BLIND LEMON JEFFERSON — Complete Recorded Works in Chronological Order ★ Volume 3 : 1928 | DOCD-5019 (1991) RM | FLAC (tracks+.cue), lossless

The third volume in Document's Complete Recorded Works series of Blind Lemon Jefferson collections features 21 songs, all recorded during 1928. Though the period included one stone-cold classic ("See That My Grave Is Kept Clean") and a few intriguing novelties ("Balky Mule Blues," "Piney Woods Money Mama"), most blues fans won't need to hear these tracks. Complete Recorded Works, Vol. 3 (1928) remains an interesting curiosity for completists and academics, exactingly sequenced but not as listenable as the more popular collections available. Thom Owens

Abridged from the   original booklet notes. January, 1928 marked the mid-point of Blind Lemon Jefferson‘s recording career. Behind him were no less than fourteen records released through 1926 and 1927, including several major hits: he was the hottest property on the Paramount label and his records continued to sell consistently well through 1928. His first release of the year, Gone Dead On You Blues / One Dime Blues (both credited to ‘Lemon Jefferson‘), had been recorded the previous autumn. In February, 1928 Lemon was back in the recording studio to record his Penitentiary Blues, with its warning “don’t be bad” because “they got walls at the state penitentiary you can’t jump, man, they high as the sky”. Continuing the prison theme he next recorded the sombre Electric Chair Blues, which was later ‘covered’ by William Harris for Gennett (6752). This is one of his most atmospheric pieces with its evocation of the prisoner “sittin’ in the electrocutin’ room and cryin”. Bessie Smith had recorded Send Me To The’ Lectric Chair the previous year and, while the songs are quite different, this might explain the female standpoint adopted by Jefferson in the last verse. Lemon had recorded See That My Grave Is Kept Clean, his version of the traditional Dig My Grave With A Silver Spade, in October, 1927, and this was issued the following January under the ‘Deacon L.J. Bates‘ pseudonym. It was obviously a speedy seller as a re-recording made in February, 1928 was issued in April, this time without the pseudonym, and this seems to have been one of Lemon’s really big hits. Lemon’s songs had, by 1928, become more lyrically consistent and it has even been suggested, on poor evidence, that they were composed for him by Paramount staff writers. Jefferson’s lines are too quirky and idiosyncratic to be the product of another song writer (e.g. “I left my meal-ticket rider barefooted, my partner’s slippin’ for a new pair of shoes” from Lemon’s Worried Blues!). A criticism leveled at Lemon’s later recordings that does have some substance is that they are melodically very similar, this is redeemed by the varied lyrics and immaculate performances. Some of Jefferson’s songs are quite strange and relate to a racy life-style that may or may not reflect the reality of Jefferson’s private life, with constant references to “drinkin’ all night”, competition for “wild women” (who are often “cunning as a squirrel”) and dealing with “desperados” (as in the remarkable Fence Breakin’ Yellen Blues). A number of his verses were used by later blues singers, e.g. the “Elgin Movements” verse from Change My Luck Blues that Robert Johnson utilized for his 1936 Walking Blues. Piney Woods Money Mama includes some interesting social references, mentioning that she had “hair like an Indian squaw”, reflecting the extensive intermarriage between black and native Americans, and pointing up the subservient role of black domestics: “cook’s in the kitchen, pickin’ and fussin’ over turnip greens, white folks in the parlour playin’ cards and the children ate cake and cream”. Low Down Mojo Blues, the ‘B’ side, probably inspired Blind Boy Fuller‘s 1937 Mojo Hidin’ Woman (Vocalion 03499). Blind Lemon Jefferson was at the height of his powers in the summer of 1928 and Prison Cell Blues, with its holler-like AB verse structure, is certainly one of his finest performances, an almost Dickensian scenario with its despairing lyrics. Equally good are Lockstep Blues, another jailhouse epic, and the chilling Hangman’s Blues, with its gripping finale: “Well, I’m almost dyin’, gaspin’ for my breath, and that triflin’ woman is singin’ to celebrate my death”. (Both of these numbers also exist in alternative versions, the latter without the spoken introduction.) Lemon’s only straight cover of another artist’s record was his rather anaemic version of Leroy Carr’s 1928 hit How Long, How Long Blues, probably made at the prompting of his record company. A few weeks later Lemon was back to his usual form recording Maltese Cat Blues which, two decades on, provided the inspiration for Sleepy John Estes‘ moving Rats In My Kitchen, and the lively D. B. Blues which celebrates his acquisition of a new Ford sedan. Although recorded in mid-summer Lemon, always the thorough professional, successfully created the illusion of winter on Christmas Eve Blues (“look how it’s snowing”) and the joyous Happy New Year Blues, which were issued back-to-back early in December, 1928 as a potential seasonal hit. Fortunately another 22 Blind Lemon Jefferson blues were added in 1929 to complete the recorded legacy of the greatest of all the Texas blues singers. DOCD-5019
Tracklist :
1        Blind Lemon's Penitentiary Blues 2:45
Composed By – Jefferson
2        'Lectric Chair Blues 2:30
– Traditional
Arranged By – Jefferson
3        See That My Grave Is Kept Clean 2:50
Composed By – Jefferson
4        Lemon's Worried Blues 2:58
Composed By – Jefferson
5        Mean Jumper Blues 2:36
Composed By – Jefferson
6        Balky Mule Blues 2:42
Composed By – Jefferson
7        Change My Luck Blues 2:25
Composed By – Jefferson
8        Prison Cell Blues 2:44
Composed By – Jefferson
9        Lemon's Cannon Ball Moan 2:42
Composed By – Jefferson
10        Long Lastin' Lovin' 2:49
Composed By – Jefferson
11        Piney Woods Money Mama 2:56
Composed By – Jefferson
12        Low Down Mojo Blues 2:47
Composed By – Jefferson
13        Competition Bed Blues 2:49
Composed By – Unknown Artist
14        Lock Step Blues 3:17
Composed By – Jefferson
15        Hangman's Blues 3:22
Composed By – Jefferson
16        Sad News Blues 2:40
Composed By – Unknown Artist
17        How Long How Long 2:44
Composed By – Jefferson
Piano – Unknown Artist
18        Christmas Eve Blues 2:55
Composed By – Unknown Artist
19        Happy New Year Blues 2:53
Composed By – Jefferson
20        Maltese Cat Blues 3:01
Composed By – Jefferson
21        D B Blues 2:43
Composed By – Jefferson
Credits :
Blind Lemon Jefferson - Vocal, Guitar; Unknown, Piano

