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Legends of
of
Legends
Country
Blues
Guitar
Volume Two
Two
Volume
featuring
featuring
Lead Belly
Belly
Lead
Son House
House
Son
Bukka White
White
Bukka
Sam Chatmon
Chatmon
Sam
Rev. Gary
Gary Davis
Davis
Rev.
Big Joe
Joe Williams
Williams
Big
Houston Stackhouse
Stackhouse
Houston
Legends of
Country Blues Guitar
Volume Two
by Mark Humphrey
Son House & Muddy Waters (photo by David Gahr)
Thir ty years have now come and gone since the
‘rediscoveries’ of the blues revival startled us with their corporeal presence in lieu of spectral reflections etched in preWar 78s and savored by a small coterie of collectors. In retrospect, it seems little short of miraculous that so many of
the greatest pre-War bluesmen were found ready, willing,
and able to recreate the passion of their youth’s music for a
moving Last Hurrah.
Now they are, to a man, gone, making the window which
briefly shown into their world all the more precious. That
these men were filmed in performance is fortuitous for us
today; they need no longer be disembodied voices. The performance experience was captured and while the video reflection is no more the essence of the artist than the scratchy
78, it is far more than we once could have hoped for. Imagine how much more we might know if we had even one
song’s worth of videotape of Charley Patton or Robert
Johnson!
We enter their world of Delta blues during the first half
of this video and experience that music little removed from
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its source. Bukka White and Big Joe Williams were disciples
of Charley Patton, Sam Chatmon claimed he was his halfbrother, and Son House began his blues recording career at
Patton’s behest. (House was also a formative inspiration for
Robert Johnson and Muddy Waters.) The other seminal influence on early Delta blues, Tommy Johnson, is reflected in
per formances here by Houston Stackhouse and Sam
Chatmon, once a member of the legendary Mississippi Sheiks.
Beyond the powerful blues of the Delta, ragtime was a
still- popular pre-blues music throughout the Southeast in
the 1920s- 30s. Adapted from piano to guitar, ragtime flourished in Virginia and the Carolinas and had no greater exponent than Rev. Gary Davis. The previously unseen ‘home
movie’ footage of Davis shows here the ease with which he
spanned ragtime, blues and sacred song.
Though both Texas and Louisiana claim him, Huddie
Ledbetter defies neat regional pigeonholing. Leadbelly was
a vast storehouse of blues and pre-blues African-American
tradition, a ‘songster’ whose repertoire ranged from pop tunes
to ancient work songs to original topical ones. He was the
sort of larger-than-life figure who played his robust myth to
the hilt and managed both to entertain and inspire with enduring vigor. Given that Leadbelly left us before any of the
other figures on this video (and, in fact, before any ‘blues
revival’ existed), we are indeed fortunate to have film footage offering some semblance of his power as a performer.
Today we know more of these artists and their milieu
than we did at the dawn of the ‘rediscovery’ era thirty-some
years ago. The term, ‘country blues,’ had only recently been
coined by Samuel Charters for his influential 1959 book of
the same name. Outside a small group of 78 collectors, few
of us had heard the music the term described, as Lp reissues
and ‘rediscovery’ recordings were only just beginning. Likewise, the person-to-person meeting of the ‘folk boom’ audience with pre-War bluesmen at such key venues as the Newport Folk Festival was in its infancy. Had anyone suggested
when the King of the Delta Blues Singers Lp appeared in
1961 that Robert Johnson would make the Billboard pop
charts thirty years later, he would understandably have been
deemed crazed. But Johnson has enjoyed posthumous pop
stardom in the ’90s, and the pre-War blues reissue albums
which were once nearly as rare as the original 78s now proliferate on compact disc.
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The country blues fan of today may little appreciate what
an ‘underground’ phenomenon being a cognescenti of this
music was a generation ago. There is so much more of it
readily accessible now, yet one crucial element—direct experience of living performers—has become rarer with each passing year. That’s why those of us who encountered these artists ‘in the flesh’ consider ourselves lucky. Seeing them again
on video vividly reminds us of the excitement of experiencing this passionate, personal music ‘live.’ It reminds us, too,
of the debt we owe those dedicated collectors who sleuthed
out these men and encouraged them to share their longneglected music with a new audience for an unforgettable
Farewell Performance. Without both the discoverers and the
‘rediscovered,’ our musical experience would be much impoverished.
