the blues appreciation society

BLUES
U N L I M ITED
THE JOURNAL OF “THE BLUES APPRECIATION SOCIETY"
EDITED BY SIMON A. NAPIER
1/6
Number One
Ap r i l 1963
T h is i s th e f i r s t o f what we hops w i l l be many is s u e s o f our
m agazin e. When, l a s t May, we founded the "B lu es A p p r e cia tio n
S o c i e t y " our u lt im a t e aim was the p u b lis h in g o f ju s t such a
m a gazin e, as one s e emed b a d ly needed in t h i s now in c r e a s in g ly
p o p u la r f i e l d . I t w i l l be p u b lis h e d at about 5 -w eek ly i n t e r ­
v a l s , and fu t u r e c o n t r ib u t o r s in c lu d e John G od rich , D octor H.
R, Rookmaaker, Derek C o l l e r , Henry V estin e as w e ll as the
w r i t e r s in t h i s i s su e.
Our ’ B .A .S .' a c t i v i t i e s w i l l c a r r y on as b e f o r e , in c o n ju n c t io n
w ith t h i s m a gazin e. Id e a s f o r im provin g our s e r v i c e are s t i l l
v e ry welcome and w i l l r e c e iv e ou r c l o s e s t a t t e n t io n . We hope
t o s a lv a g e many o f th e fin e, id e a s l a i d down by Max V r e e d e 's
o r i g i n a l s o c i e t y , and fu r t h e r d e t a i l s w i l l be p u b lis h e d h e r e .
We n eed good fe a t u r e a r t i c l e s , d is c o g r a p h ie s , c r i t i c i s m s and
r e v ie w s . News o f t h a t 's happening b lu e sw ise y o u r way. Anything
t o p i c a l c o n s t r u c t iv e and i n t e r e s t i n g . Don’ t be l a z y . W rite i t .
L e t u s know what you l i k e , and, more im p o rta n t, what you d on ’ t .
Your o p in io n s m a tte r . I f you d o n 't w r i t e , we d on ’ t know. However
we do hope y o u ' l l f i n d som ething o f i n t e r e s t h e r e , and w i l l con ­
tin u e t o do s o .
F i n a l l y , on b e h a l f o f th e ’ B .A . S . ' s t a f f and m y s e l f , I ' d l i k e t o
thanks a l l th o s e who have a d v is e d , encouraged and h e lp e d u s in
any. way, th e s e l a s t few m onths, w ith o u t whom th e r e would be no
'B
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CONTENTS
Agents
page 16
"B u ll C it y Red"
5
Crown R ecord s
12
G ospel Scene
10
"Memphis Blu e s S in g e r s "
8
New U. K. R e le a s e s
16
CONTENTS
New U. S . R e le a s e s
Rapid Reviews
"Southern R ecord Men"
S u b s c r ip t io n s
Recommended
"What They S a id "
15
14
3
16
2
14
Errat a
Page 4 - lin e 3 - read at the end "and he su ffered from................ "
Page 8 - Paragraph 2 - lin e 21 - read "a blues o f theca
reof
lib
’M o t h e r - i n - l aw B l u e s "
Are you a Traditio n a l Bl ues Fan?
I f so, and you haven't yet heard of Arhoolie Records and the Int­
ernational Blues Record Club, write at once to Chris Strachwitz
at Arhoolie Records, P.O.Box 5 0 7 3 Berkel ey 5, California . Chris___
w ill he glad to send you d e ta ils , and prices of his magnificent
catalogue.
- 0- 0- 0 - 0Have you the French ' Treasury o f Jazz' Blues LP' s in your collec­
tion? You should have, write for l i s t s to Bert Bradf ie ld , Treasury
o f Jazz' , 8 Rue Albert Laurent, Chatillon-sous-Bagneuz, Seine,
FRANCE.
(Both Arhoolie & ’ Treasury o f Jazz LPs wi l l be covered in fu tu re)-0 -0 -C -0 -
We recommend. . . . The discographer’ s Bible - Blu e s Research. I f you want information
on post-war blues labels write now to Derek Coller at 25 Broadf ie ld , Harlow, Essex, i f in U. K. I f not contact the publishers Record Research, 65 Grand Avenue, Brooklyn 5 , New York.
Record Research also features blues & R&B a rticles from time to
time. Tremendous monthly auctions. Details as above.
Jazz S ta tis tic s is a fine discographical mag. Write to Les Page
at 60, Glenwood Road, Kings Norton, Birmingham 30 i f in U.K. For
other representatives contact Otto Fluckiger Postfa ch 736 , Basel
1, Switzerland.
For research you need Matrix. Bernard Holland of 7 , Aynsley Rd,
Shelton, Stoke-on- Trent, S taffs w ill send a sample copy.
GOOD R & B
One British company, with great courage, is s t i l l issuing fine
R & B d iscs. Look through your l i s t s for S tarlite & Esquire Rcds,
th ere's hot material by Jimmy Lee, Dusty Brown, Eddie Boyd, Bobby
Davis and Sonny Thompson.
"we' l l be reviewing these soon, but meantime give them a. spin.
I f you can afford pre-war blues discs write to Willroy Hearne,
1047 W. 97th S t r ., Los Angeles 4 4 , California, who i s , generally
credited with having the largest stocks of these records.
I f you can read Dut c h , (we can't but know a good thing when we see
i t ) get Doctor Jazz from Pieter J. Bruijn, Diedenweg 611, Wageningen, Holland.
Our friend in Natchez, Melvin Dodge, t e l l s us that one of his rec­
ords i s se llin g big, by Big Walter & the Thunderbirds. We ’ ve heard
i t - we lik e i t . R &B f ans try to get i t . I t ’ s on Global 409. I t ' s
the WATUSI FREEZE 1
We lik e Chuck Berry (don’ t sneer! ) I f you do write to the 'Chuck
Berry Apprecia t ion S c ty '. Address is 54 Longfield Rd., Daubhill,
Bolton, Lancs.
Secretary is Mike Bocock - also a ’ B .A .S .' member.
I f you'd like a note put in here send us d e ta ils. We w ill in futu­
re issues be featuring auctions & sales of blues records, as extra
material to the mag. Rates are very reasonable and w e 'll send you
d eta ils on application.
I f you've not ordered your next copy of 'Blues Unlimited' do so
now. Better s t i l l take a 6-issue subscription. (see back page)
-2-
THE SOUTHERN RECORD M E
N
Number One;
by John J . Broven
JAY D. MILLER
In t h i s s e r i e s o f a r t i c l e s , Mike L e a d b it t e r and m y s e lf hope
t o p o r t r a y th e work o f th e men who are an e s s e n t i a l p a r t o f the
southern r e c o r d scen e - th e s e men are known in Europe as the
r e c o r d p r o d u c e r s o r A r t i s t and R e p e r to ir e m anagers, b u t in the
Southern U n ited S t a te s th ey are known sim ply as the 'r e c o r d men'
There appear t o be r e l a t i v e l y few a c t iv e toda y but th ose who
are m e r it r e s e a r c h , f o r i t i s th ey who are k eep in g the b lu e s
and i t s t r a d i t i o n s a l i v e . Perhaps the m ost p r o l i f i c o f th e se
in a c tio n to d a y i s Jay D. M i l l e r .
Jay M i l l e r l i v e s and w orks in C row ley, a sm all town in S ou th West L o u is ia n a , s it u a t e d on th e ram blin g U .S . Highway 9 0 , and
lo c a t e d between Lake C h a rles and Laf ay e t t e . Such a p o s i t i o n i s
i d e a l f o r r e c o r d in g th e b lu e s a r t i s t ,
f o r t h i s i s th e h e a r t o f
th e Deep S ou th .
The f o l k - l o r e o f L o u is ia n a i s n o t co n fin e d t o th e b lu e s , as the
'c a j u n ' e n t h u s ia s t s w i l l be qu ic k t o p o i n t o u t . T his m usic i s the
d i r e c t d e s c e n d a n t: o f the days o f French c o lo n ia lis m and i t was
was in th e f i e l d o f ’ c a ju n ’ m usic th a t M i l l e r e n tered the v a s t
r e c o r d in g b u s in e s s . T his was o v e r f i f t e e n y e ar s ago and from,
th e re he went on t o r e c o r d h i l l b i l l y m u sic, b e fo r e e n t e r in g the
realm o f b lu e s r e c o r d i n g . W h ils t most o f h is tim e i s c u r r e n t ly
d e v o te d t o r e c o r d in g b lu e s , he c o n fe s s e s th a t h i l l b i l l y i s h i s
f a v o r i t e id io m and he f e e l s f a r more a t home w r it in g t hi s ty p e
o f m usic than a n y o t h e r .
As a prim ary o u tp u t f o r h i s p r o d u c tio n s he has run h i s own l a b ­
e l s . The f i r s t was F a is Do Do, f o llow ed by F eature R ecord s. The
was m ain ly c o n fin e d t o h i l l b i l l y r e c o r d s , b u t
t h i s l a b e l i s o f immense im portan ce to th e b lu e s au dien ce f o r
i t marked th e r e l e a s e o f th r e e r e c o r d s by a then unknown s in g e r
O t is H ick s:
y e s , th e s e were th e f i r s t e v e r r e le a s e s o f the
g r e a t L i gh t n i n ' Sl i m :
F eatu re 3006 Bad Luck
Rock me mama.
3008 I c a n ’ t l i v e happy
New O rleans Bound
3012 Bugger Bugger Boy
E th el Mae
A ft e r F eatu re Re c o r d s th e r e fo llo w e d R ocko, an o u t l e t f o r ' the
e v e r p o p u la r ro ck & r o l l ' as Jay p u ts i t ! C u rren tly he i s run­
n in g th e Zynn l a b e l w hich is s u e s m ainly rhythm & b lu e s m a t e r ia l.
