, vocal, guitar; accompanied probably by Herb Morand or possibly Alfred Bell, trumpet; Arnett Nelson, clarinet; Black Bob, piano; possibly Tampa Red, guitar; unknown, percussion. 19/11/1936
(H) Midnight Ramblers: Big Bill Broonzy, vocal, guitar; Black Bob, piano; unknown, stand-up bass; possibly Washboard Sam, scat vocal. 19/11/1936
(I) Big Bill Broonzy, vocal, guitar; probably Myrtle Jenkins, piano; Bill Settles, stand-up bass. 26/01/1937
(J) Big Bill Broonzy, vocal, guitar; accompanied by “Mr. Sheiks (Alfred Bell), trumpet, on 16, 17, 19, 20; possibly . Fred Williams. drums on 19 and 20. Bill Settles, stand-up bass; possibly Fred Williams, drums on 19, 20. 29/01/1937
(K) Big Bill Broonzy, vocal, guitar; accompanied by Punch Miller, trumpet on 21, 23; Black Bob, piano; Bill Settles, stand-up bass; Fred Williams, drums on 23 / woodblocks on 22, 24. 31/01/1937

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

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

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

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

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

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

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

SONNY BOY WILLIAMSON — Complete Recorded Works In Chronological Order ★ Volume 4 • 1941-1945 | DOCD-5058 (1991) RM | FLAC (tracks+.cue), lossless

A comprehensive collection of the pioneer bluesman's work during the World War II years, with the exception of the period of the infamous Musician's Union ban on recording. Some of the topical songs--"Win the War Blues" and "We Got to Win"--comment directly on then current events, but there also songs adapted from other blues singers.

"Ground Hog," for example, is a variant of Tony Hollins' "Crawlin' King Snake," while "She Don't Love Me That Way" cribs from Sleepy John Estes. The overall sound, however, splits the difference between the earlier country blues of Sonny Boy Williamson's Bluebird Records period and the proto-Chicago blues to come. AllMusic