4
Bukka White
(1906-1977)
“I did a heap better with them guitar strings than I did with that
mule, so help me God.” - Bukka White, quoted in Beale Black &
Blue by Margaret McKee and Fred Chisenhall
(Louisiana State University Press, Baton Rouge, 1981).
5
Photo by David Gahr
Booker T. Washing ton White was a
railroad man’s son
who restlessly rode the
freights in his teens
and incorporated their
rattling rhythms into
his songs. Mississippiborn, he gravitated to
St. Louis, then Chicago,
and finally settled
down in Memphis.
Bukka was first initiated
into blues experience
by Charley Patton, who
offered him a spoonful
of whisky as inspiration. It took. (“I still
think about it,” Bukka
recalled years later,
“and wish I’d asked him to give me the spoon.”)
Bukka first recorded for Victor in 1930 and had a sizable
hit in 1937 with his Vocalion label release Shake ‘Em On
Down. Before he could enjoy the celebrity it earned him,
however, a Mississippi shooting fracas resulted in his imprisonment at Parchman Farm.
Folklorist John Lomax arrived there in 1939 to make field
recordings for the Library of Congress. Bukka was well-known
at Parchman as the camp entertainer, but recorded reluctantly for Lomax on grounds Leadbelly would have understood: “I didn’t do any more because I knew he wasn’t going
to give me any money,” Bukka told interviewer David Evans.
“I didn’t want to cut them two, but I just said, ‘He done made
that long trip...Sometimes it’s better to give than to receive,’
so I just gave him the records there for him to get out of my
face.”
One of the recordings Bukka made to appease Lomax,
Po’ Boy, stayed in his repertoire over subsequent decades,
and is performed here lap style. A very different Po’ Boy Long
Ways from Home was a ‘Spanish’ tuning (open G, D-G-D-GB-D) bottleneck standard. Bukka kept the tuning and the approach but created an entirely new melody, suggesting hillbilly or hymnal influence, as well as an original set of lyrics.
Bukka’s Po’ Boy became a favorite of John Fahey, who would
record Bukka for his Takoma label in 1964. And Fahey’s performance of Po’ Boy inspired Leo Kottke to take up slide
guitar: Po’ Boy was the first slide tune learned by Leo, who
has recently recorded it for the first time.
Bukka’s initial performance on this video is of a song he
first recorded in 1940 and which led to his rediscovery twentythree years later. “Booker had made a record called Aberdeen Mississippi Blues,” John Fahey recalled, “so I wrote a
letter to ‘Booker White, Old Blues Singer, Aberdeen, Mississippi.” Bukka had long since moved to Memphis, but a relative who was a postal worker in Aberdeen forwarded Fahey’s
letter! It was through such lucky accidents that the
‘rediscoveries’ occurred, and eventually elicited such performances as those on this video.
Sky Songs (Arhoolie CD 323)
Complete Recordings (Columbia/Legacy CT 52782)
Sam Chatmon
(1899-1983)
“The blues, well, that was just a lost calf, cryin’ for his mama.”
- Sam Chatmon, quoted by Efrem M. Grail
in a Living Blues obituary.
Longevity has its advantages. Sam Chatmon once
quipped of death, “God’s gonna have to draft me, ‘cause I
ain’t gonna volunteer.” So when blues researchers went looking for the sons of farmer-fiddler Henderson Chatmon who
had recorded as the celebrated Mississippi Sheiks in the
1930s, they found only the sole survivor, Sam Chatmon, living in Hollandale, Mississippi. As this video attests, Sam’s
guitar prowess remained a formidable testament to his family tradition. Both blues and ragtime were rendered with a
crisp sureness many younger players might well envy. Guitarists will admire the strength with which Sam snaps bass
notes, and may be surprised by his ‘neoclassical’ right hand
position and technique.
Sam grew up in an especially musical family in Bolton,
Mississippi. African-American string-bands were not uncom6
Sam Chatmon and His Barbecue Boys (Flying Fish FF 202)
Sam Chatmon’s Advice (Rounder 2018)
7
Photo by David Gahr
mon in the early years of
the 20th century, and the
Chatmon brothers were
the best in their region.
Fiddling brother Lonnie
was the ostensible leader and the wide-ranging
repertoire of the group
made them popular at
both white and black
dances. When recording
opportunities arose, the
Chatmon Brothers became the Mississippi
Sheiks and concentrated
on blues, both bawdy
(the stock-in-trade of Bo
Chatmon, who recorded
extensively as Bo Carter)
and reflective, such as
their Tommy Johnson-influenced hit, Stop and Listen Blues.