BLIND LEMON JEFFERSON — The Complete Recorded Works in Chronological Order ★ Volume 4 : 1929 | DOCD-5020 (1991) RM | FLAC (tracks+.cue), lossless

Document's Complete Recorded Works, Vol. 4 (1929) is the final volume in a series of Blind Lemon Jefferson collections, reissuing the last 23 tracks he recorded before his tragic death in December. Despite a raft of great performances (including "Long Distance Moan" and "Black Snake Moan No. 2"), the lengthy running time and poor fidelity make it of only marginal interest to the great majority of blues fans.  Thom Owens

Abridged from this album’s original booklet notes. Blind Lemon Jefferson started 1929 with a very strong pair of recordings: Eagle Eyed Mama repeats the title phrase in every verse, reinforcing the imagery like a pop song, while Dynamite Blues offers a violent solution to his woman trouble (“blow her up late at night”!) in a cathartic fantasy. Peach Orchard Mama, the first of a block of seven masters made at his next session and the only one to feature a short guitar solo, was probably Jefferson’s last major hit. It was re-recorded in the summer, along with its ‘B’ aide Big Night Blues, but not released until September. Big Joe Williams successfully revived Peach Orchard Mama in 1941(Bluebird B-8774). The session ended with That Black Snake Moan No. 2, a comparatively lifeless reworking of his massive 1926 / 7 hit and the fourth time he had utilized the theme on record. Two notable titles sandwiched between the extremes were Oil Well Blues (complete with spoken introduction), its imagery most appropriate to a Texas-born blues singer, and Tin Cup Blues which evokes the hard time when Blind Lemon Jefferson entertained on street corners for small change in his home state before he became a star recording artist. Jefferson’s last recording session was held in the Gennett studios in Richmond, Indiana in September, 1929 and produced an unprecedented twelve masters. Lemon’s voice sounds thicker on these recordings and one could speculate that this was a result of declining health, perhaps due to heavy drinking, but there is no real evidence of this and it may only be the result of the different studio sound. The singing was still ear, catching, the guitar playing fluid and the songs imaginative. Bed Spring Blues provided the source for Rich Trice’s 1937 “Trembling Bed Springs Blues” (Decca 7701). Cat Man Blues ultimately derives from the traditional folk song “Our Goodman” (a 1960s UK pop hit as “Seven Drunken Nights”) about the cuckolded husband but Lemon’s persona is more astute and threatens: “Catman, he’s got nine lives, he gonna need them when I gets through”. Three verses from the Jefferson recording reappear (in adapted form) in Blind Boy Fuller’s 1936 “Cat Man Blues” (Vocalion 03134), Bakershop Blues and Long Distance Moan were coupled together for a November release that was probably the last in his lifetime. That Crawlin’ Baby Blues is a remarkable piece in which infidelity is revealed by as infant. Having graphically described his problems with bed bugs and chinches in earlier blues, Lemon’s brilliant Mosquito Moan recounts his persecution by those troublesome biting insects. Characteristically, on his last recording, Bootin’ Me ‘Bout, Blind Lemon Jefferson is still chasing browns and getting into trouble:

He (her father) must think his girl is made of purest gold. Don’t want her to go near no man, pretty soon she’ll be too old. DOCD-5020
Tracklist :
1        Eagle Eyed Mama    2:40
 Blind Lemon Jefferson
2        Dynamite Blues    2:52
3        Disgusted Blues    2:48
4        Competition Bed Blues    2:44
5        Sad News Blues    2:52
6        Peach Orchard Mama    3:01
 Blind Lemon Jefferson
7        Oil Well Blues    2:44
 LaMarquis Jefferson
8        Tin Cup Blues    2:43
9        Big Night Blues (21199)    2:52
 Johnny Parth
10        Empty House Blues    2:56
11        Saturday Night Spender Blues    2:59
12        That Black Snake Moan No. 2    2:48
 Blind Lemon Jefferson
13        Bed Spring Blues    3:03
 Blind Lemon Jefferson
14        Yo Yo Blues    2:34
15        Mosquito Moan    3:05
 Blind Lemon Jefferson
16        Southern Woman Blues    3:05
 Blind Lemon Jefferson
17        Bakershop Blues    3:10
 Blind Lemon Jefferson
18        Pneumonia Blues    3:20
19        Long Distance Moan    3:26
 Blind Lemon Jefferson
20        That Crawlin' Baby Blues    2:39
 Blind Lemon Jefferson
21        Fence Breakin' Yellin' Blues    3:00
 Blind Lemon Jefferson
22        Cat Man Blues    3:12
23        The Cheaters Spell    3:17
24        Bootin' Me 'Bout    3:09
Credits :
Blind Lemon Jefferson - Vocal, Guitar

SLEEPY JOHN ESTES — Complete Recorded Works In Chronological Order • Volume 1 ★ 1929-1937 | DOCD-5015 (1990) RM | FLAC (tracks+.cue), lossless

For those with enough interest, Document's Complete Works, Vol. 1 (1929-1937) is invaluable, offering an exhaustive overview of Sleepy John Estes' early recordings. The early to mid-'30s were the most fruitful years of Estes' long career, during which he recorded most of the best songs of his career: "The Girl I Love, She Got Long Curly Hair," "Someday Baby Blues," "Milk Cow Blues," "Drop Down Mama," and "Down South Blues." Of course, these are all available on I Ain't Gonna Be Worried No More 1929-1941, along with a more regimented set of classic performances from the late '30s. All of which leaves Complete Works, Vol. 1 (1929-1937) as a mixed blessing, more intriguing and important for serious fans than those simply wishing to get a taste of what made Sleepy John Estes great.  Thom Owens

Abridged from this albums booklet notes. John Norris of Jazz Beat Magazine once wrote of Sleepy John Estes The emotional impact of his singing is overwhelming and when he really gets wound up in his music he sings with great power.
 
Sleepy John Estes was in many ways the personification of the blues. His pleading vocals were always on the point disintegrating into a cry either of help or of joy. His guitar playing, which could either be used as a thumping rhythm or as a remarkable, strong and precise lead, were a direct line to the life of poverty that he lived and his experiences in the Brownsville, Tennessee where he was born and where he died.

