MEMPHIS JUG BAND — Complete Recorded Works In Chronological Order ★ Volume 1 : 1927-1928 | DOCD-5021 (1991) RM | FLAC (tracks+.cue), lossless

One of the greatest of all jug bands and possibly the most influential, the Memphis Jug Band recorded extensively from 1927-1930. All of its recordings (other than three sessions from 1934) have been reissued by the European Document label on three CDs. The original version of the group consisted of Will Shade on harmonica, guitar, and/or vocals; Ben Ramey on kazoo; guitarist/signer Will Weldon; and Charlie Polk on jug. During the year-long period covered in this CD, the only significant personnel change was the addition of Vol Stevens on banjo-mandolin and guitar. The good-time music that they performed ranged from blues to pop numbers and even a couple waltzes. All three of the Document CDs are fairly equal in quality, with the second volume getting a slight edge. Among the highlights of Vol. 1 are "Memphis Jug Blues," "I Packed My Suitcase, Started to the Train," "Kansas City Blues" (recorded just a few days after Jim Jackson's famous version), the heated "Beale Street Mess Around," and a previously unreleased "She Stays Out All Night Long." Fun music that still communicates to today's listeners. Scott Yanow
Tracklist :
1        Sun Brimmers Blues (Take 2) 3:06
Guitar, Vocals, Composed By – Will Weldon
Harmonica, Composed By – Will Shade
Jug – Charlie Polk
Kazoo – Ben Ramey
2        Stingy Woman--Blues (Take 2)  3:08
Guitar, Vocals, Composed By – Will Weldon
Harmonica, Composed By – Will Shade
Jug – Charlie Polk
Kazoo – Ben Ramey
3        Memphis Jug--Blues (Take 1) 3:27
Guitar, Vocals – Will Weldon
Guitar, Vocals, Composed By – Will Shade
Jug, Vocals – Charlie Polk
Kazoo – Ben Ramey
4        Newport News--Blues (Take 1) 3:04
Guitar, Vocals, Composed By – Will Shade
Jug – Charlie Polk
Kazoo, Vocals [Poss.] – Ben Ramey
Vocals [Speech] [Poss.] – Will Weldon
5        Sometimes I Think I Love You 3:02
Guitar, Vocals, Composed By – Will Shade
Guitar, Voice [Shouts] – Will Weldon
Harmonica – Shakey Walter
Jug – Charlie Polk
Kazoo – Ben Ramey
6        Sunshine Blues 2:31
Guitar – Will Shade
Guitar [?], Vocals, Composed By – Will Weldon
Harmonica – Shakey Walter
Jug – Charlie Polk
Kazoo – Ben Ramey
7        Memphis Boy--Blues 2:52
Guitar, Vocals – Will Weldon
Guitar, Vocals, Composed By – Will Shade
Jug – Charlie Polk
Vocals, Kazoo – Ben Ramey
8        I'm Looking For The Bully Of The Town 2:35
Guitar, Vocals – Will Weldon
Guitar, Vocals, Composed By – Will Shade
Jug – Charlie Polk
Vocals, Kazoo – Ben Ramey
9        I Packed My Suitcase, Started To The Train 3:17
Banjo, Mandolin – Vol Stevens
Guitar – Will Weldon
Guitar, Vocals, Composed By – Will Shade
Kazoo – Ben Ramey
Vocals, Composed By – Jennie Clayton
10        State Of Tennessee Blues 3:15
Banjo, Mandolin – Vol Stevens
Guitar – Will Weldon
Guitar, Vocals, Composed By – Will Shade
Kazoo – Ben Ramey
Vocals, Composed By – Jennie Clayton
11        Bob Lee Junior Blues 3:08
Banjo, Mandolin – Vol Stevens
Guitar – Will Weldon
Guitar, Composed By – Will Shade
Kazoo – Ben Ramey
Vocals, Composed By – Jennie Clayton
12        Kansas City Blues 2:50
Guitar – Vol Stevens
Guitar, Vocals – Will Weldon
Harmonica, Vocals, Composed By – Will Shade
Kazoo, Vocals – Ben Ramey
13        Beale Street Mess Around 3:00
Guitar – Will Weldon
Guitar, Vocals, Composed By – Vol Stevens
Harmonica – Will Shade
Kazoo – Ben Ramey
14        I'll See You In The Spring, When The Birds Begin To Sing 3:03
Guitar – Will Weldon
Guitar, Vocals, Composed By – Vol Stevens
Jug – Charlie Polk
Kazoo – Ben Ramey
15        Snitchin' Gambler--Blues (Take 2) 3:08
Banjo, Mandolin – Vol Stevens
Guitar – Will Weldon
Guitar, Vocals, Composed By – Will Shade
Jug – Charlie Polk
16        Evergreen Money Blues 3:21
Banjo, Mandolin – Vol Stevens
Guitar – Will Weldon
Jug – Charlie Polk
Vocals, Composed By – Will Shade
17        Coal Oil Blues 3:25
Guitar – Will Weldon
Guitar, Vocals, Composed By – Vol Stevens
Harmonica – Will Shade
Jug – Charlie Polk
Kazoo – Ben Ramey
18        Papa Long Blues 2:55
Guitar – Will Weldon
Guitar, Vocals, Composed By – Vol Stevens
Harmonica – Will Shade
Jug – Charlie Polk
Kazoo – Ben Ramey
19        Peaches In The Springtime 3:11
Banjo, Mandolin – Vol Stevens
Guitar, Vocals – Will Weldon
Jug – Charlie Polk
Vocals, Composed By – Will Shade
Vocals, Kazoo – Ben Ramey
20        She Stays Out All Night Long 3:00
Banjo, Mandolin – Vol Stevens
Guitar – Will Weldon
Jug – Charlie Polk
Kazoo – Ben Ramey
Vocals, Guitar, Composed By – Will Shade

