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3.3.26

LEDBELLY — Complete Recorded Works In Chronological Order Volume 2 · 1940-1943 | DOCD-5227 (1994) RM | FLAC (tracks+.cue), lossless

The Austrian Document Records label continues its series of CDs presenting Leadbelly's commercial recordings in chronological order from 1939 with this second volume, which picks up with the second day of the singer's two days of sessions for RCA Victor Records in June 1940, some of the tracks featuring the Golden Gate Quartet, material issued either on the album The Midnight Special and Other Prison Songs or on singles on the discount-priced Bluebird Records subsidiary. These recordings (tracks one through ten) marked the end of Leadbelly's work for major record labels for the time being. His next, far more informal, commercial sessions were made for the tiny Asch Records label run by Moses Asch (later the founder of Folkways Records) and initially issued on the Asch albums Play Parties in Song and Dance as Sung by Lead Belly; Work Songs of the U.S.A. Sung by Leadbelly; Leadbelly & His Guitar; and Songs by Lead Belly. (Leadbelly also made many recordings for the Library of Congress [issued separately by Document] and airchecks during this period that do not fit into the series' concept of commercial recordings and thus are not included.) Many of Leadbelly's better-known songs are included in these sessions, among them "Easy Rider," "Grey Goose," "Stew Ball," "Skip to My Lou," "Rock Island Line," and "John Henry" (the last featuring Sonny Terry on harmonica). Particularly notable are two 1943 takes of "(Good Night) Irene," a song that would be popularized by the Weavers shortly after Leadbelly's death in 1949. The singer is in prime shape; his guitar playing is typically forceful, and he even plays concertina on some songs. The tracks have been transferred from old vinyl discs, with hiss and crackles audible throughout (and even, in the case of some of the Asch tracks, skips), but the sound quality is generally fair. William Ruhlmann
Tracklist :
1.        Easy Rider    3:10
2.        New York City    3:00
3.        Worried Blues    3:08
4.        Don't You Love Your Daddy No More?    3:03
5.        You Can't Lose-A Me Cholly    3:03
6.        Grey Goose    3:01
7.        Stew Ball    2:58
8.        Take This Hammer    2:59
9.        Can't You Line 'Em    2:55
10.        Ham An' Eggs    2:55
11.        Ha Ha Thisaway    2:38
12.        Little Sally Walker    2:41
13.        Redbird    2:41
14.        Christmas Song    2:41
15.        Skip To My Lou    2:21
16.        You Can't Lose Me Cholly    2:32
17.        Take This Hammer    2:13
18.        Haul Away, Joe    2:12
19.        Rock Island Line    2:04
20.        Ol' Riley    2:31
21.        Corn Bread Rough    2:04
22.        Old Man    2:30
23.        On A Monday    1:46
24.        John Henry    2:14
25.        How Long    2:10
26.        (Good Night) Irene (Tk. 1)    2:21
27.        (Good Night) Irene    2:36
28.        Ain't You Glad    2:01
29.        Good Morning Blues    2:23
Credits : 
Accordion [Button Accordion] – Leadbelly (tracks: 21)
Compiled By, Producer – Johnny Parth
Guitar – Leadbelly (tracks: 1 to 5, 7, 11 to 20, 22 to 29)
Harmonica – Sonny Terry (tracks: 23 to 26, 28, 29)
Liner Notes – Ken Romanowski
Remastered By – Gerhard Wessely
Vocals – Leadbelly, The Golden Gate Quartet (tracks: 6 to 10)

LEDBELLY — Complete Recorded Works In Chronological Order Volume 3 · 1943-1944 | DOCD-5228 (1994) RM | FLAC (tracks+.cue), lossless

The Austrian Document Records label continues its series of CDs presenting Leadbelly's commercial recordings in chronological order from 1939 with this third volume, which picks up with a session for record company owner Moses Asch (whose label was now called Disc, but who would later found Folkways) probably held in October 1943, material issued on the album Negro Folk Songs as Sung by Leadbelly (tracks one through six). The singer's contract with Asch was nonexclusive, and in February 1944 he returned to Musicraft Records (for which he had recorded in 1939) for sessions that resulted in the album Leadbelly Sings Ballads of Beautiful Women and Bad Men/With the Satin Strings (tracks seven through 14). Asch was back to calling his label Asch Records by April 1944, when Leadbelly cut a series of sessions (tracks 15-26) that appeared on different Asch collections and, after the company's bankruptcy, on Stinson, the company controlled by Asch's partner, who took away some of the masters. Some of Leadbelly's better-known songs are included in these sessions, among them "Bring Me Lil Water Silvy," "In the Pines," and "In New Orleans" (aka "House of the Rising Sun"), and two versions of "John Hardy," and the recordings also are notable for featuring his piano and concertina playing on some tracks and for the presence of Josh White (who duets on "I've a Pretty Flower" and takes lead vocals on "Don't Lie Buddy") and Sonny Terry here and there. On "Blind Lemon (Memorial Record)," Leadbelly demonstrates the style of Blind Lemon Jefferson, whom he used to accompany. The singer is in prime shape, and his guitar playing is typically forceful. The tracks have been transferred from old vinyl discs, with hiss and crackles audible, but the sound quality is generally good. William Ruhlmann
Tracklist :
1.        Cow Cow Yicky Yea / Out On The Western Plains    3:07
2.        Noted Rider / Big Fat Woman / Borrow Love And Go    4:02
3.        John Hardy    4:15
4.        Meeting At The Building / Talking Preaching / We Shall Walk Through The Valley    3:19
5.        Fiddler's Dream / Yallow Gal / Green Corn    3:08
6.        Bring Me Lil Water Silvy / Julia Ann Johnson / Line 'Em / Whoa Back Buck    3:52
7.        Roberta    3:04
8.        Bill Brady    3:03
9.        Where Did You Sleep Last Night?    2:59
10.        Yellow Gal    3:03
11.        When The Boys Were Out On The Western Plains    2:54
12.        Pretty Flowers In Your Backyard    2:43
13.        In New Orleans    3:13
14.        John Hardy    3:10
15.        I've A Pretty Flowers    2:23
16.        Don't Lie Buddy    2:19
17.        How Do You Know / Don't Mind The Weather    2:14
18.        (What Are) Little Boys (Made Of) / Let Me Hold Your Hand (All For You) / Polly Wolly (Polly) Wee    2:16
19.        Skip To My Lou / Christmas Day (It's Almost Over)    1:59
20.        Little Sally Walker / Ha Ha Thisaway / Red Bird    2:34
21.        Outskirts Of Town    2:38
22.        Red River / Black Girl (In The Pines) / Don't Miss Your Water Blues    4:12
23.        Blind Lemon (Memorial Record)    1:23
24.        Leadbelly's Dance    0:50
25.        Mother's Blues (Little Children Blues)    2:30
26.        Mo' Yet / (Little Boy) How Old Are You / There's A Limb On The Tree (Green Grass Grows All Around)    2:51
Credits : 
Accordion [Button Accordion] – Leadbelly (tracks: 3)
Compilation Producer – Johnny Parth
Guitar – Josh White (tracks: 15, 16, 25), Leadbelly (tracks: 1, 2, 4 to 26)
Harmonica – Sonny Terry (tracks: 21, 22)
Liner Notes – Ken Romanowski
Piano – Leadbelly (tracks: 2)
Remastered By – Gerhard Wessely
Speech – Leadbelly (tracks: 23, 24)
Tap Dance – Leadbelly (tracks: 24)
Vocals – Josh White (tracks: 15, 16), Leadbelly