This is the first of two volumes covering Sleepy John Estes early and, arguably, his best recordings, which he made between 1929 and 1941 before he slipped into obscurity until being re-discovered during the great blues revival of the 1960s. These recordings show John as an innovator and like Big Joe Williams, Sonny Boy Williamson (John Lee) and Big Bill Broonzy he was willing and able to move on with the times, bringing his music from the country and into the city (Chicago). Like Big Joe Williams, Sleepy John Estes was as comfortable playing with a band as he was playing solo.

The recordings on Volume One have the feel of a string band with the ever present James Yank Rachel on mandolin. Also accompanying Sleepy John Estes on several tracks are Jab Jones playing stomping barrelhouse. piano and Hammie Nixon on harmonica. Elsewhere harmonica is provided by the mysterious “Tee”. The total sound of these early sides is extraordinary. When Estes and his band hit an up-tempo piece, as on Cow Cow Blues or Wat’cha Doin?, the effect is both precarious and thrilling at the same time. In among the slow blues such as autobiographical Street Car Blues and Poor John Blues are the stomping Stop That Thing and I Want To Tear It Down. The success of another up-beat number, Drop Down Mamma lead to its re-issue by public demand on 78 in Britain during the 1940s. This is low down blues and good time music at their best. DOCD-5015
Tracklist :
1    Sleepy John Estes–    The Girl I Love, She Got Long Curly Hair 2:55
Mandolin – James "Yank" Rachel
Piano [possibly] – Johnny Hardge
Vocals, Guitar – Sleepy John Estes
2    Sleepy John Estes–    Broken-Hearted, Ragged And Dirty Too 3:16
Mandolin – James "Yank" Rachel
Piano – Jab Jones
Vocals, Guitar – Sleepy John Estes
3    Sleepy John Estes–    Divin' Duck Blues 3:10
Mandolin – James "Yank" Rachel
Piano – Jab Jones
Vocals, Guitar – Sleepy John Estes
4    James "Yank" Rachel* & Sleepy John Estes–    Little Sarah 3:07
Guitar – Sleepy John Estes
Piano – Jab Jones
Vocals, Mandolin – James "Yank" Rachel
5    Sleepy John Estes–    Black Mattie Blues 3:20
Harmonica – 'Tee'
Mandolin – James Rachel
Vocals, Guitar – Sleepy John Estes
6    James "Yank" Rachel & Sleepy John Estes–    T-Bone Steak Blues 3:43
Guitar – Sleepy John Estes
Piano – Jab Jones
Vocals, Mandolin – James "Yank" Rachel
7    Sleepy John Estes–    Milk Cow Blues 2:59
Mandolin – James "Yank" Rachel
Piano – Jab Jones
Vocals, Guitar – Sleepy John Estes
8    Sleepy John Estes–    Street Car Blues 3:11
Mandolin – James "Yank" Rachel
Piano – Jab Jones
Vocals, Guitar – Sleepy John Estes
9    Sleepy John Estes–    Expressman Blues 2:59
Guitar – Sleepy John Estes
Piano – Jab Jones
Vocals, Mandolin – James "Yank" Rachel
10    Sleepy John Estes–    Whatcha Doin'? 2:59
Mandolin – James "Yank" Rachel
Piano – Jab Jones
Vocals, Guitar – Sleepy John Estes
11    Sleepy John Estes–    Poor John Blues 2:48
Mandolin – James "Yank" Rachel
Piano – Jab Jones
Vocals, Guitar – Sleepy John Estes
12    Sleepy John Estes–    Stack O' Dollars 3:01
Mandolin – James "Yank" Rachel
Piano – Jab Jones
Vocals, Guitar – Sleepy John Estes
13    Sleepy John Estes–    My Black Gal Blues 2:58
Mandolin – James "Yank" Rachel
Piano – Jab Jones
Vocals, Guitar – Sleepy John Estes
14    Sleepy John Estes–    Sweet Mama 2:55
Guitar – Sleepy John Estes
Piano – Jab Jones
Vocals, Mandolin – James "Yank" Rachel
15    Sleepy John Estes–    Down South Blues 3:06
Harmonica, Speech – Hammie Nixon
Vocals, Guitar – Sleepy John Estes
16    Sleepy John Estes–    Stop That Thing 2:40
Harmonica – Hammie Nixon
Vocals, Guitar – Sleepy John Estes
17    Sleepy John Estes–    Someday Baby Blues 2:58
Harmonica – Hammie Nixon
Vocals, Guitar – Sleepy John Estes
18    Sleepy John Estes–    Who's Been Telling You Buddy Brown Blues 3:18
Harmonica – Hammie Nixon
Vocals, Guitar – Sleepy John Estes
19    Sleepy John Estes–    Married Woman Blues 3:11
Harmonica – Hammie Nixon
Vocals, Guitar – Sleepy John Estes
20    Sleepy John Estes–    Drop Down Mama 3:08
Harmonica – Hammie Nixon
Vocals, Guitar – Sleepy John Estes
21    Sleepy John Estes–    Government Money 3:09
Guitar [possibly] – Son Bonds
Guitar [probably] – Charlie Pickett
Harmonica – Hammie Nixon
Vocals, Guitar – Sleepy John Estes
22    Sleepy John Estes–    I Wanta Tear It All The Time 2:57
Guitar [possibly] – Son Bonds
Guitar [probably] – Charlie Pickett
Harmonica – Hammie Nixon
Kazoo – Lee Brown
Vocals, Guitar – Sleepy John Estes
23    Sleepy John Estes–    Vernita Blues 3:06
Guitar [possibly] – Son Bonds
Guitar [probably] – Charlie Pickett
Harmonica – Hammie Nixon
Vocals, Guitar – Sleepy John Estes
24    Sleepy John Estes–    I Ain't Gonna Be Worried No More 3:02
Guitar [possibly] – Son Bonds
Guitar [probably] – Charlie Pickett
Harmonica – Hammie Nixon
Kazoo – Lee Brown
Vocals, Guitar – Sleepy John Estes