MEMPHIS JUG BAND — Complete Recorded Works In Chronological Order ★ Volume 2 : 1928-1929 DOCD-5022 (1991) RM | FLAC (tracks+.cue), lossless

The Memphis Jug Band was quite popular from 1927-1930, particularly if one judges the group by its many recordings (which fill up three CDs in this series). The second volume has slightly better material than the other two CDs, but all are easily recommended. During 1928 and 1929, the Memphis Jug Band featured its leader Will Shade on guitar, harmonica, and vocals, and guitarist Charlie Burse (guitarist Will Weldon and banjo-mandolist Vol Stevens from the first group departed by 1929). The band also included the highly expressive kazoo playing of Ben Ramey and Jab Jones' enthusiastic jug playing (an improvement on his predecessor Charlie Polk). Additionally, there are two selections included in which the band accompanies singer Minnie Wallace and there are a few guest musicians and singers on various tracks. Among the many high points of the spirited program are "She Stays Out All Night Long," "Lindberg Hop," "Stealin' Stealin'," "Jug Band Waltz," "The Old Folks Started It," and "Memphis Yo Yo Blues." An important if often overlooked genre of vintage American music. Scott Yanow

Abridged from this album’s original booklet notes. When the Memphis Jug Band reassembled in September 1928 to cut eight titles for Victor, they began in larky mood. New member (on disc at least) Jab Jones sang what was nominally a tribute to Charles Lindbergh’s solo flight across the Atlantic the previous year, but his version of the Lindyhop is a crazy, almost surrealist one. Sugar Pudding, a version of “Take Your Fingers Off It”, marked the debut of Jones’s thunderous jug, replacing the less forthright Charlie Polk. The other new member was the extrovert Alabaman guitarist and singer Charlie Burse. He was one of the singers on both On The Road Again, whose chorus refers to Monk Eastman’s eponymous gang, active in New York in the late 1890s, and the hybrid A Black Woman Is Like A Black Snake, with its 12 bar verse and 8 bar chorus. The cryptic Whitewash Station opened proceedings on 15th September, followed by the Memphis Jug Band’s most famous number, the beautiful Stealin’ Stealin’, relaxed, nostalgic, and superbly played. The two waltzes that closed the session, though unusual on race records, were probably no novelty to the band, which would have been expected to play such pieces for dancing by both blacks and whites. It was a year before the band returned to the microphones, and violinist Milton Roby (correct spelling) was added in place of Vol Stevens, bringing his broad, bluesy tones, learned on the medicine shows, to four songs that sound very much of that milieu — some of them obviously cleaned up for recording — and also to two provocative, sexy vocals by Minnie Wallace: Dirty Butter has fine piano and The Old Folks Started It has complex harmonica from Will Shade. A two day session in October 1929 began with the band in slightly lackluster mood, though they perked up for Tired Of You Driving Me. This date saw the debut on record of Tewee Blackman, Will Shade‘s guitar teacher, older than Shade, and a very accomplished player. His arpeggio style is heard on more records than the standard discography allows, but he was seldom heard to better effect than on Memphis Yo Yo Blues and K. C. Moan. The first title featured the forthright, sensual singing of Hattie Hart, interwoven, like Minnie Wallace’s, with imaginative harmonica work. K. C. Moan is perhaps the Memphis Jug Band‘s finest recording, excellent two guitar work supporting long, drawn-out notes on the harmonica and an intricate kazoo solo from Ben Ramey, apart from Shade the only member of the band who’d played on their first records. The vocal completes a spellbinding performance. The session ended with a light-hearted song about marital violence (a singletree, or swingletree, is the crosspiece of a plough). With a nonchalant “bam-bam-be-deedle-am”, the Memphis Jug Band left the recording studio. By May, 1930, when the Memphis Jug Band next recorded, unemployment in the US stood at over four million. The band, doubtless recognising that folks wanted to be lifted out of their troubles, didn’t let the Depression affect their music, as can be heard on Document DOCD-5023. DOCD-5022
