Group & Last Name Index to Full History:
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Tracks are listed in chronological order by year, then alphabetically.
Listings do not reflect proper order by month or day: later oft precedes earlier.
Find on Page = F3. Not on this page? See history tree below.
Featured on this page loosely in order of first recording if not record release (as possible).
Names are alphabetical, not chronological, per year:
|
Caveats in the employment of this page: 1. It descends in chronological
order by the year the artist or band is first found on a commercial record
issue (ideally) by year only, alphabetical thereat. One musician above
another doesn't necessarily translate to earlier issue unless the year
changed. 2. Though release dates are the aim with links to YouTube, some are
recording dates and may not be everywhere clearly distinguished. 3. Reissues
are used to represent originals without much discussion. |
||
| Formally, what distinguishes the blues from other musical genres is a
matter of bar and stanza structure, tonality (key) and flattened "blue"
notes. Otherwise, for some, the blues are a limb of ragtime and early jazz:
1,
2. On this page we witness
(for a large part) blues as derived out of a deep southern branch of folk
music to develop in rural barrel houses upon Lincoln's
Emancipation Proclamation on January 1, 1863.
When speaking terms of a "Father" of the blues, one is talking
William Handy. Some cite
Hart Wand for 'Dallas Blues' (1912) although
Antonio Maggio earlier published
'I Got the Blues' in 1908 and 'Alabama Blues' in 1909.
William Handy was born in
Alabama but early left for Chicago, he the progenitor of northern urban
blues. This page focuses on southern rural blues where such as
Lead Belly performed for decades before
making any recordings. Sessions data this page is largely
American Music.
References to the Discography of American Historical Recordings (DAHR) 1,
2)
also point to sessions. Helpful synopsis of the blues genre at SAPM.
See also Scaruffi. |
||
|
Sara Martin Sylvester Weaver Source: Terry's Songs
|
Born in 1897 in Louisville, Kentucky, blues guitarist Sylvester Weaver's [1, 2, 3, 4] first recordings were probably with Sara Martin in 1923, thought on the 24th of October: ''I've Got to Go and Leave My Daddy' issued on Okeh 8104 and 'Longing for Daddy Blues' released on Okeh 8117. On 2 November he recorded his first versions of 'Guitar Blues' and 'Guitar Rag' (Okeh 8109). Weaver became the daddy of blues guitar due largely to his partnership with Martin. Others with whom he recorded were violinist, E.L. Coleman, with Charles Washington on banjo for 'Steel String Blues' in St. Louis, MO, in 1925. 'Alligator Blues' was put down with Helen Humes in November of 1927. Among Weaver's own compositions were:
Chittlin Rag Blues See compositional credits at Australian Charts as well. As a popular guitarist for the few years that he recorded, Weaver retired from the music industry in 1927 to live in obscurity in Louisville, KY, until his death on April 4, 1960. Weaver's complete recordings became available in 1992 per Volumes 1 & 2 of 'Complete Recorded Works' by Document Records. Disco w various credits at Discogs. He is credited with the composition of all titles below. Sylvester Weaver 1923 Sylvester Weaver 1927 With Walter Beasley
|
|
|
Born in New Orleans in 1887, banjo player Papa Charlie Jackson [1, 2, 3, 4, 5, 6] mixed blues with ragtime, first recording circa August of 1924 per 'Airy Man Blues' and 'Lawdy Lawdy Blues' (Paramount 12219) [*]. Jackson recorded a total of 66 sides, largely in Chicago for Paramount, to as late as 1934 when he is thought to have retired to Chicago until his early death on May 7, 1938. 'Salty Dog Blues' arrived during his second session in 1924, which he recorded again in 1926 with Freddie Keppard's Jazz Cardinals. Jackson also wrote 'Shake That Thing recorded in 1925. Though that technically referred to dance it emerged about the same time as what's called hokum blues, that is, bawdy blues featuring slippery innuendos. Jackson's 'All I Want Is a Spoonful' of 1925 referenced cocaine at the least. Similar in theme was Willie Dixon's later 'Spoonful' of 1960, that to become a well-known blues standard initially recorded by Howlin' Wolf. Jackson discography at American Music. Discographies with compositional notes at australiancharts, keeponliving and redhotjazz. Disco w various credits at Discogs. Papa Charlie Jackson 1924 Composition: Ida Cox 1923 Papa Charlie Jackson 1925 Composition: Gertrude Davis 1925 Papa Charlie Jackson 1926 Papa Charlie Jackson 1929 Composition: Gertrude Davis 1925
|
Papa Charlie Jackson Source: Red Hot Jazz |
|
|
Lonnie Johnson Source: Red Hot Jazz |
Born in New Orleans in 1899, guitarist and violinist, Lonnie Johnson [1, 2, 3, 4], first recorded in 1925 as the prize of winning a blues contest. That was the same year Louis Armstrong formed his Hot Five, while across the Atlantic Hitler published 'Mein Kampf'. Johnson plays violin on 'Ball and Chain Blues' below. Johnson's early career in the twenties included numerous sessions with pianist, James Johnson. The Depression years saw him working with such as Bessie Smith and pianist, Roosevelt Sykes, among others, as well as a solid recording career with Bluebird Records. He transitioned from blues to rhythm and blues in the early forties. Touring England in 1952, he then experienced tough times during which he had to take janitorial jobs between club gigs. In 1969 Johnson was hit by a car while walking down a sidewalk in Toronto, hastening his death the next year on June 16, 1970. Found on nearly 500 recordings, DAHR lists his discography from its beginning in 1925 to 1930 per vocals and instrumentals. Partial discographies with compositional credits at chickenchokers and honkingduck. See also Hung Medien, Anita Pravits and Scott Alexander. Johnson on 78 rpm. Johnson at 45Cat. Discogs. HMR Project. Johnson composed all titles below except as noted. Lonnie Johnson 1925 Lonnie Johnson 1926 Lonnie Johnson 1928 Lonnie Johnson 1930 Lonnie Johnson 1938 Lonnie Johnson 1939 Lonnie Johnson 1942 Lonnie Johnson 1948 Lonnie Johnson 1951 With the Tiny Bradshaw Band Composition: Reckling/Millender With the Tiny Bradshaw Band
Composition:
With Tiny Bradshaw
Composition:
Lonnie Johnson 1966
|
|
|
Born in 1896, guitarist Blind Blake (Arthur Blake) [1, 2, 3, 4] produced 80 tracks for Paramount Records between 1926 and 1932. Approaching both blues and ragtime, Blake's first release was 'Early Morning Blues' in 1926 with 'West Coast Blues' the B side of Paramount 12387 [*]. He is thought to have performed with Ma Rainey in December of '26 for such as 'Little Low Mama Blues' and 'Grievin' Hearted Blues'. Blake is recognized to this day as a masterful guitar player, picking in particular, as exampled on such as 'Diddie Wah Diddie' and 'Police Dog Blues' in 1929. Blake featured in the traveling vaudeville show, 'Happy Go Lucky', in 1930 and '31. He recorded his final tracks in 1932 for Paramount. Unfortunately Blake died young of tuberculosis on December 1, 1934, only 38 years old. Most titles below were composed by Blake. As for 'He's in the Jailhouse Now' (1927), that was a vaudeville tune of unknown origin, numerous versions of which have been recorded, most famously by Jimmie Rodgers in 1928, the Memphis Sheiks (Memphis Jug Band) in 1930, Webb Pierce in 1955 and Johnny Cash in 1962. Discographies at Hung Medien and by Anita Pravits. A complete compilation of Blind Blake appeared in 2003 titled 'All The Published Sides' in a box set of 5 CDs. Blake on 78 rpm. At Discogs. HMR Project. Blake probably composed or shares credit on all titles below except as indicated. Blind Blake 1926 First issue First issue Vocalist: Leola Wilson Composition: Bessie Smith Come On Boys Let's Do That Messin' Around Vocalist: Leola Wilson Composition: Wilson Composition: ? Blind Blake 1927 Composition: Blind Blake 1929 Blind Blake 1930 Vocal: Chocolate Brown (Irene Scruggs) Composition: Irene Scruggs
|
Arthur Blind Blake |
|
|
Bo Weavil Jackson
(James Butler?) [1,
2] is conjectured to have been born possibly in Birmingham or
somewhere in the Carolinas, though neither where nor when is known. He is
said to have been busking the streets
of Birmingham when he was discovered to the result of several recordings
made in Chicago circa August 1926 for Paramount: 'You Can't Keep No
Brown'/'Pistol Blues' (Paramount 12389), 'When the Saints Come Marching Home'/'I'm on My Way
to the Kingdom Land' (Paramount 12390) and 'Why Do You Moan'/'Some Scream High Yellow'
(Paramount 12423) [*]. Those
were followed by tracks as Sam Butler for Vocalion on September 30 in New
York City: 'You Can't Keep No Brown'/'Devil and My Brown Blues', 'Heaven Is
My View'/'Christians Fight On' and 'Poor Boy Blues'/'Jefferson County
Blues'. Jackson (Butler) then disappeared, ne'er to be heard from again,
there no more record of his death than his birth. Jackson's complete
recordings were issued in 1982 by Matchbox Records on a platter in their
'Complete Recordings in Chronological Order' series
[*].