A lso he has s e t up h i s own p u b lis h in g firm in o r d e r t o p u b lis h
th e many tu n es th at he w r i t e s , and t h i s i s namely Jam il M usic.
Being so i n v o l v e d w ith th e p r o d u c tio n of r e c o r d s , i t i s o b v io u s
t h a t Jay M i l l e r mus t own h i s own s t u d io s . Here th e m ost modern
equipm ent i s u t i l i z e d from the r e o r d e r s & m icrop h on es to the
a m p l if ie r s . Wi t h 15 y e a r s e x p e r ie n c e behi nd him he has p u t h i s
know ledge t o good u se and has d e v e lo p e d what must be one o f th e
f i n e s t r e c o r d in g system s in th e w o rld . In some q u a r te rs h i s work
h as been d e s c r ib e d as ’ gim m icky’ . I do n o t con cu r w ith t h i s s t a t e ­
m ent. 'G im m ick' when a p p lie d t o m u sic, i s a d egra d in g d e s c r i p t io n
and im m e d ia tely c o n ju r e s the image o f som ething u n re a l and f a l s e .
Such a d e s c r i p t i o n co u ld n o t be a s c r ib e d t o th e work o f Jay M i l l ­
e r ; i t would be more in o rd e r t o say t h a t he i s s t r i v i n g f o r new
sounds and th u s i s b re a k in g away from c o n v e n tio n a lis m , b u t ’ gimm­
ick y , n o, n e v e r !
L e t us now turn our a t t e n t io n t o th ose p e rs o n s w ith o u t whom, f o r
a l l h i s enginuity| Jay M i l l e r would n o t be th e s u c c e s s he i s t o d a y ,
the in h a b it a n t s o f L o u is ia n a who ch ose t o sin g , the b lu e s and o t h e r
southern m u s ic a l f o rms - 3-
As n o te d a b ov e, th e b e s t known a r t i s t th a t Jay M i l l e r r e c o r d s i s
u n d o u b te d ly L ig h t n in ' S lim , a sin g e r in the tru e 'down home'
t r a d i t i o n o f th e so u th . He i s among the fo re m o st expone n ts o f
t h i s s t y l e and a l l h i s r e c o r d in g s , w ith ou t e x c e p t i o n , a r e o f the
same h ig h q u a l i t y .
T h is mark o f c o n s is t e n c y can u n fo r t u n a t e ly
be a p p lie d to very few o f the modem b lu e s s in g e r s and f o r t h i s
rea son L ig h t n in ' sta n d s high in my own e s t im a t io n , a lon g w ith
Elmore James and Howl i n ' W o lf. The b lu es o f L ig h t n in ' Slim are
in t e n s e l y savage and b i t t e r and t h is mood o f a c r i d i t y i s v a s t ly
enhanced by th e m u sica l accompaniment o f Lazy L e s t e r (h c a ) Bobby
McBride ( b s - g t r ) and Warren Storm ( d s ) . With in stru m en ts h ig h ly
a m p lifie d , t h i s combo, w ith L ig h tn in ' o f c o u r s e , on e l e c t r i c g t r .
can h a rd ly s t r ik e up enthusiasm in the h e a r t s o f the c o l l e c t o r s
o f o ld tim e b lu e s . W ill th ey take my a d v ice and l i s t e n t o the mu­
s i c o f L ig h tn in ' Slim w ith an open mind; th ey w i l l n o t be d i s s a p o in te d . Turning t o L ig h t n in ' S lim 's r e c o r d in g c a r e e r , a f t e r the
F eatu re s id e s he re c o r d e d ' Bad Fe e li n g Bl u e s ' and 'L i gh t n in '
S l im 's B o o g ie ' f o r Johnny V in c e n t 's Ace l a b e l o f J a ck so n , M iss,
n o . 5 0 5 , S in ce th e n , from 195 5 , a l l S lim 's r e c o r d s have been r e ­
le a s e d by N a s h v i l l e 's E x c e llo l a b e l . To date e ig h te e n s i n g l e s
have been r e le a s e d and an album c o n ta in in g 12 o f t h e s e . The l a t ­
e s t r e le a s e o f t h i s Baton Rouge s in g e r , who i s n e a r in g h is f i ft ie s .
and who l i k e s t o s t e a l away from the h u s t le and b u s t le o f modern
l i f e in o r d e r t o in d u lg e in h i s f a v o r i t e pastim e o f f i s h i n g , i s
c a l l e d 'I 'm w arning you b a b y /W in ter tim e b l u e s ' ( Ex 2 2 2 4 ). I t ' s
a n oth er f i n e r e c o r d and h a p p i l y i s e n jo y in g h e a lth y s a le s .
Lonesome Sundown (C o r n e liu s G reen) i s a n oth er f i n e p o r t r a y e r o f
the modern b lu e s , a lth ou gh h i s r e c o r d s la c k the c o n s is t e n c y o f
Lig h t n i n ' S lim . H 's made some e x c e e d in g ly good r e c o r d in g s and
and h i s b e s t i s by f a r and away ' I stood b y ' . This i s downhome
b lu e s a t i t ' s b e s t w ith a hard and f e e l i n g v o c a l matched by an
e qu a l l y 'h a r d ' rhythm s e c t io n and p ia n o . As t h is i s f o r c e f u l so
’ My home i s a p r i s o n ’ i s a b e a u t i f u l and r e la x e d b lu e s . The h a r ­
m onica on S l im 's and many o f Lonesome Sundown’ s r e c o r d s i s p l a y ­
ed by Lazy L e s t e r ! ( L e s l i e J oh n son ) who has made many r e c o r d s in
h i s own s i g h t . H is r e c o r d in g s are in th e c u r r e n t r o c k in g R & B
s t y le and w h ils t i n t e r e s t in g cannot b e d e c la r e d to be i n the same
c l a s s as th o s e o f - h i s i l l u s t r i o u s c o u n t e r p a r t s . His v o i c e d o e s
n o t match h i s m a g n ific e n t harm onica and la c k s tone and v a r i a t i o n .
This ca n n ot be s a i d f o r h i s harm onica s t y l i n g which mus t be s e c ­
ond o n ly t o L i t t l e W a lte r, Slim Harpo (James Mo o r e ) i s a n oth er o f
M i l l e r 's a r t i s t s who has made s e v e r a l w orth w h ile d i s c s , t i t l e s
such as 'I 'm a K ing B ee 1 (2 1 1 3 ) ' Blu e s H angover' (2 1 8 4 ) and the
much m a lign ed ' Ra in in g in my h e a r t ’ b ein g good exam ples o f modem
down home b lu e s . 'R a in in g ' a c t u a l ly p e n e tra te d the U . S. Top t h i r t y
and alth ou gh a com m ercial s u c c e s s t h i s d oes n o t d e t r a c t from th e
m e r it s o f the r e c o r d . Would th a t more r e c o r d s o f t h i s q u a lit y
c o u ld a tta in su ch s u c c e s s . U n fo r tu n a te ly t h i s s u c c e s s appears to
have gone to S lim ' s h ea d , f o r Jay has been u n a ble to g e t him to
the s t u d io s s i n c e . A p i t y , f o r Har p o has a u n iq u e v o i c e and p la y s
good h arm onica.
sdo L ig h t n in ' Slim and Lazy L e s t e r , Slim Harpo
A
l i v e s a t Baton Rou g e . Sundown a t O p elou sas,
A l l t h e se a r t i s t s r e c o r d s are r e le a s e d on Ex c e l l o R e c o rd s, a lo n g
w ith many o th e r s whom Jay M i l l e r r e c o r d s . Among them are Jimmy
A nderson, Warren Storm , S i la s Hogan, Tabby Thomas, L io n e l T orren ce
C h a rle s S h e f f i e l d and L eroy W ashington. In s te a d o f h i s s a le s b e in g
co n fin e d t o th e swamplands and bayous o f L o u is ia n a , t h i s p a r t n e r ­
sh ip wi t h E rn est L . Young and Ex c e l l o en su res com plete n a t io n a l
d i s t r i b u t i o n f o r h i s p r o d u c t . With the aid o f Jay D. M i l l e r , Ex c e l l o i s now u n d ou b ted ly the fo re m o st B lu e s/R & B l a b e l in the
w o r ld . And lo n g may t h i s o b v io u s ly mutual p a r tn e r s h ip l a s t i
(N . B. D is c o g r a p h ie s o f L ig h t n in ' Slim and Lonesome Sundown appeared
in th e December 'J a zz S ta ti s t i c s ' . Lazy L e s t e r and Slim Ha r p o
the
March issue.
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E
BY PAUL OLIVER
C o l l e c t o r s who are f a m i l ia r w ith the r e c o r d in g s o f B lin d Boy
Fu l l e r w i l l r e c a l l the s p i r i t e d washboard p la y in g o f the accomp­
a n is t known as 'Oh R e d '. His name was George Washington and he
from th e p igm en ta ry d e f i c i e n c y t h a t g iv e s a c u r io u s ly pin k and
b lo t c h e d com plexion t o some n e g r o e s , who g e n e r a lly earn the name
" Red " beca u se o f i t . W ashington had an u n e r r in g sense o f rhythm
and e x p l o i t e d t h i s w ith a s e t o f co w b e lls and o th e r accou trem en ts
mounted on a p a i r o f w ashboards which he h e ld between h i s knees
and scru bb ed w ith th im b le -c la d f i n g e r s . He i s p ro b a b ly the wash­
b oard p la y e r on th e e a r ly Fu l l e r r e c o r d in g o f "Rag mama r ag "
(V o c a lio n 03084) but came i n t o h i s own on a s u c c e s s io n o f l a t e r
s i d e s w ith th e b lin d C a r o lin a s in g e r - p a r t i c u l a r l y , and n a tu ra ­
l l y on "New Oh Red" (V o c a lio n 0 3 2 7 6 ). George Washington a c te d as
th e e y e s o f th r e e b lin d men who g e n e r a l l y worked t o g e t h e r ;
F u lton A lle n ( B lin d Boy F u l l e r ) , Gary D avis and the y o u th fu l
Sonny T e rry . They fr e q u e n t ly p la y e d , and f o r p e r i o d s l i v e d , in
W ash in gton ' s home c i t y o f Durham, N orth C a ro lin a . I t was Durham
t h a t gave him h i s nickname 'B u l l C ity Red' . Durham was known as
B u ll C i t y : a p o p u la r cheap brand o f c ig a r e t t e s known as B u ll
Durhams and th e b a s e b a ll p i t c h e r 'B u ll' Durham had ensured t h i s .
