BUDDY MOSS — Complete Recorded Works In Chronological Order ★ Volume 2 • 1933-1934 | DOCD-5124 (1992) RM | FLAC (tracks+.cue), lossless

For completists, specialists and academics, Document's Complete Recordings, Vol. 2: 1933-1934 is invaluable, offering an exhaustive overview of Buddy Moss' early recordings. For less dedicated listeners, the disc is a mixed blessing. There are some absolutely wonderful, classic performances on the collection, but the long running time, exacting chronological sequencing, poor fidelity (all cuts are transferred from original acetates and 78s), and number of performances are hard to digest. The serious blues listener will find all these factors to be positive, but enthusiasts and casual listeners will find that the collection is of marginal interest for those very reasons. Thom Owens

Abridged from this album’s original booklet notes. During July and August 1934 Buddy Moss cut eighteen titles over five sessions, with all but one of them being subsequently released. To gain an appreciation of how valuable, or otherwise, Buddy was to his record company as a potentially large seller of records, his contracts of the time indicate that he was paid $5 for each selection. By the end of the following year that payment had been doubled to $10. It has often been commented that Buddy Moss was the most influential East Coast bluesman to record in the years between Blind Blake‘s last session and Blind Boy Fuller‘s first. Listening to these solo items it becomes fairly apparent where some of the sources of Fuller’s musical ideas, as well as some of his vocal technique, were found. This is best exemplified by Some Lonesome Day where the mode of singing and guitar style are very proto-Fuller. This recording is markedly different, both in lyric and approach, to the song of the same title of 21 September 1933 on which he is accompanied by Weaver. To carry the Blind Boy Fuller analogy further, the meter of Dough Rollin’ Papa is exactly that used by Fuller for his hugely successful, I’m A Rattlesnakin’ Daddy, recorded the following year. Being in a solo setting and without the instrumental constraints of others seemed to alter Moss’s singing style. His vocal developed a deeper, more sullen, tone at times reminiscent of Leroy Carr at his more languid. In turn this brought about an introverted almost desolate air to his recordings. Indeed this may have been purely a reflection of the mood of the man himself. There does seem to have been, over several sessions, a preponderance of such themes as sexual frustration, death, misery, sleepless nights, infidelity, alienation etc, so perhaps such a hypothesis is not that so from the mark. The Blind Blake inspired Insane Blues found Buddy Moss ill at ease with the world,

“Blues and trouble, I mean they will drive you wild. They won’t only drive you crazy, they’ll make you commit suicide”.

While the East Coast favourite, Trick’s Ain’t Walking No More, though maintaining a ragtime tempo, had a vocal more in keeping with the moody, magnificence of Lucille Bogan‘s recording rather than those of his Piedmont contemporaries. In Jinx Man,  BuddyMoss sounded like a man constantly dogged by unstable relationships, laying the blame for such failings firmly at the door of a jinx,

“I’m just a mistreated man and the jinx is on poor me. Since my baby left me, seems like the whole world down on me”. DOCD-5124
Tracklist :
1        Broke Down Engine No. 2 3:04
Guitar – Curley Weaver
Vocals, Guitar – Buddy Moss
2        Broke Down Engine No. 2 3:07
Guitar – Curley Weaver
Vocals, Guitar – Buddy Moss
3        B & O Blues No. 2 3:03
Guitar – Curley Weaver
Vocals, Guitar – Buddy Moss
4        Some Lonesome Day 2:45
Guitar – Curley Weaver
Vocals, Guitar – Buddy Moss
5        Some Lonesome Day 2:53
Guitar – Curley Weaver
Vocals, Guitar – Buddy Moss
6        New Lovin' Blues 2:36
Vocals, Guitar – Buddy Moss
7        Unkind Woman 2:50
Vocals, Guitar – Buddy Moss
8        When The Hearse Roll Me From My Door 2:54
Vocals, Guitar – Buddy Moss
9        Insane Blues 2:34
Vocals, Guitar – Buddy Moss
10        Tricks Ain't Walking No More 2:52
Vocals, Guitar – Buddy Moss
11        Stinging Bull Nettle 2:39
Vocals, Guitar – Buddy Moss
12        Oh, Lordy, Mama 2:42
Vocals, Guitar – Buddy Moss
13        Dough Rolling Papa 2:39
Vocals, Guitar – Buddy Moss
14        Some Lonesome Day 2:43
Vocals, Guitar – Buddy Moss
15        Misery Man Blues 2:36
Vocals, Guitar – Buddy Moss
16        Jinx Man Blues 2:44
Vocals, Guitar – Buddy Moss
17        Evil Hearted Woman 2:50
Vocals, Guitar – Buddy Moss
18        Too Dog-Gone Jealous 3:06
Vocals, Guitar – Buddy Moss
19        Someday, Baby (I'll Have Mine) 2:50
Vocals, Guitar – Buddy Moss
20        Love Me, Baby, Love Me 2:37
Vocals, Guitar – Buddy Moss
21        Sleepless Night 2:34
Vocals, Guitar – Buddy Moss
22        Shake It All Night Long 2:52
Vocals, Guitar – Buddy Moss

