BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 1 • 1927-1932 | DOCD-5050 (1991) FLAC (tracks+.cue), lossless

This is a particularly fascinating CD, for it has the first 26 selections ever recorded by Big Bill Broonzy as a leader. The beginning of Document's complete reissuance of all of Broonzy's early recordings, the set starts with four duet numbers that Broonzy cut during 1927-28 with fellow guitarist John Thomas. Although his style was already a bit recognizable, the young guitarist/vocalist really started coming into his own in 1930. There are 15 selections from that year included on this set, with Big Bill often using the pseudonyms of Sammy Sampson or Big Bill Johnson; in fact, even the final seven numbers (from 1932) had him billed as the latter. The CD finds Broonzy evolving from a country-blues musician who already had strong technique into a star of hokum records. Among the many highlights are "Big Bill Blues" (different versions in 1928 and 1932), "I Can't Be Satisfied," "Pig Meat Strut," "Beedle Um Bum" and "Selling That Stuff." Pianist Georgia Tom Dorsey helps out on three numbers. Big Bill Broonzy fans have a right to rejoice about the existence of this wonderful series. Scott Yanow

Abridged from this album’s original booklet notes. When Big Bill Broonzy came to Chicago from Arkansas in 1920 he was still ‘country’ but, as he was to prove time and again in his long career, he was also adaptable and despite his supremely affable, easy-going manner he knew what he wanted and was prepared to persevere until he got it. One of the things he wanted was to make records. His break came when he approached Paramount Records. They cut four tracks, which remained unissued but later re-cut two of the titles. The resultant record presented Big Bill and Thomas performing House Rent Stomp and Big Bill Blues. Bill later justified knowing that he was bilked on the pay he received because he and Thomas alone bought at least fifty copies!

There was to be only one more release on Paramount before Big Bill hit his big year of 1930, when, using the pseudonym of Sammy Sampson he cut five tracks, four of which appear here, for the Perfect label in New York, then, learning the tricks of the trade he became Big Bill Johnson for Gennett in Richmond before returning to Paramount as Big Bill Broomsley. From his country origins he moved on to investigate hokum numbers and vaudeville songs. Always keeping an eye out for the main chance, he upgraded his sound by the addition of a piano when he cut three sides utilising the talents of Georgia Tom Dorsey; forever malleable at the same time moulding himself into his basic, unchanging role of good-time rounder, some-time philosopher and full-time bluesman. DOCD-5050

Tracklist :
1        House Rent Stomp (A) 2:30
2        Big Bill Blues (B) 2:57
3        Down In The Basement Blues (C) 3:27
4        Starvation Blues (C) 3:15
5        I Can't Be Satisfied (D) 2:45
6        Grandma's Farm (D) 2:23
7        Skoodle Do Do (D) 2:44
8        Tadpole Blues  (E) 2:54
9        Skoodle Do Do  (F) 2:44
10        Saturday Night Rub  (F) 2:54
11        Pig Meat Strut   (F) 2:47
12        Papa's Gettin' Hot  (F) 2:44
13        Police Station Blues  (G) 2:41
14        They Can't Do That (G) 2:48
15        State Street Woman  (H) 2:58
16        Meanest Kind Of Blues  (H) 2:58
17        I Got The Blues For My Baby  (H) 2:53
18        The Banker's Blues  (I) 2:32
19        How You Wan't Done?    (I) 2:46
20        Too Too Train Blues (J) 2:58
21        Mistreatin' Mamma  (J) 2:57
22        Big Bill Blues (J) 2:55
23        Brown Skin Shuffle (J) 2:55
24        Stove Pipe Stomp (J) 2:45
25        Beedle Um Bum (J) 3:00
26        Selling That Suff (J) 2:57

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 2 • 1932-1934 | DOCD-5051 (1991) RM | FLAC (tracks+.cue), lossless

By early 1932, the point at which this second volume in Document's series begins, Big Bill Broonzy was well established on the Chicago music scene; although his music was beginning to take on an urbanized flavor, his forté was still country-blues, and the opening tracks here -- "Mr. Conductor Man," "Too-Too Train Blues" and "Bull Cow Blues" among them -- are among his finest examples of the form. Of equal interest are the sides he subsequently recorded with his Jug Busters, a rather mysterious group which yielded just two tracks -- "Rukus Juice Blues" and "M and O Blues" -- but which pushed Broonzy further away from his rural roots; in all likelihood, the group also inaugurated his collaboration with the enigmatic yet renowned Black Bob, with whom he would cut a series of classic guitar and piano duets in the months to follow. Jason Ankeny