Bu l l C it y Red as w a sh b o a rd -p la y e r can be heard on many F u l le r r e ­
c o r d in g s and m ost c o n v e n ie n tly on the B lind Boy F u l ler L .P .
( P h i l l i p s BBL 7512) where he can be heard in e x c e l l e n t form on
" P i c c o l o Rag” ( P ic k -a -lo w r a g ! ) ,
’ S h e 's a t r u c k in ' l i t t l e b a b y ',
'S t e p i t up and g o ' , and on the slow er b lu e s ’ L o st l o v e r b l u e s '.
T h is sh ou ld be q u ite enough t o con v in ce anyone o f h i s s k i l l w ith
th e b o a r d s . L is t e n e r s m ight l i k e t o comment on the. l i k e l i h o o d
th a t he i s the washboard p la y e r , on some o f the Bukka W h ites, by
th e way.
However, i t i s n o t o n ly on the washboard th a t Washington was w e ll
known. He p la y e d h a rm on ica , though n ev er r e c o rd e d w ith th e i n s t r ­
um ent, and a ls o g u i t a r . H is g u i t a r s t y le lea n ed h e a v ily on F u l l e r 's
and h i s v o i c e , r a t h e r rough t e x t u r e d but sa d , has the C a r o lin a
sound. T h is can be heard on th e th re e r e c o r d s which were is s u e d
u n der th e name o f Bu l l C it y Red, on which he s in g s and p la y s g u i ­
t a r . They were re c o r d e d on the 2 4 th , 2 5 th , and 2 6th , o f J u ly 1935,
in New Y ork , and is s u e d w ith th e same numbers sim u lta n e o u sly on
Banner, O r i o l e , P e r f e c t and M e lo to n e :
Now I ’ m T a lk in g t o You/R i c hmond B lues
ARC 5 -1 2 -5 7
I w o n 't be d ogged arou n d/B la ck woman and p o i s on b l . 6 -0 2 -5 6
Pick and Shovel Blues/Mississippi River
6-06-55
On h i s few r e c o r d s , f o r we have no knowledge o f the two u n issu e d
s id e s ’ C a rr ie p l e a se d o n 't Go' and 'B u lld o g g in ' woman b lu e s ' - he
pla y s g e n t ly sw in gin g g u it a r and s in g s i n t e r e s t i n g l y r i c s which
have a f a i r measure o f homespun b lu e s p h ilo s o p h y . On ' I won' t be
dogged arou n d ' f o r exam ple, he s i n g s .
Now you s a id you been w o r r ie d , h a v in ' t r o u b le a l l y o u r l i f e ( t w i c e )
But you n e v e r had t r o u b l e , t i l l you f e l l f o r an oth er m an's w i f e .
When you g e t a woman o f y o u r own, make h e r happy n ig h t and day (x 2 )
Then s h e ’ l l f a l l f o r some n o -g o o d man, and p r e t t y soon s h e ' l l go
a stra y .
Lawdy lawdy; l a wdy lawdy l a w d . . , , . ( t w ic e )
Lawd th e woman I l o v e , t r e a t s me l i k e a doggone d og.
But I a in 't no dog, and I won't be d ogged aroun'
Bef o r e I s t and your dog g in '
(twice)
b ab e I'll le a v e th is to w n .
D o n 't th e moon lo o k p r e t t y s h in in 1 down on them t r e e s ? (t w ic e )
An ' I can see my l i l woman, bu t she c a n 't see m e . . . . . .
T his was in th e c o n v e n tio n a l tw e lv e -b a r
e ig h t -b a r c o u p le t s w hich formed h a l f o f
b lu e s had m orbid t e n d e n c ie s , a l le v ia t e d
humour. ’ M i s s i s s i p p i R i v e r ' - w hich has
in i t - i s a ca se in p o i n t ,
form , bu t Red a ls o l ik e d
h is re cord ed o u tp u t.
His
by to u ch e s o f wry, c y n ic a l
n o th in g o f the M is s is s ip p i
I c a l l e d an' I c a l l e d , bu t I c o u l d n 't make my b aby hear
I wanted t o g e t me a l i l b o a t and paddle on away from h e r e .
I went down t o th e r i v e r and I w alked i t up and down,
But I c o u l d n 't f i n d no p la c e deep enough to drown.
I s a id my m o th e r' i s up in Heaven, w a lk in ' and t a lk i n ' w ith the
L ord ,
And I'm down h e r e , t r e a t e d l i k e a d og ,
I c r ie d l a s t n ig h t t i l l my p i l l o w g o t so a k in ' w et,
That f unny woman I'm l o v i n ' she n e v e r g o t h ere y e t .
I d e cid e d I ' d
s to p d r in k in ’ w hiskey because the w hiskey th ey now
make i s n o t to o s t r o n g ;
I took two d r in k s l a st n ig h t and stayed drunk th e whole n ig h t lo n g .
Looka h ere p r e t t y woman, t e l l me what you t r y i n ' t o do?
F ast as I g iv e you my money, you p u ts i t down in you r sh oe.
I b e l i e v e I done moire f o r you than the good Lord e v e r done I went down and b ou gh t you some h a i r , the good Lord d i d n 't g iv e
you n on e.
I t seems B u ll C ity Red had t r o u b le w ith h is women: B lack Woman
and 'Poison Blues'
has a v ery ominous r in g about i t . R e c o r d e d the
fo l l owing day i t has the f i f t h v e r s e o f the above b lu e s in c lu d e d in
i t , so I w i l l om it i t h e r e .
I n c i d e n t a l l y , th e le n g th o f t h i s v e r s e
r e q u ir e s some scram bled w ords and th e t r a n s c r ip t io n may n o t be
q u it e c o r r e c t . Blac k Woman i s a ls o sung in c o u p le t s , and t o th e same
tune - th e one wh i c h F u l le r u sed on Been Y our D og re c o r d e d two y e a r s
la te r .
P erhaps he g o t th e theme from B u ll C ity Red?
I d o n 't want a c o a l b la c k woman, L ord to f r y no mea t f o r me
She s t u d ie s so much e v i l , I ' m s ca re d s h e 'l l p o is o n me.
She p u t som ething i n my c o f f e e and she p u t some in my t e a
I f I ' d 'v e jumped b a ck f u r t h e r I b e lie v e s h e 'd put. i t - o n me.
Now I h e a r a b l a ck woman h o l l e r , she l i k e t o sca re my brown t o death
I f I ' d 'a had a g o o d p i s t o l I ' d' v e k i l l e d (h e r ? ) m y s e lf.
Now when you g e t you one woman, man you sure b e t t e r g e t you tw o,
Cause you know t h e r e ' s n o t e l l i n ' what a lowdown woman w i l l d o .
Now i f I was up in Heaven, man I sure d o n 't b e l ie v e I ' d sta y
I ' d th in k about my l i t t l e brow nie an' I th in k I ' d go away.
I d e c id e d e t c , . . .
Come h e re p r e t t y woman, and s i t r i g h t down on my knee
I j u s t wanted t o t el l you how you t r e a t e d me.
The "h o o d o o " theme in th e f i r s t co u p le o f v e r s e s was more
c h a r a c t e r i s t i c o f th e ' t h i r t i e s than i t i s o f th e p r e s e n t day.
L ik e w ise th e r e are fe w e r b lu e s on p r is o n and s im ila r them es, so
t h a t th e c o l l e c t o r (who i s i n t e r e s t e d in the co n te n t as w e ll as the
8
music finds more o f in terest in these pre-war records.
Pick and Shovel Blues i s , as i t s t it le suggests, a pr i s o n blues
and th is too, has a touch o f sardonic humour in the fin al verse
I'm on my way to the ja ilh o u s e , baby I sure don’ t care (twice)
an’ I may get life tim e and I may get the electric chair.
Cause I got to go to j a i l innocent, and I got t o serve my
time (twice)
cause the ole judge is so cruel, Lord he won't give me no fin e.
Lord, I laid in the j a i l pretty mama, six long months and
days (twice)
And I didn’ t have nobody to come and go my b a il.
They t e l l me t h i s o l e j a i l h o u s e i s a Iowd own lonesome p l a c e
In the morn i n ' when you r i s e , p i c k and sh o v e l in y o u r f a c e .
I asked the c a p t a i n , '’ Captain p l e a s e don ' t be so mean
You know a p i c k and s h o v e l sure d o n 't run’ by stea m ".
(tw ice )
(tw ice)
I t i s a l i t t l e s t a r t l i n g t o r e a l i s e t h a t t h e s e t i t l e s were
r e c o r d e d t w e n t y - e i g h t y e a r s a go . What has happened s in c e ?
I f he k e p t up h i s p l a y i n g H all C ity Red must have become a
p r e t t y good b l u e s s i n g e r and m u sicia n .
Whether he i s a l i v e o r
n o t to d a y I have no i d e a , but I b e l i e v e he was o n ly in h i s ' tw e n t ie s
when he r e c o r d e d t h e s e f i n e b l u e s . Maybe he i s on e o f the
n e x t s i n g e r s due f o r " d i s c o v e r y " ?