BUDDY MOSS — Complete Recorded Works In Chronological Order ★ Volume 3 • 1935-1941 | DOCD-5125 (1992) RM | FLAC (tracks+.cue), lossless

This disc contains the Georgia Cotton Pickers songs on which Buddy Moss played on December 7, 1930. Although he is playing harmonica rather than guitar, they're necessary for any completists, and Bob's work is so closely related to Moss's music, that it's impossible to overlook any of it. Bruce Eder

Abridged from  the original booklet notes. By 1935 Buddy Moss’s star was definitely in the ascendency and with Blind Willie McTell moving to Decca the record company had in Moss an established artist with all the sales potential of McTell. In August he was recalled to the studio and, unlike the previous year, was back with an accompanist – Josh White. As such this alliance was probably one of convenience since White, another Piedmont artist, had been in the studio most of the year recording blues (as Pinewood Tom) and spirituals (as the Singing Christian). It was therefore a logical step to pair them. At one of these sessions White, in his Singing Christian guise, duetted with Moss. Despite all the positiveness on the part of the record company, Buddy Moss’s career was to suffer a serious setback. Alan Balfour Copyright 1992 Document Records  DOCD-5125
Tracklist :
1    Buddy Moss–    Gravy Server 2:53
Vocals, Guitar – Buddy Moss
2    Buddy Moss–    Going To Your Funeral In A Vee Eight Ford 3:00
Vocals, Guitar – Buddy Moss
3    Buddy Moss–    My Baby Won't Pay Me No Mind 3:02
Vocals, Guitar – Buddy Moss
4    Buddy Moss–    Undertaker Blues 3:10
Guitar – Joshua White
Vocals, Guitar – Buddy Moss
5    Buddy Moss–    Oh Lordy Mama No. 2 3:05
Guitar – Joshua White
Vocals, Guitar – Buddy Moss
6    Buddy Moss–    Worrysome Woman 3:04
Guitar – Joshua White
Vocals, Guitar – Buddy Moss
7    Buddy Moss–    Your Hard Head Will Bring You Sorrow Some Day 2:53
Guitar – Joshua White
Vocals, Guitar – Buddy Moss
8    Buddy Moss–    Can't Use You No More 3:08
Guitar – Joshua White
Vocals, Guitar – Buddy Moss
9    Buddy Moss–    See What You Done Done 2:50
Guitar – Joshua White
Vocals, Guitar – Buddy Moss
10    Buddy Moss–    Stop Hanging Around 3:18
Guitar – Joshua White
Vocals, Guitar – Buddy Moss
11    Joshua White (The Singing Christian)–    On My Way 3:00
Vocals [vocal duet], Guitar [guitar duet] – Buddy Moss, Joshua White
12    Joshua White (The Singing Christian)–    How About You? 2:58
Vocals [vocal duet], Guitar [guitar duet] – Buddy Moss, Joshua White
13    Joshua White (The Singing Christian)–    Talking About My Time 2:55
Vocals [vocal duet], Guitar [guitar duet] – Buddy Moss, Joshua White
14    Buddy Moss–    You Got To Give Me Some Of It  3:08
Vocals, Guitar – Buddy Moss, Joshua White
15    Buddy Moss–    Mistreated Boy 2:55
Guitar – Joshua White
Vocals, Guitar – Buddy Moss
16    Buddy Moss–    You Need A Woman 2:48
Guitar [possibly] – Brownie McGhee
Vocals, Guitar [possibly] – Buddy Moss
17    Buddy Moss–    Joy Rag 2:33
Piano – Brownie McGhee
Vocals, Guitar – Buddy Moss
Washboard [Either/Or] – Oh Red, Robert Young
18    Buddy Moss–    Little Angel Blues 2:44
Piano – Brownie McGhee
Vocals, Guitar – Buddy Moss
19    Buddy Moss–    Struggle Buggie 2:42
Vocals, Guitar – Buddy Moss
Washboard [Either/Or] – Oh Red, Robert Young
20    Buddy Moss–    I'm Sittin' Here Tonight 2:46
Harmonica – Sonny Terry
Vocals, Guitar – Buddy Moss
Washboard [Either/Or] – Oh Red, Robert Young
21    Buddy Moss–    Baby, You're The One For Me 2:44
Vocals, Guitar – Buddy Moss
22    Buddy Moss–    Unfinished Business 2:48
Vocals, Guitar – Buddy Moss