Both sides of the Sheiks’ music are evident in Sam’s
performances here. His younger days playing gambling joints
in Jackson, Mississippi may account for the strong Tommy
Johnson influence on the first two songs (Johnson’s style
was preeminent among Jackson area bluesmen). Interestingly, That’s All Right is a reworking into an earlier style of a
1950 Chess label hit by Muddy Waters sideman Jimmy Rogers.
(Sam would likewise countrify Chick Willis’s ribald ’70s hit,
Stoop Down Baby.) His final performance here is the sort of
good-timey tune familiar from brother Bo’s repertoire, but
Sam and Lonnie recorded Stir It Now as the Chatman (sic)
Brothers for Bluebird in 1936.
In his later days, ‘Mr. Sam,’ as he was known around
Hollandale, was honored as “The Elder Statesman of Blues.”
Given his wry penchant for the risque, others affectionately
dubbed him ‘the dirty old man of the blues.’ At his passing,
Jackson, Mississippi's Clarion-Ledger columnist Raad Cawthon
eulogized: “I’ll miss someone who can go to the Governor’s
Mansion and sing Stoop Down Mama and Let Your Daddy
See.”
Big Joe Williams
(1903-1982)
Photo by Burton Wilson
“I wouldn’t stay no place no more than two nights for nothing.
I kept moving. Never stop, just kept moving...It’s prison to
stay still and look at the same ground.” - Big Joe Williams, quoted
in Beale Black & Blue by Margaret McKee and Fred Chisenhall
(Louisiana State University Press, Baton Rouge, 1981).
Big Joe was the archetypal wandering
blues singer, playing everywhere from hobo
jungles to concert halls.
No matter how far his
journeys took him, Joe
always gravitated back
to the tiny east Mississippi hamlet of Crawford where he was born
and would die. He held
court for visitors there
in his trailer (seen in
this video) on Crawford’s outskirts, spinning tales of ‘discovering’ Bob Dylan (a half
truth of sorts), beating
C h a r l e y Pa t t o n i n a
1933 blues ‘cutting contest,’ and of performing
(via satellite) for the world on the occasion of America’s Bicentennial (Walter Cronkite introduced him). “I’m a superstar,” Joe said glibly.
But he had once been Po’ Joe Williams, one of a legion
of young men who were ‘on the wander’ during the Depression. His travels took him through hobo jungles and levee
camps and Parchman Farm before landing him at a Bluebird
recording session in 1935. Decades later, he was still performing songs from his initial session, including two in this
video, 49 Highway and the Depression-themed Providence
Help the Poor People. Big Joe’s explosive snapped bass lines
and jagged rhythms were a legacy of the man he claimed to
have once bettered, Charley Patton. During Patton’s era, the
piano-guitar recordings of Leroy Carr and Scrapper Blackwell
were tremendously popular. They were the first to record
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Sloppy Drunk Blues in 1930, though Joe may have learned it
from his friend and sometime-recording partner, John Lee
’Sonny Boy’ Williamson, who recorded it as Bring Me Another Half a Pint. (The song was successfully revived in 1954
under its original title by Jimmy Rogers on Chess.)
Big Joe’s complex primitivism was perfectly complemented by his unique instrument, a nine-string guitar. He
claimed he added strings to befuddle an uncle who kept
fooling with his instrument, though it has been speculated
Joe may have taken a cue from Lonnie Johnson, with whom
he once shared turf in St. Louis and whose experiments with
a modified twelve-string are audible on his legendary duets
with Eddie Lang. Tony McPhee offered this description of Joe’s
guitar in the notes to the 1969 album, “Hand Me Down My
Walking Stick” (World Pacific WPS-21897): “It is an incredibly dirty old Harmony Sovereign...held together in parts with
various forms of sticky tape. The three extra pegs required to
make up the complement of nine strings are screwed to the
top of the head. He uses a De-armond pickup with volume
control and a connecting lead which is patched up with insulating tape in five places.” Big Joe prided himself on having created an instrument which baffled lesser mortals, some
of whom tried his modifications on their own guitars. “I have
lots of white musicians try it,” Joe recalled in Beale Black &
Blue. “They can’t do anything with it. One of them said, ‘I put
nine strings on there, but, hell, I had to take ‘em off.’ I say,
‘What’d you take ‘em off for?’ He said, ‘Aw, that ninth string
what gets you.’”