Paul Ol i v e r
w ith acknowledgments t o John
G od rich and Robert M .W . Dixon
f o r d i s c o g r a p h i c a l d a ta .
S t a r t i n g Next I s s u e
-
Don' t Miss I t ! !
'B lu e s and G o s p e l Record L a b e l Pseudonyms' - a l i s t i n g com p iled
by John G o d r ich . Around 1000 e n t r i e s . The f i r s t l i s t i n g o f t h i s
s i z e y e t p u b l i s h e d . C overs a l l a r t i s t s u n t i l 1946. To be c o v e r ­
ed in s e v e r a l i s s u e s , o n l y in 'B lu e s U n lim it e d ' - d o n ' t m iss i t .
A ls o b e g i n n i n g so on - a magnificent series by gospel expert DR
ROOKMAAKER. Watch out for i t in 'Blues Unlimited’ - t e l l your
frie n d s.
BLUES SINGER Baby Face Lewis cautiously answered a ring at his
Manhattan door-be 11, opened up on the safety chain, and peered
out through the c rack. There stood the Seven Ups - two in grass
sk ir ts, three wit h harmonicas.
"We’ re a come dy h i l l b i l l y act, Baby Face" said one in a
Southern accent, "lik e you're looking fo r. We'd sure lik e an
audition" . Then the harmonicas broke into a tune and the others
danced.
Lewis opened wide the door and the Seven Ups rushed in shouting 'We’ re police which was perfectly true. The seven detectives
masters o f disguiise, have been tracking down dope-peddlers by a
variety o f poses, And today Baby Face Lewis is in j a i l facing
drug charges.
He put up a fig h t. When the Seven Ups-" There' s seven o f us
and everyone we plinch gets at le a st peven years"-burst in he l e t
loose his pack of hunting hounds, then dived for his gun. But with
the help o f reinforcements, the Seven Ups carted o f f Lewis, his
hounds, and £ 6 4 ,000 worth of narcotics (nearly 200,000 dollars)
(From the London 'D a ily Express', of March 30th 1 9 6 3 . )
Presumably now he'll s t ic k t o C o c a C o la ???
THE MEMPHIS BLUES SINGERS TODAY - Number One - by John J . Broven.
LITTLE JUNIOR PARKER
S in ce th e b i r t h o f b l u e s , the town o f Memphis, T ennessee, has always
been one o f the m ost prom in en t in the advance o f th e b lu e s and
the b lu e s s in g e r s through th e y e a r s . One o f the e a r l i e s t b lu e s was
w r it t e n abou t the town by W .C. Handy in the form o f 'Memphis B lu e s '.
D uring th e ’ tw e n tie s Memphis was synonymous w ith the famous Jug
Bands o f t h a t e r a . W ith th e advent o f the g r e a t d e p r e s s io n , f o l l o ­
wed by th e Second World War, Memphis was s i l e n t in so f a r as the
p r o d u c t io n o f r e c o r d s was co n c e rn e d , but w ith th e g e n e ra l r e v i v a l
o f th e r e c o r d in d u s tr y in th e immediate p ostw ar y e a r s so Memphis
has once again made i t ' s mark, t h i s tim e in th e rhythm ' n ’ b lu e s &
downhome f i e l d s . That t h i s was so was due t o the abundance o f n eg ­
r o e s r e s i d e n t t h e r e , and t o th e p re se n ce o f th e RPM, M eteor, Duke
and Sun R ecord C os, among o t h e r s , and men l i k e the Behari B roth ers
and Sam P h i l l i p s , a t t h e i r h ea d s. S tanding as i t d oes on th e M iss­
i s s i p p i , Memphis i s a n a tu r a l gateway to the North from the S outh,
and i t i s t h e r e f o r e n o t s u r p r is in g t o fin d the in flu e n c e o f b lu e s
s in g e r s from th e sou th in the s t y l e s o f th e Memphis bluesm en, t o ­
g e th e r w ith a c e r t a in amount o f s o p h i s t i c a t io n d e r iv e d from t h e i r
urban l o c a t i o n .
L i t t l e J u n io r P a rk e r i s one such Memphis bluesman . Herman P arker
was a c t u a l ly born in West Memphis, a town s it u a t e d 20 m ile s away;
a c r o s s th e g r e a t M i s s i s s i p p i , in th e s ta te o f A rkansas, However he
was soon t o c r o s s the r i v e r and t o come under the in flu e n c e o f the
Memphis m u s ic a l w o r ld . H is f i r s t r e c o r d s were f o r Sam P h i l l i p s '
Sun l a b e l and were r e a l gem s: h i s w avering v o ic e f i t t e d in i d e a l l y
t o th e b a c k in g o f th e Blue Flames l e d by B i l l Johnson. The b e s t
known song o u t o f th i s s e s s io n was 'M ystery T r a in ' , w hich was t o
becom e, 5 y e a r s l a t e r , one o f th e v e h i c l e s th a t s e t E lv is P r e s le y
on h i s p a th t o fa m e , u n d er th e same company. L i t t l e J u n io r w i l l
have some c o n s o la t io n in t h a t he was n o t the o n ly a r t i s t t o h elp
P r e s le y on h i s way t o v a s t fo r t u n e s , as A rth ur G unter, B ig Boy Cr
udup, Smokey J oe W h it fie ld and many, many o t h e r s w i l l t e s t i f y .
F o llo w in g one s e s s io n f o r the B e h a r i's Modern l a b e l , P arker was
sig n e d t o Duke R ecord s which by then had been taken o v e r by P eacock
o f H ou ston. F or y e a r s th e r e c o r d s o f J u n ior P arker were e x c e l l e n t
downhome b l u e s , b u t d u rin g th e p a s t two y e a r s the pow ers t h a t be
have turned h i s a t t e n t io n away from th e u n rew ardin g, th a t i s from
th e f i n a n c i a l a p p e c t , b lu e s m arket tow ards the ’ pop - R & B’ m arket
and h is records h a v e o f co u r se s u ffe r e d as a con seq u en ce. In s te a d
o f an e x c i t i n g b lu e s o f 'M other In Law B lu es' and 'T h a t 's A l r i g h t '
(who e l s e c o u ld have turned ou t such a g r e a t v e r s io n , a f t e r the
w o n d e rfu l Jimmy R o g e r s ’ o r i g i n a l ? ) and o t h e r s , we h a v e 'm aw kish'
p o p u la r - in flu e n c e d so n g s, the l i k e o f which do n o t b e f i t an a r t i s t
o f L i t t l e J u n i o r 's c a l i b r e . L et u s hope we have n o t heard the l a s t
o f L i t t l e J u n io r P a rk e r, b lu e s s in g e r and harm onica p la y e r
e x t r a o r d in a r y , f o r h i s d ep a rtu re w i l l le a v e a huge gap in the a l ­
ready r a p i d l y d w in d lin g f i e l d o f adequate b lu e s s in g e r s .
A te n ta ­
t i v e d is co g r a p h y o f L i t t l e J u n io r P a r k e r 's r e co r d s f o l l o w s .
Any
a d d it io n s w i l l be g r e a t l y a p p r e c ia te d I
J u n io r ' s Blue F l ames fe a t u r in g L i t t l e J u n io r P arker ( v c l )
w ith B i l l Johnson ( e l - g t r . ) , p ia n o , b a ss & drum s,
Memphis 19 60 .
U 77
U 78
Fe e l i n ' Good
F u s s in ' & F ig h t in ' B lues
U 88
U 89
Love My Baby
Mys t e ry T ra in
Sun 187
-1
Sun. 192
-1
i
( -1 d e n o te s t e n o r sa x. added)
L i t t l e J u n io r P ark er ( v c l ) &The Blue Flam es.
Memphis c . 1 9 5 0 /1
MM 1809
Your My Angel
MM 1810 Bad Women, Bad W hiskey.
Modern 864
- 8 -
On th e f o l l o w i n g Duke num bers, 1 d e n o te s a c c , by B i l l
J o h n son ’ s Blu e F lam es, 2 - and h i s o r c h e s t r a . 3 - and
h i s com bo. 4 - a c c . by B i l l Harv e y
O rch. 5 - a cc by
Al Smi t h O rch, 6 - and h i s Band .
Aug u st 1953 on.
L i t t l e J u n io r P arker ( v c l & h ca - when p la y e d )
ACA
ACA
ACA
ACA
2724
2725
2723
2726
D ir t y F rien d Blues
Can’ t U nderstand
P le a s e Baby B lues
S i t t i n ’ D rinkin' and T h in k in ’
1
1
Duke 120
1
Duke 127
1
1
Duke 137
ACA 3101
D r i v i n g Me Mad
ACA 3 10 2 -1 There b e t t e r n o t be no f e e t
2
Duke 147
FS 3D02-1
FS 3003-1'
M oth er-in -L a w B lues
T h a t 's My Baby
4
4
FS 3016
FS 3017
D o lly Bee
N ext Time You See Me
FR 3 02 4 -3
FR 3 0 2 5 -2
P r e t t y Baby
T h a t' s A lr ig h t
3
3
Duke 168
0 V 3042
OV 3043
Peaches
P r e t t y L i t t l e Do l l
5
5
Duke 177
FR 3 05 6 -3
FR 3 05 7 -3
W ondering
S i t t i n g And T hinking
3
3
Duke 184
FR 3062- x
FR 3077
B a r e fo o t Rock
What Did I Do
3
3
Duke 193
ACA 2905
ACA 2906
B a ck tra ck in g
I wanna ramble
1
2
Duke 157
Duke 164
Duke 301
Sweet Home C hicago
Somet im es
FR 7004
FR 7005
F iv e Long Y ears
I'm H o ld in g On
6
6
Duke 306
FR 7010
FR 7011
B lu e L e t t e r
Stranded
6
Duke 309
UV 7118
Uv 7119
Dangerous Woman
B e lin d a Marie
Y o u ' r e On My Mind
The N ext Time
That s J u s t A lr ig h t
I ’ l l Learn To Love Again
Stand By Me
I ’ l l F o r g e t About You
D r iv in g Wheel
Seven Days
How Long Can T h is Go On
In The Dark
Annie Get Your Yo Yo
Mary Jo
S w eeter As The Days Go By
I F e e l A lr ig h t Again
Foxy D e v il
Someone Somewhere
6
Duke 315
Duke 317
Duke 326
Duke 330
Duke 335
Duke 341
Duke 345
Duke 351
Duke 357
Parker has been fe a tu r e d on two Duke LP’ s:
- Duke LP 72 - 6 t r a c k s - 6- by Bobby B la n d
Duke LP
'D r iv in g Wheel'
- 9 -
CEDRIC J. HAYES
THE GOSPEL SCENE
P re se n te d Below i s the f i r s t o f what i s hoped t o be a s e r ie s o f
d is c o g r a p h ie s o f G osp el artpr. tG & g rou p s. I f. any in t e r e s t e d r e a ­
d e r has a d is c o g r a p h y o r a rt:;. rj. e on any a r t i s t o r group th a t they
would l i k e t o see p u b lis h e d , ccrtd i t to me' a t the a d ress given
b elow and w e 'l l be p le a s e d to p u b lis h i t .