Abridged from this album’s booklet notes. From the date of his first recordings in 1937 (Document DOCD-5055) until his death a decade later Sonny Boy Williamson was the undisputed king of the blues harmonica, at least in Chicago. Although there were plenty of other artists using the instrument only William ‘Jazz’ Gillum achieved anything like the popularity of the boy from Jackson, Tennessee and even Jazz could never claim the mastery that Sonny Boy underlined with every performance. The period spanned on this Volume encompasses the bulk of World War Two and the infamous ban on recording brought about by James C. Petrillo. Petrillo became president of the Chicago local of the musician’s union in 1922, and was president of the American Federation of Musicians from 1940 to 1958. Petrillo dominated the union with absolute authority. His most famous actions were banning all commercial recordings by union members from 1942 – 1944 and again in 1948 to pressure record companies to give better royalty deals to musicians. Although Sonny Boy never commented on this event he was very vocal about the conflict which he saw as a chance for the black American to both prove himself and improve his lot. Check Up On My Baby is a rallying call track to prevent Hitler, Mussolini and Tojo from ‘treatin’ your baby wrong’, while Win The War Blues sees Sonny Boy fantasizing that “Uncle Sam” is going to give me a Thunderbolt. The usual amount of women seems to be involved in his life and this is reflected on the tracks Mattie Mae, Stella Brown, Black Panter Blues and Desperado Woman. Panter is an American variant of panther and the description of this lethal lady is described in the lyric “You should have heard me holler, I didn’t have time to swaller”. In contrast to this is She Was A Dreamer. Other songs in the session include Ground Hog Blues a variant of a Tony Hollins hit called “Crawlin’ King Snake” and She Don’t Love Me That Way which gathers in verses associated with sources as disparate as Sleepy John Estes and Lil Green‘s “Why Don’t You Do Right”. Another track Million Year Blues later became a hit for Eddie Boyd, whilst My Black Name Blues re-uses some lines from Leroy Carr‘s “Twenty Four Hours”. DOCD-5058
Tracklist :
1        Drink On, Little Girl 3:07
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass [probably] – William Mitchell
2        Mattie Mae Blues 3:07
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass [probably] – William Mitchell
3        I'm Gonna Catch You Soon 2:47
Double Bass – Ransom Knowling
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
4        Million Years Blues 3:05
Double Bass – Ransom Knowling
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
5        Shady Grove Blues 2:52
Double Bass – Ransom Knowling
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
6        Sloppy Drunk Blues 3:16
Double Bass – Ransom Knowling
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
7        She Was A Dreamer 2:39
Double Bass – Ransom Knowling
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
8        You Got To Step Back 2:58
Double Bass – Ransom Knowling
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
9        Ground Hog Blues 2:44
Guitar – Charlie McCoy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass – Alfred Elkins
10        Black Panter Blues 2:33
Guitar – Charlie McCoy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass – Alfred Elkins
11        Broken Heart Blues 2:50
Guitar – Charlie McCoy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass – Alfred Elkins
12        She Don't Love Me That Way 2:42
Guitar – Charlie McCoy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washboard – Washboard Sam
Washtub Bass – Alfred Elkins
13        My Black Name Blues 2:46
Guitar – Charlie McCoy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washboard – Washboard Sam
Washtub Bass – Alfred Elkins
14        I Have Got To Go 2:47
Guitar – Charlie McCoy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washboard – Washboard Sam
Washtub Bass – Alfred Elkins
15        Love Me, Baby 3:23
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass – Alfred Elkins
16        What's Gettin' Wrong With You? 2:50
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass – Alfred Elkins
17        Blues That Made Me Drunk 3:00
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass – Alfred Elkins
18        Come On, Baby, And Take A Walk 2:49
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass – Alfred Elkins
19        Miss Stella Brown Blues 2:50
Drums – Armand "Jump" Jackson
Guitar – Ted Summitt
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
20        Desperado Woman Blues 2:39
Drums – Armand "Jump" Jackson
Guitar – Ted Summitt
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
21        Win The War Blues 2:48
Drums – Armand "Jump" Jackson
Guitar – Ted Summitt
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
22        Check Up On My Baby Blues 2:45
Drums – Armand "Jump" Jackson
Guitar – Ted Summitt
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
23        G.M. & O. Blues 2:43
Double Bass – Ransom Knowling
Guitar – Bill Sid Cox
Piano – Eddie Boyd
Vocals, Harmonica – Sonny Boy Williamson
24        We Got To Win 2:43
Double Bass – Ransom Knowling
Guitar – Bill Sid Cox
Piano – Eddie Boyd
Vocals, Harmonica – Sonny Boy Williamson
25        Sonny Boy's Jump 2:50
Double Bass – Ransom Knowling
Guitar – Bill Sid Cox
Piano – Eddie Boyd
Vocals, Harmonica – Sonny Boy Williamson
26        Elevator Woman 2:41
Double Bass – Ransom Knowling
Guitar – Bill Sid Cox
Piano – Eddie Boyd
Vocals, Harmonica – Sonny Boy Williamson

MEMPHIS MINNIE & KANSAS JOE — 1929-1934 Recordings In Chronological Order ★ Volume 4 • 1933-1934 | DOCD-5031 (1991) RM | FLAC (tracks+.cue), lossless

Although the title credits the material herein to Memphis Minnie and Kansas Joe, very few of the tracks which comprise this volume are actually collaborative efforts between the duo -- by 1933 their personal and professional relationships were both on the rocks, with Minnie instead recording solo and Joe working with his guitarist brother Charlie. The Minnie solo sides which open the set are uniformly excellent, with the saucy "My Butcher Man" spotlighting her gifts as a lyricist and the Mississippi-styled "Too Late" underscoring her guitar prowess. By mid-1934, some measure of reconciliation had clearly been reached, as the couple was now performing together again; although their reunion was short-lived -- and their subsequent break final -- these last sides are also powerful, with the revealing "Moaning the Blues" capping their career in peak form. Jason Ankeny

Abridged from this album’s original booklet notes After a gap of almost two years Memphis Minnie returned to the studio in November 1933 but this time it was as a solo artist. The session only produced four numbers of which two were commercially released. My Butcher Man, a double-entendre employing some nice ‘meat cutting’ imagery (“slice my pork chop, grind my sausage too” etc) and culminating in the vivid,