Disco at Discogs. Sam Butler 1926 Christians Fight On, Your Time Ain't Long When the Saints Come Marching Home
|
Bo Weavil Jackson Source: Michael Messer
|
|
|
Peg Leg Howell Source: Discogs |
Born Joshua Barnes Howell in Eatonton, Georgia, in 1888, life had been a conspicuously mean one for Peg Leg Howell [*]. Howell had started life as a farm laborer, until he was shot in the right leg during a fight and it had to be amputated. No longer able to work in the fields, he turned to music, migrating to Atlanta, Georgia, to busk on the streets. That, of course, couldn't pay the rent, so he started selling bootleg liquor. For which he went to prison. Upon release he started performing on street corners again. Which, uniquely, resulted in a recording contract with Columbia Records in 1926. (Howell had written 'New Prison Blues', below, while incarcerated.) Unfortunately, Howell's recording career couldn't pay the rent either. So he started bootlegging again while performing on the streets. He didn't end up in jail this time, but would lose his left leg of diabetes, consigning him to a wheelchair and ineluctable poverty. Howell made final recordings in 1963 (age 75) before dying on August 11, 1966. Discography at American Music. See also Discogs / HMR Project. Peg Leg Howell 1926 Peg Leg Howell 1927 Peg Leg Howell 1928 Peg Leg Howell 1964
|
|
|
Blind Lemon Jefferson Source: KPLU 88.5 |
Born in Coutchman, Texas, in 1893, Blind Lemon Jefferson [1, 2, 3, 4, 5, 6, 7, 8/Disco] was a traveling guitarist and composer who first recorded as Deacon L.J. Bates circa December 1925 or January 1926 toward the issue of 'All I Want Is That Pure Religion' and 'I Want To Be Like Jesus In My Heart' on Paramount 12386. His initial titles as Blind Lemon Jefferson went down on 3 March 1926 as 'Got the Blues' / 'Long Lonesome Blues' on Paramount 12354 and 'Booster Blues' / 'Dry Southern Blues' on Paramount 12347. Other titles that year included 'Black Horse Blues' and 'Corinna Blues' in April on Paramount 12367. Jefferson recorded two versions of his compositions, 'Black Snake Moan' and 'Match Box Blues'. The Okeh version of those is the only plate that he issued on that label. 'Match Box Blues' is listed as one of the Rock and Roll Hall of Fame's 500 Songs That Shaped Rock and Roll. Blake also issued two versions of his composition, 'See That My Grave Is Kept Clean'. Blake enjoyed a successful recording career with Paramount until his early death in Chicago, likely of heart attack, in 1929. Sessions: DAHR / Stefan Wirz. Recordings with songwriting credits so far as known at Australian Charts. Jefferson on 78 rpm. At Discogs. At HMR Project. Jefferson is one of numerous early blues musicians archived in Bill Wyman's documentary, 'Blues Odyssey', issued on DVD in 2003. (Wyman played bass w the Rolling Stones from 1962 into the early nineties.) Blind Lemon Jefferson 1926 All I Want Is That Pure Religion I Want To Be Like Jesus In My Heart Blind Lemon Jefferson 1927 Okeh version Paramount version See That My Grave Is Kept Clean Blind Lemon Jefferson 1928 See That My Grave Is Kept Clean
|
|
|
Big Bill Broonzy Source: Blues (やねん！) |
Guitarist Big Bill Broonzy (Lee Conley Bradley) [1, 2, 3, 4, 5, 6] was born in 1893 in Arkansas. His first recordings in 1925 went unissued. He initial issued title followed in Nov 1927 per 'House Rent Stomp' released the next year with 'Big Bill Blues' gone down in Feb 1928. Broonzy's career sputtered until the latter thirties when it picked up steam, Broonzy to become one of the most highly regarded blues musicians on the scene until his death of throat cancer two decades later in 1958. The music to the blues standard, 'Key to the Highway', below, is among Broonzy's more than 300 compositions. Partial lists of songs he's written at australiancharts, discogs and secondhandsongs. Broonzy on 78 rpm. 45 rpm EPs. 45Cat. Discogs. HMR Project. Big Bill Broonzy 1928 Recorded Feb 1928 Recorded Oct or Nov 1927 Big Bill Broonzy 1932 Big Bill Broonzy 1934 Big Bill Broonzy 1941 Big Bill Broonzy 1942 Big Bill Broonzy 1956 Composition: Richard Whiting/Walter Bullock 1936
|
|
|
Richard "Rabbit" Brown [1, 2, 3, 4, 5, 6], born about 1880, lived his entire life in New Orleans. He performed in nightclubs, on the streets and was also a singing boatman at Lake Pontchartrain. He first recorded six tracks ('Great Northern Blues' unissued) on March 11, 1927, such as 'James Alley' and 'I'm Not Jealous' (Victor 20578). Bob Dylan did a well-known cover of 'James Alley' in 1963. Another of Brown's compositions, 'Mystery of the Dunbar's Child', was recorded that day. Those sessions were also Brown's last unless it's true, as likely, that he recorded 'Does Jesus Care?' and 'Where He Leads Me I Will Follow' (Vocalion 1273) as Blind Willie Harris in March of 1929. Brown is thought to have died in New Orleans in 1937. Brown at Discogs. HMR Project. Richard Brown 1927 Composition: Richard Rabbit Brown Composition: Richard Rabbit Brown Never Let The Same Bee Sting You Twice Composition: Chris Smith/Cecil Mack 1916 Composition: Richard Brown
|
Richard Rabbit Brown Source: Smokestack Lightnin'
|
|
|
Mississippi-born (1883) banjo player, Gus Cannon [1, 2, 3, 4 /Disco], first recorded to issue in Chicago circa November 1927 as Banjo Joe per 'Jonestown Blues' on matrix 20140-2 issued on Paramount 12588. The next matrix up at American Music is 20144-2 per 'Poor Boy, Long Ways From Home' as Banjo Joe with Blind Blake. Matrix 20145-2 is Madison Street Rag' as Banjo Joe with Blake. Matrix 201456-2 is 'Jazz Gypsy Blues' as Banjo Joe with Blake followed by 20147-1 per 'He's in the Jailhouse Now' as himself with Blake. 'Can You Blame the Colored Man' is matrix 20148-2 as Banjo Joe with Blake followed by 'My Money Never Runs Out' as Banjo Joe on matrix 20149-2 with Blake, all circa November 1927. In 1928 he formed the Jug Stompers with Noah Lewis (harmonica) and Ashley Thompson (guitar), all three having first played together in 1907 in Clarksdale, Mississippi. Though the group disbanded in 1933, after which Cannon largely retired, some twenty years later he revived his career, next recording in 1956. Though he recorded variously in 1961-63 during the blues revival of the early sixties, Gus had to pawn his banjo to pay a utilities bill before nice royalties began to arrive upon the December 1962 release of his composition, 'Walk Right In', by the Rooftop Singers. Cannon performed music until his death in 1979 at 96 years of age. Cannon at Discogs. HMR Project. Per below, 'Going to Germany' is thought to refer to Germantown, Tennessee. Dates below reference recording, not issue, years. Gus Cannon 1927 With Blnd Blake Composition: Unknown Vaudeville lineage Composition: Traditional Gus Cannon 1928 Composition: Noah Lewis Composition: Noah Lewis Composition: Noah Lewis Gus Cannon 1929
|
Gus Cannon Source: Musician by Night |
|
|
Sam Collins Source: Past Blues
|
Crying Sam Collins [1, 2] was a Louisiana barrelhouse performer born in Louisiana or Kentucky possibly in 1897. Wikipedia has Collins performing in barrelhouses with King Solomon Hill circa 1924. He made his first recordings circa April 23, 1927, for Gennett: 'The Jailhouse Blues', 'Devil in the Lions Den', 'Yellow Dog Blues', 'Loving Lady Blues' and 'Riverside Blues'. Collins used a number of pseudonyms as well: Jim Foster, Jelly Roll Hunter, Big Boy Woods, Bunny Carter and Salty Dog Sam. Collins died of heart disease in Chicago in 1949 at age sixty-two. A Collins anthology was released in 1991 by Document Records titled 'Complete Recorded Works In Chronological Order 1927-1931'. Collins at Discogs. Hung Medien. HMR Project. Sam Collins 1927 Composition: Traditional Sam Collins 1931
|
|
| Born in 1902 in Georgia, it is said that
Barbecue Bob (Robert Hicks)
[1,
2,
3]
was the first musician to be recorded by Columbia Records in their new
recording studio in Atlanta in 1927, that including 'Barbecue Blues'. Barbecue Bob last recorded with the Georgia
Cotton Pickers in 1930. He died the next year on October 21 in Lithonia,
Georgia, but age 29 [*].
Hicks acquired the name 'Barbecue Bob' because he had worked at Tidwell's
Barbecue in north Atlanta while playing music on the side. Discographies at
American Music,
45worlds,
45cat,
discogs
and rateyourmusic,
australiancharts.
HMR Project. Barbecue Bob 1927 Barbecue Bob 1929 Barbecue Bob 1930
|
Barbecue Bob (Robert Hicks) |
|
| Born in Brenham, Texas, in 1897,
Blind Willie Johnson
[1,
2,
3,
4,
5] made himself a cigar
box guitar at age five, perhaps in time-distortion preparation to join
numerous other blues musicians who were blind. For at age seven he was accidentally
blinded by his stepmother with lye during a fight with his father. Johnson
would spend the rest of his life in poverty, singing blues and spirituals on
the streets of Texan towns largely in the Beaumont area. Though 'If I Had My
Way I'd Tear the Building Down' is a spiritual about Samson and Delilah,
Johnson was once arrested for singing it in front of a government building
in New Orleans (riot incitement). He made his first recordings at age thirty
(1927) for Columbia Records. He would later make his home in Beaumont the
House of Prayer, preaching as Reverend W.J. Johnson. In 1945 that same home
would burn down. Too poor to quarter elsewhere he lived in its ruins until
his death the same year of malarial fever. Consult australiancharts for
songwriting credits.
Compositions by Johnson
covered
by later artists were released in 2016 as 'God Don't Never Change: The Songs
of Blind Willie Johnson'. Johnson on
78 rpm, at
45cat and
discogs.
HMR Project.
All titles below are Johnson
compositions. Blind Willie Johnson 1927 If I Had My Way I'd Tear the Building Down Blind Willie Johnson 1928 Lord I Just Can't Keep from Crying Blind Willie Johnson 1930
|
Blind Willie Johnson |
|
| Born in 1893 in Greenwood, Mississippi,
Walter "Furry" Lewis
[1,
2,
3,
4,
5] was
entertaining on the street, at parties and taverns by age fifteen. He
eventually began traveling, whence he played with various performers
including the WC Handy Orchestra, Bessie Smith, Blind Lemon Jefferson and
Texas Alexander. In 1922 he wearied of the road and settled in Memphis,
taking a job as a street sweeper which he kept until retirement. Lewis had
recorded his first six tracks for the Vocalion label in Chicago on April 20 of 1927,
five issued: 'Rock Island Blues'/'Everybody's Blues' (#1111),
'Jellyroll'/'Mr. Furry's Blues' (#1115) and 'Sweet Papa Moan' (1116). 'The Panic's On' went unreleased
[*].
Lewis had issued around ten albums during his
career since 'Furry Lewis' in 1959. One of those had been a collaboration w
Gus Cannon
and Bukka White: 'On the Road
Again' ('69). He died in 1981 at age 88, of heart failure, but not before recognition ranging from an
appearance on Johnny Carson's 'Tonight Show', a profile in 'Playboy' magazine and even opening for the
Rolling Stones on two occasions.
Brief list of Lewis' compositions and recorded traditionals.
Lewis at
Discogs
/
Australian Charts
/ HMR Project.
Walter Furry Lewis 1927 Walter Furry Lewis 1928 Recorded 1927 Recorded 1927 Recorded 1927 Walter Furry Lewis 1929
|
Walter Furry Lewis Source: Smithsonian Folkways |
|
|
Blind Willie McTell Source: Past Blues |
Born blind in Thomson, Georgia in 1898,
Blind Willie McTell
[1,
2,
3,
4,
5,
6] was yet
another blues musician who first recorded in 1927, he 29
years of age. American Music has his
first issues in 1927 gone down on
October 21 in Atlanta: 'Stole Rider Blues'/'Mr. McTell Got the Blues'
(Victor 21124) and 'Writing Paper Blues'/'Mamma, Tain't Long Fo' Day'
(Victor 21474). His first sessions had been on October 17 toward issue in
1928: 'Three Women Blues'/'Statesboro Blues' (Victor V38001) and 'Dark Night
Blues'/'Loving Talking Blues' (Victor V38032). He would become a traveling performer and record for several
labels under various pseudonyms before ending up busking for change in
Atlanta. McTell last recorded in 1956. In 1957 he began preaching at Atlanta's Mt. Zion Baptist Church, a
couple years before dying of stroke on August 19, 1959.
McTell on 78 rpm.
Anthologies at Discogs:
1,
2,
3,
4,
5.
See also HMR Project. Blind Willie cTell 1927 Blind Willie McTell 1928 Blind Willie McTell 1929 Come On Around to My House Mama Blind Willie cTell 1931 Blind Willie McTell 1933 Blind Willie McTell 1935 Ain't It Grand to Be a Christian Composition: Charlotte McCrossan 1934 Blind Willie McTell 1940 Composition: See Anointed Links Blind Willie McTell 1949 Blind Willie McTell 1956
|
|
|
Frank Stokes Source: Jonathan Bogart |
Frank Stokes
[1,
2,
3,
4,
5] is largely known for his
partnership with Dan Sane as a duet, and his later duets with fiddler, Will Batts. At age twelve (1900) Stokes was a blacksmith, and would travel 25
miles on his weekends to perform with Sane on the streets of Memphis. Not
until 27 years later would he first record, with the Beale Street Sheiks
(Stokes and Dan Sane). That was in August and September of 1927,
American Music beginning with 'You Shall' and 'It's a Good Thing' (Paramount
12518). February 1 of the next year witnessed Stokes' debut titles: 'Bedtime
Blues' and 'Downtown Blues' (Victor 21272). 'What's the Matter Blues' saw
session on the 1st as well, followed by several titles later in August. Six
more issued titles with the Beale Street Sheiks arrived in March of 1929, eight more name titles by Stokes
later in September. His last four recordings were made on the 30th: 'I'm Going Away Blues' w
'Old Sometime Blues' (Victor V23341) with Batts on violin, and the solos, 'Frank Stokes' Dream' w 'Memphis Rounders Blues' (Victor V23411). Stokes followed his recording career with circuses, medicine shows
and, with
Bukka White, juke joints in Clarksdale, Mississippi. Stokes died
of stroke in Memphis on September 12, 1955.