BLIND BOY FULLER — Complete Recorded Works In Chronological Order ★ Volume 1 • 1935-1936 | DOCD-5091 (1992) RM | FLAC (tracks+.cue), lossless

The finest collection ever of blues and ragtime. Fuller is here both solo and with Gary Davis, Sonny Terry, and Bull City Red. This is Piedmont blues at its best (1935-1936), a must for anyone interested in down-home blues. Barry Lee Pearson

Abridged from this album’s original booklet notes. During the course of his five years of recording, Blind Boy Fuller produced 129 separate master titles. In addition to these, there are five reported alternative takes that were issued on 78s, and five unissued alternates from the 1935 and 1936 sessions that were recently issued on Columbia/Legacy CK 46777. While we are indeed fortunate that Fuller was recorded in such depth, what is perhaps most striking about this body of work is how little repetition it contains. With the assistance of his manager, J.B. Long, Fuller constructed a recording career that was competitive with such popular blues artists as Big Bill Broonzy, Tampa Red, and Peetie Wheatstraw while carefully avoiding the pitfalls of a successful recording formula. Though not a guitar virtuoso on a par with Gary Davis, or a vocalist with the expressive warmth of Blind Willie McTell, Fuller was nonetheless a versatile and highly skilled player and a singer of subtle abilities. These are qualities that have kept his recordings a fresh listening experience more than fifty years after his last session. In 1927, Blind Boy Fuller Fuller and his wife, Cora Mae, moved to Winston-Salem, and in 1929 they moved again, this time to Durham. Sometime after this they relocated to Danville, Virginia for a time, but essentially they lived in Durham after 1929. There, he concentrated on music as a livelihood and with the help of the Welfare Department was granted permission by the police to perform music in a “designated place” on the streets of Durham. It was probably at such a “designated place” that Fuller ran into J.B. Long, who was at that time a freelance scout of sorts for the American Record Corporation. Long auditioned Fuller and obtained for him a contract with ARC. In July 1935 Fuller, Gary Davis and Bull City Red (George Washington) travelled to New York for their first recording sessions. Davis, who was 39 at the time of the session (Fuller had just turned 28) was the senior musician in more than age and may well have been the musician for whom Long has the greatest expectations. Bruce Bastin (in his earlier overview of east-coast blues: “Crying For The Carolines”) first pointed to Gary Davis as perhaps the primary influence on Fuller. Davis was certainly the most proficient guitarist in Durham at the time, and even if his influence was indirect, it would still have been great. Davis himself stated that he had taught Fuller and that “he would have been all right if I kept him under me long enough”. Contemporary Durham bluesmen Willie Trice and Baby Tate have attested that Davis indeed taught Fuller to play in the key of A. To be fair to Fuller, though, his real genius rested not on his originality but on his ability to absorb a multitude of influences and shape them into a coherent whole. Even given the existence of Davis’ later recordings (a fair portion of which are secular), it is difficult to correlate the bulk of Blind Boy Fuller’s catalogue with that of Gary Davis. At the July 23 1935 session, Gary Davis was the first to record, and the two stunning blues he performed (“I’m Throwin’ Up My Hands” in the key of A, and “Cross and Evil Woman Blues” in