Tracklist :
1    Memphis Jug Band–    She Stays Out All Night Long 2:50
Composed By, Guitar, Vocals – Will Shade
Guitar – Will Weldon
Jug – Charlie Polk
Kazoo – Ben Ramey
Mandolin Banjo [banjo-mandolin] – Vol Stevens
Speech [several of the band] – Unknown Artist
2    Memphis Jug Band–    Lindberg Hop (Overseas Stomp) 2:16
Composed By – J.B. Jones
Composed By, Guitar – Will Shade
Guitar – Charlie Burse
Jug, Vocals – Jab Jones
Kazoo – Ben Ramey
Mandolin Banjo [banjo-mandolin] – Vol Stevens
3    Memphis Jug Band–    Sugar Pudding 2:43
Composed By – J.B. Jones
Composed By, Harmonica – Will Shade
Guitar – Charlie Burse
Jug – Jab Jones
Kazoo – Ben Ramey
Mandolin Banjo [banjo-mandolin] – Vol Stevens
Vocals [trio] – Unknown Artist
4    Memphis Jug Band–    A Black Woman Is Like A Black Snake 2:45
Composed By – J.B. Jones
Composed By, Guitar, Vocals – Will Shade
Guitar, Vocals – Charlie Burse
Harmonica – Unknown Artist
Kazoo – Ben Ramey
5    Memphis Jug Band–    On The Road Again 2:46
Composed By – J.B. Jones
Composed By, Guitar, Vocals – Will Shade
Guitar, Vocals – Charlie Burse
Harmonica – Unknown Artist
Jug – Jab Jones
Kazoo – Ben Ramey
6    Memphis Jug Band–    Whitewash Station Blues 2:42
Composed By – J.B. Jones
Composed By, Harmonica – Will Shade
Guitar – Charlie Burse
Jug, Lead Vocals – Jab Jones
Kazoo – Ben Ramey
Mandolin Banjo [banjo-mandolin] – Vol Stevens
Vocals [group] – Unknown Artist
7    Memphis Jug Band–    Stealin', Stealin' 2:55
Composed By, Harmonica – Will Shade
Guitar – Charlie Burse, Vol Stevens
Jug, Lead Vocals – Jab Jones
Kazoo – Ben Ramey
Vocals [group] – Unknown Artist
8    Memphis Jug Band–    Jug Band Waltz 2:47
Composed By, Harmonica – Will Shade
Guitar – Charlie Burse, Vol Stevens
Jug – Jab Jones
Kazoo – Ben Ramey
9    Memphis Jug Band–    Mississippi River Waltz 2:40
Composed By – Ben Ramey
Composed By, Harmonica – Will Shade
Guitar – Charlie Burse, Vol Stevens
Jug – Jab Jones
Kazoo – Ben Ramey
10    Memphis Jug Band–    I Can't Stand It 2:19
Composed By, Guitar – Will Shade
Guitar, Vocals [probably] – Charlie Burse
Jug – Jab Jones
Kazoo, Vocals [probably] – Ben Ramey
Violin – Milton Robie
11    Memphis Jug Band–    What's The Matter? 2:49
Composed By, Guitar, Lead Vocals – Will Shade
Guitar, Vocals – Charlie Burse
Jug – Jab Jones
Kazoo, Vocals – Ben Ramey
Violin – Milton Robie
12    Minnie Wallace–    Dirty Butter 2:39
Composed By, Vocals – Minnie Wallace
Guitar [probably] – Will Shade
Piano [possibly] – Johnnie Hodges
Violin [probably] – Milton Robie
Vocals [refrain] – Unknown Artist
13    Minnie Wallace–    The Old Folks Started It 2:55
Composed By, Vocals – Minnie Wallace
Guitar [probably] – Charlie Burse
Harmonica [probably] – Will Shade
Jug [probably] – Jab Jones
Violin [probably] – Milton Robie
14    Memphis Jug Band–    Feed Your Friend With A Long-Handled Spoon 2:57
Composed By, Guitar, Vocals – Will Shade
Guitar – Charlie Burse
Jug – Jab Jones
Kazoo – Ben Ramey
Violin – Milton Robie
15    Memphis Jug Band–    I Can Beat You Plenty (That Hand You Tried To Deal Me) 3:10
Composed By, Harmonica – Will Shade
Guitar – Charlie Burse
Jug – Jab Jones
Kazoo – Ben Ramey
Violin – Milton Robie
Vocals [group] – Unknown Artist
16    Memphis Jug Band–    Taking Your Place 2:38
Composed By – Mattie Nelson
Composed By [possibly], Harmonica, Vocals – Will Shade
Guitar – Charlie Burse
Jug – Jab Jones
Kazoo – Ben Ramey
17    Memphis Jug Band–    Tired Of You Driving Me 2:48
Composed By – Mattie Nelson
Guitar – Charlie Burse
Harmonica – Will Shade
Jug – Jab Jones
Kazoo, Vocals – Ben Ramey
18    Memphis Jug Band–    Memphis Yo-Yo Blues 2:30
Composed By – Jenny Pope
Guitar – Charlie Burse, Tewee Blackman
Harmonica – Will Shade
Jug – Jab Jones
Vocals – Hattie Hart
19    Memphis Jug Band–    K.C. Moan 3:03
Composed By, Guitar, Lead Vocals [possibly] – Tewee Blackman
Guitar, Vocals [trio, possibly] – Charlie Burse
Harmonica – Will Shade
Jug – Jab Jones
Kazoo, Vocals [trio, possibly] – Ben Ramey
20    Memphis Jug Band–    I Whipped My Woman With A Single-Tree 3:03
Composed By, Lead Vocals – Will Shade
Guitar – Charlie Burse
Jug – Jab Jones
Kazoo – Ben Ramey
Piano – Charlie Nickerson
Vocals [trio] – Unknown Artist

MEMPHIS JUG BAND — Complete Recorded Works In Chronological Order ★ Volume 3 : 1930 | DOCD-5023 (1991) FLAC (tracks+.cue), lossless