The S ta p le S in g e rs
The S ta p le S in g e rs c o n s is t o f
Roebuck S tap­
l e s ( l e a d e r ) , M avis S t a p le s , Yvonne S t a p le s , P u rv is S ta p le s and
C le o th a S t a p le s . In a d d it io n Roebuck a lso p la y s g u it a r on m ost
o f th e r e c o r d s l i s t e d b e lo w . I t i s presumed th a t a l l th e above
Fingers are p r e s e n t on th e R ecord s l i s t e d .
The S ta p le S in g e r s .
No d e t a i l s .
W on 't you s i t dovm
D id n 't I t Rain C hildren
C hicago c .1 9 5 0
U n ited 165
v c l . a c c :,
5 5 -3 4 9
5 5 -3 5 0
5 5-3 5 1
5 5 -3 5 2
5 5 -3 5 3
,
5 5 -3 5 4
C hicago 1 /1 1 /5 5
V eeja y u n issu ed
Roebuck S ta p le ( g t r )
Each Day
So Soon
I f I co u ld h ea r my m other
G o d 's W onderful Love
C a l l in g Me
I 'v e g o t a new home
pray v
VJ 1 6 9 ,LP 5 0 0 0 :
u n issu ed
add Paul Gussman (d )
5 6 ~527
Uncloudy|Day
56-528
I know I j g o t R e lig io n
5 6-5 2 9
Come On Up
5 6 -5 3 0
L e t Me R ide
C hicago 1 1 /9 /5 6
VJ 224,, LP 5000
u n issu ed
VJ 846^ tjP 5000
[
Gussman o u t .
j
5 7-6 5 1
Swing Loip
5 7 -6 5 2
On my way t o heaven
5 7 -6 5 3
Old Sand Mark
5 7-6 5 4
I'm Coming Home - P t . l
5 7-6 5 5
I'm Coming Home - P t .2
Chicago 2 2 /3 /5 7
VJ u n is su e d
VJ 8 6 6 , LP 5000
u n issu ed
VJ 846
u M ssu ed
add A1 Duncan (d )
5 8 -8 2 2
I Had A Ipream
5 8 -8 2 3
Help Me JeiBUB
5 8-8 2 4
Low i s th e way
5 8-8 2 5
I'm Comiip g Home
58 -8 26
Thi s May Be The L a s t Time
C hicago 9 /1 /5 8
VJ 8 5 6 , LP 5000
VJ 8 6 6 ,
u n issu ed
The Famous S ta p le S in g e r s (n o d e t a i l s )
c 1958
Low i s th e way
S in c e He L ig h te n e d My Heavy Load
j
v c l . a c c . Roebuck S ta p le s (g ) A1 Duncan (d )
5 9-10 5 4
I'm L9?.Ttng
?.ttng
G o in ' .;W3.y
5 9-10 5 5
So S oon[
5 9-10 5 6
5 9-1057
I'm S o' vjrlad
M a rsh a ll Thomppon (c I r e p l a c e s Duncan.
5 9-12 4 4
Downwarc Road
59-1245
* Pray Lo\<
5 9-12 4 6
Good MeV
5 9-1247
Days pad>t and gone
Duncan r e p la c e s Thompson.
6 1-1759
Bom in i Bethlehem
6 1 -1 7 6 0
Stand Bjr Me
61-1761
I 'v e be£n scorn ed
6 1-17 6 2
S i t Dowi) S erva n t
61-17 6 3
Two Wings,
G ospel 1011
C hicago 8 /1 /5 9
VJ 8 7 0 , LP 6000
VJ 881
u n issu e d
C hicago 1 9 /8 /5 9
VJ 881
u n issu e d
C hicago 2 0 /1 /6 1
VJ LP 5 0 1 4 ,S t a t e s id e
SL10015
- 10 -
61-17 6 4
6 1-17 6 5
Swing Low
C a llin g Me
as l a s t .
The Day i s Passed and Gone
Good News
L e t 's Go Home
.This May Be The L a s t Time
VJ LP 5 014, S t . SL10015
Chicago 1961
VJ LP 5 01 4 , St.SLlOOlS
• •
-
-
N,B* VeeJay LP 5000 i s a ls o on French Top Rank RLP 101.
Both are e n t i t l e d ’ U ncloudy D a y '.
VJ LP 5 0 1 4 , S t a t e s id e SL10015 e n t i t l e d ’ Swing L o w '.
v c l.
a cc Roebuck S t a p le s (g ) unknown orga n , d r . New York c .1 9 6 1
The S a v io u r I s Bom
R iv e r s id e REP 3220
Oh L i t t l e Town o f Bethlehem
Joy t o the World
Wasn’ t th a t a m ighty day
v c l.
a cc Roebuck S ta p le (g ) Leonard Gasken (b ) Joe M arshall o r
Few Y ork 2 0 /2 1 s t
Gup Johnson (d )
, Feb. 1961
R iv e r s id e 45^8 ,RLP .3501
Hammer and N a ils
G lory la n d
E verybody w i l l be happy
Hear me c a l l h ere
Nobody knows the tr o u b le I 'v e seen
G reat Day
I'm f i l l i n ' P t s . 1 & 2
Do Yciu Know Him?
New-born S oul
A Eyijng M an's P le a
New Home
-
RLP 3501 e n t i t l e d 'Hammer and N a i l s '. In a d d itio n to the above
th e f o l l o w i n g we^e a ls o is s u e d b u t I la c k d e t a i l s o f them sVeeJay LP 5008 'W i l l the c i r c l e be u n b ro k e n ', G ospel MG 3001.
S e v e ra l t r a c k s appeared on th e Vee Jay LP ' Sunday M o r n in g '.
A d d it io n s and c o r r e c t i o n s v e ry w elcom e, and should be sefct to
2 4 , B odley Road, L i t t l t m o r e , O x ford . ’Vith acknowledgements t o
Derek C o l l e r f o r much o f the VeeJay in fo r m a tio n .
Our fu t u r e programme in c lu d e s th e p u b lis h in g o f s e v e r a l d i s c o gra p H ies o f p o p u l ar b lu e s s i n g e r s , which have been p r e v io u s ly .'
p u b lis h e d b u t are now d r e a d f u ll y out o f d a te . This i s always a
p roblem w ith cu r itent p e r fo r m e r s , bu t we have much new informa*t io n on t h e i r ole e r r e c o r d i n g s . At p re s e n t u n d e r ^ re v isio n i s .
th e f i n e Muddy WEnters d i s c o g . by Mike L e a d b it t e r & W o lfie Baum,
a ls o H ow lin ' Wol^ and R ice M i l l e r . I f y o u 'v e any in fo r m a tio n
p le a s e send i t t o u s as soon as p o s s i b l e . Mike and John Broven
are in ch arge o f o p e r a t io n s and would l£ k e to h ea r 'o f o th e r art*
i s t s y o u 'd l i k e
o see p u b lis h e d .
M iss J a n e t P . Reilney i s stu d y in g Negro S p ir it u a l s and Work S ongs.
S h e 'd l i k e t o h e a r from o t h e r s w ith s im ila r i n t e r e s t s . W rite t o
J a n e t a t S t. M argarts H o s t e l, Blue Coat S c h o o l, Met c h i ey L ane,
Birmingham 1 7 .
We h e a r t h a t Merdv Dee D alton * the m a g n ific e n t A r h o o lie - b lu e s
s in g e r and p i a n i s t a s d i e d ' r e c e n t l y . No d e t a i l s y e t .
F i r s t o f the A lfr e d H itch co ck film s on Tndependant T e l e v is i o n ,
4 th A p r il , fe a tu r e d w e ll known f o l k s i n g e r - g u i t a r i s t Barbara
Dane* in a b r i e f | c l u b - s c e n e . The film a ls o had James Mason. 7 . .
Fine new L ib r a r y ( o f C ongress LP - AFS L59 - has ome s id e o f
h o l l e r s and s p i r i t u a l s . Side 2 fe a t u r e s W illiam Brown, David
Edwards, W i l l i e B la ck w e ll and SOT HOUSE. P r ic e 5 -4 0 d o l l a r s
p in r p o s t . TV. n v 1|>nt v e ry worl.l iwhi 1 e . Front L . 0 . 0 , uashinpiton 25
■
11 - ‘
"
•
,
CROWN RECORDS
a summary by
Simon A N a p ie r .