SLEEPY JOHN ESTES — Complete Recorded Works In Chronological Order • Volume 2 ★ 1937-1941 | DOCD-5016 (1990) RM | FLAC (tracks+.cue), lossless

The second half of Document's two-part series covering the early recordings of Sleepy John Estes includes a few excellent performances, though it isn't quite as interesting as the first. The only real classics on tap are "Floating Bridge" and "Everybody Oughta Make a Change," which leaves the rest of this lengthy compilation a mixed blessing for any but the most dedicated of listeners. Thom Owens

Abridged from this album’s booklet notes. This album begins with Sleepy John Este’s account of how he came close to drowning when a car he was riding in skidded off a temporary bridge. It’s typical of the man, in that it deals with events and people from his immediate experience and in its constricted, emotional singing, matched by Hammie Nixon’s melancholy harmonica. It’s typical also in the element of paradox involved; this terrifying experience is recounted to the tune of “Careless Love” (a tune he later used to sing about the fact that he’d gone “Stone Blind”!) John Norris of ‘Jazz Beat Magazine’ once wrote of Sleepy John Estes “The emotional impact of his singing is overwhelming and when he really gets wound up in his music he sings with great power.” Sleepy John Estes was in many ways the personification of the blues. His pleading vocals were always on the point of disintegrating into a cry, either of help or of joy. His guitar playing, which could either be used as a thumping rhythm or as a remarkable, strong and precise lead, were a direct line to the life of poverty that he lived and his experiences in the Brownsville, Tennessee, where he was born and where he died. Volume Two of his recordings continues to reveal Sleepy John Estes as a significant blues artist of the pre-war blues era. In addition to long time friend and music companion Hammie Nixon, several tracks find Sleepy John in the company Robert Lee McCoy, also known as Robert Nighthawk, Son Bonds and there is the possibility of an appearance of Charlie Pickett. Between them they produce some excellent blues such as Brownsvillle Blues, Hobo Jungle Blues and Special Agent. Drop Down is one of two recordings to feature the lively washboard playing of Ann Sortier, the girlfriend of Robert Lee McCoy. There is the strange, semi-religious blues Time Is Drawing Near. Tell Me How About It has some explicit things to say about “Mister Tom” and his son-in-law “Mister Robert”, making its chorus heavily ironic. Don’t You Want To Know has all the originality of Estes’ more serious lyrics – e.g. the reference to Major Bowes, who ran a radio talent show. Sleepy John recorded and appeared extensively between 1961 and 1975 following his re-discovery and though his performances were strong and satisfying they did hide both the magic and vitality of his early recordings which Document now presents. DOCD-5016
Tracklist :
1    Sleepy John Estes–    Floating Bridge    3:07
2    Sleepy John Estes–    Need More Blues    2:51
3    Sleepy John Estes–    Jack And Jill Blues    2:35
4    Sleepy John Estes–    Poor Man's Friend (T Model)    3:05