LEDBELLY — Complete Recorded Works In Chronological Order Volume 4 · 1944 | DOCD-5310 (1994) RM | FLAC (tracks+.cue), lossless

The Austrian Document Records label continues its series of CDs presenting Leadbelly's commercial recordings in chronological order from 1939 with this fourth volume, which picks up with a series of sessions probably held in May 1944 for record company owner Moses Asch and eventually issued on various records by the labels Asch, Stinson, Folkways, and Arhoolie. The singer's contract with Asch was nonexclusive, and while residing on the West Coast later in the year, he recorded for Capitol Records in October, the tracks issued on singles and EPs. Many of Leadbelly's better-known songs are included in these sessions (in many cases as re-recordings), among them "Easy Rider" ("See See Rider"), "Bourgeois Blues," "Rock Island Line," and "Irene" ("Goodnight Irene"). There are also some newly written and timely tunes, such as "Army Life" (with a vocal chorus singing, "I don't want no more army life/Gee, but I want to go home") and "Mr. Hitler" ("Hitler Song"). The recordings also are notable for the presence of guest musicians including Woody Guthrie, who duets on "We Shall Be Free," and, curiously, Paul Mason Howard, who plays zither on the Capitol performances (tracks 20-27). Leadbelly is in prime shape, and his guitar playing is typically forceful. (He also plays piano on the last two Capitol tunes, the instrumental "Eagle Rock Rag" ["Hot Piano Rag"] and "The Eagle Rocks.") The tracks have been transferred from old vinyl discs, with hiss and crackles audible. The sound quality is generally good, though it's startling when the Capitol tracks begin and they turn out to have been mastered much louder than what came before them. William Ruhlmann
Tracklist :
1.    In The Evenin' When The Sun Goes Down    2:31
2.    Easy Rider (See See Rider)    2:48
3.    We Shall Be Free    2:33
4.    Keep Your Hands Off Her    2:50
5.    There's A Man Going Round Taking Names    1:23
6.    Red Bird    2:53
7.    Line 'Em    1:10
8.    T. B. Blues    3:40
9.    Jim Crow Blues    2:23
10.  Bourgeois Blues    2:17
11.  Army Life    1:45
12.  Mr. Hitler    3:04
13.  Juliana Johnson    1:06
14.  Jean Harlow    1:39
15.  Corn Bread Rough    2:06
16.  National Defense Blues    3:00
17.  Children's Blues (Little Children's Blues)    2:26
18.  The Blood Done Sign My Name (Ain't You Glad)    2:18
19.  Cow Cow Yicky Yicky Yea    1:31
20.  Ella Speed    2:43
21.  Rock Island Line    2:54
22.  Tell Me Baby    2:55
23.  Take This Hammer    2:51
24.   Irene    2:52
25.   Western Plain    2:41
26.   On A Christmas Day    2:51
27.   Backwater Blues    2:56
28.   Eagle Rock Rag    2:45
29.   The Eagle Rocks    2:45
Credits : 
Compilation Producer – Johnny Parth
Concertina – Leadbelly (tracks: 15)
Guitar – Leadbelly (tracks: 1 to 6, 8 to 14, 16 to 18, 20 to 27), Woody Guthrie (tracks: 4)
Harmonica – Sonny Terry (tracks: 1 to 3)
Liner Notes – Ken Romanowski
Piano – Leadbelly (tracks: 28, 29)
Remastered By – Gerhard Wessely
Vocals – Leadbelly (tracks: 1 to 27, 29), Sonny Terry (tracks: 3), Woody Guthrie (tracks: 3)
Vocals [Vcl Group] – Unknown Artist (tracks: 11)
Zither – Paul Mason Howard (tracks: 20 to 27) 

LEDBELLY — Complete Recorded Works In Chronological Order Volume 5 · 1944-1946 | DOCD-5311 (1994) RM | FLAC (tracks+.cue), lossless

