Document Records - Vintage Blues and Jazz

Document Records
Charlie & Joe McCoy Vol 1 1934 - 1936

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Available as a download on eMusic


'Kansas Joe' McCoy
Charlie McCoy
'Bill' Wilber


Charlie McCoy
01 - Candy man blues
02 - Charity blues
03 - Baltimore blues
04 - Motherless and fatherless blues

Joe McCoy
05 - Please baby
06 - One in a hundred
07 - One more greasing
08 - The prodigal`s return
09 - If I be lifted up
10 - Don`t need no doctor when I come to die
11 - That great love
12 - Main key to heaven
13 - Twenty minutes to hell (take b)
14 - Dry bones in the valley
15 - Highway 61
16 - My babe my babe ('Bill' Wilber, vocal)
17 - Greyhound blues ('Bill' Wilber, vocal)
18 - Look who`s coming down the road
19 - The world is a hard place to live in
20 - Something gonna happen to you
21 - Well, well

Papa Charlie's Boys
22 - Too long
23 - Let my peaches be

Charlie McCoy, vocal, mandolin; Joe McCoy, vocal, guitar.

Includes: Robert Lee McCoy, harmonica; Ransom Knowling, double bass; Harmon Ray (Peetie Wheatstraw's Buddie), vocal; Little Brother Montgomery, piano; and others.
Genres: Blues, Mississippi Blues, Swing / Blues.

Informative booklet notes by Teddy Doering.
Detailed discography.

Hallelujah Joe Ain't Preachin No More and one might add: He's swinging now ! - this could be the motto of this CD. Following the trend of the time both Charlie and Joe McCoy played from the early 1930 onwards in the swing-oriented vein of the Bluebird beat. Gone were the days of the Jackson blues style with its subtleties in the guitar playing or the delicate singing. The new style, however, had its advantages, too. The vocals had a certain shouting quality which Joe had already demonstrated in his Hallelujah Joe recordings, there is more diversity in the accompanying musicians and especially rhythmically the songs were more appealing. Joe's session from November 1935 still showed a strong Tommy Johnson influence (for example Something Gonna Happen To You, on BDCD-6019, whereas as Going Back Home Blues, on Document DOCD-5031 is a downright imitation of Johnsons famous Big Road Blues as well as Look Down The Road, an up-tempo version of the song). The new trend is clearly demonstrated by Charlie in his April 1936 session (Papa Charlie's Boys), where the (unknown) bass player provided an immensely swinging rhythmic foundation. From here it was only a short step to the addition of other rhythm instruments such as washboard or drums in the series of recordings that Joe began in 1940, where he called himself Big Joe.

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