The third of three Document CDs has all of the Memphis Jug Band's 1930 recordings. Despite the onset of the Depression, the influential band's good-time style was unchanged and actually had improved a bit during the past couple of years. Will Shade was still its leader and alternated between guitar, harmonica, and vocals. The other original member was Ben Ramey on kazoo. During 1930, such players as mandolinist Charlie Burse, Hambone Lewis, and Jab Jones on jug, singer Charlie Nickerson, Vol Stevens on banjo-mandolin, and even guest vocalist/guitarist Memphis Minnie (on "Bumble Bee Blues" and "Meningitis Blues") passed through the band. Among the more memorable selections of their highly enjoyable CD are "Everybody's Talking About Sadie Green," "Cocaine Habit Blues," "Fourth Street Mess Around," "Going Back to Memphis," "Move that Thing," and "He's in the Jailhouse Now."  Scott Yanow

The Memphis Jug Band Complete Works Vol. 3 (1930) features timeless blues recordings with legendary performers Will Shade, Ben Ramey, Charlie Burse, Hambone Lewis, Hattie Hart, Memphis Minnie, and Charlie Nickerson. This collection captures the essence of Memphis blues at its finest. DOCD-5023
Tracklist :
1    Memphis Jug Band–    Everybody's Talking About Sadie Green  3:53
Banjo – Unknown Artist
Composed By – Charles Nickerson
Guitar – Will Shade
Jug – Hambone Lewis
Kazoo, Voice [Speech, Prob.] – Ben Ramey
Mandolin – Charlie Burse
Vocals – Charlie Nickerson
2    Memphis Jug Band–    Oh, Ambulance Man 2:40
Composed By – Jennie Mae Clayton
Guitar – Charlie Burse
Jug – Hambone Lewis
Kazoo – Ben Ramey
Vocals – Hattie Hart
Vocals, Guitar – Will Shade
3    Memphis Jug Band–    Cocaine Habit Blues 2:47
Composed By – Jennie Mae Clayton
Guitar – Charlie Burse
Harmonica – Will Shade
Harmony Vocals – Unknown Artist
Jug – Hambone Lewis
Vocals – Hattie Hart
Vocals, Kazoo – Ben Ramey
4    Memphis Jug Band–    Jim Strainer Blues 3:20
Composed By – Jennie Mae Clayton
Guitar, Vocals – Will Shade
Jug – Hambone Lewis
Kazoo – Ben Ramey
Piano – Unknown Artist
5    Memphis Jug Band–    Cave Man Blues 3:05
Composed By – Charles Pope
Guitar – Charlie Burse
Guitar, Composed By – Will Shade
Jug – Hambone Lewis
Violin – Milton Robie
Vocals – Charlie Nickerson
Voice [Speech] – Unknown Artist
6    Memphis Jug Band–    Fourth Street Mess Around 3:15
Guitar, Composed By – Will Shade
Harmony Vocals – Unknown Artist, Unknown Artist
Jug – Hambone Lewis
Kazoo – Ben Ramey
Mandolin – Charlie Burse
Vocals – Charlie Nickerson
7    Memphis Jug Band–    It Won't Act Right 2:28
Guitar – Charlie Burse
Guitar, Vocals, Composed By – Will Shade
Jug – Hambone Lewis
Kazoo – Ben Ramey
Vocals – Charlie Nickerson
Voice [Speech] – Unknown Artist
8    Memphis Jug Band–    Bumble Bee Blues 2:49
Composed By – Minnie McCoy
Guitar – Charlie Burse
Harmonica – Will Shade
Jug – Hambone Lewis
Vocals, Guitar – Memphis Minnie
9    Memphis Jug Band–    Meningitis Blues 3:14
Composed By – Minnie McCoy
Guitar – Charlie Burse
Harmonica – Will Shade
Jug – Hambone Lewis
Vocals, Guitar – Memphis Minnie
10    Memphis Jug Band–    Aunt Caroline Dyer Blues 3:04
Composed By – Jennie Mae Clayton
Guitar, Vocals – Will Shade
Guitar, Voice [Poss. Speech] – Charlie Burse
Jug – Hambone Lewis
Kazoo – Ben Ramey
11    Memphis Jug Band–    Stonewall Blues 3:26
Composed By – Jennie Mae Clayton
Guitar – Charlie Burse
Guitar, Vocals – Will Shade
Jug – Hambone Lewis
Kazoo – Ben Ramey
12    Carolina Peanut Boys–    Spider's Nest Blues 3:03
Composed By – Jennie Mae Clayton
Guitar – Charlie Burse, Will Shade
Jug – Hambone Lewis
Kazoo – Ben Ramey
Vocals – Hattie Hart
13    Memphis Jug Band–    Papa's Got Your Bath Water On 2:26
Guitar – Charlie Burse
Jug – Hambone Lewis
Kazoo – Ben Ramey
Vocals, Composed By – Hattie Hart
Vocals, Harmonica – Will Shade
14    Charlie Nickerson–    Going Back To Memphis 2:20
Guitar – Charlie Burse
Guitar, Composed By – Will Shade
Jug – Hambone Lewis
Kazoo – Ben Ramey
Vocals – Charlie Nickerson
Vocals [Group Vocals] – Memphis Jug Band
15    Memphis Sheiks–    He's In The Jailhouse Now 3:06
Banjo, Mandolin – Vol Stevens
Composed By – Burt Murphy*
Guitar, Harmony Vocals [Poss.] – Charlie Burse
Harmonica – Will Shade
Jug – Jab Jones
Vocals – Charlie Nickerson
16    Carolina Peanut Boys–    Got A Letter From My Darlin' 2:55
Guitar – Charlie Burse
Harmonica, Composed By – Will Shade
Jug – Unknown Artist
Kazoo – Ben Ramey
Vocals – Charlie Nickerson
Vocals [2nd Vocals], Voice [Speech] – Unknown Artist
17    Memphis Sheiks–    'Round And 'Round 3:00
Harmonica, Composed By – Will Shade
Jug – Unknown Artist
Kazoo, Harmony Vocals – Ben Ramey
Mandolin [Poss.] – Will Weldon
Mandolin [Prob.] – Vol Stevens
Vocals – Charlie Nickerson
Vocals [2nd Vocals] – Unknown Artist
18    Carolina Peanut Boys–    You May Leave But This Will Bring You Back 2:58
Guitar – Charlie Burse
Harmonica, Composed By – Will Shade
Harmony Vocals – Ben Ramey
Jug – Unknown Artist
Mandolin [Poss.] – Will Weldon
Mandolin [Prob.] – Vol Stevens
Vocals – Charlie Nickerson
Vocals [2nd Vocals] – Unknown Artist
19    Carolina Peanut Boys–    Move That Thing 2:57
Guitar – Charlie Burse
Harmonica, Composed By – Will Shade
Harmony Vocals – Ben Ramey
Jug – Unknown Artist
Mandolin [Poss.] – Will Weldon
Mandolin [Prob.] – Vol Stevens
Vocals [2nd Vocals] – Unknown Artist
Vocals, Voice [Speech], Composed By – Charlie Nickerson
20    Carolina Peanut Boys–    You Got Me Rollin' 2:26
Guitar – Charlie Burse
Harmonica, Composed By – Will Shade
Harmony Vocals – Ben Ramey
Jug – Unknown Artist
Mandolin [Poss.] – Will Weldon
Mandolin [Prob.] – Vol Stevens
Vocals [2nd Vocals] – Unknown Artist
Vocals, Voice [Speech] – Charlie Nickerson