The Austrian Document Records label continues its series of CDs presenting Leadbelly's commercial recordings in chronological order from 1939 with this fifth volume, which picks up at the end of the singer's series of recordings for Capitol Records in Los Angeles in October 1944. Although the next batch of performances (tracks three through 14) come from a live performance for children in San Francisco in February 1945 that was broadcast on the radio, they fit into the "commercial recordings" framework because the tape was later pressed onto a disc by Folkways Records. By June 1946, Leadbelly was back in New York doing informal sessions for Moses Asch, soon to found Folkways, though most of these tracks were issued on its predecessor, Disc Records. Here, the singer is joined by such friends as Brownie McGhee, Woody Guthrie, and Cisco Houston, as well as jazz musicians Willie "The Lion" Smith and George "Pops" Foster. Many of Leadbelly's better-known songs are included in these sessions (in many cases as re-recordings), among them "Irene, Goodnight," "John Henry" (two versions), "Boll Weevil," "Rock Island Line" (a version that served as a blueprint for Lonnie Donegan's hit cover), "Alabama Bound," and "Midnight Special." The singer is in prime shape, and his guitar playing is typically forceful. The tracks have been transferred from old vinyl discs, with hiss and crackles audible occasionally, but the sound quality is generally good. William Ruhlmann
Tracklist :
1.        Sweet Mary Blues    2:55
2.        Grasshoppers In My Pillow    2:46
3.        Irene, Goodnight    1:22
4.        John Henry    3:59
5.        Boll Weevil    3:20
6.        When A Man's A Long Way From Home    3:00
7.        Good Morning Blues    2:51
8.        By And By When The Morning Comes    1:50
Medley    (3:23)
9a.        Everytime I Feel The Spirit    
9b.        Swing Low Sweet Chariot    
9c.        They Hung Him On The Cross    
10.        Swing Low Sweet Chariot    1:02
11.        Rock Island Line    2:30
12.        Julie Ann Johnson    3:20
13.        Haul Away Joe    2:19
14.        Christmas Is Coming    1:04
15.        We're In The Same Boat Brother    2:38
16.        Diggin' My Potatoes    2:33
17.        Defense Blues    3:16
18.        Easy Rider    2:47
19.        Pigmeat    2:16
20.        John Henry    2:20
21.        Alabama Bound    2:22
22.        Ham And Eggs    2:42
23.        Yellow Gal    2:23
24.        Stew Ball    2:27
25.        Gray Goose    1:33
26.        Midnight Special    2:12
27.        Green Corn    1:14
28.        Fiddler's Dram    2:27
Credits : 
Bass [String Bass] – Pops Foster (tracks: 16 to 19)
Chorus [Children Singing] – Unknown Artist (tracks: 5, 8, 9b, 9c, 15)
Compiled By, Producer – Johnny Parth
Guitar – Brownie McGhee (tracks: 16 to 20)
Harmonica – Sonny Terry (tracks: 17, 18, 20)
Liner Notes – Ken Romanowski
Piano – Willie "The Lion" Smith (tracks: 16 to 20)
Remastered By – Gerhard Wessely
Trumpet, Clarinet, Tenor Saxophone, Bass [String Bass], Drums – Unknown Artist (tracks: 7, 8)
Vocals, Guitar – Cisco Houston (tracks: 21 to 28), Leadbelly, Woody Guthrie (tracks: 21 to 28)

LEDBELLY — Complete Recorded Works In Chronological Order Volume 6 · 1947 | DOCD-5568 (1997) RM | FLAC (tracks+.cue), lossless