Titles by the Beale Street Sheiks. All titles per 1927 below are as
the Beale Street Sheiks. A partial list of recordings with
compositional credits
at australiancharts. All songs below were written by Stokes except
unknown marked with asterisk (*). Frank Stokes 1927 Composed with Dan Sane Composition: Traditional Composed with Dan Sane Frank Stokes 1928 Composed with Dan Sane Frank Stokes 1929
Fiddle: Will Batts
|
|
|
Pink Anderson Source: Discogs |
Born in 1900 in Laurens, South Carolina, Pink (Pinkney) Anderson [1, 2, 3, 4, 5] began his musical career at age fourteen, entertaining with Dr. Frank Kerr's traveling medicine show (which sold health remedies of dubious value). He recorded for the first time in 1928 with Blind Simmie Dooley, but not again until the Virginia State Fair in 1950, nor again until the early sixties at his home in Spartanburg, South Carolina, by folklorist, Sam Charters. Another decade later Joan Fenton videotaped Anderson again at his home in 1973. Pink Anderson is the reason for the first half of the name of the rock band, Pink Floyd. Floyd Council is the reason for the last half. Anderson died of heart attack on October 12, 1974, in Spartanburg, NC. Anderson is among multiple early blues musicians featured on 'The Blues: Music from the Documentary Film by Sam Charters' released in 1967 by Folkways. Anderson at Discogs; HMR Project. Pink Anderson 1928 With Simmie Dooley With Simmie Dooley With Simmie Dooley Pink Anderson 1961 Composition: Albert Brumley 1929 Published 1932 Composition: Blind Boy Fuller 1940
|
|
|
Scrapper Blackwell Leroy Carr Source: bdla |
Born in 1903 in South Carolina, guitarist Scrapper Blackwell [1, 2, 3] formed his famous partnership with pianist Leroy Carr in 1928. Calivin Coolidge was President and Kellogg's came out with Rice Krispies the same year. American Music has Blackwell in a solo session on June 16, 1928 ('Kokomo Blues' and 'Penal Farm Blues') three days before his first recordings with Carr: 'How Long Blues' and 'My Own Lonesome Blues'. 'How Long Blues' became the best-selling blues tune that year. Carr and Blackwell would record together until two months before Carr's death in 1935. Without his partner, Blackwell then retired from music for two decades, but would begin recording again in 1958. Unfortunately his intention to revive his career in the blues was short-lived, as Blackwell was shot to death during a mugging on October 7, 1962, in Indianapolis, age fifty-nine [*]. Blackwell is thought to have written 'Kokomo Blues' and 'Penal Farm Blues' below. Blackwell recordings with songwriting credits as Dscogs 1, 2. HMR Project. Scrapper Blackwell 1928 With Leroy Carr Composition: Leroy Carr Scrapper Blackwell 1931 Composition: Traditional Scrapper Blackwell 1932 Composition: Traditional How Long Has That Evening Train Been Gone With Leroy Carr Composition: Leroy Carr With Leroy Carr Composition: Leroy Carr
|
|
| Born in Byram, Mississippi in 1901,
Ishmon Bracey
[1,
2,
3,
4],
was another Memphis musician,
making his first recordings
on February 4, 1928, those with
Papa Charlie McCoy
on guitar: 'Saturday
Blues' and 'Left Alone Blues' (Victor 21349).
Bracey recorded only 16 tracks during his brief blues career. A complete
compilation was released on vinyl in 1983 by Wolf Records titled 'Complete Recordings
in Chronological Order (1928-30)'. Monk issued the CD compilation,
'Suitcase Full of Blues', in 2010. By the fifties
Blackwell had become a preacher, and by the
time of
the blues revival in the sixties he had lost all interest in pursuing the blues. Bracey died on February 12, 1970, in Jackson,
Mississippi. Bracey at Discogs. All titles below are thought to be Bracey compositions. Ishmon Bracey 1928 Ishmon Bracey 1929
|
Ishmon (also Ishman) Bracey Source: Hell Hound |
|
|
Bo Carter
[1,
2] (Armenter
Chatmon) was born in Bolton, Mississippi, in 1893. American Music has
Carter's debut sessions
for Brunswick in New Orleans circa December 1928 as Bo Chatman, likely with
Papa Charlie McCoy
and Walter Vinson: 'East Jackson Blues', 'Good Old Turnip Greens',
et al. Carter worked the Delta
region variously with brothers, Lonnie (fiddle), Sam (bass) and
Harry (piano). He also performed with his mother,
Eliza, a guitarist like himself, and his father, Henderson Chatmon, who
played violin like Lonnie. Starting as a family affair, the Mississippi
Sheiks first recorded in Shreveport, Louisiana, in 1930, the crew consisting
of Bo (Armenter), Lonnie, Sam and Walter Vinson: 'Alberta Blues' and 'Winter
Time Blues'. Amidst numerous sessions with the Sheiks that year, Carter also
backed 8 titles by blues vocalist,
Texas Alexander, in San Antonio
on June 9, such as 'She's So Fair' and 'Rolling and Stumbling Blues'.
Several tracks were put down the next day with Walter Jacobs on June 10. (Bo
and Jacobs had actually earlier recorded in Shreveport with Lonnie and
Vinson on February 17: 'The Sheik Waltz' and 'The Jazz Fiddler'.) Later in
1930 Carter and Vinson joined Papa Charlie McCoy
to record six titles on December 15 as the Mississippi Mud Steppers:
'Jackson Stomp', 'Alma Waltz' (Ruby Waltz), et al. Carter eventually
moved north to the blues hub that was Memphis perhaps in 1940. But by then he
had dropped out of the music industry, pursuing other means of living. Among his
better known recordings was among his first, 'Corinne, Corinna', below. He
is also credited with a number of risqué titles such as 'Banana in Your
Fruit Basket' ('31), 'My Pencil Won't Write No More' ('31), 'Pin in Your
Cushion' ('31), 'Let Me Roll Your Lemon' ('35), 'Please Warm My Wiener'
('35), 'Cigarette Blues' ('36) and 'Your Biscuits Are Big Enough For Me' ('36). A partial list of
compositions by Carter.
See also discogs and
australiancharts. Bo Carter died in
Memphis on Sep 21, 1964. More Bo Carter with Papa Charlie McCoy
below. Bo Carter 1928 Bo Carter 1930 Bo Carter 1931 You Keep On Spending My Change Bo Carter 1934 Bo Carter 1935 Bo Carter 1936 Bo Carter 1938 Bo Carter 1940
|
Bo Carter Source: Jesse Dean Freeman
|
|
|
Born in 1893 in Teoc, Mississippi, folk guitarist, John Hurt [1, 2, 3, 4, 5], went to Memphis in 1928 to record 8 titles for Okeh Records on February 14, two tracks released: 'Frankie' and 'Nobody's Dirty Business'. Twelve more titles for Okeh ensued in December of 1928 in New York City, all but two issued. They sold so poorly that Hurt returned to obscurity in Avalon, Mississippi. Rediscovered in 1963, he first recorded again at the home of Sandy Fisher in Annapolis, Maryland, in March and April. Come titles at the Library of Congress in Washington DC on 15 and 23 July followed by a performance at the Newport Folk Festival later that month. Hurt recorded the album, 'Worried Blues' in March of 1964. He held various other sessions until his last on 15 April 1966 at Oberlin College in Ohio. He died of heart attack on November 2, 1966 [*]. Partial lists of compositions by Hurt, as well as traditional songs he recorded, at discogs 1, 2, 3, 4, 5. HMR Project. As for 'Candy Man Blues' below, Gerard Herzhaft has that imported from Ireland in 'Encyclopedia of the Blues' (University of Arkansas Press '92 and '97). Mississippi John Hurt 1928 Composition: Irish traditional Got the Blues (Can't Be Satisfied) Praying On the Old Camp Ground Composition: Traditional Composition: See Stagger Lee Mississippi John Hurt 1963
|
Mississippi John Hurt Source: Music Box |
|
|
Tommy Johnson Source: Wikipedia |
Born in Terry, Mississippi, in 1896, Delta blues guitarist Tommy Johnson [1, 2, 3, 4, 5, 6, 7] released his first recordings in 1928, holding his debut session on February 3 in Memphis with Papa Charlie McCoy to record 'Cool Drink of Water Blues' and 'Big Road Blues'. Several more titles followed that year. In December 1929 Johnson recorded a couple hands more of additional songs, after which he held no further sessions, though he played accomplished guitar locally in Jackson where he was popular for the next quarter century. He died ion November 1, 1956, of heart attack. Compositions credited to Tommy Johnson documented at australiancharts and keeponliving. See also discogs, HMR Project. Tommy Johnson 1928
|
|
|
Carl Martin Source: Mandolin Cafe
|
Born in Big Stone Gap, Virginia, in 1906,
Carl Martin
[1,
2,
3]
first recorded in Knoxville on April 3 of 1930 ('Vine Street Rag' and 'Knox
County Stomp'). That was with Howard Armstrong (violin) and Roland Martin
(guitar) in the Tennessee Trio, he performing on string bass. His next recordings
weren't until six tracks on June 14, 1934, in Chicago with
Tampa Red for Bluebird, those his
first on guitar: 'Grievin' and Worryin' Blues', 'Mean Mistreater Blues', et
al. Come October 27 he held his first name session in Chicago: 'You Can Go
Your Way' and 'Kid Man Blues'. Martin
played fiddle and mandolin as well, working largely in Chicago in a variety of genres. He
died in Pontiac, Michigan, on May 10, 1979, 73 years of age.
HMR Project. Carl Martin 1934 Carl Martin 1935 Composition: See The History of Crow Jane Blues
|
|
| Born in Raymond, Mississippi, in 1906, Delta bluesman
Kansas Joe McCoy
[1,
2,
3,
4,
5] (older
brother by three years of
Papa Charlie McCoy, Joe's favored blues accompanist on guitar and
mandolin) made his
debut recordings on November 2, 1928, as a backup guitarist on four tracks for
minstrel singer, Alec Johnson: 'Miss Meal Cramp Blues', 'Sister Maud Mule'
and 'Toodle Doo'. In 1929 he married Memphis Minnie with whom he
issued several tracks in 1929 for Columbia: 'When the Levee Breaks'/'That
Will Be Alright' and 'Goin' Back to Texas'/'Frisco Town'. Titles ensued to
1934, they migrating to Chicago together but divorcing in '34. McCoy then formed the Harlem Hamfats with
Papa Charlie McCoy
in Chicago, issuing numerous tracks from '36 into 1938. 1940 saw McCoy putting together Big Joe and His Washboard Band,
also with
Papa Charlie, recording
numerous titles in Chicago from December that year
('I Love You Baby', 'I'm Through with You', et al)
to as late as January 1942 ('Got to Go Blues', 'I'll
Get You Off My Mind', et al). He next formed Big Joe and His Rhythm with
Papa Charlie,
issuing titles on
Bluebird in '42 and '45. McCoy is said to have also recorded as Bill
Wither, Georgia Pine Boy and Hallelujah Joe during his career. He
died young of heart disease/stroke at age 44 in Chicago on January 28, 1950.
His younger brother,
Papa Charlie, followed half a
year later on July 26, only 40 years of age. Kansas Joe as
Discogs.
HMR Project. Kansas Joe McCoy 1928 Composition: Alec Johnson Kansas Joe McCoy 1936 With the Harlem Hamfats Kansas Joe McCoy 1938 With Rosetta Howard & the Harlem Hamfats With the Harlem Hamfats
|
Kansas Joe McCoy Source: Discogs |
|
| Born in Jackson, Mississippi, in 1909,
Papa
Charlie McCoy
[1,
2,
3,
4,
5,
6,
7] (not to be mistaken for country artist,
Charlie McCoy) was a guitar
and mandolin player who composed such as 'Times Ain't What They Used to Be'
and 'Too Long' in 1932. His first record release occurred in
1928. sundayblues wants Papa Charlie backing
Rosie Mae Moore in February with
Tommy Johnson and
Ishmon Bracey on 'School Girl
Blues' and 'Staggering Blues'. (See
American Music as well.) Papa Charlie is thought to have backed
Tommy Johnson on the
same date
(February 3) on 'Cool Drink of Water Blues', 'Big Road Blues', 'Bye Bye
Blues' and 'Maggie Campbell Blues'. The next day found him backing
Ishmon Bracey on 'Saturday
Blues' and 'Left Alone Blues' (See AM). Come
August 31 for four more tracks with Bracey like 'Brown Mama Blues' and
'Four Day Blues'. On November 2 that year Papa Charlie backed Alec Johnson on four tracks with
Bo Carter
and his older brother by three years,
Kansas Joe McCoy. That was for Columbia to include 'Miss Meal Cramp Blues', 'Sister Maude Mule' and
'Mysterious Coon'. That same month he backed Mary Butler on 'Bungalow
Blues', 'Mary Blues', 'Electric Chair Blues' and 'Mad Dog Blues'. It is
thought that Butler may be Rosie Mae (Rose) Moore per McCoy's first
recordings above. He would record mandolin with
Bo Carter and Walter Vinson, et
al, as the Mississippi Mud Steppers ('Vicksburg Stomp', 'Sunset
Waltz', etc.) and the Mississippi Blacksnakes ('Blue Sky Blues', 'Grind So
Fine', etc.). In 1929 Papa Charlie played mandolin with
Carter and Vinson as
the Jackson Blue Boys on 'Hidin’ On Me' and 'Sweet Alberta', discogs having
that issued in March. McCoy recorded variously in Memphis and Jackson until his brother,
Kansas Joe, left for Chicago in 1930 with
Memphis Minnie, Papa Charlie following as
Joe's main accompanist.