BLIND LEMON JEFFERSON — Complete Recorded Works in Chronological Order ★ Volume 1 : 1925-1926 | DOCD-5017 (1991) RM | FLAC (tracks+.cue), lossless

90 performances by Blind Lemon Jefferson were reissued in chronological sequence as his "complete recorded works" by the Document label in 1994. The songs were parceled out neatly so that material from each successive year of his short recording career occupied a separate disc, with volume one containing 23 selections recorded between December 1925 and December 1926. Those who feel prepared to shed the shackles of convention and jettison preconceived notions of what the blues or music in general is supposed to sound like should seriously consider obtaining all four volumes, for listening to nearly every record known to have been made by Blind Lemon Jefferson can be a moving and transformationally rewarding experience. Born near the end of the 19th century in the village of Couchman, south of Dallas between Mexia and Corsicana in Freestone County, TX, he came up in a racially segregated environment where blindness lowered his already rock-bottom social status as a member of the African American underclass. The name Lemon, which is believed to have been bestowed upon him at birth, was a reference to the shape of his head. (A few years later, this playful aspect of the culture would cause saxophonist Coleman Hawkins to be dubbed "Bean" by his fellow musicians because they felt that his cranium resembled a haricot bean.) Legend has it that Lemon and the slightly younger Blind Willie Johnson, who grew up in Marlin a few miles southeast of Waco, would sometimes perform publicly on the streets of Marlin at the same time. This would have made for an intriguing if inadvertent near-rupturing of the socially constructed barrier between the sacred and the secular, for Willie sang nothing but spirituals and Lemon, who hung out with gamblers, hooch peddlers, pimps, and prostitutes, was and has since been solidly identified with the hedonistic genre of the blues. Lemon, however, cannot be so easily categorized, and the first record he ever cut was "I Want to Be Like Jesus in My Heart" b/w "All I Want Is That Pure Religion." Although historians usually pronounce these to be puzzling non-sequiturs, the obvious lesson is that Lemon sang exactly the songs that he felt he ought to sing, and that the profoundly spiritual component that exists in the heart and marrows of African-American culture continues to be underestimated and misunderstood by those who seek to evaluate the music from their own points of reference outside of that culture. As for the listening experience itself, bear in mind that these deliciously scratchy, acoustically recorded Paramount platters were meant to be experienced as single playbacks heard on a windup phonograph, not as nearly two dozen consecutive segments on a disc that takes about an hour to play through. What the CD compilation does accomplish, however, is to enable the listener to relax and surrender to what comes to resemble a sort of early 20th century African-American oratorio made up of beautifully honest reflections on what it's like to live in the world. Lemon's guitar and voice are utterly captivating, and an hour spent in his very special company can be positively magical. Those who yearn for "cleaner" audio should go directly to JSP's 94-track four-CD set, issued in 2003. And there's nothing wrong with consulting both sets so as to be able to compare differently remastered takes. arwulf arwulf

