This is a particularly fascinating CD, for it has the first 26 selections ever recorded by Big Bill Broonzy as a leader. The beginning of Document's complete reissuance of all of Broonzy's early recordings, the set starts with four duet numbers that Broonzy cut during 1927-28 with fellow guitarist John Thomas. Although his style was already a bit recognizable, the young guitarist/vocalist really started coming into his own in 1930. There are 15 selections from that year included on this set, with Big Bill often using the pseudonyms of Sammy Sampson or Big Bill Johnson; in fact, even the final seven numbers (from 1932) had him billed as the latter. The CD finds Broonzy evolving from a country-blues musician who already had strong technique into a star of hokum records. Among the many highlights are "Big Bill Blues" (different versions in 1928 and 1932), "I Can't Be Satisfied," "Pig Meat Strut," "Beedle Um Bum" and "Selling That Stuff." Pianist Georgia Tom Dorsey helps out on three numbers. Big Bill Broonzy fans have a right to rejoice about the existence of this wonderful series. Scott Yanow
Abridged from this album’s original booklet notes. When Big Bill Broonzy came to Chicago from Arkansas in 1920 he was still ‘country’ but, as he was to prove time and again in his long career, he was also adaptable and despite his supremely affable, easy-going manner he knew what he wanted and was prepared to persevere until he got it. One of the things he wanted was to make records. His break came when he approached Paramount Records. They cut four tracks, which remained unissued but later re-cut two of the titles. The resultant record presented Big Bill and Thomas performing House Rent Stomp and Big Bill Blues. Bill later justified knowing that he was bilked on the pay he received because he and Thomas alone bought at least fifty copies!
There was to be only one more release on Paramount before Big Bill hit his big year of 1930, when, using the pseudonym of Sammy Sampson he cut five tracks, four of which appear here, for the Perfect label in New York, then, learning the tricks of the trade he became Big Bill Johnson for Gennett in Richmond before returning to Paramount as Big Bill Broomsley. From his country origins he moved on to investigate hokum numbers and vaudeville songs. Always keeping an eye out for the main chance, he upgraded his sound by the addition of a piano when he cut three sides utilising the talents of Georgia Tom Dorsey; forever malleable at the same time moulding himself into his basic, unchanging role of good-time rounder, some-time philosopher and full-time bluesman. DOCD-5050
Tracklist :
1 House Rent Stomp (A) 2:30
2 Big Bill Blues (B) 2:57
3 Down In The Basement Blues (C) 3:27
4 Starvation Blues (C) 3:15
5 I Can't Be Satisfied (D) 2:45
6 Grandma's Farm (D) 2:23
7 Skoodle Do Do (D) 2:44
8 Tadpole Blues (E) 2:54
9 Skoodle Do Do (F) 2:44
10 Saturday Night Rub (F) 2:54
11 Pig Meat Strut (F) 2:47
12 Papa's Gettin' Hot (F) 2:44
13 Police Station Blues (G) 2:41
14 They Can't Do That (G) 2:48
15 State Street Woman (H) 2:58
16 Meanest Kind Of Blues (H) 2:58
17 I Got The Blues For My Baby (H) 2:53
18 The Banker's Blues (I) 2:32
19 How You Wan't Done? (I) 2:46
20 Too Too Train Blues (J) 2:58
21 Mistreatin' Mamma (J) 2:57
22 Big Bill Blues (J) 2:55
23 Brown Skin Shuffle (J) 2:55
24 Stove Pipe Stomp (J) 2:45
25 Beedle Um Bum (J) 3:00
26 Selling That Suff (J) 2:57