Thomas A Dorsey backed Charlie's composition, 'Too Long', in 1932. In 1936 Charlie and
Joe would form the Harlem Hamfats in Chicago,
recording numerously. Charlie also backed Kansas Joe in Big Joe and His Washboard Band
(recording 1940-42)
and Big Joe and His Rhythm (recording in '42 and '45). Papa
Charlie had served in the Army during World War II. His brother, Joe, had volunteered, but was unable to serve due to a heart condition. During the latter years of his life Charlie was drawn away
from music as he succumbed to neurosyphilis, dying on July 26, 1950, of paralytic brain disease,
that six months after the death of brother,
Joe, by stroke. Among others with whom Papa Charlie recorded were
Peetie Wheatstraw
and
Big Bill Broonzy. Papa
Charlie discography at Discogs.
HMR Project. Papa Charlie McCoy 1928 With Rosie Mae Moore Papa Charlie McCoy 1930 Guitar: Walter Vinson Violin: Bo Carter Violin: Bo Carter Papa Charlie McCoy 1931 Guitar: Walter Vinson Violin: Bo Carter Papa Charlie McCoy 1932 Piano: Georgia Tom Dorsey Papa Charlie McCoy 1934 Piano: Chuck Segar? Papa Charlie McCoy 1936 With the Harlem Hamfats Composition: Joe McCoy
|
Papa Charlie McCoy Source: Record Fiend |
|
|
Born Hudson Woodbridge (known as Whittaker) in Smithville, Georgia, in 1903, slide guitarist, Tampa Red [1, 2, 3, 4, 5, 6]was a highly regarded guitarist and favored session musician who contributed to about 335 tracks during his career. Tampa had been raised in Tampa, FL, by his aunt and grandmother upon the death of his parents as a child. Known since childhood as Hudson Whittaker, mentions of compositions by Whittaker below thus refer to Tampa Red, the name he assumed upon moving to Chicago, there commencing his career as an accompanist for Ma Rainey. His first recorded title is thought to be his unaccredited composition, 'Through Train Blues', (Paramount 12685) circa May 1928. He recorded the hokum blues title, 'It's Tight Like That' (Hudson Whittaker/ Thomas Dorsey), in a couple of unissued sessions prior to that of October 24, released with 'Grievin' Me Blues' (Vocalion 1216). Those were duets with Thomas Dorsey at piano. Red and Dorsey recorded numerously together into the early thirties, putting down nigh 90 tracks, Dorsey often using pseudonyms like Georgia Tom. In the meantime Red otherwise recorded such as 'Good Gordon Gin' and 'Down the Alley'(Vocalion 1254) on October 31, 1928, with his Hokum Jug Band. (Hokum is a blues subgenre referring to risqué lyrics. Both Dorsey and Red performed with transvestite vaudeville performer, Frankie Half Pint Jaxon, as the Hokum Boys and the Black Hillbillies. They recorded such as 'It’s Red Hot', 'My Daddy Rocks Me with One Steady Roll' and 'Kunjine Baby' in 1939.) Tampa recorded to as late as a couple of albums in 1961 or 1962. His wife had meanwhile died in 1953, upon which he took up drink to fill the void, such that he was financially destitute by the time he died on March 19, 1981, in Chicago. Recordings by Red with songwriting credits at australiancharts. Red on 78 rpm, 45 rpm and at Discogs. More Tampa Red under Big Maceo Merriweather. See also Boogie Woogie and the HMR Project. Per 1930 below, the Black Hillbillies consist of Red, Frankie Half Pint Jaxon and Thomas Dorsey. Tampa Red 1928 With Ma Rainey & Georgia Tom Dorsey Composition: Ma Rainey Composition: Thomas Dorsey Hokum Jug Band Vocal: Frankie Half Pint Jaxon Composition: Leroy Carr Composition: Hudson Whittaker/Thomas Dorsey Tampa Red 1929 My Daddy Rocks Me with One Steady Roll Hokum Jug Band Vocal: Frankie Half Pint Jaxon Composition: J. Berni Barbour Vocal: Jenny Pope Tampa Red 1930 The Black Hillbillies Composition: Thomas Dorsey Tampa Red 1932 You Can't Get That Stuff No More Composition: Hudson Whittaker Tampa Red 1934 Composition: Hudson Whittaker/Tampa Red Tampa Red 1940 Composition: Hudson Whittaker Composition: Hudson Whittaker Tampa Red 1942 Drums: Richard Snags Jones Piano: Big Maceo Merriweather Composition: Hudson Whittaker
|
Tampa Red Source: Short & Sweet |
|
|
Curley Weaver
[1,
2/
Discogs] had been
born in Covington, Georgia, in 1906. He was a popular street
musician in Atlanta together with his friend Robert Hicks (Barbecue Bob), and
it was
Hicks
who got Weaver his
first recording contract in 1928, laying out 'Sweet Petunia'
and 'No No Blues'
(Columbia 14386-D) on October 28 in Atlanta. Weaver next recorded four
tracks in Long Island City (NYC) circa May 26, 1929, with Eddie Mapp (whom
he had known in Atlanta) on harmonica: 'Dirty Deal Blues', 'It's the Best
Stuff Yet', 'No No Blues' and 'Ta Ta Blues'. In 1930 four titles went down
with the Georgia Cotton Pickers including
Barbecue
Bob and
Buddy Moss
in early December: 'Diddle-Da-Diddle', 'She's Coming Back Some Cold Rainy
Day', 'I'm On My Way Down Home' and 'She Looks So Good'. 1931 saw sessions
with Ruth (Mary) Willis and Clarence Moore. It was tracks with Ruth
Willis, Fred McMullen and
Buddy Moss
in 1933, also recording name titles like 'No No Blues' and 'Early Morning
Blues'. Others with whom Weaver recorded include
Blind Willie McTell (such as with Ruth
Willis in 1931 above) whom he backed numerously in the thirties.
McTell
supported Weaver's 'My Baby's Gone' and 'Ticket Agent' as late as circa
October 1949. American Music documents Weaver in a last session in May 1950
with the Pig 'N' Whistle Band: 'Love Changing Blues' and 'Talkin' to You
Mama'. He died of
uremia, only 56 years of age, on September 20, 1962, in
Covington, Georgia, while working for the railroad. Titles below are listed
by recording years. Per 1928 'No No Blues', the song is said to have been taught to Weaver by his mother. Lucille Bogan
had recorded 'Sweet Petunia' the year before.
HMR Project. Curley Weaver 1928 Curley Weaver 1929 Composition: Traditional Harmonica: Eddie Mapp Curley Weaver 1933 Vocal: Ruth Willis Composition: Thomas A. Dorsey The Georgia Browns With Fred McMullen & Buddy Moss
|
Curley Weaver Source: Wikipedia |
|
|
Joshua White Source: Past Blues |
Born in Greenville, South Carolina in 1914, guitarist Josh White [1, 2, 3, 4] got his first taste of blues as a child rendering services for blind street singers, singing and playing guitar as well. Via Blind Man Arnold he came to the assistance of Blind Joe Taggart with whom he traveled to Chicago in 1927. American Music has them recording tracks circa October of 1928. White backed Taggart as Blind Tim Russell on 'There's a Hand Writing on the Wall'/'I've Crossed the Separation Line' on Herwin 93008. Taggart released that as Blind Jeremiah Taylor on Herwin 93029. He recorded them as Blind Joe Taggart on Paramount 71727. White issued several titles with Taggart in 1929 as well as 'Wang Wang Harmonica Blues' with the Carver Boys on Paramount 12822. White released his first name titles in 1932: 'Black And Evil Blues'/'Little Brother Blues' (Banner 32631/Melotone M12537). 1933 saw the release of his political composition, 'Low Cotton', on Banner 32858/Melotone M12785. White married Carol Carr that year, who would perform and record with White on occasion, as would his three daughters, Beverly, Fern and Judy. His son, blues musician, Josh White Jr. [1, 2, 3, 4], had been born in 1940. White and Carr also raised a foster daughter, Delores. In the forties White's career expanded into acting and civil rights activism. He would continue his decade-long stint at Café Society in Greenwich Village - the first integrated nightclub in America (as of 1938) - which resulted in a friendship with Franklin and Eleanor Roosevelt upon a performing at the White House in 1941. Titles White performed during that period were such as 'Southern Exposure' ('41), 'Little Man On a Fence' (Eleanor Young '44)' ' and 'One Meat Ball' (Hy Zaret/Lou Singer in '44 from George Lane's 'The Lone Fish Ball' published in 1855). Though not a Communist, nor associated with any political party, White's political activism resulted in testimony before the HUAC (House Un-American Activities Committee) in 1950. White had already begun getting blacklisted from the entertainment industry in 1947. Now he had to relocate to London to continue his career. In 1955 he was able to return to America to start slowly rebuilding his vocation, beginning with the recording of the album, 'Josh White: 25th Anniversary'. The remainder of his life found him performing in various venues throughout the world, much honored and greatly popular. White died on an operating table on September 5, 1969, during heart valve surgery. He left a legacy of well over 200 recordings. A list of some of those with songwriting credits at australiancharts. See also Volumes 1-4 of 'Complete Recorded Works' at AllMusic 1, 2, 3, 4. Josh White on 78 rpm. White at 45Cat. White Jr. at 45Cat. Albums by White at Discogs. Albums by White Jr. at Discogs. White in visual media. White Jr. in visual media. HMR Project. Josh White 1932 Composition: Alvin Hankerson/Josh White Composition: Charlie Spand/Willie Walker Composition: Willie Walker/Josh White Composition: Josh White Composition: Josh White Composition: Josh White Josh White 1933 Composition: Josh White Josh White 1935 Composition: Sleepy John Estes 1930 Lyrics by White Composition: Kokomo Arnold 1934 Josh White 1944 Composition: Hy Zaret/Lou Singe 1944 From 'The Lone Fish Ball' by George Lane 1855 Josh White 1965 Nobody Knows You When You're Down and Out Filmed with Judy White Composition: Jimmy Cox 1923
|
|
|
Reverend Robert Wilkins Source: American Music |
Reverend Robert Wilkins [1, 2/ Discogs] was born in 1896 in Hernando, Mississippi. Some time in the twenties Wilkins formed a jug band that became popular, appearing on Memphis radio in 1927. American Music has him attending his first sessions in Memphis on September 7, 1928. Neither of two parts of 'I Told My Rider' were issued. Both parts of 'Rolling Stone' saw record stores as Victor 21741. Said to have become disgusted and disheartened with the world (BTDT), Wilkins turned away from secular blues toward gospel in the thirties, even becoming an ordained Pentecostal minister. He was rediscovered during the blues revival in the sixties, assisted by a performance at the Newport Jazz Festival in 1964. Wilkins died on May 26, 1987, in Memphis, survived by his son, Memphis blues musician, Reverend John Wilkins. A partial list of Wilkins' secular compositions. A partial list of Wilkins' gospel compositions. Per below, 'Prodigal Son' ('64) is Wilkin's gospel version of 'That's No Way to Get Along' ('30). Wilkins would earn a shiny dime or so upon the song getting covered in 1968 by the Rolling Stones. All titles below are thought to be written by Wilkins except as indicated. HMR Project. Robert Wilkins 1928 Robert Wilkins 1929 Composition: Furry Lewis 1927 Lyrics reworked by Wilkins Robert Wilkins 1930 Reverend Robert Wilkins 1964 Composition: Traditional Reverend Robert Wilkins 1968 In Wish I Was in Heaven Sitting Down Composition: Traditional
|
|
|
Willie Brown Source: Ecstatic Presentation
|
Born in Clarksdale, Mississippi in 1900, Delta bluesman
Willie Brown
[1,
2,
3,
4,
5,
6] married
guitarist, Josie Mills, at age ten or eleven (consummation unknown). He is
thought to have first recorded
for Paramount in August 1930 with
Son House, they backing Louise
Johnson on 'All Night Long Blues', 'Long Ways From Home' and 'On the Wall'.