5    Sleepy John Estes–    Hobo Jungle Blues    2:54
6    Sleepy John Estes–    Airplane Blues    2:50
7    Sleepy John Estes–    Everybody Oughta Make A Change    2:47
8    Sleepy John Estes–    Liquor Store Blues    2:26
9    Sleepy John Estes–    Easin' Back To Tennessee    2:40
10    Sleepy John Estes–    Fire Department Blues (Martha Hardin)    3:04
11    Sleepy John Estes–    Clean Up At Home    2:33
12    Sleepy John Estes–    New Someday Baby    2:47
13    Sleepy John Estes–    Brownsville Blues    3:05
14    Sleepy John Estes–    Special Agent (Railroad Police Blues)    2:48
15    Sleepy John Estes–    Mailman Blues    2:52
16    Sleepy John Estes–    Time Is Drawing Near    2:20
17    Sleepy John Estes–    Mary Come On Home    2:19
18    Sleepy John Estes–    Jailhouse Blues    2:54
19    Sleepy John Estes–    Tell Me How About It (Mr. Tom's Blues)    2:25
20    Sleepy John Estes–    Drop Down (I Don't Feel Welcome Here)    2:44
21    The Delta Boys–    Don't You Want To Know    3:08
22    The Delta Boys–    You Shouldn't Do That    2:30
23    The Delta Boys–    When The Saints Go Marching In    2:59
24    Sleepy John Estes–    Lawyer Clark Blues    3:05
25    Sleepy John Estes–    Little Laura Blues    2:27
26    Sleepy John Estes–    Working Man Blues    2:57
Credits :
Compiled By, Producer – Johnny Parth
Guitar – Sleepy John Estes (tracks: 1 to 14, 18 to 26), Son Bonds (tracks: 24 to 26)
Guitar [possibly] – Charlie Pickett (tracks: 1 to 14), Robert Lee McCoy (tracks: 15 to 17), Sleepy John Estes (tracks: 15 to 17), Son Bonds (tracks: 1 to 14)
Harmonica – Hammie Nixon (tracks: 1 to 6), Robert Lee McCoy (tracks: 15, 18 to 20)
Kazoo – Son Bonds (tracks: 21 to 23)
Lead Vocals – Sleepy John Estes (tracks: 21 to 23)
Speech – Son Bonds (tracks: 26)
Vocals – Raymond Thomas (tracks: 21 to 23), Sleepy John Estes (tracks: 1 to 20, 24 to 26), Son Bonds (tracks: 21 to 23)
Washboard [probably] – Ann Sorter (tracks: 19, 20)
Washtub Bass – Raymond Thomas (tracks: 21 to 26)

THE BEALE STREET SHEIKS (Stokes & Sane) – Frank Stokes' Complete Paramount Recordings In Chronological Order (1927-1929) DOCD-5012 (1990) FLAC (tracks), lossless

Forget the shaky sound and noise on some of the tracks, and the slightly sketchy notes, and the fact that some tracks on this supposedly "complete" collection are missing -- these are Paramount recordings, and we're lucky to have what we do, as good as it does sound. What's here are 19 songs cut by Frank Stokes and Dan Sane between August of 1927 and March of 1929. Included are lyrics on numbers like "You Shall" (in two different versions, either one worth the price of the disc) that constitute historical artifacts, going back to the era of slavery; topical songs like "Mr. Crump Don't Like It," that tell of Memphis's life and death as a blues Mecca; and infectiously catchy pieces like the sly, witty, supposedly anti-prostitution pieces like "It's a Good Thing" (also in two different versions). At their best, which is most of this CD, they had an appeal that transcended the decades -- the interweaving of the two guitars is about as tight as anything in blues, the rhythms are catchy, and the vocal phrasing by Stokes is delicious. Bruce Eder