Abridged from this album’s original booklet notes. By 1932 Big Bill Broonzy had got the measure of the music business. He was well known in Chicago and, with his winning ways and talent, had become intimate with the leading musicians of his time and place and was laying down the base of the edifice he graced so easily in later years when he became a father figure for the post war blues. He had also become a member of a loose group who performed knockabout and sometimes salacious numbers in a style that they advertised by the use of the name The Famous Hokum Boys. He also often appeared backing “Jane Lucas“, in more than one of her manifestations, and these recordings, along with further explanation, will be appearing on other albums in this series. Bill was still playing country blues though, and having worked conscientiously on his guitar playing could turn out masterpieces like Mr. Conductor Man, The Too Too Train and Bull Cow Blues but he also around this time put together his ‘ Jug Busters‘. This group, whose exact membership is still a matter of contention, was made up of Bill, another guitarist, a pianist, a bass player, a kazooist and a washboard beater. A later grouping included a trumpet player, trombonist and a jug-blower. It was an indication of the way the urban blues was going. The pianist may have been the still obscure Black Bob. DOCD-5051

Tracklist :
1    Steel Smith–    You Do It (A)    3:07
2    Big Bill Johnson–    Mr. Conductor Man (B)    2:59
3    Big Bill–    Too-Too Train Blues (Matrix 11605-2) (C) 2:50
4    Big Bill–    Worrying You Off My Mind - Part 1 (C) 3:04
5    Big Bill–    Worrying You Off My Mind - Part 2 (C) 3:06
6    Big Bill–    Shelby County Blues (C) 3:16
7    Big Bill–    Mistreatin' Mama Blues (Matrix 11609-2)     (C) 3:01
8    Big Bill–    Bull Cow Blues (C)     2:50
9    Big Bill–    How You Want It Done? (Matrix 1161-2)     (C) 2:51
10    Big Bill–    Long Tall Mama (D) 2:47
11    Big Bill And His Jug Busters–    M And O Blues (E)    3:10
12    Big Bill And His Jug Busters–    Rukus Juice Blues (E) 3:03
13    Big Bill–    Friendless Blues (F) 3:22
14    Big Bill–    Milk Cow Blues (F) 3:16
15    Big Bill–    Hungry Man Blues (F) 3:30
16    Big Bill–    I'll Be Back Home Again (F) 2:52
17    Big Bill–    Bull Cow Blues - Part 2 (F) 3:33
18    Big Bill–    Serve It To Me Right (F) 3:24
19    Big Bill–    Starvation Blues (Matrix 80394-1) (F) 3:23
20    Big Bill–    Mississippi River Blues (F) 2:40
21    Big Bill–    At The Break Of Day (G) 2:56
22    Big Bill–    I Want To Go Home (G) 2:45
23    Big Bill–    Hard Headed Woman (H) 3:21
24    Big Bill–    Dying Day Blues (H) 3:02

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 3 • 1934-1935 | DOCD-5052 (1991) RM | FLAC (tracks+.cue), lossless

Big Bill Broonzy's absorption of the urbanized Chicago blues style was essentially complete by the time of the 1934-35 recordings assembled here. The highlight is a highly productive session featuring the State Street Boys, a group featuring Broonzy alongside harpist Jazz Gillum, guitarist Carl Martin, pianist Black Bob and violinist Zeb Wright, whose dissonant, scraping style lends the combo a highly distinctive sound; their material is fascinatingly diverse, ranging from the train songs "Midnight Special" and "Mobile and Western Line" to the saucy "She Caught the Train" and the much-covered "Don't Tear My Clothes." Also with Black Bob, Broonzy continued recording more simplified guitar/piano duets -- their "Southern Blues" is a lovely and nostalgic reminiscence about life on the other side of the Mason-Dixon line, while "Good Jelly" ranks among his most lyrically inventive efforts. Jason Ankeny