Big Joe Williams Complete Recorded Works (Document)
Nine String Guitar Blues (Delmark DD 627)
Throw a Boogie Woogie (RCA 9599-2-R)
Shake Your Boogie (Arhoolie CD 315)
Houston Stackhouse
(1910-1980)
“I just been thinkin’ about Tommy [Johnson] now. He’s been
dead a long time, but if they make any records [reissues],
his voice is still here, still yodelin’ ‘round here. He ain’t here
but people can hear his voice if they take a notion. At that rate,
a fellow don’t die too fast, you know what I mean?”
- Houston Stackhouse, interviewed by Jim O’Neal for Living Blues
Houston Stackhouse made few recordings and was neither a pre-War ‘legend’ nor a sufficiently flamboyant performer
to cause much stir during the blues revival. Yet he was a
9
Houston Stackhouse (Wolf 120 779)
10
Photo by David Gahr
significant figure in Delta
blues history for the
people he learned from
and played with, including Tommy Johnson, the
Mississippi Sheiks, Robert Johnson, and Sonny
Boy Williamson (Rice
Miller), as well as the
ones he taught, notably
Robert Nighthawk and
E a r l H o o k e r. B o r n i n
We s s o n , M i s s i s s i p p i ,
Houston was raised in
nearby Crystal Springs,
where he met the musical Johnson brothers, notably Tommy, who never
failed to make an impression: “He’d kick the guitar, flip it,
turn it back of his head and be playin’ it, then he get straddled
over it like he was ridin’ a mule,” Houston recalled.
Johnson’s antics, alcoholism, and alleged pact with the
Devil (according to his pious brother LeDell) are surely the
stuff of blues legend. The riotous tales contrast sharply to
the classic beauty of Johnson’s recordings, especially the eight
songs he waxed for Victor in 1928. Cool Drink of Water Blues
was his first recording, and Houston’s performance is exceptionally faithful to the original. (Other performers took greater
liberties: Howlin’ Wolf cut the song as I Asked for Water in
1956 at the same session which produced Smokestack
Lightnin’, a song deeply imbued with Johnson’s spirit.)
Houston’s accompanist in this performance is his longtime associate Joe Willie Wilkins, with whom he worked in
later years in the New King Biscuit Boys. “Blues is like a religion,” Wilkins once said. “You can’t explain it, because once
it gets you, it’s got you.” Houston recalled the unorthodox
means by which Robert Jr. Lockwood instilled the faith in
Wilkins: “They used to put him in the dog house,” he said.
“Lock him up, tell him, ‘Now you ain’t gonna get nothin’ till
you learn such-and-such.’”
Son House
(1902-1988)
“Blues is not a plaything, like people think they are.”
- Son House, Camera Three, WCBS-TV, New York, 1968
11
Photo by David Gahr
The extraordinary
intensity of House’s
performances explain
why he was idolized
by the likes of Robert
Johnson and Muddy
Waters. He was arguably the greatest ‘rediscovery’ of the blues
revival, a peer of Charley Patton’s who was
the living link between
the first generation of
recorded Delta bluesmen and the generation which expanded
and amplified the music after World War II.
The Mississippi plantation-born House recorded his legendary
Preachin’ the Blues for Paramount in 1930 and was ‘field
recorded’ by Alan Lomax for the Library Congress in 194142. The death of his long-time partner Willie Brown in 1952
signalled the end of House’s music-making for more than a
decade prior to his rediscovery in 1964, an event which was
as much a shock to House as he proved to be to his new
audience: “On the day (blues researcher) Dick Waterman
brought him to New York,” Stefan Grossman recalled in a
Guitar Player interview, “Son was uptight, and he was playing a guitar he wasn’t comfortable with. He was looking for
a National, but what these guys really wanted were old Stellas.
The big-bodied Stellas were just not around, because they
sort of disintegrate—they were cheaply made guitars. So I
said to Son, ‘I have a National- -it’s yours, take it.’ I just gave
it to him as a present. Dick couldn’t believe what happened
next. Son took the guitar and started playing tunes that no
one had ever heard him do. Then he went to a club and sat
down to play. He slid a note down to start Levee Camp Moan
and when his slide went up to the twelfth fret, his head
whipped back and his eyeballs went straight into his head;
all you saw was white. A vein popped out from his forehead,
and this voice started to sing ‘The Blues.’ I had heard a lot of
blues singers before, but I had never heard someone sing
the blues. It was an incredible experience. Every time I heard
Son it was like that, except when he was drinking so much
he was on the floor. There is a lot of technique and a lot of
very important guitar sound in what he does.”