American Music (AM) also has Brown recording a number of solo works sometime
that month, among them 'Grandma Blues' and 'Sorry Blues'. AM also finds him
on several titles with
Charlie Patton in August
1930: 'Going to Move to Alabama', 'Moon Going Down', 'Dry Well Blues' and
'Bird Nest Bound'. It is possible, however, that Brown recorded even
earlier on September 25th, 1929: 'Rowdy Blues', below, is credited to Kid Bailey.
Brown may be either the backup guitarist or using 'Kid Bailey' as a pseudonym.
It remains moot if Kid Bailey was another Delta bluesman or Willie Brown
himself. There are few titles issued by Brown himself as he worked largely as a backup
guitarist. He died of heart disease on December 30, 1952 in Mississippi
[*].
Discos with various credits at
45Cat and
Discogs.
HMR Project. William Brown of 1942 below is not the same Willie Brown [Wirz]. Kid Bailey 1929 Brown possibly backing Bailey if not Bailey himself Comp by Bailey Willie Brown 1930 Comp by Willie Brown Comp by Willie Brown Willie Brown 1941 Comp by Willie Brown William Brown 1942 Not to be confused w Willie Brown Comp by William Brown
|
|
|
Sleepy John Estes Source: Wid's Help Desk |
Born in Ripley, Tennessee, in 1899, guitarist Sleepy John Estes [1, 2, 3, 4, 5, 6, 7, 8] moved to Brownsville in 1915 where he began performing in that vicinity with mandolin player, James Rachell, in 1919. Estes' debut recording was ten years later with Rachell in Memphis per an unissued track for Victor titled 'Broken Hearted' on September 17, 1929 (eventually issued in 1975 by RCA). That was in the Three J's Jug Band with pianist, Jab Jones. That same configuration recorded Estes' first name issue a week later on the 24th: 'The Girl I Love She Got Long Curly Hair'. American Music has 'Diving Duck Blues' during the same session with Rachell and Johnny Hardge on piano. Both were Estes' compositions and issued on the same plate as Victor V38549. Estes was best known for his long musical relationship with harmonica player, Hammie Nixon. They had traveled Arkansas and Missouri together from 1924 to '27, though didn't record together until 1935. Stefan Wirz (American Music) has them on four tracks for Decca on July 9 that year: 'Down South Blues', 'Stop That Thing' (Nixon/Estes), 'Someday Baby Blues' (Nixon/Estes) and 'Who's Been Tellin' You Buddy Brown Blues' (Nixon/Estes). Among others with whom Estes recorded was Robert Nighthawk as Robert McCoy in June of 1940 for Decca. keeponliving has them on six tracks like Estes' compositions, 'Drop Down Mama' and 'Jailhouse Blues'. Estes wasn't all that good with a guitar, but he was popular for his vocals until his death of stroke on June 5, 1977. Among other of his compositions were 'Special Agent (Railroad Police Blues)' ('38), 'Lawyer Clark Blues' ('41), 'Little Laura Blues ('41), 'Working Man Blues' ('41) and ''Vassie Williams' Blues' ('62, issued '65). A more complete list of compositions. Sleepy John Estes on 78 rpm, at 45Cat and Discogs. See also australiancharts 1, 2. Estes in visual media. HMR Project. Titles below were composed by Estes except otherwise noted. Sleepy John Estes 1929 Mandolin: Yank Rachell Harmonica: Hammie Nixon Sleepy John Estes 1930 Sleepy John Estes 1935 Harmonica: Hammie Nixon Sleepy John Estes 1937 I Ain't Gonna Be Worried No More Harmonica: Hammie Nixon Composition: Nixon/Estes Sleepy John Estes 1938 Everybody Ought to Make a Change Sleepy John Estes 1964
|
|
|
Memphis Minnie Source: Efemerides Musicales |
Born in 1897 in Louisiana,
Memphis Minnie (Lizzie Douglas)
[1,
2,
3,
4,
5,
6,
7,
8] left
for Memphis, Tennessee, Beale Street in particular, at age
thirteen (1910), whence she began singing and playing guitar on the streets
while working as a prostitute. After a time she was able to join the
Ringling Brothers Circus as a performing musician. Eventually returning to
Beale Street, she married
Joe McCoy
in 1929 with whom she made her
first recordings
of joint compositions on June 18 for Columbia: 'I Want That', 'That Will Be
Alright ', 'Goin' Back to Texas', et al. Compositions to which she
contributed in 1930 are listed at
DAHR. After Minnie's divorce
from McCoy in 1935 she continued to record on her own and toured the South.
The forties would find her performing in Chicago, Detroit, Indianapolis and
Memphis until her retirement from the music business in 1957. She suffered
her first stroke three years later, which put her in a wheelchair. Her
second stroke occurred the next year. Her third stroke twelve years later
killed her on August 6, 1973, while living in a nursing home. Guitarist and
singer,
Bonnie Raitt, purchased her headstone in 1996.
Minnie at 45worlds,
45cat and
discogs.
All titles below are thought to have been written by Minnie (w
Joe McCoy in '29).
Other compositions by Minnie at
australiancharts
and
discogs. HMR Project. Memphis Minnie 1929 With Kansas Joe McCoy With Kansas Joe McCoy Memphis Minnie 1930 Memphis Minnie 1931 Memphis Minnie 1934 Memphis Minnie 1935 Memphis Minnie 1936 Memphis Minnie 1938 Memphis Minnie 1940 Memphis Minnie 1941 Memphis Minnie 1944
|
|
|
Charley Patton Source: Peoples |
Charlie Patton [1, 2, 3, 4, 5, 6/See also 1, 2, 3, 4, 5] was a Mississippi Delta blues guitarist born on an uncertain date between 1881 and 1891. Though writing blues songs as early as 1910 he didn't record anything until June 14, 1929, sixteen sides for Paramount Records in Richmond, Indiana, including 'Pony Blues' and 'Banty Rooster Blues' issued on Paramount 12792. Parts 1 and 2 of 'Prayer of Death' were as Elder J.J. Hadley. Patton married blues singer, Bertha Lee, in 1930 (she is featured on 'Yellow Bee' below). Their union, however, would be a brief one, as Patton died an early death four years later on April 28, 1934 [*], of mitral valve disorder. His headstone was purchased by Creedence Clearwater vocalist, John Fogerty, in 1990. A biography in detail at Elijah Wald. A discography with compositional notes at keeponliving. See also 'Charly Blues Masterworks Volume 13'. Disco w various credits at Discogs. HMR Project. All titles below were composed by Patton except Bertha Lee Pate's 'Yellow Bee' in 1934. Charlie Patton 1929 Charlie Patton 1930 Charlie Patton 1934
|
|
|
T-Bone Walker (Aaron Thibeaux Walker) [1, 2, 3, 4, 5, 6] was among the first musicians to employ the electric guitar. (Others were Alvino Rey, Charlie Christian and George Barnes.) Born in Linden, Texas, in 1910, Walker began his recording career in 1929 for Columbia with 'Trinity River Blues' and 'Wichita Falls Blues' (14506-D). Though largely a blues artist he recorded with a dose of jazz musicians as well and, like blues guitarist, Muddy Waters, would come to great prestige in the development of rock and roll via rhythm and blues. Walker was one of the greatest musicians of the 20th century in any capacity, among the most highly regarded guitarists with whom to work until his first stroke in 1974. He would suffer a second stroke in 1975, after which bronchial pneumonia would kill him [*]. Among the numerous with whom Walker had recorded during his career were Les Hite, Freddie Slack, Marl Young, Ray Charles, Jim Wynn, Helen Humes, Walter Bishop Jr, Jack McVea, Al Killian, Dave Bartholomew, TJ Fowler, Memphis Slim, Jimmy Witherspoon, Norman Granz, Oscar Peterson, Big Joe Turner and Jay McShann. Compilation from 1929 to 1950 at Discogs. Compilation from 1940 to 1954 at Discogs. Other discos w production and songwriting credits at 1, 2, 3. Walker in visual media. More T-Bone Walker in Birth of Rock 1. All titles below were written by Walker except as noted. T-Bone Walker 1929 T-Bone Walker 1940 Composition: T-Bone Walker/Les Hite T-Bone Walker 1942 T-Bone Walker 1946 Composition: Dootsie Williams T-Bone Walker 1947 T-Bone Walker 1948 Composition:
Dallas Bartley/John Cameron T-Bone Walker 1966
With Norman Granz' Jazz at the
Philharmonic
BBC TV 30 Nov 1966
Composition:
Count Basie/Jimmy Rushing
Composition:
Aaron Walker/T-Bone Walker
|
T-Bone Walker Source: Duduki |
|
| Born in Lovejoy's Station, Georgia,
in 1896 (perhaps 1901 per census data),
Kokomo Arnold
(James Arnold) [1,
2,
3,
4,
5] was a left-handed slide
guitarist who had migrated in the twenties to Buffalo, New York, to work on
a farm, then Pittsburgh, Pennsylvania, to work in the steel industry, then
Chicago in 1929 to bootleg. Though Arnold played guitar, his
first recordings were as a bass vocalist in the Cotton PIckers Quartet on 13 Dec
1929 per 'You Must Be So' and 'When the Water Raised' issued on Victor
[DAHR]. He
next recorded as Gitfiddle Jim in Memphis, TN, on
May 17, 1930 for Victor: 'Paddlin' Blues' and 'Rainy Night Blues' (Victor 23268). Between 1934 and 1938 Arnold recorded 88 sides for Decca Records,
American Music (AM) commencing that list with five tracks on January 15 like
'Old Black Cat Blues', 'Sissy Man Blues' (Decca 7050), et al. A number of
those included titles by
Peetie Wheatstraw whom
Arnold backed or was supported by from early 1936 to November 1937, beginning with a session in
NYC on February 18 per 'When I Get My Bonus' and 'Coon Can Shorty' (Decca
7159). AM has Arnold backing the Honey Dripper (Roosevelt Sykes) for the
first time on the same date: 'Dirty Mother for You' and 'Jet Black Snake'. AM has Arnold
recording as late as sessions on the 11th and 12th of May, 1938, with five
tracks on the latter date like 'Midnight Blues' and 'Bad Luck Blues'.
Arnold then quit the music industry to work in a Chicago factory.
By the
time Arnold was rediscovered in the early sixties his world had too changed
to want to reenter the business, though he did make a few Chicago
appearances. Arnold died of heart attack in Chicago on November 8, 1968.
Compositions by Arnold are noted on compilations at allmusic:
1,
2,
3,
4,
5.
Compositions noted on compilations at discogs:
1,
2.
Songwriting credits
at australiancharts as well. Arnold on
78 rpm. Arnold at
Discogs.