Abridged from this album’s original booklet notes. Prior to the recordings presented here Bill had worked with Georgia Tom Dorsey to produce one of the many successful guitar/piano combinations that were so popular in the wake of Leroy Carr and Scrapper Blackwell, the latter being a man to whom Bill gave a lot of attention. They had worked with Jane Lucas and the results were nothing like the blues and stomps of Bill’s first appearances in the recording studios. Following this he had formed an alliance with pianist Black Bob with whom he worked the clubs and recorded. Along with Bob he would join with a group of other humble toilers in the local entertainment industry to produce the State Street Boys. At this stage such groups rarely featured the trumpets and clarinets that they later inherited from The Harlem Hamfats and had not yet sunk into the moribund repeated celebration of “it” being “tight like that, beedle um bum”. One commentator has pointed out that apart from the use of a string bass in lieu of drums the two-guitar line-up of Bill and Carl Martin; the harmonica of Jazz Gillum and Black Bob’s piano equates with the basic make-up of the classic post war Chicago bar bands. This may be so but the addition of Zeb Wright’s harshly scraped violin and the choice of material denies such comparisons. Bill and Jazz shared the vocals with Jazz taking the lead on Crazy About You and the two train songs Midnight Special and Mobile And Western Line. They split a bowdlerised version of The Dozen between them, which never reaches the acerbic level of the exchanges for which the game was designed. Indeed there is something of a “parlour” feel to all the Boy’s recordings, probably due to Wright’s violin work, which even aspires to pizzicato on The Dozen. However this is balanced somewhat by Bill’s vocal on She Caught The Train:
“Some low-down man learned my baby how to Cadillac 8  Ever since she learned that position I can’t keep my business straight”

Don’t Tear My Clothes has a long history that included versions by Big Joe Turner and Smokey Hogg before Bob Dylan took it over as “Baby Let Me Follow You Down” and bequeathed it to The Animals in the mid-sixties. Bill was also using Black Bob for recordings under his own name and it is almost certainly that adroit ivory agitator working so well on Southern Blues and the up-tempo Good Jelly which includes the wonderful observation that “It’s a sin and a shame; it’s a sin when you can get it – and a shame when you can’t”. Bill’s guitar is well to the fore on these skilful collaborations. Another of Bill’s friends was the under-recorded Louis Lasky, from whom he is alleged to have taken some of his guitar style, and it is probably that individual working with Bill on the justly acclaimed C And A Blues. The blues staple “Sitting On Top Of The World” forms the basis of You May Need My Help a title, and idea that later found an echo in the work of Bill’s most famous protégé, Muddy Waters. DOCD-5052

Tracklist :
1    Big Bill–    I Want To See My Baby (A) 3:20
2    Big Bill–    Serve It To Me Right (A) 2:53
3    Big Bill–    Dirty-No-Gooder (A) 3:20
4    Big Bill–    Let Her Go - She Don't Know (B) 3:32
5    Big Bill–    Hobo Blues (B) 3:12
6    Big Bill–    Prowlin' Ground Hog (B) 3:01
7    Big Bill–    C-C Rider [Take A] (C) 3:15
8    Big Bill–    C-C Rider [Take B] (C)     3:17
9    State Street Boys–    Mobile And Western Line (D) 3:06
10    State Street Boys–    Crazy About You (D) 2:55
11    State Street Boys–    Sweet To Mama (D) 2:47
12    State Street Boys–    Rustlin' Man (D) 3:08
13    State Street Boys–    She Caught The Train (D) 3:03
14    State Street Boys–    Midnight Special (D) 2:50
15    State Street Boys–    The Dozen (D) 3:01
16    State Street Boys–    Don't Tear My Clothes (D) 3:08
17    Big Bill–    The Southern Blues (E) 3:34
18    Big Bill–    Good Jelly (E) 3:16
19    Big Bill–    C & A Blues (F) 2:56
20    Big Bill–    Something Good (F) 2:51
21    Big Bill–    You May Need My Help Someday (G) 3:02
22    Big Bill–    Rising Sun Shine On (G) 3:08

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 4 • 1935-1936 | DOCD-5126 (1992) RM | FLAC (tracks+.cue), lossless

Swing might have been king by 1935-36, but Big Bill Broonzy was a different type of royalty, one of the major bluesmen in Chicago. Always a technically skilled guitarist, Broonzy's vocalizing had grown in maturity and depth during the first half of the 30s. On the fourth of 11 Document CDs that contain all of Big Bill's prewar recordings as a leader (and many as a sideman), Broonzy is heard on two religious numbers with the Chicago Sanctified Singers, one tune ("Keep Your Mind On It") with the Hokum Boys, and 21 songs either in duets with pianist Black Bob or trios with Black Bob and bassist Bill Settles. Among the more memorable selections are "Bad Luck Blues," "I'm Just a Bum," "Keep Your Hands Off Her," "The Sun Gonna Shine In My Door Someday" and "Match Box Blues."  Scott Yanow