Abridged from this album’s original booklet notes. It was in 1927 that Frank Stokes and Dan Sane made their first recordings for Paramount, by which time they were one of the tightest blues guitar, with Sane’s flat-picked embellishments sliding through Stokes’ strong but nimble rhythms like fish through the sea. Jazzin’ The Blues, whose title defers to fashion, has one sung verse, but is thereafter an instrumental showpiece, with Frank Stokes calling out the chord changes (doubtless already agreed) to Dan Sane. Outside music, Stokes worked as a blacksmith, and his guitar playing has a metalworker’s combination of strength and precision. He was also blessed with an exceptionally powerful voice, and impressive breath control, as may be heard on It’s A Good Thing. The two men were billed as the Beale Street Sheiks, and Stokes songs often refer to Memphis, as on Beale Town Bound and Mr. Crump Don’t Like It, a topical adaptation of ‘Mama Don’t Allow’ that refers to local politician E.H. Crump, a segregationist, but one who realised the value of black votes. Along with the blues that became popular when they were growing up, Frank Stokes and Dan Sane played older, medicine show and minstrel songs like Last Go Round. You Shall includes verses that date back to slavery, and Chicken, You Can Roost Behind The Moon is related to a song published in 1899. In his blues, Stokes projects an image of himself as a rounder, playing the field with women; It’s A Good Thing is a sly, extended joke on this image, with Stokes attacking prostitution, but concluding that ‘one woman’ll never do’ for him. In 1928, the duo switched to Victor (see Document DOCD-5013), but they returned to Paramount for one session in 1929, from which six songs were issued, with a seventh surviving as a test pressing. They were still combining blues with the hokum of the medicine show and the street: Wasn’t That Doggin’ Me lies somewhere between the two, and Rockin’ On The Hill Blues features crosstalk that still sounds funny and spontaneous, even when Sane uses the most overworked slogan of black music in the ’20s, ‘Tight like that!’ They were fond of a little figure in dotted rhythm; it occurs several times on their records, never more effectively than on Hunting Blues, where it appropriately mimics the hunters’ horn call. Original 78 rpm records of the Beale Street Sheiks fall into the ‘extremely rare’ category, suggesting that their records sold in low quantities, perhaps poorly. Perhaps the duo’s style sounded a little aged for the record buying public who also had the choice of the merriment and ‘low down, dirty blues’ of the Memphis Jug Band or the slick slide guitar playing of the young Furry Lewis or the driving blues of the feisty Memphis Minnie. Yet the music of the Beale Street Sheiks is regarded as a pure delight and a wonderful insight into blues carried forward by two older men who were there at the beginning. DOCD-5012
Tracklist :
1    Beale Street Sheiks (Stokes And Sane)–    You Shall    2:46
2    Beale Street Sheiks (Stokes And Sane)–    It's A Good Thing    2:52
3    Beale Street Sheiks (Stokes And Sane)–    Sweet To Mama    2:52
4    Beale Street Sheiks (Stokes And Sane)–    Half Cup Of Tea    2:50
5    Beale Street Sheiks (Stokes And Sane)–    Beale Town Bound    2:50
6    Beale Street Sheiks (Stokes And Sane)–    Last Go Round    2:53
7    Beale Street Sheiks (Stokes And Sane)–    Jazzin' The Blues    2:45
8    Beale Street Sheiks (Stokes And Sane)–    You Shall    2:40
9    Beale Street Sheiks (Stokes And Sane)–    It's A Good Thing    2:55
10    Beale Street Sheiks (Stokes And Sane)–    Mr. Crump Don't Like It    2:36
11    Beale Street Sheiks (Stokes And Sane)–    Chicken You Can Roost Behind The Moon    3:03
12    Beale Street Sheiks (Stokes And Sane)–    Blues In "D"    2:40
13    The Beale Street Sheiks–    Ain't Goin' To Do Like I Used To Do    2:50
14    The Beale Street Sheiks–    Hunting Blues    3:03
15    The Beale Street Sheiks–    Rockin' On The Hill Blues    3:08
16    The Beale Street Sheiks–    Fillin' In Blues - Part 1    3:05
17    The Beale Street Sheiks–    Fillin' In Blues - Part 2    3:12
18    The Beale Street Sheiks–    Wasn't That Doggin' Me    3:06
19    The Beale Street Sheiks–    Jumpin' On The Hill    3:03
Credits :
The Beale Street Sheiks (Stokes & Sane) :
Frank Stokes, Vocal / Guitar; Dan Sane, Guitar/Speech