the key of E – see Document DOCD-5060) are benchmarks against which the rest of the blues of the 1935 sessions must be measured. There have been several speculations about the cause of the friction between Gary Davis and J.B. Long at the sessions, but it probably resulted primarily from Davis’ insistence on recording religious material. Long appears to have been looking for commercial blues product and, having already obtained two strong blues numbers from Davis, he would most likely have balked at Davis’ determination to record sanctified songs. Gary Davis sang no more blues at the sessions and a few years later Long failed to persuade him to record again. This left a vacuum which Blind Boy Fuller wasted no time filling. His three tracks from July 23 are all strong commercial blues and apparently, once he realised he was no longer in competition with Davis he relaxed considerably as he generated nine other titles over the next three days. Recording supervisor Art Satherly thought highly of Davis’ guitar abilities and probably was instrumental in convincing him to accompany Fuller on several titles. The results, particularly on Rag, Mama, Rag where Davis’ subtly driving bass lines and Bull City Red’s propulsive washboard allowed Fuller to scale new heights, were breathtaking. Perhaps Satherly worked out a compromise with Davis, because on July 25, after accompanying Fuller on two titles, Davis was allowed to record four religious pieces. At that point, eleven blues titles had already been cut, so there was little risk in pacifying Davis. The next day Davis recorded nine more religious titles completing his remarkable pre-war output in a scant four days. J.B. Long’s commercial instincts were borne out as none of Gary Davis’ records appears to have sold in any quantity (based on their rarity in comparison with Blind Boy Fuller’s 78s). Fuller concluded the four day session with Log Cabin Blues (a remake of Blind Willie McTell’s “Come On Around To My House Mama”), and one of his rarely recorded bottleneck pieces: Homesick And Lonesome Blues. Long and ARC should have been quite satisfied with the results of these sessions as they had produced twelve blues by Blind Boy Fuller, eight blues by Bull City Red, and two blues and thirteen religious titles by Gary Davis. DOCD-5091
Tracklist :
1        Baby, I Don't Have To Worry    3:03
2        I'm A Rattlesnakin' Daddy    3:05
3        I'm Climbin' On Top Of The Hill    3:17
4        Ain't It A Crying Shame?    3:03
5        Looking For My Woman    3:09
6        Rag, Mama, Rag (Take 1) 3:03
Guitar [Added] – Blind Gary Davis
Washboard – Bull City Red
7        Rag, Mama, Rag (Take 2) 3:06
Guitar [Added] – Blind Gary Davis
Washboard – Bull City Red
8        Baby, You Gotta Change Your Mind 3:13
Guitar [Added] – Blind Gary Davis
Washboard – Bull City Red
9        Evil Hearted Woman 3:04
Washboard – Bull City Red
10        My Brownskin Sugar Plum    2:59
11        Somebody's Been Playing With That Thing    3:15
12        Log Cabin Blues (Take 1)    3:07
13        Log Cabin Blues (Take 2)    3:17
14        Homesick And Lonesome Blues    3:05
15        Walking My Troubles Away (Take 1)    2:53
16        Walking My Troubles Away (Take 2)    2:54
17        Black And Tan    3:20
18        Keep Away From My Woman (Take 1)    2:52
19        Keep Away From My Woman (Take 2)    3:12
20        Babe You Got To Do Better    2:58
21        Big Bed Blues    3:01
22        Truckin' My Blues Away    3:05
23        (I Got A Woman Crazy For Me) She's Funny That Way    3:03
24        Cat Man Blues (Take 1)    3:03