The Austrian reissue label Document Records released the first five volumes of its series of the commercial recordings of Leadbelly in chronological order in 1994, taking the story up to 1946. Three years later comes the sixth volume, covering recordings made in 1947. Except for the final, barely audible live recording of "Eagle Rock Rag" made on September 6, 1947, these tracks were cut for record company owner Moses Asch (soon to found Folkways), with the discographical information incomplete. Most of them are re-recordings of songs Leadbelly recorded for Asch or another label earlier, which may indicate that, at this relatively late point in his career, he had committed most of his repertoire to disc and was repeating himself or, as annotator Ken Romanowski and others have suggested, the singer may have been recutting songs at Asch's behest because Asch had lost control of the masters to the earlier versions when he went bankrupt and he wanted replacements. In any case, the result is that this album presents good versions of many Leadbelly favorites including "Gray Goose," "Pick a Bale of Cotton" (with backup vocals by the Oleander Singers), "Bring Me a Little Water Silvy (Sylvie)" (a duet with Anna Graham), "Irene, Good Night" (actually a copy of the earlier version for Asch, except that it fades out early), "Rock Island Line," and "The Gallis Pole." Among the few newly recorded songs are "Laura" and "Sukey Jump (Win' Jammer)." Also notable is "If It Wasn't for Dicky," the tune of which was borrowed by the Weavers for their song "Kisses Sweeter Than Wine." Although the singer was only two years away from his death due to the paralyzing effects of Lou Gehrig's disease, he shows no evidence of its onset here, performing in his usual enthusiastic manner and even pausing to explain the contexts of his work and gospel songs. The sound quality is generally good, although some tracks have audible surface noise. William Ruhlmann
Tracklist :
1.        Yellow Gal    1:21
2.        You Can't Lose Me Cholly    1:11
3.        Laura    1:38
4.        Good Morning Blues    2:13
5.        Leaving Blues    2:17
6.        Big Fat Woman    1:08
7.        Gray Goose    1:24
8.        Pick A Bale Of Cotton    1:42
9.        Take This Hammer    1:34
10.        Bring Me A Little Water Silvy (Sylvie)    0:57
11.        Moaning    1:00
12.        Meeting At The Building    1:19
13.        We Shall Walk Through The Valley    1:11
14.        Irene, Good Night    1:50
15.        Cotton Song    2:06
16.        Ha Ha This Way    1:25
17.        Sukey Jump (Win' Jammer)    1:04
18.       Black Girl    2:06
19.        Rock Island Line    2:17
20.        Blind Lemon (Song)    1:38
21.        Borrow Love And Go    2:10
22.        On A Monday (I'm Almost Done)    2:08
23.        Shorty George    1:26
24.        Duncan (And Brady)    1:05
25.        Old Riley    2:22
26.        Leavin' Blues (Leavin' In The Morning)    1:27
27.        Pigmeat    2:15
28.        If It Wasn't For Dicky    2:50
29.        Black Betty / Old Man / On A Monday    2:55
30.        Turn Yo' Radio On    2:10
31.        No Good Rider    2:44
32.        Howard Hughes    3:00
33.        New York City    3:15
34.        The Gallis Pole    2:45
35.        I'm Leavin' On The Morning Train    2:46
36.        Jean Harlow    2:26
37.        Good Mornin' Blues    3:37
38.        Eagle Rock Rag (Live)    1:35
Credits : 
Chorus [Added Vocal Group] – The Oleander Singers (tracks: 8, 12)
Compiled By, Producer – Johnny Parth
Graphics – Kevin Witt
Guitar – Unknown Artist (tracks: 27)
Harmonica – Sonny Terry (tracks: 14)
Liner Notes – Ken Romanowski
Remastered By – Gerhard Wessely
Vocals – Leadbelly (tracks: 11, 29)
Vocals [Added Vocals] – Anna Graham (tracks: 10)
Vocals, Concertina – Leadbelly (tracks: 3, 17)
Vocals, Guitar – Leadbelly (tracks: 1, 2, 4, 5, 7 to 10, 12 to 16, 18 to 23, 25, 27, 28, 30 to 37)
Vocals, Percussion [Rapping On Guitar] – Leadbelly (tracks: 26)
Vocals, Piano – Leadbelly (tracks: 6, 38)

LEDBELLY — Complete Recorded Works In Chronological Order Volume 7 · 1947–1949 | DOCD-5640 RM (1999) FLAC (tracks+.cue), lossless

The six earlier volumes in Austrian reissue label Document Records' unlicensed series of albums featuring Leadbelly's commercial recordings are given the date range of 1939 to 1947. But this seventh volume runs up to the year of Leadbelly's death, 1949, after having started with a couple of airchecks from a broadcast of the This Is Jazz radio series from June 14, 1947 ("Green Corn" and "John Henry"). These tracks are followed by four recorded for the Library of Congress, and the rest of the album consists of more radio broadcasts or concert performances that were issued on LPs by Folkways Records or, in the case of the last two, "Old Ship of Zion" and "I Will Be So Glad When I Get Home," from Playboy Records' album of one of the singer's last concert at the University of Texas on June 15, 1949. This is not really a "complete" account of Leadbelly's last couple of years of recording, since it deliberately excludes the material from the Folkways albums of Leadbelly's Last Sessions, because Smithsonian Folkways has reissued those tracks on CD recently. Rather, this is a kind of addendum of odds and ends. Still, it does present mature performances of some of Leadbelly's better-known songs, including "Pick a Bale of Cotton," "Go Down, Old Hannah," "Take This Hammer," and "Good Morning Blues." Of course, by the time of the University of Texas show, he was suffering from the effects of Lou Gehrig's disease, which would kill him in December, and he was joined by his wife, Martha, on the two spirituals, apparently included here because they were left off a CD reissue of the album by Magnum in Europe. Surface noise is audible on many tracks, but the overall sound is good. William Ruhlmann
Tracklist :
1.    Leadbelly–    Green Corn ("This Is Jazz" Broadcast)    0:54
2.    Leadbelly–    John Henry ("This Is Jazz" Broadcast)    2:58
3.    Leadbelly–    Tell Me Baby What Was Wrong With You    3:15
4.    Leadbelly–    Noted Rider    3:28
5.    Leadbelly–    Take A Whiff On Me    3:24
6.    Leadbelly–    Ox Driving Moan    2:39
7.    Leadbelly–    John Henry 3:09
Guitar [2nd], Speech – Brownie McGhee
Harmonica – Sonny Terry

8.    Leadbelly–    Pick A Bale Of Cotton 1:23
Guitar [2nd], Speech – Brownie McGhee
Harmonica – Sonny Terry

9.    Leadbelly–    Go Down, Old Hannah    2:04
10.    Leadbelly–    Ain't Going Down To The Well No More    1:05
11.    Leadbelly–    Shout On (Honey I'm All Out And Down) 2:09
Vocals – Sonny Terry
12.    Leadbelly–    It Was Soon One Morning    1:12
13.    Leadbelly–    Whoa Back Buck 2:09
Vocals – Sonny Terry
14.    Leadbelly–    Birmingham Jail (Down In The Valley)    1:48
15.    Leadbelly–    Take This Hammer    2:15
16.    Leadbelly–    It Was Early One Mornin' (Jail House Blues)    2:23
17.    Leadbelly–    Going Back To Mary (If I Had You Governor/Governor Pat Neff)    3:39
18.    Leadbelly–    Come And Sit Down Beside Me    1:02
19.    Leadbelly–    Ha, Ha This A Way    1:32
20.    Leadbelly–    You Can't Lose Me, Charlie    1:32
21.    Leadbelly–    Rooster Crows At Midnight (Christmas Day)    1:19
22.    Leadbelly–    Skip To My Lou    1:29
23.    Leadbelly–    Parting Song (When You Smile-o)    2:50
24.    Leadbelly–    Good Morning Blues (WNYC Jazz-Festival)    2:53
25.    Leadbelly–    Ain't Gonna Let You Worry My Life No More (WNYC Jazz-Festival)    2:16
26.    Leadbelly–    Pretty Papa (WNYC Jazz-Festival)    2:36
27.    Leadbelly With Martha Ledbetter–    Old Ship Of Zion (Live)    1:57
28.    Leadbelly With Martha Ledbetter–    I Will Be So Glad When I Get Home    2:07
Credits : 
Compiled By, Producer – Johnny Parth
Liner Notes – Ken Romanowski
Remastered By – Gerhard Wessely
Vocals – Leadbelly (tracks: 5, 10, 12), Martha Ledbetter (tracks: 27, 28)
Vocals, Guitar – Leadbelly (tracks: 1 to 4, 6 to 9, 11, 13 to 28)