Abridged from this album’s original booklet notes. Pianist Sammy Price is credited with bringing Jefferson to the attention of Mayo Williams of Paramount Records, who were looking for other male blues artists to follow up their initial success with Papa Charlie Jackson. Curiously, these were two old spirituals which were later issued under the pseudonym ‘Deacon L. J. Bates‘. Perhaps the idea was to test the market for this unusual-sounding performer, however the recordings were held back for release until the following autumn. Certainly they lack the impact of Lemon’s blues performances. A more passionate version of Pure Religion was recorded by Blind Gussie Nesbit in 1930 (Columbia 14576-D) while the 1927 recording of I Want To Be Like Jesus In My Heart by Mississippi blues singer Sam Collins (Gennett 6291), with slide guitar accompaniment, offers a useful comparison with Lemon’s recording. Early in 1926 Blind Lemon Jefferson was recalled to the studio to record some blues. The four sides from this session were used for his first two records. Booster Blues and Dry Southern Blues were issued around the beginning of April and sales were obviously good as Paramount quickly issued Got the Blues and Long Lonesome Blues. This second record was phenomenally successful, tapping a market thirsty for Southern-styled blues. Within a few weeks Got The Blues and Long Lonesome Blues were remade at the Marsh Laboratories and these new recordings were used for later pressings of Paramount 12354. Lines and verses from Jefferson’s songs crop up in many later blues recordings. Robert Johnson adapted v.2 and v. 3 of Dry Southern Blues for his Love In Vain Blues and Walking Blues. The tremendous success of Lemon’s Black Horse Blues probably inspired Tommy Johnson‘s Black Mare Blues and Charlie Patton to record his Pony Blues. Jefferson himself drew on the blues tradition extensively. Corinna Blues uses the tune and first verse of See See Rider, while Jack O’Diamonds is a straight version of an old gambling ballad, with Lemon playing knife-style slide guitar in an open tuning, for the only time on record. Another old-time number he recorded was Beggin’ Back, a variant of the piece recorded by Frank Stokes as Take Me Back (Victor V-38531) in 1928, but composed as far back as 1898 by B. McMahon. In Old Rounders Blues, a celebration of dissolute living which opens with an ear-splitting cowboy yell, Lemon sings “ain’t goin’ to marry, ain’t gonna settle down”. However, he did have a wife down in Texas, Roberta, and one wonders what she made of lines like “I got a girl for Monday. Tuesday, Wednesday, Thursday, Friday too” (in Chock House Blues) as Blind Lemon Jefferson spent more and more time up north in Chicago. (Furry Lewis and Jim Jackson also made use of the “girl for every day in the week” idea on record.) Perhaps he was thinking of her when he sang (in Stocking Feet Blues) the striking verse “Somebody just keeps on followin’ me, she got hair like a mermaid on the sea”. That Black Snake Moan, with its strong sexual imagery, was a pre-Christmas hit, giving Lemon 6 successful releases in 1926. Victoria Spivey always claimed, with some justification, that Jefferson based his song on her Black Snake Blues (OKeh 8338). However, Lemon’s song stands on its own merits and its popularity was such that he made no less than three later versions of the theme. Blind Lemon’s first 1927 release coupled Wartime Blues, composed of floating verses but with a title verse that harked back to World War 1, and Booger Rooger Blues, which mentions various Dallas neighborhoods where he had lady friends. In March Paramount released Bad Luck Blues and Broke And Hungry, which probably inspired Sleepy John Estes‘ first Victor recording, Broken-Hearted, Ragged And Dirty Too, in September, 1929. In April Paramount put out the first Blind Lemon Jefferson record that bore the slogan “electrically recorded”. Rabbit Foot Blues, which opens with the immortal line, “blues jumped a rabbit, run him one solid mile”, and Shuckin’ Sugar Blues, with its attractive melody and catchy title refrain. Jefferson’s uncompromising approach and consistently high standard of performance ensured that his records continued to sell in large quantities until the end of the decade. DOCD-5017
Tracklist :
1    Deacon L. J. Bates–    I Want To Be Like Jesus In My Heart 3:02
Vocals, Guitar – Blind Lemon Jefferson
2    Deacon L. J. Bates–    All I Want Is That Pure Religion 3:11
Vocals, Guitar – Blind Lemon Jefferson
3    Blind Lemon Jefferson–    Got The Blues 2:50
Vocals, Guitar – Blind Lemon Jefferson
4    Blind Lemon Jefferson–    Long Lonesome Blues 2:54
Vocals, Guitar – Blind Lemon Jefferson
5    Blind Lemon Jefferson–    Booster Blues 2:47
Vocals, Guitar – Blind Lemon Jefferson
6    Blind Lemon Jefferson–    Dry Southern Blues 2:48
Vocals, Guitar – Blind Lemon Jefferson
7    Blind Lemon Jefferson–    Black Horse Blues 2:54
Vocals, Guitar – Blind Lemon Jefferson
8    Blind Lemon Jefferson–    Corinna Blues (Take 2) 3:05
Vocals, Guitar – Blind Lemon Jefferson
9    Blind Lemon Jefferson–    Got The Blues 3:02
Vocals, Guitar – Blind Lemon Jefferson
10    Blind Lemon Jefferson–    Long Lonesome Blues 3:08
Vocals, Guitar – Blind Lemon Jefferson
11    Blind Lemon Jefferson–    Jack O' Diamond Blues (Take 1) 2:30
Vocals, Guitar – Blind Lemon Jefferson
12    Blind Lemon Jefferson–    Jack O' Diamond Blues (Take 2) 2:45
Vocals, Guitar – Blind Lemon Jefferson
13    Blind Lemon Jefferson–    Chock House Blues 2:37
Vocals, Guitar – Blind Lemon Jefferson
14    Blind Lemon Jefferson–    Beggin' Back 2:50
Guitar, Vocals – Blind Lemon Jefferson
15    Blind Lemon Jefferson–    Old Rounders Blues 2:43
Guitar, Vocals – Blind Lemon Jefferson
16    Blind Lemon Jefferson–    Stocking Feet Blues (Take 1) 3:04
Guitar, Vocals – Blind Lemon Jefferson
17    Blind Lemon Jefferson–    That Black Snake Moan (Take 2) 3:04
Guitar, Vocals – Blind Lemon Jefferson
18    Blind Lemon Jefferson–    Wartime Blues 3:00
Guitar, Vocals – Blind Lemon Jefferson
19    Blind Lemon Jefferson–    Broke And Hungry (Take 2) 2:58
Guitar, Vocals – Blind Lemon Jefferson
20    Blind Lemon Jefferson–    Shuckin' Sugar Blues (Take 2) 3:02
Guitar, Vocals – Blind Lemon Jefferson
21    Blind Lemon Jefferson–    Booger Rooger Blues 2:47
Guitar, Vocals – Blind Lemon Jefferson
22    Blind Lemon Jefferson–    Rabbit Foot Blues 2:55
Guitar, Vocals – Blind Lemon Jefferson
23    Blind Lemon Jefferson–    Bad Luck Blues 2:49
Guitar, Vocals – Blind Lemon Jefferson
Credits :
Blind Lemon Jefferson (as by Deacon L. J. Bates), Vocal / Guitar
Blind Lemon Jefferson, Vocal / Guitar