A l l th e s e albums are from the Modera/RPM i n c . l a b e l s . They are
o b t a in a b le q u it e e a s i l y in Europe - we u s u a lly pay 1 5 / - p lu s t a x .
At t h i s p r i c e any o r a l l are w orth h a v in g . R ecord in g q u a lit y v a r­
i e s b u t th e m usic i s g o o d . In a d d itio n t o th e b elow th e r e i s a va J J .a b le abou t 8 albums by the v e ry p o p u la r B .B .K in g, and L P 's by
Jimmy W ith ersp oon , Jimmy B e a s le y , Pee Wee Crayton & R oosefrelt
S ykes. A ls o s e v e r a l c o l l e c t i o n s b u t t h e s e , in my e x p e r ie n c e sh o­
u ld be a v o id e d a t a l l c o s t s .
Smokey Hog g
(CLP 5226)
One o f th e b e s t on th e la b e l* The l a t e Andrew Hogg
was a v e r y v e r s a t i l e p e rfo rm e r and t h i s album shows many f a c e t s
o f h is iu n u s u a l s t y l e , b oth s in g in g and g u it a r -n la y in g - he a ls o
p la y e d :p ia n o b u t n o t h e re I im agin e. Backed by a f i n e rhythm
group and a r o l l i n ’ p i a n i s t he makes h i s je r k y way through 11
b l u e s , m a in ly f a m i l ia r b u t a l l given h i s unique trea tm en t. Many
are p r e v i o u s l y u n issu e d and heard h ere f o r the f i r s t tim e . O f
s p e c i a l i n t e r e s t i s the Kokomo A r n o ld -fla v o u r e d 'Look in y ou r
e y e s p r e t t y mama’ . A f i n e LP. A must a t the p r i c e .
Howlin W o lf
'■
,
(CLP 5 2 4 0 )
A n oth er f i n e p a ck a g e, fea tu rin g * W o lf 's r o a r in g v o c a ls
h i s m outh-harp (n o t heard nowadays) and th e combined t a le n t s o f
g u i t a r i s t s W i l l i e Johnson & P at Hare, and an anonymous r o c k i n ',
p ia n o . O u tsta n d in g are 'Moanin a t m id n ig h t' and 'House r o c k i n '.
b o o g i e '. N ot up t o h i s Chess numbers f o r b a la n ce and sh e e r f o r c e
but i f a n y th in g m u s ic a lly s u p e r io r . These are among h i s e a r l i e s t
r e c o r d in g s and t h i s album should j i o t be m isse d . P ow erfu l s t u f f .
Elmore James
(CLP 5168)
The oi^ly album a v a ila b le by t h i s v e ry p o p u la r a r t i s t ,
from h i s o ld F l a i r 7 8 * s . F eatured i s E lm o re 's d i s t i n c t i v e g u it a r
s t y l i n g s an adecfu^te rhythm s e c t io n a id , on a few , s a x e s . S e v e ra l
v a r i a t i o n s o f h i s jfamous "Dust my Broom" are in c lu d e d , the b e s t
b e in g th e f i r s t tifack "D ust my b l u e s " . The slo w e r numbers are eq ­
u a l l y g o o d , and a lth ou gh th e re are some low s p o t s , ; t h i s album i s
v ery w o rth w h ile .
P o s s ib l y th e g r e a t e s t p o s t-w a r b lu e s s in g e r s are L ig h t n in ' Hopkins
and John Lee H ooker. D e sp ite a t tim e s , g r o s s mismanagement, b o th
have alw ays shown g r e a t o r i g i n a l i t y , a q u a lit y t o o seldom found in
t h e i r con tem p orari e s . Both are r e p r e s e n te d on Crown.
L ig h t n in 1 H opkins
( CLP 5224)
1A g r e a t c o l l e c t i o n from th e B i l l Quinn c u t t i n g s
f o r G o ld s t a r - on^ o f L i g h t n i n 's b e s t p e r io d s . S e v e ra l o f h i s u s u a l
r e p e r t o i r e are h e r e , two f i n e t r a c k s b e in g 'Ja k e Head B o o g ie ' and
'S a n ta F e*. Throughout th e album H op k in 's g u it a r p la y in g i s a t i t ' s
m a g n ific e n t b e s t . U n re se rv e d ly recommended. F or good m easure, an
unknown t r a c k 'Juejt s i t t i n down t h in k in 1 i s in c lu d e d . Anyone know
who i t i s ?
John Lee H ooker
( CLP 5157 )
T h is c o v e r s Hooker^s e a r l i e s t r e c o r d in g c a r e e r ,
and in c lu d e s some o f h i s f i n e s t w ork. P i t y i s , the r e p r o d u c t io n ,
n e v e r w o n d erfu l on Crown, i s h ere a t i t ' s d r e a d fu l w©j*st - sub
l o w - f i . In s p i t e op t h i s , numbers such as 'Hobo B l u e s ', 'S a l l i e
Mae' & 'K in g Snakej' keep t h e i r p o ig n e n c y . A ls o in clu d e d are f i n e
v e r s io n s o f 'House] Rent B o o g ie ' and 'Anybody seen my b a b y '. I f
you can b e a r th e d i s t o r t i o n , buy i t .
( CLP 5232 )
The secon d album c o v e r s h is l a t e r Modem s t u f f , fe a t u r in g accomp­
a n is t s O t is F in ch , B oogie w oogie Red and th e r e d o u b ta b le Tom Whi­
te h e a d . Many are p r e v io u s l y u n issu ed and r o c k in g v e r s io n s o f 'L e t
y o u r daddy r i d e ' &; 'Hug and squeeze y o u '. One o f th e two s o l o s i s
a b r i l l i a n t 'R ock me mama'. A I bo in clu d e d i s a tra ck by Eddie
K irk la n d . Each LP fe a t u r e s one o f th e unusual t r a c k s J .L . made
w ith Biddy Johnson (o r g a n ). A nother e x c e l l e n t package*
-
12
-
What th e y s a id i
in fo r m a tio n from a r t i s t s who to u re d
Europe w ith th e 1F olk F e s t i v a l 1
from W o lfie Baum
T-BONE WALKER .
................................................................. _ _
liVBone cla im ed t o have ta u g h t Ray C harles to p la y b lu e s . Ray
i s supposed t o be or some o f T-Bone rs r e c o r d s and v i c e - v e r s a .
He cla im ed t o have composed MARY ANN, and p la y s on t h i s , DONT
YOCJ KNOW BABY and o t h e r s . The harm onica on PLAY ON LITTLE GIRL
i s p la y e d by J u n io r W e lls , w ith Muddy Waters a t the tim e . The
r e s t o f th e band were M u d d y 's.b oy s t o o , b u t T-Bone c a n 't rem­
ember who,
SHAKEY JAKE
Shakey s a y i”"he p la y e d w ith Muddy Waters and i s on FORTY DAYS
and FORTY NIGHTS, I WANT YOU TO LOVE ME and o t h e r s . He th in k s
L i t t l e W a lter i s on . MANISH BOY and YOUNG FASHIONED WAYS.
L i t t l e W a lte r, he s a id , d id n ’ t r e c o r d much w ith Muddy a f t e r
th e s u c c e s s o f JUKE* Shakey and W alter are good f r ie n d s .
A p p a re n tly W a lter d o e s n ’ t have a r e g u la r band as n o -o n e wants
t o s ta y w ith him!
M agis Sam (Sam Mag g e t t ) i s Shakey* s nephew. Shak'eyf says h e 's
v e r y young and v e r y t a le n t e d , b u t h e 's a bad b o y . H e 's on r e ­
c o r d s by F red d ie K in g , J a c k ie W ilson and Brook B enton. One o f
h i s f a v o r i t e s i s Sonny Boy W illiam son ,
JOHN LEE HOOKER
ksked about Howljin' W o lf d r in k in g e x c e s s i v e l y , John r e p l i e d :
I c a n 't b e l i e v e fthere are such "rum ours. W o lf i s a- m ost s e r io u s
and r e s p o n s ib le [p erson . Most o f the o th e r bluesmen - in c lu d in g
m y s e lf, d rin k more than W o lf. Jimmy Reed i s always in t r o u b le
b eca u se o f h i s d r in k in g .
He a l s o s a id t h a t Chuck B erry i s in j a i l r i g h t now. He d o e s n 't
know why b u t thijnks i t ' s t o do w ith a w h ite g i r l .
Both he and Shakjey w ish t o s ta y in Europe. Shakey hopes to
b r in g Jimmy Lee jRobinson w ith him . (Jim m y's a n i c e g u i t a r i s t
who has been w ith Jimmy Reed -E d ,)
'
From Lenny G i l l o f th e M usic In form a tion S e r v ic e , B o lto n , who
in t e r v ie w e d W i l l i e Dixon in M anchester, and was t o l d th a t
I am th e A & R man f o r b o th Chess and C hecker,
Any b a ss on recejnt C h ess/C h eck er r e c o r d s i s me.
P i a n i s t on ALL Muddy W aters, H ow lin' W o lf, L i t t l e W a lter, and
Sonny Boy W illiem son r e c o r d s fe a t u r in g p ia n o i s O t is Spann.
O t is d o e s n o t p i ay f o r Bo D id d le y or Chuck B e rry , Frank K ir k la n d i s no lo n g_ejr w ith Bo D id d le y , b u t Jerome Green i s .