Masters of the Delta Blues:
The Friends of Charlie Patton (Yazoo 2002)
Delta Blues: The Original Library of Congress Sessions
from Field Recordings 1941-1942 (Biograph BCD 118)
Father of the Delta Blues: The Complete 1965 Sessions (Columbia 48867)
Rev. Gary Davis
(1896-1972)
Photo by Stefan Grossman
“The first time I ever heard a guitar played I thought it was
a brass band coming through. I was a small kid and I asked my
mother what it was and she said that was a guitar. I said,
‘Ain’t you going to get me one of those when I get large enough?”
- Rev. Gary Davis, interviewed by Sam Charters in Rev. Gary
Davis: Blues Guitar by Stefan Grossman (Oak Publications, 1974).
Blind Boy Fuller reportedly called Davis ‘Daddy’ in deference to his exceptional guitar skills. If the South Carolinaborn Davis was the Daddy of the so-called Piedmont school
of guitarists (he claimed Fuller knew only a simple ‘knife
piece’ before they met), he would later become Gran’daddy
12
to a host of young white fingerpickers in the Sixties who, like
Stefan Grossman, sought out Davis in the Bronx and paid
him $5.00 a guitar lesson. Davis had recorded fifteen songs
for the American Record Company as ‘Blind Gary’ in 1935,
but it was only after years of street singing in New York City
(he moved there from North Carolina in 1944) that Davis’s
talents truly came to light as the ‘folk boom’ opened coffee
houses and recording studios to this proudly impious singing clergyman. Peter, Paul & Mary’s success with Davis’s If I
Had My Way (Samson and Delilah) further eased his need
to sing on street corners.
This heretofore-unseen footage suggests something of
Davis the informal pedant, illustrating and improvising and
vamping in a relaxed but authoritative manner on blues, ragtime, and sacred songs. Note that he puts his coat back on
for the church song, but nothing interfered with his enjoyment of a good cigar!
Blues & Ragtime (Shanachie 97024)
Demons and Angels (Shanachie 6117)
Reverend Gary Davis (Yazoo 1023)
Pure Religion and Bad Company (Folkways 40035)
The Reverend Gary Davis At Newport (Vanguard 73008)
Gospel, Blues And Street Songs (Riverside OBCCD 524)
Say No To The Devil (Prestige/Bluesville OBCCD 519)
Leadbelly
(1888-1949)
“Lead Belly drives the Lomax car
And he is never tired;
He’s a better man, John Lomax vows,
Than any he ever hired.”
- from “Ballad of a Ballad-Singer” by William Rose Benet,
The New Yorker, January 19, 1935
Huddie Ledbetter sang his way out of prison and into
American folklore at a time when populist idealism was a
hopeful hedge against the grim Depression. As ‘the people’
were being variously idealized in the films of Frank Capra,
the novels of John Steinbeck, and the symphonic ballets of
Aaron Copland, Lead-belly appeared dramatically from the
ranks of ‘the people’ as a heroic black Everyman, singing
songs of joy and hardship which made tangible the daily
experience of rural blacks to white urban audiences.
That his background included murder, imprisonment, and
travels with the likes of Blind Lemon Jefferson added to
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Leadbelly’s mystique.
His was a saga seemingly made for the
movies, and within
months of his release
from Angola Prison
Leadbelly was starring
in a 1935 dramatization of his story for
The March of Time
newsreel. Leadbelly’s
wedding to Mar tha
Promise (and their
wedding party) was
re-enacted, and yields
the scenes here of him
sing ing Goodnight,
Irene.
Leadbelly fully expected to find Hollywood stardom and
went looking for it in the 1940s. Though his roles never got
beyond the development stage, Leadbelly did get filmed in
1945 in Hollywood. Charles Wolfe and Kip Lornell explain
how the rare color footage in this video came to be in The
Life & Legend of Leadbelly (Harper Collins, New York, 1992):
“Two West Coast filmmakers shot silent footage of Leadbelly
performing at least six selections in their backyard and living
room. The footage languished for nearly two decades before
Pete Seeger contacted one of the filmmakers who sent him
the material and wished him good luck with it. Seeger notes
that it was ‘pretty amateurish. I think that he recorded
Leadbelly in a studio the day before, then he played the record
back while Leadbelly moved his hands and lips in synch with
the record. He’d taken a few seconds from one direction and
a few seconds from another direction, which is the only reason I was able to edit it. I spent three weeks with a moviola,
up in my barn snipping one frame off here and one frame
off there and juggling things around. I was able to synch up
three songs: Grey Goose, Take This Hammer and Pick a Bale
of Cotton.”