Abridged from this album’s original booklet notes. Big Bill Broonzy was known by just about everybody involved in the music scene in Chicago. By mid-1935, when this volume takes up the story, the depression was easing somewhat and the juke box was countering its threat to one aspect of the musician’s livelihood by providing an opportunity in another in the form of increased recording activity and wider distribution of the product. Although he always worked at one or more “normal” jobs, labouring or serving in stores, Bill seems to have spent most of his life between the studios and the bars at this time and it is strange that, despite his involvement in enumerable sessions, only twenty tracks appeared under his own name on the Bluebird label (those not appearing here can be found on volumes 2 and 3 of this series). After much research and controversy Black Bob‘s real name remains uncertain though it seems probable that he was the Bob Hudson remembered by Memphis Slim. Louis Lasky, whose own work appears on DOCD 5045 The Songster Tradition, is alleged to have taught Bill how to flat-pick; he is also speculated to be the Louis Leslie associated (by “circumstantial” evidence, to quote Dixon and Godrich) with the Chicago Sanctified Singers. Certainly Leslie, Big Bill and Black Bob were all present in the ARC studios when the two Sanctified Singers sides were cut so a likely line up for this group might be Bill or Leslie, guitar, Bob, piano, and a vocal trio made up of Bill, with either Bob or Leslie and an unknown female. The influence of Leroy Carr on Big Bill Broonzy‘s work at this time is marked both on such upbeat numbers as the bouncy Keep Your Hands Off Her (a gentler title than the more usual Keep Your Hands Off It) and such sadly reflective songs as Bad Luck Blues. His voice was never as wistful as Carr’s but he made a conscious effort to study and reproduce the guitar sound of Scrapper Blackwell and supported by the outstandingly sympathetic piano of Black Bob (sometimes augmented by Bill Settles‘ string bass) produced a string of satisfying blues recordings to counterbalance the flood of hokum material that was washing over the market during those years. Big Bill Broonzy‘s involvement with this side of the business saw him working with such groups as The Midnight Ramblers and The State Street Boys. One representative track, The Hokum Boys‘ Keep Your Mind On It, is included here; it sees Big Bill Broonzy taking the vocal backed up by the guitar of Casey Bill Weldon and the sud-busting of Bill’s alleged half-brother Washboard Sam. DOCD-5126
Tracklist :
1    Chicago Sanctified Singers–    Tell Me What Kind Of Man Jesus Is 2:53
Guitar [Probably], Vocals [Probably] – Louie Lasky
Guitar, Vocals [Probably] – Big Bill Broonzy
Piano [probably] – Black Bob
2    Chicago Sanctified Singers–    I Ain't No Stranger Now 2:52
Guitar [Probably], Vocals [Probably] – Louie Lasky
Guitar, Vocals [Probably] – Big Bill Broonzy
Piano [probably] – Black Bob
3    Big Bill Broonzy–    Mountain Blues 3:02
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
4    Big Bill Broonzy–    Bad Luck Blues 3:07
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
5    Big Bill Broonzy–    I Can't Make You Satisfied 3:11
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
6    Big Bill Broonzy–    I'm Just A Bum 2:58
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
7    Big Bill Broonzy–    Keep Your Hands Off Her 2:51
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
8    Big Bill Broonzy–    The Sun Gonna Shine In My Door Someday 3:01
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
9    Big Bill Broonzy–    Good Liquor Gonna Carry Me Down 2:43
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
10    Big Bill Broonzy–    Down The Line Blues 3:17
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
11    Big Bill Broonzy–    Bricks In My Pillow 3:06
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
12    Big Bill Broonzy–    Tell Me What You Been Doing 2:53
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
13    Big Bill Broonzy–    Ash Hauler 2:34
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
14    Big Bill Broonzy–    Evil Women Blues 2:57
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
15    Big Bill Broonzy–    These Ants Keep Biting Me 2:49
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
16    Big Bill Broonzy–    Big Bill Blues (These Blues Are Doggin' Me) 2:54
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
17    Big Bill Broonzy–    You Know I Need Lovin' 3:10
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
18    Big Bill Broonzy–    Match Box Blues 2:59
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
19    Big Bill Broonzy–    Low Down Woman Blues 3:00
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
20    The Hokum Boys–    Keep You Mind On It 3:02
Bass [Probably] – Bill Settles
Guitar, Vocals – Big Bill Broonzy, Casey Bill Weldon
Washboard – Washboard Sam
21    Big Bill Broonzy–    Bull Cow Blues, No. 3 3:06
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
22    Big Bill Broonzy–    Married Life's A Pain 3:02
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
23    Big Bill Broonzy–    Black Mare Blues 2:54
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
24    Big Bill Broonzy–    Pneumonia Blues (I Keep On Aching) 2:38
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob

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

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

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