BLIND BOY FULLER — Complete Recorded Works In Chronological Order ★ Volume 2 • 1936-1937 | DOCD-5092 (1992) RM | FLAC (tracks+.cue), lossless

The second volume in Document's chronological overview of Blind Boy Fuller's life and music contains some of his most popular recordings, including the 1936 sessions which yielded both "Truckin' My Blues Away" (an update of Tampa Red's "What Is It That Tastes Like Gravy?") and "Mama Let Me Lay It on You" (a rendition of Memphis Minnie and Kansas Joe's "Can I Do It for You?"), both of them definitive versions. Fuller's gift for making familiar songs his own pops again on his next session, from early February of 1937; backed by Dipper Boy Council and Bull City Red, he delivers renditions of "Mamie," "Untrue Blues" (a version of the "Crow Jane" theme) and "New Oh Red!," all of them revelatory and unforgettable. Jason Ankeny

Abridged from this album’s original booklet notes. Blind Boy Fuller’s 1936 sessions (mostly included in Vol. 1) yielded ten titles including Trucking My Blues Away (a remake of Tampa Red’s “What Is It That Tastes Like Gravy?” from 1929) and Mama Let Me Lay It On You (a version of Memphis Minnie and Kansas Joe’s “Can I Do It For You?” from 1930). Both of these titles were popular enough to be issued on several of the ARC labels (with Trucking later reissued twice on Columbia) as well as being re-recorded in No. 2 incarnations at later sessions. Regardless of their genesis, both titles have been associated with Blind Boy Fuller ever since he recorded them and his versions have inspired a host of imitators. Blind Boy Fuller’s third group of sessions took place on February 8, 9 and 10, 1937 with Dipper Boy Council and Bull City Red present on guitar and washboard on some tracks. Bruce Bastin has noted that Fuller’s Been Your Dog uses the same melody as Bull City Red’s “Black Woman and Poison Blues” and that its guitar part is similar to Red’s “Mississippi River” both recorded in July 1935. Mamie was recalled by Willie Trice as the first song he learned in the mid-1920s so these two songs may offer evidence that Blind Boy Fuller was drawing from a common pool of local material. Untrue Blues was a reworking of the “Crow Jane” theme (the 1927 version by Julius Daniels on Victor 21065 has “Richmond Blues” – a song covered by Bull City Red at the July 1935 session – as its flip-side). Fuller was probably aware of this record as well as Josh White’s popular version (“Blood Red River” from 1933). In addition to this, Richard Trice recalled that Fuller carefully studied Carl Martin’s definitive version of “Crow Jane” from 1935. This should all serve to illustrate how much conscious reconstruction of recorded blues material took place in the group of musicians surrounding Blind Boy Fuller. The last title recorded at the February 1937 sessions was New Oh Red! with both Dipper Boy Council and Bull City Red added on this exuberant remake of the Harlem Hamfats’ hit of 1936 (itself a remake of their own “Oh, Red!” from earlier in that year). Blind Boy Fuller was, at this point in his career, a fully professional, seasoned recording artist whose records sold as well as any of the Chicago competition. DOCD-5092
Tracklist :
1        Cat Man Blues 3:05
Vocals, Guitar – Blind Boy Fuller
2        When Your Gal Packs Up And Leaves 2:52
Vocals, Guitar – Blind Boy Fuller
3        Mama Let Me Lay It On You 2:54
Vocals, Guitar – Blind Boy Fuller
4        If You Don't Give Me What I Want 2:53
Guitar – Dipper Boy Council
Vocals, Guitar – Blind Boy Fuller
Washboard – Bull City Red
5        Boots And Shoes 2:49
Guitar – Dipper Boy Council
Vocals, Guitar – Blind Boy Fuller
6        Trucking My Blues Away No. 2 2:51
Vocals, Guitar – Blind Boy Fuller
Washboard – Bull City Red
7        Trucking My Blues Away No. 2 2:46
Vocals, Guitar – Blind Boy Fuller
Washboard – Bull City Red
8        Sweet Honey Hole 2:47
Vocals, Guitar – Blind Boy Fuller
Washboard – Bull City Red
9        Untrue Blues 2:49
Vocals, Guitar – Blind Boy Fuller
Washboard – Bull City Red
10        Tom Cat Blues 2:36
Vocals, Guitar – Blind Boy Fuller
11        My Baby Don't Mean Me No Good 2:54
Vocals, Guitar – Blind Boy Fuller
12        Been Your Dog 2:44
Vocals, Guitar – Blind Boy Fuller
13        My Best Gal Gonna Leave Me 2:47
Vocals, Guitar – Blind Boy Fuller
14        Wires All Down 2:47
Vocals, Guitar – Blind Boy Fuller
15        Let Me Squeeze Your Lemon 2:59
Vocals, Guitar – Blind Boy Fuller
16        Death Alley 2:39
Vocals, Guitar – Blind Boy Fuller
17        Mamie 2:50
Vocals, Guitar – Blind Boy Fuller
18        Mamie 2:43
Vocals, Guitar – Blind Boy Fuller
19        New Oh Red! 2:46
Guitar – Dipper Boy Council
Vocals, Guitar – Blind Boy Fuller
Washboard – Bull City Red
20        If You See My Pigmeat 3:01
Vocals, Guitar – Blind Boy Fuller
21        Stingy Mama 2:41
Vocals, Guitar – Blind Boy Fuller
22        Why Don't My Baby Write To Me? 2:40
Vocals, Guitar – Blind Boy Fuller
23        Some Day You're Gonna Be Sorry 3:07
Vocals, Guitar – Blind Boy Fuller
24        You Never Can Tell 2:54
Vocals, Guitar – Blind Boy Fuller

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

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

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

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

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

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