Chuck B e r r y 's ccmbo c o n s i s t s o f Berry ( v c l . g t r ) Johnny ? (r h y .
g t r ) L a fa y e t te Lee (p ) W i l l i e Dixon (b ) Fred Beelow o r Fred
Coleman (d )
N o t e : Fred C olem a n 's name was given t o Lenny in an in t e r v ie w
w ith Sam C o o k e 's g u i t a r i s t C lif& .W h ite ,
L a fa y e t t e Lee a l s o p la y s w ith Bo D id d le y . Johnny ? i s a young
man from C h u ck 's home town S t , L o u is ,
A lth ough in j a i l j ( f o r th e fo u r t h tim e) Chess have sig n e d B erry
t o a n oth er f i v e - y e a r c o n t r a c t .
xxxxxxxxxxxxx
The E d it o r w ou lf l i k e t o h ea r o f any o th e r in t e r v ie w s members
and r e a d e r s may have h ad, w ith any a r t i s t s ,
xxxxxxxxxxxxx
A p l e a from M ikel
I f anyone has in fo r m a tio n on th e s e l a b e l s p le a s e send i t in soon
t o h e lp u s w ith [ l i s t i n g s and d is c o g r a p h ie s .
Combo, Sun ,H o lly 4 0 0 (^»®a^ e t)2 y n n ,F a isD oD o,M on ey ,P a ra d ise,
!
Anyone know o f iihe c o n n e c tio n between F lip A Sun, i f th e r e i s
o n e. Anyone g o t a F lip l i s t i n g ?
- 1 3 .-
Mike L e a d b it t e r
Rapid
Review s
S in g le s
J o e Bon s a i l
P rom ise You Broke (G1123A)
Goldband 1123
I'm L ea vin g (G1123B)
F ine c a ju n . J o e 's a c c o r d ! an work i s backed up w ith v i o l i n , e l .
g t r . and b a s s , and drums. Joe and Bobbe C asw ell handle v o c a ls ,
K ing I v o r y L ee
R o c k in ' in the cocon u t top(ACA3657) Trey 1003
FU SS'too much (ACA3658)
R o ck in ' i s a common jump number w ith banal l y r i c s , bu t fu s s i s
Q uite good slow b l u e s , w ith p ia n o , presum ably by I v o r y . Sax
and rhythm accom pany.
B ig W a lte r &
I t ' s how you t r e a t me (ACA4379)
M yrl
406
H is T h u jiderbirds F e e l in ' a l i t t l e W orried (ACA4380)
Two h o tj s id e s by v etera n W a lte r. H is v o c a ls and n o v e l organ
sou n d s,! on th e s e m ediu m -pacers, are helped out by a ca p a b le
combo, pax and g u i t a r s o l o s v e r y good,
F lo yd Dixon
D aisy j(ACA4438)
Dodge 807
O p p ortu n ity B lues (ACA4439)
Two b lu e s h e r e , in o ld tim e t r a d i t i o n , by another v e t e r a n .F lo y d 's
n i c e v o c a l s and p ia n o are backed by a n ic e combo.
G u ita r J r .
R o ll R o ll R o ll (G1068A) ■
Goldband 1068
Broken H earted R o llin g Tears (G1068B)
R o ll i s a f a s t b lu e s in th e Jimmy M cCracklin s t y l e . Tears -is
a s lo w b e a t e r in Domino fa s h io n . Both w e ll done. Sax and rhythm
accom pany. B e t t e r than a v e ra g e .
V
B ig. C h en ier
L e t me h o ld y o u r hand (G1051A-) Goldband 1051
P le a s e t r y t o r e a l i z e (G1051B)
C l i f t o n C h e n ie r 's U n cle s in g s l u s t i l y to h i s s tr o n g g u it a r
w ork. A f a s t B slow . An e x c e l l e n t r e c o r d . Rhythm o n ly su p p o r t.
A1 Smith
I l o v e h e r so (G 1092-1)
Goldband 1092
I f I D o n 't See You (G 1092-2)
Two b lu e s . N oth in g s p e c i a l b u t p le a s a n t l i s t e n i n g , A1 v o c a l i s e s
th rough two medium f a s t num bers, aided by h i s f i n e harm onica.
Hop W ilso n .
Broke & Hungry (ACA3655)
Goldband 1078
Always be in lo v e w ith you (ACA3656) Two b r i l l i a n t s id e s by t h i s litt le k n o w n Houston a r t i s t . Hop
p la y s haw aiin g u it a r and u s e s i t very e f f e c t i v e l y b eh in d h i s
s t r o n g s in g in g . S£x and rhythm accompany. Harp heard on A lw ays.
C la re n ce G arlow N<! No Baby (GF1199A)
Folk S ta r 1199
.
_
L ik e C a llin g You (GF1199B)
A m a g n ific e n t d i s c i No No i s f a s t and q u ite n ic e but i t ' s th e'
f l i p t h a t K O 's. G a r lo w 's superb v o c a ls and g u it a r work head an
u n u s u a lly r e la x e d ! s e s s i o n . C on tin u a l sh ou ts and c r i e s are heard
p i a n i s t and drummer who back u p .
Goldband 1106
C le v e la n d C roch et Sugar Bee (S 1055)
D runSnrd's Dream (S1056)
T h is r e c o r d i s a D la s s ic l Sugar Bee was a v e ry b i g h i t S t a t e s id e ,
S in g e r i s a guy n amed Jay S t u t e s , whose h y s t e r i c a l sh ou tin g
v o c a l s and p o w e rfh l s t e e l - g u i t a r make t h i s , cajun cum R&B d i s c ,
i n t o a m a ster p erj•jformance. C roch et i s heard o n ly b r i e f l y on
Dream f o r a s h o r t v i o l i n s o l o . R oa rin g a cco rd ia n b a ck in g by
S h orty Le B la n c.
-O -O -O -o -o -o -O , 0 - 0
The above record s! are o b t a in a b le fro m :
S t a n 'i R ecord Shqp, 728 Texas S t r e e t , S h re v e p o r t, L o u is ia n a ,
The M usic M art, 28 23 J oh n ston , L a fa y e t t e , L o u is ia n a .
S in g le s on m ost o t h e r l a b e l s o b ta in a b le froms
E r n ie 's R ecord ~ M irt, 179 T hird Avenue N orth , N a s h v ille 3 , Term.
R an dy's R ecord Sljop, G a l l a t i n , T ennessee.
,
- 14 -
nDown
C urrent S in g le s
(U -11837)
(U -11836)
John J . Broven.
Home"
L i t t l e Brown B ird
You n eed lo v e
- Muddy Waters
Chess 1839
F o llo w in g two d i s s a p o in ji n g r e le a s e s l a t e l y , "M essin 1 w ith the
man": and "Muddy W aters T w istV M u d d y r e tu r n s t o top foim w ith
t h i s : p a i r , 'B i r d ' i s an a p p e a lin g number, r e p r e s e n t in g y e t a n - '
o t h e r ste p from th e e a r ly d a y s ; gone i s th e harsh ea rth y v o i c e
accom panied s p a s m o d ic a lly by e x p r e s s iv e g u it a r p la y in g . Here ; l.
in s t e a d i s a smooth voca l- in. f r o r t o f a band le d by organ and
e l e c t r i c g u i t a r , w ith an u n o b tru s iv e saxaphone s e c t io n and rh y­
thm. Some may d e p lo r e th e se urban in flu e n c e s bu t Muddy* s been
in C hicago some tw enty y e a r s now. With good b lu e s r e le a s e s a l l
t o o ra re 'n ow a d a y s t h i s one i s a must f o r th e d is c e r n in g c o l l e ­
c t o r . 'You need l o v e 1 la c k s in com parison but t h i s W i l l ie Dixon
song makes f o r a good c o u p lin g .
(2224 A)
(2224 B)
I ’ m Warning you baby
W intertim e B lues
L ig h tn in g Slim
E x c e llo 2 2 2 4 ;
From Jay M i l l e r 's s tu d io d comes y e t an oth er f i n e r e c o r d by
L ig h t n in ' S lim , accom panied by Bobby McBride ( b s - g ) Warren'
Storm (d ) and Lazy L e s t e r . 'W arning' i s an up-tem po number
r e a s o n a b ly good but n o t o u ts ta n d in g . 'W in te rtim e ' however isr.
Slim a t h i s e x c e l l e n t b e s t . Here i s y e t an oth er ca se o f ' a
woman le a v in g f o r a n oth er man, le a v in g L i g h t n i n t o r e f l e c t ,
'w in te r tim e done r o l l e d aroundy and h ere I am' again a l l by
m y s e l f , su p p orted b y . L e s t e r 's w a ilin g h a rm on ica ,' end th e low
heavy rhythm, Oijie o f th e top exponents o f '‘downhome1 L ig h tn in '
Slim seems t o go o n , and on , and o r ............
(U -11804)
(U -11902)
When my l e f t eye jumps
The Treasure U n told
'
Euddy Guy
Chess 1838
Euddy Guy, a g r o s s l y u n d e r -r a t e d , or should I sajr u n p u b lic is e d
s in g e r from C h ica g o , i s s im ila r in s t y l i n g to ; B .B .K in g. Perhaps
due to the abundance o f C hicago bluesm en, he has gone u n n o tice d
bu t h i s r e c o r d s cannot be ig n o r e d . This i s h i s f i f t h s in g le f o r
Chess and compares fa v o u ra b ly w ith the o t h e r s . 'When my l e f t eye
jum ps’ i s an e x c e l l e n t slow b lu e s , showing Buddy in a d e c id e d ly
con fu sed s t a t e d f m ind. 'T r e a s u r e ' i s based on the Adam & Eve
theme and i s an u n co n v e n tio n a l number w ith unusual rhythm p a t t ­
e rn s . A n i c e r e d o r d .
" Rhythm & B lu e s!'
