FEATURED ARTIST / S
|Georgia Tom (Thomas A Dorsey)|
Document BDCD-6022 Georgia Tom (Thomas A Dorsey) Volume 2; 5th February, 1930 to 22nd March 1934.
Georgia Tom Dorsey: vocal, piano, speech.
With appearances by: Scrapper Blackwell, guitar; Big Bill Broonzy, Tampa Red, bottleneck-slide guitar; and others.
Genre; Blues piano and vocal. Gospel with vocal group and piano. Plus Thomas A. Dorsey speaking.
Informative booklet notes by Howard Rye.
In February 1930, Georgia Tom turned in another set of melancholy blues and hokum. Second Hand Love returns to the theme of Pig Meat Blues in disparaging older women, though in fairness Levee Bound Blues implies that forty-year old men are practically past it too. Second-Hand Woman Bluesis by contrast a straightforward warning against adultery. For the American Record Company two months later, Tom was given Big Bill Broonzy as accompanist. Broonzy appears on several 1930 recordings, his delicate filigree work particularly notable on Don’t Leave Me Blues and Been Mistreated Blues. The hyperbole of Six-Shooter Blues has a surreal quality: “If your woman mistreats you, shoot her, and grab a train and ride”.
Dorsey claims he foresaw that the hokum boom could not survive the economic recession and despite Tampa Red’s attempts to keep him in the business he began to look for an alternative source of income. He found it in the gospel. He did not immediately break with the past, If You Want Me To Love You, with its increasingly unreasonable demands and inspired guitar, is a worthy swansong. The following month, he recorded two gospel numbers to which his gentle approach seems ideally suited. Yet, a month later again he recorded M & O Blues – Parts 1 & 2 under the name “Railroad Bill” which may well be judged his best recorded blues performance.
Two years elapsed before Thomas A. Dorsey made another record, during which time he had founded The National Foundation of Gospel Choirs and Choruses, Inc. His career in secular music was over and his final pre-war recordings are vocal- group performances in which his own role is self-effacing both vocally and instrumentally. He made a few recordings as a gospel artist, perhaps preferring to concentrate on his publishing business, but in any case his reputation as a recording artist would still rest on the richly varied legacy of 1928-1934.