24.1.25

BLIND BOY FULLER — Complete Recorded Works In Chronological Order ★ Volume 3 • 1937 | DOCD-5093 (1992) RM | FLAC (tracks+.cue), lossless

The 22 sides which comprise the third volume in Document's Blind Boy Fuller retrospective were all culled from sessions cut in the latter half of 1937; the first session, from mid-July, was recorded under the auspices of the Decca label, a situation which left Fuller's longtime manager J.B. Long -- as well as ARC Records -- none too happy. As a result, at the bluesman's next session, Long insisted he re-record many of the titles earlier cut for Decca, resulting in alternate takes of "Bulldog Blues," "Throw Your Yas Yas Back in Jail" (a.k.a. "Put You Back in Jail") and "Steel Hearted Woman" (a.k.a. "Why Don't My Baby Write to Me"); for blues historians, the chance to compare and contrast the sessions will be irresistible, although more casual fans might find this particular release less engaging than the others in the series. Jason Ankeny

Abridged from this album’s original booklet notes. By 1937 Blind Boy Fuller had already emerged as one of the best-selling blues artists recording at that time. Willie Trice recalled (in an article by Bruce Bastin for the British magazine Blues Unlimited) that Fuller was unhappy with ARC at that time. In any case, sometime early in the year, Decca Records was contacted and an inquiry made regarding their possible interest in recording Fuller. Decca responded and sent their agent, Mayo Williams, to Durham in early July 1937. Williams auditioned Blind Boy Fuller Fuller and the Trice brothers and sent them all on to New York to record.

The session commenced with Blind Boy Fuller recording ten titles on July 12, 1937 before an electrical storm halted the activity. But by that time Fuller had cut his stripped-down version of Blind Blake‘s first release: “Early Morning Blues”, recast by Fuller as You Never Can Tell (see Document Records DOCD-5092 Blind Boy Fuller Vol. 2). Also recorded that day were Why Don’t My Baby Write To Me? — which Willie Trice claims as his own — and Working Man Blues — similarly claimed by Richard Trice. There is a distinct possibility that these claims are genuine since the Trice brothers were present at the session and had little to gain by their assertions. On July 13 the Trices recorded and, from all accounts, had a difficult and unpleasant time of it. Their session progressed so slowly that Fuller had to return the following day to record his last two numbers: the beautiful Weeping Willow with its lilting minor-IV chord change, and Corrine What Makes You Treat Me So? — a reworking of the blues standard “Careless Love”.

Decca immediately released two 78s from the sessions (Decca 7330 and 7331) and when J. B. Long realized what had taken place, he wrote to the company and threatened to take legal action, whereupon they withdrew the two records from circulation. Long really had no contract with Blind Boy Fuller, but after he wrote to Decca he wasted no time rectifying that situation and even pacified the singer by buying him an inexpensive car.

Long was also understandably eager to get Blind Boy Fuller back into the ARC studio. This he accomplished in early September at which time he had Fuller redo some of the titles he recorded for Decca. Bulldog Blues was rerecorded; “Put You Back In Jail” became Throw Your Yas Yas Back In Jail; “Why Don’t My Baby Write To Me” was redone as Steel Hearted Woman; “Weeping Willow” became Ain’t No Gettin’ Along; “Corinne What Makes You Treat Me So?” reverted back to Careless Love. The remakes even continued at the December session where “Some Day You’re Gonna Be Sorry” was recast as Mistreater, You’re Going To Be Sorry. DOCD-5093
Tracklist :
1        Put You Back In The Jail    3:17
2        Walking And Looking Blues    2:58
3        Bulldog Blues (62359)    3:11
4        Where My Woman Usta Lay    3:03
5        Working Man Blues    3:18
6        Weeping Willow    3:08
7        Corrine What Makes You Treat Me So?    2:57
8        Stealing Bo-Hog    2:48
9        Worried And Evil Man Blues    2:51
10        Bull Dog Blues (21629)    2:55
11        Break Of Day Blues    2:44
12        Oh Zee Zas Rag    2:41
13        Throw Your Yas Yas Back In Jail    2:49
14        Snake Woman Blues    2:46
15        Mojo Hidin' Woman    2:43
16        Steel Hearted Woman    2:35
17        Ain't No Gettin' Along    2:48
18        Careless Love    2:41
19        New Louise Louise Blues    2:48
20        Mistreater, You're Going To Be Sorry    2:23
21        Bye Bye Baby Blues    2:32
22        Looking For My Woman No. 2    2:40

BLIND BOY FULLER — Complete Recorded Works In Chronological Order ★ Volume 4 • 1937-1938 | DOCD-5094 (1992) RM | FLAC (tracks+.cue), lossless