HMR Project. All titles below were written by Arnold except as noted. Gitfiddle Jim 1930 Composition: Harry Woods Kokomo Arnold 1934 Kokomo Arnold 1935 Kokomo Arnold 1936 Kokomo Arnold 1937 Kokomo Arnold 1938
|
Kokomo Arnold Source: zigzag5627 |
|
|
Son House Source: Great Song
|
Born in Lyon, Mississippi, in 1902, guitarist Son House (Eddie James House Jr.) [1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11] first recorded on May 28, 1930, for Paramount: 'My Black Mama', 'Preachin' the Blues', 'Dry Spell Blues', et al. He taped recordings for Eddie Lomax and the Library of Congress in 1941-42. He was accompanied by mandolin player, Fiddlin' Joe Martin with mouth harp player, Leroy Williams. House remained an influential Delta musician until 1943 when he moved to New York and quit the music business. Two decades later he would revive his career, play various venues as a folk singer (Newport Jazz Festival '64) and record several albums. He toured to Copenhagen, Denmark, with Skip James in November of 1967.House died of larynx cancer in 1988 [*]. Compositions documented at keeponliving. House composed all titles below except the melody to 'Mississippi County Farm Blues', that borrowed from Blind Lemon Jefferson's 'See That My Grave Is Kept Clean'. Son House at 45Worlds. At Discogs. HMR Project. House in visual media. Son House 1930 Son House 1941
|
|
|
Charley Jordan Source: Discogs
|
Thought born in Memphis, TN, on
July 11, 1890,
next to nothing is known about
Charley Jordan
[1,
2/
RocketWeb] but that he took a bullet to the spine in 1928 while bootlegging,
thus used crutches. American Music has him recording his first several
tracks circa June, 1930, in Chicago: 'Keep It Clean', 'Big Four Blues', 'Raidin'
Squad Blues', 'Hunkie Tunkie Blues', et al. Jordan and
Peetie Wheatstraw
backed each other on numerous recordings from 1930 to 1937. He may be the
guitarist for vocalist, Jimmy Oden, with
Roosevelt Sykes
at piano on October 29, 1937, recording 'The Road to Ruin' and 'Thick and
Thin'. Having also performed with
such as Casey Bill Weldon,
Memphis Minnie and
Big Joe Williams, Jordan died on
November 15, 1954. See
Discogs
and HMR Project. Jordan
composed the titles below. Charley Jordan 1930 Charley Jordan 1931
|
|
|
Buddy Moss Source: New Georgia Encyclopedia |
Born in Jewell, Georgia,
Buddy Moss
[1,
2,
3,
4] was sixteen when
he began
recording blues on the 7th and 8th of December, 1930, in Atlanta with
Curley Weaver
and Robert Hicks (Barbecue Bob)
as the Georgia Cotton Pickers: 'Diddle-Da-Diddle', 'I'm On My Way Down
Home', et al. Moss didn't record again for a couple of years, that on
January 17 of 1933 to support Ruth Willis on several unissued tracks
followed by 'Cold Country Blues' with backing by Fred McMullen and 'Prowling
Woman' supported by Weaver. Further titles went down between them on the
18th and 19th including as the Georgia Browns on 'It Must Have Been Her' and
'Who Stole De Lock?', et al. Moss' career was halted in 1935 by a six-year prison
term for shooting his wife and killing her. Upon release he made a number of
recordings in NYC with
Brownie McGhee and
Sonny Terry, such as titles on
October 22, 1941, to include 'You Need a Woman' (others on that date unissued).
Moss continued performing as he took up various menial jobs for the next couple decades. His
career saw revival in 1964 upon a backstage meeting with
Josh White at one of the latter's
concerts. Moss died in Atlanta on October 19, 1984.
Discogs;
HMR Project. Buddy Moss 1933 Buddy Moss 1934 Buddy Moss 1935 Buddy Moss 1963
|
|
|
Peetie Wheatstraw
[1,
2,
3], born William Bunch in 1902 in either Arkansas or Ripley, Tennessee, began
his career in East Saint Louis, Illinois, in the latter twenties. American
Music begins his discography on September 13, 1930, with Spider Carter:
'Please Please Blues' (Brunswick 7188). Wheatstraw spread along 'Tennessee Peaches
Blues' and 'Four O'Clock in the Morning' (Vocalion 1552, Vocalion 04443) the
same day with Neckbones (J.D. Short?). Wheatstraw's first major
recording partner was
Charley Jordan, their
debut session together likely Wheatstraw's next on September 19, 1930:
'School Days' and 'So Soon' (Vocalion 1569). Jordan
backed Wheatstraw numerously in '31, '34 and '35. Another of Wheatstraw's
major collaborators was
Kokomo Arnold, they backing
each other on numerous recordings in 1936 and '37. AM has their initial
session on February 18, 1936, in NYC for Wheatstraw's 'When I Get My Bonus'
and 'Coon Can Shorty' (Decca 7159). Titles by
Arnold
to which Wheatstraw contributed were such as 'Running Drunk Again' in
October '36 and 'Shine On, Moon' in November '37.
Though Wheatstraw's recording career ran only eleven years, he put down an
estimated 161 titles, few other pre-war blues musicians more prolific (Tampa Red,
Big Bill Broonzy,
Bumble Bee Slim,
Lonnie Johnson). Wheatstraw's last known recordings were
on November 25, 1941:
'Bring Me Flowers While I’m Living',
'Mister Livingood', 'Separation Day Blues', et al.
He died at only age 39 when the driver of a car he was in collided into a standing
freight train, after which he drank no more
[*]. List of recordings by Wheatstraw with
songwriting credits.
Wheatstraw at Discogs;
HMR Project.
Titles below are thought to be Wheatstraw's own compositions. Peetie Wheatstraw 1930 Peetie Wheatstraw 1931 Peetie Wheatstraw 1939 You Can't Stop Me From Drinking Peetie Wheatstraw 1941 Bring Me Flowers While I'm Living
|
Peetie Wheatstraw Source: Fractal |
|
|
Bukka White Source: Find a Grave |
Born in 1906, guitarist
Bukka White
(aka Washington White) [1,
2,
3,
4,
5,
6,
7,
8]
began his career playing fiddle at square dances. He first recorded
fourteen tracks as Washington White for
Victor Records on May 26, 1930, four issued: 'The Promise True and Grand' w
'I Am in the Heavenly Way' (Victor V-38615) and 'The New 'Frisco Train' w
'The Panama Limited' (Victor 23295). But the Depression was coming, during
which years he performed in the Mississippi region, also boxing
professionally to make his way. In the summer of 1937 he wounded a man in
the thigh with a firearm. He jumped bail and fled to Chicago where he made
his next recordings on September 2: 'Pinebluff Arkansas' and 'Shake ‘Em On
Down' (Vocalion 03711, Columbia 30139). He is said to have been apprehended
again mid-session, those titles issued as he was doing time at Mississippi
State Penitentiary (aka Parchman Farm) until his release in 1940.
Big Bill Broonzy covered 'Shake
‘Em On Down' in 1938. While at Parchman White recorded a couple
titles for Alan Lomax and the Library of Congress: 'Sic 'Em Dogs On' and
'Po' Boy'. Upon release from prison White headed back to Chicago
to record 12 sides on the 7th and 8th of March, 1940, such as 'When Can I
Change My Clothes?' w 'High Fever Blues' (Vocalion 05489) and 'Parchman Farm
Blues' w 'District Attorney Blues' (OKeh 05683). White then vanished to Memphis
to work in a factory. But in 1961 Bob
Dylan recorded one his songs, 'Fixin' to Die', on his premiere
album, upon which White's career finally took off. (John Mayall and the Bluesbreakers, with
Eric Clapton in the band, would
record 'Parchman Farm Blues' in 1966.) White performed various venues like
universities and festivals, including Carnegie Hall in '65, until his death of cancer
on February 26, 1977. Lists of compositions by White at
1,
2,
3,
4.
See also
australiancharts;
discogs;
HMR Project.
White in visual media.
All titles below are thought to be composed by White.
Dates represent recording years. Bukka White 1930 Bukka White 1937 Bukka White 1939 Bukka White 1940 Bukka White 1963 Bukka White 1968 Bukka White 1969
|
|
|
Geeshie Wiley
[1,
2,
3,
4,
5] is
another of the more ghostly
figures in early blues, nigh everything known about her speculative.
Possibly born in either Louisiana or Natchez, MS, circa 1908. Steve Leggett
(allmusic, itunes) has her in a possible early relationship with
Papa Charlie McCoy, she also
working with a medicine show in Jackson, MS, sometime in the twenties.
Geeshie may have married
Casey Bill Weldon
following his divorce from
Memphis Minnie. It was March
of 1930 in Houston when she and Elvie Thomas (L.V. Thomas August 7, 1891 –
May 20, 1979) traveled to Grafton, Wisconsin, to
record four titles: 'Last
Kind Words Blues', 'Skinny Leg Blues', 'Motherless Child Blues', 'Over To My
House'. 'Pick Poor Robin Clean' and 'Eagles On a Half' followed the next
year in March of 1931. Those six sides were released
on three 78s per Paramount 12951, Paramount 12977 and Paramount 13074. All
titles were composed by Wiley with Thomas collaborating on 'Over to My House' and 'Pick Poor Robin Clean'.
'Motherless Child Blues' is thought to be Thomas'
composition in collaboration with Wiley.
Thomas and Wiley disappeared into obscurity after those sessions,
though they may have performed together as late as 1933 in Oklahoma. Thomas
later turned up in Houston, singing in a choir at Mount Pleasant Baptist
Church in Acres Homes, a suburb of Houston. See Discogs;
HMR Project. Elvie Thomas 1930 Geeshie Wiley 1930 Geeshie Wiley 1931
|
|
|
|
Bunble Bee Slim (Amos Easton)
[1,
2,
3,
4,
5,
6] was about
fifteen (1920) when he left home in Brunswick, Georgia, with the Ringling Brothers Circus.
Though he was largely known as a vocalist, he played guitar as well (on such as
'Sloppy Drunk Blues')l. Slim left the circus and settled in Indianapolis in 1928 with
Scrapper Blackwell
and
Leroy Carr. By
twists and turns he eventually made his first six recordings in Grafton,
Wisconsin, in October 1931: 'Yo Yo String Blues', 'Stumblin' Block Blues',
'No Woman No Nickel', 'Chain Gang Bound', 'Rough Rugged Road Blues' and
'Honey Bee Blues'. Those were issued on three 78s per Paramount 13102,
Paramount 13109 and Paramount 13132. Slim signed up with Vocalion the next
year, commencing a career that would see him record above 150 tracks in the
next five years, he also a favorite with Decca and Bluebird. Come 1937 he
headed back to Georgia, whence begins a gap in his recording career,
then relocated to Los Angeles in the early forties where put away several
titles in 1951 like 'Strange Angel', 'Lonesome Trail Blues', 'Lonesome Old
Feeling', and 'Ida Red', issued per Specialty 410 and Fidelity 3004. Slim
released the album, 'Back In Town', in 1962. He continued playing in clubs
until his death in Los Angeles on June 8, 1968. Among early compositions credited to Amos Easton or
Bumble Bee Slim per the year they were recorded: 1931 'Chain Gang Bound' 'Rough Rugged Road Blues' 1934 'Burned Down Mill' 'Sad and Lonesome' 'Sail on Little Girl' 1935 'I Keep On Drinking' 'When the Sun Goes Down' 1936 'Big Six' 'Green Country Gal' 'Hard Rocks in My Bed' 'New Bricks in My Pillow' 'New Orleans Stop Time' 'Ramblin' With That Woman' 'Right From Wrong' 'Rough Treatment' 'When the Music Sounds Good' 1937 'I'm Having So Much Trouble' See also compositions 1931-37 at discogs and compositions 1934-35 at allmusic. Concerning 'Yo Yo String Blues' below, both Barbecue Bob and Blind Lemon Jefferson had recorded similarly titled 'Yo Yo Blues' in 1929. Slim on 78 rpm. At discogs. Titles below which may or may not be composed by Slim (credits unfound) are marked with an asterisk (*). The rest belong to Slim except as indicated Bumble Bee Slim 1931 Bumble Bee Slim 1935 Composition: Leroy Carr 1928 Composition: Leroy Carr 1930 Bumble Bee Slim 1936 Bumble Bee Slim 1937 Bumble Bee Slim 1951 Bumble Bee Slim 1962 Album: 'Back in Town' Composition: Traditional Album: 'Back in Town'
|
Bumble Bee Slim Source: Blues Keeper |
|
|
Skip James Source: WMFU |
Delta blues musician
Skip James
(Nehemiah Curtis James) [1,
2,
3,
4] earned a meager living, alike many early blues
musicians, busking on the streets. Born near Bentonia, Mississippi, in 1902/03, he
first recorded for Paramount Records in Grafton, Wisconsin, circa 1931.
American Music has him putting down 18 sides
in February that year, beginning with
'Devil Got My Woman' and 'Cypress Grove Blues' Floor Blues' (Paramount 13088). Those recordings sold
poorly, James to fade into obscurity during the Depression. His life for the
next three decades is largely undocumented, though Wikipedia has him working
in the ministry at times unknown. He apparently continued playing, as he was
rediscovered in 1964 by a few blues enthusiasts
who found him as able as ever, he to perform at the
Newport Folk Festival that year. Also starting to record again, he
issued his first album, 'Greatest of the Delta Blues Singers', in 1965, all
titles his own compositions.
His rekindled career, however, would be brief, as he died five years later
in Philadelphia on October 3, 1969. The British blues rock band, 22-20, was
named after James' composition, '22-20 Blues' ('31). (Robert Johnson
would record '32-20 Blues' in 1936.) Titles below are by James except as noted. A
partial list of James' compositions.
See also 45Worlds
/
Discogs / HMR Project.