(IM -5331)
(IM -5332)
B iitter P i l l
Head Over F lip
Jimmy M cCracklin
Im p e ria l' 5892
, ' ,
M cCracklin h as ije c e n t ly been sign ed to the H ollyw ood Im p eria l
l a b e l , and t h i s jis h i s f i r s t f o r themv Most o f Jimmy's r e c o r d s
have been prod u ced by Bob Geddins ' f Oakland, wha in turn has
le a s e d them to v a r io u s companies f o r n a t io n a l r e l e a s e , and t h i s
sounds v e ry much l i k e one o f them. Not one o f Jimmy’ s b e s t
e f f o r t s , bu t s t i l l head and sh ou ld ers above most o f the ru b b ish ,
we are t o l e r a t i n g th e s e day^, 1Pi 1 1 ' i s a v e h ic le f o r some o f
Ma.c's p trsy co lo g i;ca l view s siki i s much in the v e in o f h i s ArtTone
h i t 'J u s t g o t t o k n o w '. P r o t e c t io n i s ta u t but the band l e t s go
at one p o in t on j’ B i t t e r P i l l 1. F lip i s f a s t e r but v ery o r d in a r y .
On b oth s id e s Jimmy p la y s organ, n ot h is u s u a l p ia n o .
Delmar R ecords
[
i s the name o f Bob K o e s te r 1s la b e l* Two fi n e b lu e s
albums have appeared on i t , by Big Joe W illiam s and S le ep y John
E s te s , two o f ttife a l l tim e g re a t b lu es s in g e r s . 'Even. C h ris S t r a ch w itz , w ith a (Big J oe LP ou t on A r h o o lie , says t h i s i s the b e s t
new album f o r yejars. W rite to 439 S th. Wabash.Avenue, .C hicago 5 ,
I l l i n o i s , o r get! i t from you r Bpeci a l i s t . TJ. S . p r i o e
9 S d o l l arg
j
>.
New U . K .
r e le a s e s
As p rom ised in A p ril-, comes th e f i r s t or th e Pye E & B l a b e l . The
f i r s t b a t c h , as m ight be e x p e c te d , i s r a th e r u n im a g in a tiv e , p la y s a fe w ith some o ld f a v o r i t e s . However a s t a r t has been made. The
two L P 1s in th e is s u e a re by Chuck Berry and Bo D id d ley and c o n t—
ain m ost o f t h e i t b e s t - s e l l e r s . Nos NLP 28024/5 r e s p e c t i v e l y . The
o t h e r is s u e is are fo u r s i n g l e s by D id d le y , Sonny Boy W illiam son ,
H ow lin ' W o lf and a chap c a l l e d C y r il D avies. The Bo D id d ley i s
the u s u a l s t u f f (7N 25193) and I ’ ve no room f o r more comment. The
W illiam son i s h i s l a t e s t Checker .e f f o r t ’ Bye Bye B ir d ' and ’ Help
Me 1 (7JT 2 5 1 9 1 ). F o llo w in g r e c e n t t r a d it io n an organ i s in clu d e d
b u t t h i s i s a re a s o n a b ly good d i s c . C on sid era b ly o ld e r and the
b e s t o f th e bunch i s Howlin W o l f 's 'The way you t r e a t m e 1 and 'lm
n o t s u p e r s t i t i o u s 5 (7N 2 5 1 9 2 ). One o f the f i n e s t around toda y he
d o e s n 't d is s a p o in t on t h e s e . The o t h e r , by Mr. D avies d oes n o t
w arran t d is c u s s io n b e in g one o f th e se th in g s w e’ re g e t t in g h u rled
a t u s from B r it a in o f l a t e . Having r e c e n t ly been to ld , from many
d i r e c t i o n s t h a t E a glin i s a n o -a c c o u n t c o p y i s t , i t i s easy t o sum
up t h i s f o r o n e s e l f , (7N 25194) Anyhow we hope th a t th e se en jo y
the b e s t o f s a l e s , a s , i f th e y d o , Pye p rq n is e to is s u e many more*
C h e ss/C h e ck e r have some good b lu e s out by L i t t l e W a lte r, Buddy Guy
L o w e ll F u ls o n , and o t h e r s . A nother th a t sh ou ld do w e ll i f th ey
is s u e d i t i s The M egatons 'Shimmy shimmy w a lk '. In s p i t e o f. the
t i t l e one o f th e b e s t in i t ' s , id iom f o r some y e a r s . H ere 1s h o p in g !
A nother new album on Realm i s th e Time LP 'R i o t in B lu e s ’ cunn ing­
l y r e t i t l e d 'Ray C h a rles in RScB G r e a t s '. At 2 2 /6 an e x c e l l e n t buy.
Good o l d O r i o l e . More n e x t tim e about t h i s .,
*
*
i
I n t e r e s t e d in o ld o r modern J a z z , B lu es, Folk 7 8 's . O d d it ie s o f
any k in d . You must have V in ta ge J a z z M art. 5 0 -p lu s pages o f d i s c s
f o r s a le AND l o t s o f i n t e r e s t i n g a r t i c l e s , l i s t i n g s e t c . P u b lish e d
b i-m o n th ly , 2 /6 a cop y from T rev or Benwe^l, 4 H i l l c r e s t G ardens,
D o l l i s H i l l , London N ,W .2, B est o f i t ' s k in d in th e -w o r ld - our
w ord s, n o t t h e i r s I
" B L U E S
U N L I M I T E D 11
is i p r in t e d and p u b lish e d in i t ' s
e n tir e ty
by! "The ELues A p p r e cia tio n S c t y 1
a t 38j&? S a c k v i l le Road, B e x h ill-o n -s e a
S u ssex, England
SUBSCRIPTION.
U n ite d Kingdom
. ,
S ix i s s u e s : ~ In la n d 9 / - O versea s 1 0 /S in g le copys
In la n d 1 /6 O versea s W -
From 38 a S a c k v i l le R d ,,
B e x h i l l - o n - s e a , Sussex*
Swi t z e r l and.
S ix i s s u e s ” *
S in g le c o p y 2
5s50l f r a n c s ;
1 ;00j fr a n c .
i From g i l l i e L e is e r ,. V i c t o r
R u ffy 8 , Lausanne. ..
Germany
S ix is s u e s ;
S in g le c o p y ;
5 dm!,
1 dmj.
; From W o lfie Baum, 8 'Munchen 9 ,
S ch w an seestr. 1 2 .
.
Belgium
S ix i s s u e s ;
S in g le copys
d e t a i l s on
a p p lic a tio n .
: From W a lter de B lo c k , J a z z -B o x ,
B e l g i e l e l , 5 , Antwerpen.
More a g en ts needed.-; W rite t o S a c k v ille RdM B e x h ill* A v a ila b le from
us; t o any a d d ress in the w orld*
1 ,
A lso a v a i l a b l e a t D o b e l l 's , C h r^ .n s'C ro s s R d ., Wickham, Kirin e r and
O a k ley . George S t r .j, H ove, and o i/o s r s p e c i a l i s t ja z z shops* 1 /6 each,
I f you l i k e ou r m agazine, t e l l y >ur fr ie n d s about i t *
, . A p r il 1963.
THE JOURNAL OF “THE BLUES APPRECIATION SOCIETY”
EDITED BY SIMON A. NAPIER
Numbe r One
Ap r i l 1963
T h is i s the f i r s t o f what we hope w i l l he many is s u e s o f our
m agazine. When, l a s t May, we founded the "B lu es A p p r e cia tio n
S o c i e t y , our u lt im a te aim was
p u b lis h in g o f j u st such a
m agazin e, as one seemed b a d ly n eeded in t h i s now in c r e a s in g ly
p o p u la r f i e l d . I t wi l l be p u b lis h e d at about 5 -w e e k ly i n t e r ­
v a l s , and fu t u r e c o n t r ib u t o r s in c lu d e John G o d rich , D o cto r H.
R, Rookmaaker, De rek C o l l e r , Henry V estin e as w e ll as the
w r it e r s in t h i s i s s u e .
Our ' B . A . S . ’ a c t i v i t i e s w i l l c a r r y on as b e f o r e , in c o n ju n c tio n
w ith t h i s m agazine. Id e a s f o r im provin g o u r s e r v ic e ar e s t i l l
v ery welcome and w i l l r e c e i v e ou r c l o s e s t a t t e n t io n .
We hope
t o sa lv a g e many o f th e f i n e id e a s l a i d down by Max V r e e d e ’ s
o r i g i n a l s o c i e t y , and fu r t h e r d e t a i l s w i l l be p u b lis h e d h e r e .
We n eed g ood fe a t u r e a r t i c l e s , d i s c o g r a p h ie s , c r i t i c i s m s and
r e v ie w s . News o f wh a t 's happening b lu e s wi s e y ou r way. Any th in g
t o p i c a l c o n s t r u c t i v e and i n t e r e s t i n g . D o n 't be l a z y . W rite i t .
L e t u s know what you l i k e , and, more im p o rta n t, what you d o n ’ t .
Your o p in io n s m a tte r . I f you d o n 't w r it e , we d on ’ t know. However
we do hope y o u ' l l flind som ething o f i n t e r e s t h e r e , and w i l l c o n t i n u e t o do s o .
F i n a l l y , on b e h a l f o f th e 'B . A . S . ' s t a f f and m y s e lf, I ' d l i k e t o
thanks a l l th o s e who have a d v is e d , encouraged and h e lp e d u s in
any way, th e se l a s t few m onths, w ith o u t wh om th e re w ould be no
'B l u e s
U n lim it e d '.
CON TENTS
CONTENTS
A gents
page 16
"B u ll C it y Red”
6
Crown R ecord s
12
G ospel Scene
10
"Memphis Blu e s S in g e r s "
S
New U. K. R e le a s e s
16
New U. S . R e le a s e s
Rapid Review s
"Southern R ecord Men"
S u b s c r ip t io n s
Recommended
"What They S a id "
X5
14
3
16
2
14
Errata.
Page 4 - l i n e 3 - read a t th e end a nd he s u ff e r e d f r om.............. "
Page 8 - p a r agraph 2 - lin e 21 - read "a blues
o
f
"Mother-in -l a w B lu e s "