Beginning with the mid-December, 1937 session which kicks off this fourth volume in Document's retrospective, Blind Boy Fuller entered into a recording partnership with the legendary harpist Sonny Terry that continued for the remainder of Fuller's studio career. Terry's blistering harmonica and falsetto interjections lent an exciting new dynamic to Fuller's sound, as classic sides like "Pistol Snapper Blues," "Mean and No Good Woman" and "Georgia Ham Mama" amply prove, each musician pushing the other to new creative heights. Jason Ankeny

Abridged from this album’s original booklet notes. Perhaps the most noticeable change in Blind Boy Fuller’s sessions of December 1937 was the addition of Sonny Terry on harmonica. Sonny Terry’s pyrotechnic and often percussive country-styled harp and his exuberant falsetto “whoops” have long since become one of the most identifiable sounds in the blues. In 1937, however, his first session was with Blind Boy Fuller, and he was to be present on all of Fuller’s recording dates from that time on. Sonny Terry was born in Greensboro, North Carolina. Terry’s brother lived in Wadesboro, where Fuller still had relatives, and it was there that they met while playing on opposite sides of the street. Fuller invited him to come to Durham, stating that they might possibly record together. After Sonny Terry arrived in Durham he continued performing on the street with Blind Boy Fuller and was introduced to J. B. Long, who agreed with Fuller that Sonny would be an asset on the recordings.

Sonny Terry’s first recordings with Blind Boy Fuller took place at the December 15, 1937 session on the three titles that began the date (see Vol. 3 DOCD-5093). He also appeared on the last track of Blind Boy Fuller’s session: I’m Going To Move (To The Edge of Town), which was cut the following day. In between, Fuller cut Hungry Calf Blues (combining elements of Kokomo Arnold’s “Milk Cow Blues” and Robert Johnson’s “Milkcow’s Calf Blues”) and three guitar rags with Dipper Boy Council (Oozin’ You Off My Mind, Shake That Shimmy and Heart Ease Blues). At the April 1938 session Sonny Terry repeated the pattern by accompanying Blind Boy Fuller on his first three titles, including the popular Pistol Slapper Blues. Fuller also recorded another of his lively dance pieces: Piccolo Rag (piccolo was a then-current slang term for a jukebox). In late October Long scheduled the first of two sessions away from the usual location in New York. The explanation he gave for this was that there were problems with the musician’s union in New York where union dues had to be paid if a group of three recorded. That being the case, Columbia, South Carolina was the chosen location, where Blind Boy Fuller, Sonny Terry, and Bull City Red rerecorded some of their classic themes. DOCD-5094
Tracklist :
1        Shaggy Like A Bear 2:35
Vocals, Guitar – Blind Boy Fuller
2        Ten O'Clock Peeper 2:34
Guitar – Dipper Boy Council
Vocals, Guitar – Blind Boy Fuller

3        Hungry Calf Blues 2:42
Vocals, Guitar – Blind Boy Fuller
4        Too Many Women Blues 2:37
Vocals, Guitar – Blind Boy Fuller
5        Oozin' You Off My Mind 2:42
Guitar – Dipper Boy Council
Vocals, Guitar – Blind Boy Fuller

6        Shake That Shimmy 2:44
Guitar – Dipper Boy Council
Vocals, Guitar – Blind Boy Fuller

7        Heart Ease Blues 2:26
Guitar – Dipper Boy Council
Vocals, Guitar – Blind Boy Fuller

8        I'm Going To Move (To The Edge Of Town) 2:38
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller

9        Pistol Slapper Blues 2:40
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller

10        Mean And No Good Woman 2:30
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller

11        Georgia Ham Mama 2:45
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller

12        Piccolo Rag 2:47
Vocals, Guitar – Blind Boy Fuller
13        Funny Feeling Blues 2:48
Vocals, Guitar – Blind Boy Fuller
14        Painful Hearted Blues 2:47
Vocals, Guitar – Blind Boy Fuller
15        You've Got To Move It Out 2:49
Vocals, Guitar – Blind Boy Fuller
16        Mama Let Me Lay It On You No. 2 2:57
Harmonica – Charlie Austin
Vocals, Guitar – Blind Boy Fuller

17        Meat Shakin' Woman 2:42
Vocals, Guitar – Blind Boy Fuller
18        I'm A Good Stem Winder 2:39
Vocals, Guitar – Blind Boy Fuller
19        What's That Smells Like Fish 2:43
Vocals, Guitar – Blind Boy Fuller
Washboard – Bull City Red

20        She's A Truckin' Little Baby 2:27
Vocals, Guitar – Blind Boy Fuller
Washboard – Bull City Red

21        Jivin' Woman Blues 2:31
Vocals, Guitar – Blind Boy Fuller
Washboard – Bull City Red

22        You're Laughing Now 2:40
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller

BLIND BOY FULLER — Complete Recorded Works In Chronological Order ★ Volume 5 • 1938-1940 | DOCD-5095 (1992) RM | FLAC (tracks+.cue), lossless

Volume five in Document's Blind Boy Fuller series is comprised primarily of two prolific sessions, the first recorded in Columbia, South Carolina on October 29, 1938 with harpist Sonny Terry and washboard player Bull City Red, the second a Memphis date from July 12, 1939 with Terry, Bull City Red (now going as Oh Red) and second guitarist Sonny Jones. The latter is perhaps the most impressive, yielding the signature song "I Want Some of Your Pie" as well as "You've Got Something There" (a rewrite of Buddy Moss' "Daddy Don't Care") and Fuller's immortal rendition of J.B. Long's "Step It Up and Go." Jason Ankeny