BLIND LEMON JEFFERSON — Complete Recorded Works in Chronological Order ★ Volume 2 : 1927 | DOCD-5018 (1991) RM | FLAC (tracks+.cue), lossless

Volume two of Document's near-complete recorded works of Blind Lemon Jefferson presents 22 sides waxed for Okeh and Paramount during a seven month period between March and October 1927. On tracks six, nine, and ten he is accompanied by pianist George Perkins, and this adds another dimension to an artist who was almost always heard by his lonesome. Lemon's adept handling of the guitar and his disarmingly expressive voice account for the fact that some folks fall in love with his distinctive sound after hearing him sing two or three tunes. For this reason, truly devoted listeners will regard three decidedly different versions of the "Match Box Blues" as a burst of good fortune rather than something esoteric intended only for musicologists. True to Lemon's multifaceted personality, this collection is packed with colorful images and subject matter drawn from all walks of life. He sings about what happens when the Mississippi River overflows its banks, of sexuality and infatuation, of locomotives, loose change, and bed linen infested with parasites, of Jesus rising from the dead, and, most famously, about his own grave, which he asks be kept clean. The upbeat "Hot Dogs" features Lemon knocking out rhythm with his feet and dexterously picking away at the guitar while keeping up a steady stream of friendly banter. Although this excellent disc and its three adjacent volumes on Document are highly recommended, JSP's four-CD Blind Lemon Jefferson set has since proven to be the best way to acquire and absorb this wonderful artist's complete works, not least because of the "cleaned up" audio. On the other hand, there is something to be said for hearing these records through varying degrees of authentic 78 rpm surface noise. For this reason those who really love their Lemon will not flinch at the prospect of owning both sets. arwulf arwulf

Abridged from this albums original booklet notes. 1927 was the peak year of the decade for record sales (before radio and, later, the Depression began to seriously affect the record industry), with well over 100 million discs sold in America, “race records” accounting for at least 5 million of these and Blind Lemon Jefferson being one of the hottest properties in that field, having had a string of successful Paramount record releases in 1926. In March, 1927 Lemon was lured away from Paramount by Polk C. Brockman of OKeh Records.

Jefferson recorded eight titles for them, including a remake of his Black Snake Moan hit. This was released together with a new song, Match Box Blues, and the record was an instant hit. The following month Lemon was in Chicago to remake Easy Rider Blues and Match Box Blues for Paramount.