If anybody ask you “butcher man where you bin?”, Show them that long bladed knife, tell ’em you’ve bin butchering out in that slaughter pen.

was coupled with the outstanding, Too Late, a blues that in structure and attack owed more to Mississippi than Memphis or Chicago, the superb guitar accompaniment so reminiscent of Mattie Delaney. Four months later, in March 1934, she returned to record a further two titles, Stinging Snake Blues and Drunken Barrel House, again without Joe McCoy. The reasons behind Joe McCoy‘s disappearance from the recording scene have never been explained, though artists who knew the couple reported that Joe couldn’t come to terms with Minnie’s success and as such was putting a strain on the marriage. However, they must have resolved their problems because in August 1934 they signed to the newly formed Decca label. The company policy was to undercut existing race labels by pricing all records at 35 cents. This was justified by maintaining that corresponding cuts in overheads would be achieved by keeping as many recordings as possible to a single take. In practice though this seldom happened as the two takes of Keep It To Yourself prove. It was in this climate that Memphis Minnie and Joe McCoy came to record their initial sessions for Decca and over a two month period they cut a mixture of duets and solo items. The reconciliation, however, was short lived and following their last recording, the magnificent if slightly prophetic, Moanin’ The Blues, they parted permanently. Ironically the split was to coincide with a shift in the tastes of black record buyers who were demanding less traditional sounds and more ‘swing’. Joe McCoy forged a career for himself under his own name, finally teaming up with the Harlem Hamfats and Memphis Minnie embarked upon a very busy recording career which will be covered by further discs in this series. DOCD-5031
Tracklist :
1    Memphis Minnie–    My Butcher Man 2:58
Vocals, Guitar – Memphis Minnie
2    Memphis Minnie–    Too Late 2:56
Vocals, Guitar – Memphis Minnie
3    Memphis Minnie–    Ain't No Use Trying To Tell On Me 3:11
Vocals, Guitar – Memphis Minnie
4    Memphis Minnie–    Stinging Snake Blues 3:01
Vocals, Guitar – Memphis Minnie
5    Memphis Minnie–    Drunken Barrel House Blues 2:50
Vocals, Guitar – Memphis Minnie
6    The Mississippi Mudder (Mud Dauber Joe)–    I Got To Have A Little More 3:16
Piano – Chuck Segar
Vocals – Unknown Artist
Vocals, Guitar – Kansas Joe McCoy
Washboard [Prob.] – Unknown Artist
7    The Mississippi Mudder (Mud Dauber Joe)–    Someday I'll Be In The Clay 3:12
Piano – Jimmie Gordon
Vocals, Guitar – Kansas Joe McCoy
Washboard [Prob.] – Unknown Artist
8    Kansas Joe McCoy–    Evil Devil Woman Blues 3:10
Guitar [Poss.] – Charlie McCoy
Vocals, Guitar – Kansas Joe McCoy
9    Kansas Joe McCoy–    Going Back Home Blues 3:02
Guitar [Poss.] – Charlie McCoy
Vocals, Guitar – Kansas Joe McCoy
10    Kansas Joe McCoy–    Meat Cutter Blues 2:52
Guitar [Poss.] – Charlie McCoy
Vocals, Guitar – Kansas Joe McCoy
11    Memphis Minnie And Kansas Joe–    You Got To Move - Part I 3:02
Vocals, Guitar – Kansas Joe, Memphis Minnie
12    Memphis Minnie–    Keep It To Yourself 2:47
Vocals, Guitar – Memphis Minnie
13    Memphis Minnie–    Keep It To Yourself 2:55
Vocals, Guitar – Memphis Minnie
14    Memphis Minnie–    Chickasaw Train Blues (Low Down Dirty Thing) 3:15
Vocals, Guitar – Memphis Minnie
15    Memphis Minnie–    Banana Man Blues (I Don't Want That Thing) 3:02
Vocals, Guitar – Memphis Minnie
16    Memphis Minnie And Kansas Joe–    You Got To Move - Part II 2:47
Vocals, Guitar – Kansas Joe, Memphis Minnie
17    Memphis Minnie And Kansas Joe–    Hole In The Wall 3:11
Vocals, Guitar – Kansas Joe, Memphis Minnie
18    Memphis Minnie And Kansas Joe–    Give It To Me In My Hand (Can I Go Home With You) 3:25
Vocals, Guitar – Kansas Joe, Memphis Minnie
19    Memphis Minnie–    Squat It 2:48
Guitar – Kansas Joe McCoy
Vocals, Guitar – Memphis Minnie
20    Memphis Minnie–    Moaning The Blues 3:05
Guitar – Kansas Joe McCoy
Vocals, Guitar – Memphis Minnie