Abridged from this album’s booklet notes. In Blind Boy Fuller, students of the Piedmont blues have the good fortune of having an artist whose eclectic repertory was regularly and extensively documented during the course of his five year recording career. Much like Robert Johnson in the Mississippi delta, Fuller was most adept at consolidating a number of disparate stylistic elements and welding them into a unified structure that was simultaneously unique and paradigmatic for future bluesmen. Fuller was also like Johnson in that he had come to maturity during the recording boom of the 1920s and was as likely to draw material from recorded sources as from his local folk tradition. These new, post-depression stylistic amalgamations were to follow the black migratory patterns northward. In Johnson’s case, his fusion of styles ultimately became the foundation for the post-war electric styles of Chicago and Detroit, while in Fuller’s instance his blend became the basis for much of the north eastern sound typified by the group of musicians associated with Brownie McGhee and Sonny Terry. The components of Fuller’s style are divided equally between local elements and recorded sources. Firmly set in the east-coast, Piedmont style of ragtime guitar, Blind Boy Fuller had any number of recorded models from the surrounding states. Blind Blake, Blind Willie McTell, Buddy Moss and Julius Daniels all contributed indirectly to Fuller’s style, most likely via records and recognizable bits of their work are scattered throughout his repertory. Similarly, Fuller drew upon the records of the most popular blues artists of that time so that elements of the styles of Blind Lemon Jefferson, Memphis Minnie and Kansas Joe, Tampa Red, and Big Bill Broonzy are present in his work as well. Couple this with the impact of a major local performer, Gary Davis, from whom Fuller took lessons for a time, and several able contemporaries like Dipper Boy Council and the Trice brothers, and a picture begins to emerge of an artist who was a virtual melting-pot of blues styles. The only session in 1939 took place in Memphis with Fuller, Terry, Red (now calling himself Oh Red in the wake of his and Fuller’s popular record) and possibly guitarist Sonny Jones. On Red’s Got The Piccolo Blues, they reprised “New Oh Red” while You’ve Got Something There was a thorough rewrite of Buddy Moss’ “Daddy Don’t Care”. Those were the only Fuller titles that included Sonny Jones. I Want Some of Your Pie, which became another of the little group’s signature tunes was clearly modelled on Buddy Moss’ and Pinewood Tom’s “You Got To Give Me Some Of It” from 1935. Jivin’ Big Bill Blues was a good-natured put-on as well as stylistic page out of Bill’s fake-book. While they were in Memphis, Long apparently saw Charlie Burse record “Oil it Up and Go” and the song stayed with him. By the time of Fuller’s next recording date Long had rewritten it as Step It Up and Go. It was ideally suited for him and became yet another of the signature pieces associated with Blind Boy Fuller from then on. DOCD-5095
Tracklist :
1        Stop Jivin' Me Mama 2:35
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller

2        Long Time Trucker 2:32
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller

3        Big House Bound 2:40
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller

4        Flyin' Airplane Blues 2:26
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller
Washboard – Bull City Red

5        Get Your Yas Yas Out 2:24
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller
Washboard – Bull City Red

6        Jitterbug Rag 2:30
Kazoo – Unknown Artist
Speech, Guitar – Blind Boy Fuller
Washboard – Bull City Red

7        Screaming And Crying Blues 2:31
Vocals, Guitar – Blind Boy Fuller
8        Blacksnakin' Jiver 2:33
Vocals, Guitar – Blind Boy Fuller
9        I Don't Care How Long 3:03
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller

10        You've Got Something There 2:45
Guitar [2nd g.] – Sonny Jones
Vocals, Guitar – Blind Boy Fuller
Washboard – Oh Red (Bull City Red)

11        Baby Quit Your Low Down Ways 2:32
Vocals, Guitar – Blind Boy Fuller
12        Baby Quit Your Low Down Ways 2:48
Vocals, Guitar – Blind Boy Fuller
13        It Doesn't Matter Baby 2:49
Vocals, Guitar – Blind Boy Fuller
14        Black Bottom Blues 2:29
Vocals, Guitar – Blind Boy Fuller
15        I Crave My Pig Meat 2:47
Vocals, Guitar – Blind Boy Fuller
Washboard – Oh Red (Bull City Red)

16        Big Leg Woman Gets My Pay 2:43
Vocals, Guitar – Blind Boy Fuller
Washboard – Oh Red (Bull City Red)

17        I'm A Stranger Here 2:53
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller

18        Red's Got The Piccolo Blues 2:34
Guitar [2nd g.] – Sonny Jones
Vocals, Guitar – Blind Boy Fuller
Washboard, Speech – Oh Red (Bull City Red)

19        I Want Some Of Your Pie 2:42
Harmonica – Sonny Terry
Vocals, 12-String Acoustic Guitar – Blind Boy Fuller
Washboard – Oh Red (Bull City Red)

20        Jivin' Big Bill Blues 2:51
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller

21        Woman You Better Wake Up 2:51
Harmonica – Sonny Terry
Vocals, 12-String Acoustic Guitar – Blind Boy Fuller

22        Step It Up And Go 2:55
Vocals, Guitar – Blind Boy Fuller
Washboard – Oh Red (Bull City Red)

23        Worn Out Engine Blues 3:00
Vocals, Guitar – Blind Boy Fuller

23.1.25

BLIND BOY FULLER — Complete Recorded Works In Chronological Order ★ Volume 6 • 1940 | DOCD-5096 (1991) RM | FLAC (tracks+.cue), lossless

The sixth and final volume in the series assembles the fruits of Blind Boy Fuller's final studio sessions, all dating to the first half of 1940. Despite failing health, Fuller is at his most incendiary on these sides -- "Shake It, Baby" is among his most galvanizing dance tunes, while "Little Woman You're So Sweet" stands as one of his finest originals. Most energetic, however, are the sanctified songs, including "No Stranger Now," "Jesus Is a Holy Man" and "Twelve Gates to the City" -- with his death less than a year away, Fuller burns with spiritual intensity, clearly yearning for some kind of redemption in his final months.  Jason Ankeny