James in visual media. Skip James 1931 From Roosevelt Sykes' '32-20' 1930 Skip James 1964 Washington D.C. Hospital Center Blues Skip James 1967 Taped live Hampton Jazz Festival Composition: Piedmont region traditional Skip James 1968
|
|
 Region of the Mississippi Delta Source: Carnegie Mellon |
Like early jazz which had two main branches, developing out of Chicago in the north and New Orleans in the south, so it was with the blues, musicians gravitating to Chicago in the north along the major vein of the Mississippi River, forming the heart of the blues in the Delta region. Born in Crawford, Mississippi in 1903, Big Joe Williams, (Joseph Lee Williams) [1, 2, 3/ Disco] often played a nine-string guitar. The twenties saw him with the Rabbit Foot Minstrels for a time. (Others who worked for that tent show were Arthur Happy Howe, Ma Rainey, Ida Cox, Bessie Smith, Butterbeans and Susie, Tim Moore, Louis Jordan, Brownie McGhee and Rufus Thomas.) Williams is thought to have first recorded on December 11, 1930, with the Birmingham Jug Band in Atlanta, GA, possibly with Jaybird Coleman on harmonica. American Music lists the first two of nine tracks as 'German Blues' and 'Airplane Blues' (OKeh 8856). Williams' career received a major boost upon signing with the Bluebird record label in 1935. Unlike many blues artists who faded away before rediscovery during the blues and folk revival of the sixties, Williams remained well-known as he worked the Delta region. Wikipedia has him partnering with a young Muddy Waters during the thirties. keeponliving has him performing in St. Louis, MO, with Peetie Wheatstraw about 1939. American Music (AM) has Sonny Boy Williamson I with Williams on the former's debut recordings on May 5, 1937, at the Leland Hotel in Aurora, Illinois, that backing Robert Lee McCoy on 'Prowling Night-Hawk' (Bluebird B6995). AM follows that on the same date with Williamson's first name session with McCoy and Williams supporting per 'Skinny Woman'/'Got the Bottle Up and Gone' (Bluebird 7012). AM then has McCoy and Williamson backing Williams' 'I Know You Gonna Miss Me'/'Brother James' (Bluebird B7022). That trio also recorded on May 5: Williams' 'Rootin' Ground Hog'/'I Won't Be in Hard Luck No More' (Bluebird B7065), Williamson's 'Blue Bird Blues'/'Jackson Blues' (Bluebird 7098), and McCoy's 'Sweet Pepper Mama' (Bluebird B7090) and 'Tough Luck' (Bluebird B7115). Williamson supported Williams severally over the years, including the former's last known recordings, those on December 18, 1947, for Williams' 'Banta Rooster Blues', 'House Lady Blues', 'King Biscuit Stomp', 'Don't You Leave Me Here', 'P Vine Blues' and 'I'm a Highway Man'. Those were issued per Columbia 30119, Columbia 38190, Columbia 30129, Columbia 30191.Williams recorded and released his initial LP in 1958: 'Piney Woods Blues', his popularity to increase in the sixties. He recorded with several labels, and toured Europe and Japan before his death on December 17, 1982, age 79, in Macon, Mississippi. Compositions by Williams are noted at allmusic and discogs 1, 2, 3, 4, 5, 6, 7. See also 45worlds, 45cat and discogs. Williams in visual media. All titles below were written by Williams. His was the initial 'Crawling King Snake'. (Victoria Spivey had issued a similarly titled 'Black Snake Blues' in 1926 [OKeh 8338], the same year as Blind Lemon Jefferson's 'Black Snake Moan' [OKeh 8455].) That title has been covered numerously through the years: The Doors in '71, Canned Heat w John Lee Hooker in '85, Etta James in '93, et al. Big Joe Williams 1935 Providence Help the Poor People Somebody's Been Borrowin' That Stuff Big Joe Williams 1937 I Won't Be In Hard Luck No More Big Joe Williams 1941 Big Joe Williams 1947 Big Joe Williams 1951 Big Joe Williams 1961 Big Joe Williams 1965 Baby Please Don't Go Live performance Big Joe Williams 1966 Live performance
|
Big Joe Williams Photo: Dick Waterman Source: Past Blues |
|
King Solomon Hill (Joe Holmes)
[1,
2,
3] was a Delta
blues musician born near McComb, Mississippi, in 1897. He there performed
with
Sam Collins in the twenties. 1928 found him in Wichita Falls with
Blind Lemon Jefferson
and George Young. He also collaborated with Willard
Thomas (Ramblin' Thomas) in Shreveport, Louisiana. He made his way to
Grafton, Wisconsin, to make his only recordings circa Nov 1931 oro Jan 1932
1932. American Music begins its account of Hill's titles with 'Whoopee
Blues' and 'Down On My Bended Knee' issued per Paramount 13116. Among other
titles was his tribute to
Blind Lemon Jefferson
who had died December 19, 1929: 'My Buddy Blind Papa Lemon', that released
with 'Times Has Done Got Hard' per Paramount 13125. Recording only six titles
plus two second versions, Hill (Holmes) is yet another spectral blues artist
concerning whom little is known, and whom no photos identify with certainty.
He died of a cerebral hemorrhage in Louisiana sometime in 1949. See Discogs
and HMR Project.
Hill is responsible for all compositions below. King Solomon Hill 1932
|
||
|
Born in 1904 or 1907 in North Carolina, it was 1935 that Blind Boy Fuller (Fulton Allen) [1, 2, 3, 4, 5, 6/ Disco] was a teenager working as a laborer when he began to go blind from a case of neonatal conjunctivitis, completely blind by 1928. He married one Cora Mae Martin the next year. Being blind was the reason not a few blues musicians took up guitar to busk on the streets for a living. Such was Fuller's situation, he learning guitar from records. In 1935 when a record shop owner, James Baxter Long, arranged for Fuller to travel to New York City with Bull City Red and Reverend Blind Gary Davis to record for ARC (American Record Company). honkingduck accounts for 12 titles in July that year, beginning on the 23rd with 'Baby, I Don't Have to Worry', 'I'm a Rattlesnakin' Daddy', 'I'm Climbin' on Top of the Hill' and 'Lookin' for My Woman'. The 24th saw 'Ain't It a Cryin' Shame'. Fuller recorded about 125 titles in the next five years, his last tracks taking place on June 19, 1940, in Chicago. American Music has his final track that day as 'Night Rambling Woman'. Fuller died in Durham, North Carolina, of urethral stricture the next year on February 13 [*] at age 36. Recordings by Fuller with compositional credits at allmusic 1, 2, 3, 4, 5, 6, 7 and discogs 1, 2. Fuller recorded numerous titles with harmonica player, Sonny Terry. Documentation of such with songwriting credits at allmusic and discogs. See also 45worlds / discogs / hmrproject. Titles below are thought to have been composed by Fuller except as indicated. They are listed by session, if not release, date. Blind Boy Fuller 1935 Baby You Gotta Change Your Mind Somebody's Been Playing with That Thing Blind Boy Fuller 1936 Composition: Fuller/J.B. Long Blind Boy Fuller 1937 Composition: W.C. Handy/M.E. Koenig/S. Williams Blind Boy Fuller 1938 Blind Boy Fuller 1939 Blind Boy Fuller 1940 Composition: Fuller/J.B. Long Composition: Sonny Terry
|
Blind Boy Fuller Source: Jas Obrecht Music Archive |
|
 Leadbelly's Birthplace Source: Wikimedia Commons Lead Belly (Huddie William Ledbetter) was born in Mooringsport, Louisiana, about the center of Caddo Parish, the red area above. |
Lead Belly [1, 2, 3, 4, 5, 6, 7, 8, 9], a folk and gospel singer, specialized in 12-string guitar. He composed 'The Titanic' in 1912 while performing with Blind Lemon Jefferson in the Dallas area. That was the year New Mexico and Arizona were admitted to the Union. Born in Louisiana in 1888 or '89, the first time Huddie William Ledbetter went to jail was in 1915 for carrying a pistol. He escaped from a chain gang, only to be confined again in 1918, this time for killing a relative in a fight over a woman. Released in 1925, he was incarcerated a third time in 1930 for knifing a white man in yet another fight. Lead Belly made his first recordings on 16 July, 1933, at Louisiana State Penitentiary, Angola, for John and Alan Lomax in the employ of the Library of Congress [*]. The University of London also has Lead Belly recording for the Lomax's and the LOC in 1933. A second set of Lomax recordings followed in July of 1934. Lead Belly's early recordings with Lomax can be found on 'Selected Sides 1934-1948 Vol. 1: Matchbox Blues 1934-1937'. Following Lead Belly's release from incarceration in August, numerous Lomax sessions were held from September to March of 1935. During that period Lead Belly made his first commercial recordings, as well, during three sessions on January 23, 24 and 25 of 1935 for ARC (American Recording Company). The majority of 34 tracks went unissued excepting 'New Black Snake Moan', 'Four Day Worry Blues', 'Packin’ Trunk Blues', 'Honey, I’m All Out and Down' and 'Becky Deem, She Was a Gamblin’ Girl'. The last was issued with 'Pig Meat Papa' in 1936 (recorded March 1935). Future Lomax recordings were made in June of '37, December of '38 and August of During that time Lead Belly had been jailed a fourth time for stabbing a man in a fight in Manhattan in 1939. Serving minimum time for good behavior, he'd been released again in 1940. Lead Belly had plenty of time to get in trouble again, as he didn't die until December 6, 1949, but playing for radio stations in New York City, camaraderie with other blues and folk musicians, and a brief tour in Europe apparently helped keep the peace. Among the many traditionals of unknown or derivative composition recorded by Lead Belly were: Blue Tail Fly
1948 Among titles composed by Lead Belly with the year he first recorded them were:
Alberta 1935 See also songwriting credits to Leadbelly recordingsat allmusic and australiancharts. Lead Belly made his last commercial recordings in 1944, though held further sessions in 1948 and 1949. His last recordings were probably at the University of Texas on 15 June 1949. Lead Belly at 45worlds. 'The Definitive Lead Belly' at Discogs. HMR Project. Per below, all titles are Lead Belly compositions unless otherwise noted. Per 1934, 'Black Betty' likely refers to a prison whip or wagon. Lead Belly 1933 Part 1 Five tracks unissued Part 2 Six tracks unissued Lead Belly 1934 I'm Sorry Mama Unissued Composition: Traditional Lead Belly 1935 Angola Blues Unissued My Baby Quit Me Unissued New Black Snake Moan Issued by Paramount
Composition:
('Black Snake Moan') Lead Belly 1939 Black Betty Unissued Composition: Traditional Lead Belly 1941 Cottonfields Issue unknown Lead Belly 1942 Mr. Hitler Issue unknown Lead Belly 1944 Aka 'House of the Rising Sun' Version 1 Composition: Traditional Composition: Clarence Wilson 1929 Where Did You Sleep Last Night Composition: Traditional Lead Belly 1946 Grey Goose Film Composition: Traditional Lead Belly 1947 Lead Belly 1948 House of the Rising Sun Version 2 Composition: Traditional Issued 1962 Folkways Records 'Leadbelly's Last Sessions Volume Two' Composition: Joe Young/John Siras 1930 Issued 1962 Folkways Records 'Leadbelly's Last Sessions Volume Two' Issued 1953 Folkways Records 'Leadbelly's Last Sessions Volume One'
|
Lead Belly Source: Wyn Wachhosrt |
|
Casey Bill Weldon Source: Dicogs |
Casey Bill Weldon
[1,
2] was born
in Pine Bluff, Arkansas, in Dec of 1909. Biographical profiles at
various internet sites were
apparently written before recent discovery that
Will Weldon
of the
Memphis Jug Band (MJB)
is not the same as this
Weldon. Casey Bill first recorded on guitar in Chicago on March 25, 1935, with
Peetie Wheatstraw. That day also
included tracks with Blind Teddy Darby at guitar and
vocals for Parts 1 and 2 of 'I'm Gonna Wreck Your Vee Eight' on Vocalion
02953 [American Music]. Weldon recorded scores of songs for Vocalion and Bluebird, also working as a
session guitarist, until 1938. Biographies also have him commonly wedding
Memphis Minnie, which
Jim O’Neal at bluesoterica (2 above) proffers to more likely be Will Weldon
of MJB above. He did, however, record a few sessions w
Minnie in 1935,
resulting in such as 'When the Sun Goes Down' (Bluebird B-6187) and 'Hustlin'
Woman Blues' (Bluebird B-6202). There is also speculation that Weldon married
Geeshie Wiley.