The resulting record must have been a phenomenal success as he remade Match Box Blues again a few weeks later, which suggests that the earlier master was wearing out, perhaps implying six-figures sales. Matchbox Blues was also popular with white country singers such as Larry Hensley, who recorded it in 1934, successfully reproducing Lemon’s ‘busy’ guitar style and also offering a fair approximation of his vocal style. Two decades later, in 1957, rockabilly singer Carl Perkins recorded his Matchbox for Sun Records and in 1964 a version by the Beatles featured on a million-selling EP. Rising High Water Blues concerns the disastrous Mississippi River floods in the early months of 1927, and was recorded in the wake of Bessie Smith‘s very popular Backwater Blues (Columbia 14195-D). Instead of Jefferson’s guitar, the instrumental accompaniment is provided by pianist George Perkins whose restrained playing is very suitable. Perkins also plays on Teddy Bear Blues, receiving approbation from the master: “whup that piano, Mister Piano Whupper”, and the very Freudian Black Snake Dream Blues. The last verse of Teddy Bear Blues— “… let me be your teddy bear, tie a string on my neck and I’ll follow you anywhere” — was echoed, thirty years on, in Elvis Presley‘s No. 1 hit Teddy Bear: “let me be your… teddy bear, put a chain around my neck and lead me anywhere”. Weary Dogs Blues concerns Lemon’s “worried dogs” (his feet!); Hot Dogs is basically an instrumental with Lemon telling us more about his pedal extremities (now hot from doing the Black Bottom), which can be heard tapping away in the studio, behind his irresistible guitar playing. Interestingly, Lemon must have been aware that these recordings were to be coupled together as he comments at the end of Hot Dogs “All right, folks, turn the record over, let me tell you all about these worried dogs of mine”. In January, 1928 Blind Lemon Jefferson had his second religious record (Paramount 12585) issued.
Blind Lemon Jefferson He Arose From The Dead
He Arose From the Dead, a version of which can be found in White’s ‘Fisk Jubilee Songs’ (1872), and Where Shall I Be? are characteristically “cool” performances. Although in his youth Lemon had learned to play many spirituals, as a man he only seemed to come alive musically when performing blues. Significantly, See That My Grave’s Kept Clean, on which Jefferson sings with greater conviction, is really a secular song, although it was issued under the Deacon L. J. Bates pseudonym, along with He Arose From The Dead, on an alternative issue of 12585. Jefferson’s 1927 blues recordings are consistently excellent — Chinch Bug Blues, with its humorous references to pests like bedbugs and chinches, the “brown cross town” who’s “tall as a sycamore tree” in Deceitful Brownskin Woman Blues, Rambler Blues and Sunshine Special with their railroad references — but two stand out. One Dime Blues is a masterpiece with incredible interplay between voice and guitar.

The AAAB lyric structure relates it to the earliest blues and the traditional East St. Louis Blues sometimes includes a “one dime” verse. Versions of One Dime were still being recorded in the immediate post-war decades. Gone Dead On You Blues has a more coherent theme than earlier pieces like Got The Blues and this began to be a characteristic of Blind Lemon Jefferson‘s later recordings. DOCD-5018
Tracklist :
1    Blind Lemon Jefferson–    Black Snake Moan 3:03
Vocals, Guitar – Blind Lemon Jefferson
2    Blind Lemon Jefferson–    Match Box Blues 2:55
Vocals, Guitar – Blind Lemon Jefferson
3    Blind Lemon Jefferson–    Easy Rider Blues 2:57
Vocals, Guitar – Blind Lemon Jefferson
4    Blind Lemon Jefferson–    Match Box Blues 2:12
Vocals, Guitar – Blind Lemon Jefferson
5    Blind Lemon Jefferson–    Match Box Blues 3:03
Vocals, Guitar – Blind Lemon Jefferson
6    Blind Lemon Jefferson–    Rising High Water Blues 2:30
Piano – George Perkins
Vocals, Guitar – Blind Lemon Jefferson
7    Blind Lemon Jefferson–    Weary Dogs Blues 3:00
Vocals, Guitar – Blind Lemon Jefferson
8    Blind Lemon Jefferson–    Right Of Way Blues 2:55
Vocals, Guitar – Blind Lemon Jefferson
9    Blind Lemon Jefferson–    Teddy Bear Blues 2:35
Piano – George Perkins
Vocals, Guitar – Blind Lemon Jefferson
10    Blind Lemon Jefferson–    Black Snake Dream Blues 2:40
Piano – George Perkins
Vocals – Blind Lemon Jefferson
11    Blind Lemon Jefferson–    Hot Dogs 2:58
Speech, Guitar, Tap Dance – Blind Lemon Jefferson
12    Deacon L. J. Bates–    He Arose From The Dead 2:47
Vocals, Guitar – Blind Lemon Jefferson
13    Blind Lemon Jefferson–    Struck Sorrow Blues 2:15
Vocals, Guitar – Blind Lemon Jefferson
14    Blind Lemon Jefferson–    Rambler Blues 3:48
Vocals, Guitar – Blind Lemon Jefferson
15    Blind Lemon Jefferson–    Chinch Bug Blues 2:50
Vocals, Guitar – Blind Lemon Jefferson
16    Blind Lemon Jefferson–    Deceitful Brownskin Blues 3:00
Vocals, Guitar – Blind Lemon Jefferson
17    Blind Lemon Jefferson–    Sunshine Special 2:46
Vocals, Guitar – Blind Lemon Jefferson
18    Blind Lemon Jefferson–    Gone Dead On You Blues 2:46
Vocals, Guitar – Blind Lemon Jefferson
19    Blind Lemon Jefferson–    Where Shall I Be? 2:34
Vocals, Guitar – Blind Lemon Jefferson
20    Blind Lemon Jefferson–    See That My Grave's Kept Clean 2:42
Vocals, Guitar – Blind Lemon Jefferson
21    Blind Lemon Jefferson–    One Dime Blues 2:48
Vocals, Guitar – Blind Lemon Jefferson
22    Blind Lemon Jefferson–    Lonesome House Blues 2:25
Vocals, Guitar – Blind Lemon Jefferson