Abridged from this album’s original booklet notes. At the beginning of 1940 Blind Boy Fuller was experiencing the medical problems that would eventually lead to his death early the following year. If his health was indeed failing, the sessions that took place in March 1940 gave no evidence of it. Step It Up And Go and Shake It, Baby were as spirited as any of the dance pieces Fuller ever recorded, J. B. Long contributed the powerful Three Ball Blues, and Little Woman You’re So Sweet was one of the most original songs associated with the guitarist. In addition, the religious pieces that were being released as by Brother George And His Sanctified Singers now included Fuller for the first time. A version of Gary Davis’ Twelve Gates To The City was recorded and, although it lacked the intensity of Davis’ performance, it still had a nice commercial swing to it that was helped along by Sonny Terry’s harmonica and Oh Red’s (Bull City Red) washboard. By the time of the June session, though, Fuller was sounding somewhat tired on the blues numbers. The four sanctified titles were in marked contrast with this. The particular standouts were No Stranger Now and Jesus Is A Holy Man which appear to bear more than a passing resemblance to the Chicago Sanctified Singers 1935 ARC release of “I Ain’t No Stranger Now”/”Tell Me What Kind of Man Jesus Is”. Both of the Fuller tracks are high energy, storefront gospel performances with guitar, washboard, and group vocals, and there is a palpable emotional atmosphere that compares favourably with the originals (no mean feat in itself). Perhaps Blind Boy Fuller was becoming concerned with his health and turning toward religion for relief. This hypothesis is supported by Richard Trice, who recalled that, before he died, Fuller swore that if he recovered he would forsake blues singing. He was in and out of the hospital for the last six months of his life during which time his bladder infection worsened until he died on February 13, 1941. A major chapter in the history of the blues had come to an end. DOCD-5096
Tracklist :
1    Blind Boy Fuller–    Blue And Worried Man 2:46
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller
Washboard – Oh Red

2    Blind Boy Fuller–    Passenger Train Woman 2:45
Vocals, Guitar – Blind Boy Fuller
3    Blind Boy Fuller–    Shake It, Baby 2:48
Vocals, Guitar – Blind Boy Fuller
Washboard – Oh Red

4    Blind Boy Fuller–    Somebody's Been Talkin' 2:46
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller
Washboard – Oh Red

5    Blind Boy Fuller–    Three Ball Blues 2:53
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller

6    Blind Boy Fuller–    Little Woman You're So Sweet 2:44
Vocals, Guitar – Blind Boy Fuller
7    Sonny Terry And Oh Red - (Blind Boy Fuller's Boys)–    Harmonica Stomp 2:46
Guitar, Speech – Blind Boy Fuller
Vocals, Harmonica – Sonny Terry
Washboard – Oh Red

8    Blind Boy Fuller–    Good Feeling Blues 2:37
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller
Washboard – Oh Red

9    Brother George And His Sanctified Singers–    You Can't Hide From The Lord 2:50
Vocals – Sonny Terry
Vocals, Guitar – Blind Boy Fuller
Washboard, Vocals – Oh Red

10    Brother George And His Sanctified Singers–    Twelve Gates To The City 2:41
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller
Washboard – Oh Red

11    Blind Boy Fuller–    Crooked Woman Blues 2:43
Vocals, Guitar – Blind Boy Fuller
12    Blind Boy Fuller–    I Don't Want No Skinny Woman 2:45
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller
Washboard – Oh Red

13    Blind Boy Fuller–    Bus Rider Blues 2:41
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller
Washboard – Oh Red

14    Blind Boy Fuller–    You Got To Have Your Dollar 2:41
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller

15    Blind Boy Fuller–    Lost Lover Blues 2:44
Vocals, Guitar – Blind Boy Fuller
Washboard – Oh Red

16    Blind Boy Fuller–    Thousand Woman Blues 2:44
Vocals, Guitar – Blind Boy Fuller

17    Blind Boy Fuller–    Bye Bye Baby 2:58
Harmonica – Sonny Terry
Vocals, Guitar – Blind Boy Fuller

18    Blind Boy Fuller–    When You Are Gone 2:45
Vocals, Guitar – Blind Boy Fuller
19    Brother George And His Sanctified Singers–    No Stranger Now 2:54
Vocals – Sonny Terry
Vocals, Guitar – Blind Boy Fuller
Washboard, Vocals – Oh Red

20    Brother George And His Sanctified Singers–    Must Have Been My Jesus 2:54
Vocals – Sonny Terry
Vocals, Guitar – Blind Boy Fuller
Washboard, Vocals – Oh Red

21    Brother George And His Sanctified Singers–    Jesus Is A Holy Man 2:47
Vocals – Sonny Terry
Vocals, Guitar – Blind Boy Fuller
Washboard, Vocals – Oh Red

22    Brother George And His Sanctified Singers–    Precious Lord 2:46
Guitar – Blind Boy Fuller
Harmonica – Sonny Terry
Vocals [possibly] – Brownie McGhee
Washboard, Vocals [possibly] – Oh Red

23    Blind Boy Fuller–    Night Rambling Woman 2:47
Vocals, Guitar – Blind Boy Fuller

JEFF BECK — Wired (1976-2013) RM | Blu-spec CD2 | Serie Legacy Recordings | Two Version | FLAC (image+.tracks+.cue), lossless

Released in 1976, Jeff Beck's Wired contains some of the best jazz-rock fusion of the period. Wired is generally more muscular, albeit l...