Yes or no, American Music (AM) follows him to as late as Dec of 1938 in
Chicago, laying out 'I Believe You're Cheatin' On Me', 'Way Down In
Louisiana', 'You Gotta Do Your Duty' and 'Midnight Blues'. After a gap of
several years AM has Weldon showing up in Los Angeles as late as 1945 to
back pianist,
Cecil Gant, on 'Little Baby
You're Running Wild' (Gilt Edge 512) and 'Solitude' (Gilt Edge 517). He then
spirited away into obscurity until his death in Sep 1972 [2 above]. Discogs documents recording dates and performers per Volumes 1-3 of
'Complete Recorded Works 1935-1938 in Chronological Order' at
1,
2,
3.
HMR Project. Casey Bill Weldon 1935 Casey Bill Weldon 1936 Composition: Will Weldon Casey Bill Weldon 1937 Casey Bill Weldon 1938
|
|
|
Robert Johnson Source: Zwierzenia Rockmana |
Robert Leroy Johnson [1, 2, 3, 4, 5, 6, 7, 8, 9, 10], yet another Delta blues guitarist, is supposed to have been born in Hazlehurst, Mississippi, on May 8, 1911. Music and the spooky have had an intimate relationship for centuries. One could presume most musicians to experience such in their own ways. Johnson is famous for selling his soul to the Devil in exchange for tuning his guitar, supposedly at the crossroads of US 61 and US 49 a bit north of Clarksdale, MS. It seems that Johnson had left Mississippi for Arkansas in 1930, neither owning a guitar nor very good at playing one. Six months later (some say two years) he returned with a Gibson Kalamazoo and a fairly nice ability. As to the Devil, that rumor is thought to have gotten started with Son House and Peter Welding a couple years later, then let to float toward the development of various stories about it. Johnson made his first recordings on November 23, 1936, in San Antonio, TX, at the Gunter Hotel, Room 414: 'Kind Hearted Woman Blues', 'Terraplane Blues', 'Dead Shrimp Blues', 'I Believe I'll Dust My Broom', 'Ramblin' On My Mind', 'Come On In My Kitchen', 'Sweet Home Chicago', 'When You Got a Good Friend', 'Phonograph Blues'. Further sessions followed later that month. American Music doesn't have him recording again until June 19 and 20 in Dallas, TX, among his last on the 20th such as 'Traveling Riverside Blues', 'Honeymoon Blues', 'Love in Vain Blues' and 'Milkcow's Calf Blues'. Johnson would die a year later, age 27, on August 16, 1938 [*], presumably of a poisoned bottle of whisky in Greenwood, MS. Johnson's recordings are listed with compositional credits at Australian Charts and All Music 1, 2. The Rolling Stones would do their famous cover of 'Love in Vain' in 1969 on their 'Let It Bleed' album. Johnson at 45worlds, 45cat, discogs and HMR Project. Titles below were written by Johnson except as noted. Robert Johnson 1937 Composition: Roosevelt Sykes 1930 Lyrics from Skip James' '22-20 Blues' 1931 From melody by Mississippi Sheiks: ‘Sitting on Top of the World’ 1930 From Leroy Carr’s ‘When the Sun Goes Down’ 1935 See Kokomo Arnold: 'Old Original Kokomo Blues' 1935
|
|
| Born in Hughes Springs, Texas, in 1905,
Black Ace
(Babe Kyro Lemon Turner)
[1,
2,
3] traveled the juke joints of eastern Texas with
Andrew Smokey Hogg and Oscar Buddy Woods in the early thirties. He
first recorded on April 26, 1936, in Fort Worth,
TX, two unissued tracks for ARC: 'Bonus Man Blues' and 'Black Ace Blues'. Come
six of his compositions for Decca on February 15 the next year: 'Black Ace', 'Trifling
Woman', 'You Gonna Need My Help Some Day', 'Whiskey and Women', 'Christmas
Time Blues', 'Lowing Heifer'. Thought to have been accompanied by Smokey
Hogg, those were issued as Decca 7281, 7340 and 7387. That same year ('37)
Ace began his own radio show on KFJZ in
Fort Worth on which he played blues tunes until, so far as known, 1941, the
year he appeared in the film, 'The Blood of Jesus'.
Drafted into the army in 1943, Ace then quit the music business until he recorded an album
in the summer of 1960: 'BK Turner and His Steel Guitar' ('61). His revived
interest in the blues, however, would last only a couple years, his last
performance in 1962 for a film documentary titled 'The Blues'. Ace died of
cancer ten years later on November 7, 1972.
Compositions credited to Ace. See also Discogs,
HMR Project. Black Ace 1937 You Gonna Need My Help Someday
|
Black Ace Source: Reina Salt's Night Blues
|
|
|
Born in 1911, guitarist Floyd Council [1, 2, 3] began his music career busking on the streets of Chapel Hill, North Carolina, in the twenties. Just so, he was a Piedmont blues musician. (Distinguished from Delta blues, Piedmont blues arose out of the Virginia-Carolinas region more removed toward the East Coast.) Council began busking Chapel Hill with Blind Boy Fuller in the thirties. American Music has Council first recording as Dipper Boy Council on February 8, 1937, backing Fuller in New York City on 'If You Don't Give Me What You Want' (Bull City Red on washboard) and 'Boots and Shoes'. His first name solo titles went down as Dipper Boy Council on the 9th: 'I'm Grievin' and I'm Worryin'' and 'Runaway Man'. He recorded 'I Don't Want No Hungry Woman' on the 9th and 'Lookin' for My Baby' on the 11th as The Devil's Daddy-in-Law. Council and Fuller held sessions on the 10th and 11th as well, Dipper Boy also recording his name solo titles 'Poor and Ain't Got a Dime' and 'Working Man Blues' on the 11th. Council and Fuller held sessions again in September (unissued) and December 15 of '37 for Fuller's 'Ten O'Clock Peeper', 'Oozin' You Off My Mind' and 'Shake That Shimmy'. 1938 saw them on Fuller's unissued titles, 'Georgia Ham Mama' and 'Jivin' Woman Blues'. December 18 witnessed him with Sonny Terry on harmonica on the unissued titles, 'String Bean Blues' and 'Down Home Blues'. Council wasn't to record again until August 6, 1970, by Peter Lowry for Trix Records, those with Rufus Jackson on harmonica and vocals: 'Red River', 'Let's Play House' and 'Sitting on Top of the World'. Those went unissued, as a stroke in the sixties had left Council too unable to perform, despite his apparently healthy mental condition. Council himself stated in 1969 that he'd recorded 27 songs (seven of those issued by Fuller). If so, then there was a session or so of several songs unaccounted for at American Music (first recording above). Floyd Council is the reason for the latter half of the name of the rock band, Pink Floyd. Pink Anderson is the reason for the former half. Council died of heart attack on May 9, 1976, in Sanford, NC. See HMR Project. Floyd Council 1937 If You Don't Give Me What I Want Backing Blind Boy Fuller w Bull City Red
|
Floyd Council Source: Wikipedia
|
|
|
Robert Nighthawk Source: End of Being |
Born Robert Lee McCollum in
Helena, Arkansas, in 1909,
Robert Nighthawk
[1,
2,
3,
4,
5,
6,
7]
was known as Robert Lee McCoy until he became Nighthawk in the latter forties, due to the popularity
of his song, 'Prowling Night Hawk', in 1937. McCoy initially played harmonica, though soon picked up slide guitar as well, inspired by
Tampa Red.
Sunday Blues
(SB) has McCoy first recording four
unissued tracks at an undisclosed location on October 23, 1936, those with pianist, Jack Newman:
'Big House Blues', 'Down and Mistreated Blues', 'Pepper Mama' and 'That Jive
You Got'. He was in St. Louis when he helped fill guitarist/pianist,
Henry Townsend's, Model A Ford to drive to Aurora, Illinois, with pianist, Walter Davis,
Big Joe Williams and
Sonny Boy Williamson I.
That would accomplish McCoy's first sessions to issue for Bluebird Records
on May 5, 1937. Following SB, he backed Davis on titles like 'Angel
Child', 'Fifth Avenue Blues', et al, those with
Townsend. SB next lists titles in
support of Williams
with Williamson I
on the same date like 'I Know You Gonna Miss Me', 'Rootin' Ground Hog', et al. Also on May 5 came titles for
Williamson I, with
Williams, such as 'Good Morning Little School Girl',
'Bluebird Blues', et al. McCoy's first name sessions were held on the same
date, backed by Williams and
Williamson I.
American Music lists
four of six per 'Prowling Night-Hawk', 'G-Man' (unissued), 'Sweet Pepper Mama' and 'Tough Luck'. Titles for
Williamson I
followed on November 11, those with
Townsend 'Up
the Country', 'Worried Me Blues', et al. Titles followed in 1938 placing
McCoy with Speckled Red, Willie Hatcher and
Williamson I again.
McCoy recorded as Rambling Bob in the latter thirties, as Peetie's Boy in
the early forties, also performing on radio before
changing his name to Robert Nighthawk in the latter forties to record with
his Nighthawks. Nighthawk busked the streets of Chicago throughout his
career, never attaining to a commercial success that could pay the rent. He died
about a week after his final recordings in Aug 1967 on Nov 5, 1967, in Helena, Arkansas
[*]. Among the better known of his early compositions were 'Prowling
Night-Hawk', 'Tough Luck' and 'Friars Point Blues'. A partial list of
recordings as both McCoy and Nighthawk with
songwriting credits at discogs.
See also 45worlds
/
discogs
/ HMR Project. McCoy performs with
Williamson I
(John Lee Williamson) per 1937 and '38 below. Robert Nighthawk 1937 Robert Nighthawk 1938 Robert Nighthawk 1939 Piano: Speckled Red Robert Nighthawk 1940 Robert Nighthawk 1948 Robert Nighthawk 1949 Robert Nighthawk 1964
|
|
|
Robert Petway
[1,
2,
3]
was born about 1903, probably near Yazoo City, Mississippi, though research
exists that would place his birth in Alabama. He
worked the Mississippi Delta at such at roadhouses during his early career
with guitarist, Tommy McClennan. He then followed McLennon north to Chicago where he
recorded his only 16 sides on March 28 of 1941 and February 20 of 1942.
American Music
(AM) begins its list on the 28th with 'Let Me Be Your Boss'/'Rockin' Chair Blues'
(Bluebird B-8726), 'Sleepy Woman Blues'/'Don't Go Down Baby' (Bluebird B-8756), 'Left
My Baby Crying'/'My Little Girl' (Bluebird B-8786), et al. AM has him
likely accompanied by Alfred Elkins on those, as with the next eight the
next year: 'Boogie Woogie Woman'/'Hollow Log Blues' (Bluebird B-8987), 'In
the Evening'/'Bertha Lee Blues' (Bluebird B-9008), et al. Petway then wafted off into
the sunset, not to manifest again. Social
Security records may have him dying in Chicago on May 30, 1978. Petway is
best known for his composition, 'Catfish Blues', gone down as his first
recording of '41. That was paired with 'My Little Girl' toward Bluebird B-8838.
WorldCat has fourteen of his recordings composed
by him, including those below. See also
discogs
/ HMR Project. Robert Petway 1941 Robert Petway 1942
|
Robert Petway Source: Wikipedia
|
|
|
|
With Robert Petway we pause this history of early blues guitar players. We will be listing more as such occur. |
Early Blues 2: Vocal - Other Instruments
Modern Blues 2: Vocal - Other Instruments
Modern Blues 3: Black Gospel Appendix
Jazz
Early Jazz 1: Ragtime - Bands - Horn
Early Jazz 2: Ragtime - Other Instrumentation
Modern 4: Guitar - Other String
Modern 5: Percussion - Other Orchestration
Modern 7: Latin Jazz - Latin Recording
Modern 8: United States 1960 - 1970Modern 9: International 1960 - 1970
Latin
Latin Recording 2: The Caribbean
Latin Recording 3: South America
The Big Bang - Fifties American Rock
Total War - Sixties American Rock
Classical - Medieval to Renaissance
Classical - Romantic to Modern
Jazz Early - Ragtime - Swing Jazz
Jazz Modern - Percussion - Song - Other
Boogie Woogie - Doo Wop - R&B - Rock & Roll - Soul
vfssmail (at) gmaill (dot) com