TOMMY JOHNSON — Canned Heat : Complete Recorded Works In Chronological Order 1928-1929 | DOCD-5001 (2000) FLAC (tracks+.cue), lossless

An essential Tommy Johnson collection, Document's Complete Recorded Works (1928-1929) features 17 songs from the Delta blues pioneer, including two alternative takes and a pair of previously unissued songs known respectively as "Morning Prayer Blues" and "Boogaloosa Blues." Culled from the great Delta musician's recording sessions in Memphis and Grafton, WI, from February 1928 to December 1929, this collection shines a light on all of Johnson's known output during his most active recording years. As with most music taken straight from original 78s, the sound quality varies between tracks; all in all, the pops and static aren't too distracting here. The music is well-worth seeking out as the writing, guitar playing, and singing are all exceptional. Johnson's voice, one of the distinctive early Delta blues voices along with Son House and Charley Patton, changes from a deep rumble to a woeful falsetto while his guitar playing is characteristic of the early Delta style. With the exception of a few of the tracks from an August 1928 session, other players accompany Johnson on the tracks. Highlights include the well-known material such as "Cool Drink of Water Blues" and "Canned Heat Blues," as well as scratchy lesser-known gems from his later sessions. The tracks "Ridin' Horse" and "Alcohol and Jake Blues" were taken from what is believed to be the only remaining copy of the 78 they were originally released on. These two songs had not been released on CD prior to this collection. On the two versions of "Black Mare Blues" included, Johnson is joined by the New Orleans Nehi Boys, featuring Kid Ernest Marshall on clarinet and Charley Taylor on piano. The CD includes informative notes by Paul Oliver, personnel lineups for each session, along with issue numbers for the original releases. This is highly recommended for those who have never heard Johnson's music and equally recommended for those who have. Jeff Schwachter 
Tracklist
1 –Tommy Johnson Cool Drink Of Water Blues
2 –Tommy Johnson Big Road Blues
3 –Tommy Johnson Bye-Bye Blues
4 –Tommy Johnson Maggie Campbell Blues
5 –Tommy Johnson Canned Heat Blues
6 –Tommy Johnson Lonesome Home Blues (Take 1)
7 –Tommy Johnson Lonesome Home Blues (Take 2)
8 –Tommy Johnson Big Fat Mama Blues
9 –Tommy Johnson I Wonder To Myself
10 –Tommy Johnson Slidin' Delta
11 –Tommy Johnson Lonesome Home Blues
12 –Tommy Johnson Untitled Song — Take 1 (Morning Prayer Blues)
13 –Tommy Johnson Untitled Song — Take 2 (Boogaloosa Woman)
14 –Tommy Johnson And New Orleans Nehi Boys Black Mare Blues (Take 1)
15 –Tommy Johnson And New Orleans Nehi Boys Black Mare Blues (Take 2)
16 –Tommy Johnson Ridin' Horse
17 –Tommy Johnson Alcohol And Jake Blues
Credits
Clarinet – Kid Ernest Michall (tracks: 14, 15)
Guitar – Charlie McCoy (tracks: 1 to 4)
Kazoo – Unknown Artist (tracks: 9)
Piano – Charley Taylor (tracks: 14, 15)
Speech – Unknown Artist (tracks: 17)
Spoons – Unknown Artist (tracks: 14, 15)
Vocals, Guitar – Tommy Johnson