King of the 12-String Guitar (Columbia CK 46776)
Midnight Special (Rounder 1044)
Gwine Dig A Hole To Put The Devil In (Rounder 1945)
Let It Shine On Me (Rounder 1046)
Alabama Bound (RCA 9600-2)
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RECORDING INFORMATION
Bukka White, Sam Chatmon,
Big Joe Williams,
Houston Stackhouse
& Son House: BBC 1972
Rev. Gary Davis: University Of Washington
Ethnomusicology Archives 1966
Leadbelly: Goodnight Irene 1935.
The Grey Goose, Pick A Bale Of Cotton
& Take This Hammer 1945
15
Thirty-five years have now come and gone since
the ‘rediscoveries’ of the blues revival startled
us with their corporeal presence. It seems little
short of miraculous that so many of the greatest pre-War bluesmen were found ready, willing, and able to recreate the passion of their
youth’s music for a moving Last Hurrah.
Now they are, to a man, gone, making the
window which briefly shown into their world
all the more precious. That these men were
filmed in performance is fortuitous for us today; they need no longer be disembodied
voices. The performance experience was captured and while the video reflection is no more
the essence of the artist than the scratchy 78, it
is far more than we once could have hoped for.
We enter their world of Delta blues during
the first half of this DVD and experience that
music little removed from its source. Bukka
White and Big Joe Williams were disciples of
Charley Patton, Sam Chatmon claimed he was
his half-brother, and Son House began his blues
recording career at Patton’s behest. (House was
also a formative inspiration for Robert Johnson
and Muddy Waters.) The other seminal influence on early Delta blues, Tommy Johnson, is
reflected in performances here by Houston
Stackhouse and Sam Chatmon, once a member of the legendary Mississippi Sheiks.
Beyond the powerful blues of the Delta,
ragtime was a still- popular pre-blues music
throughout the Southeast in the 1920s- 30s.
Adapted from piano to guitar, ragtime flourished
in Virginia and the Carolinas and had no greater
exponent than Rev. Gary Davis. The previously
unseen ‘home movie’ footage of Davis shows
here the ease with which he spanned ragtime,
blues and sacred song.
Though both Texas and Louisiana claim
him, Huddie Ledbetter defies neat regional pigeonholing. Leadbelly was a vast storehouse of
blues and pre-blues African-American tradition,
a ‘songster’ whose repertoire ranged from pop
tunes to ancient work songs to original topical
ones. He was the sort of larger-than-life figure
who played his robust myth to the hilt and managed both to entertain and inspire with enduring vigor. Given that Leadbelly left us before any
of the other figures on this video (and, in fact,
before any ‘blues revival’ existed), we are indeed fortunate to have film footage offering
some semblance of his power as a performer.
BUKKA WHITE
1. Aberdeen Mississippi Blues
2. Poor Boy
SAM CHATMON
3. Big Road Blues
4. That's All Right
5. Sam's Rag
BIG JOE WILLIAMS
6. Sloppy Drunk Blues
7. Highway 49
8. Providence Help
The Poor People
HOUSTON STACKHOUSE
9. Cool Drink Of Water
SON HOUSE
10. Yonder Comes The Blues
REV. GARY DAVIS
11. Buck Dance
12. Hard Walking Blues
13. Make Believe Stunt
14. Keep Your Lamp Trimmed
And Burning
LEAD BELLY
15. Goodnight Irene (take 1)
16. The Grey Goose
17. Pick A Bale Of Cotton
18. Take This Hammer
19. Goodnight Irene (take 2)
ISBN: 1-57940-913-X
Vestapol 13016
Front Photo of Big Joe Williams by Burton Wilson
Back Photo of Son House by Nick Perls
Running Time: 58 minutes • Color and B&W
Nationally distributed by Rounder Records,
One Camp Street, Cambridge, MA 02140
Representation to Music Stores by Mel Bay Publications
® 2001 Vestapol Productions
A division of Stefan Grossman's Guitar Workshop Inc.
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