Document Records - Vintage Blues and Jazz

Document Records
Lucille Hegamin Vol 4 1920 - 1926

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Lucille Hegamin

01 - The jazz me blues (take 1) Listen
02 - I`ll be good but I`ll be lonesome (take 2) Listen
03 - I've got the wonder where he went (and when he`s coming back blues) (take 2) Listen
04 - I`ve got the wonder where he went (and when he`s coming back blues) (take 3) Listen
05 - He may be your man (but he comes to see me) (997-1) Listen
06 - State Street blues (take 1) Listen
07 - State Street blues (take 3) Listen
08 - High brown blues (take 1) Listen
09 - High brown blues (take 3) Listen
10 - I`ve got to cool my puppies now (take 2) Listen
11 - Send back my honey man (take 1) Listen
12 - Send back my honey man (take 2) Listen
13 - You can have him I don`t want him blues Listen
14 - Voo-doo blues Listen
15 - Papa papa (I don`t want to be your mama no more) (take b) Listen
16 - Now you`ve got him can you hold him (I don`t think you know your business blues) (take b) Listen
17 - Arkansas blues (?-2) Listen
18 - Jazz me blues (485-2) Listen
19 - Alabamy bound (take a) Listen
20 - Every time I pick a sweetie (take b) Listen
21 - No man`s mama (take a) Listen
22 - Dinah (take a) Listen

Lucille Hegamin Volume 4: Alternative Takes & Remaining Titles (1920-1926)

Lucille Hegamin with Harris' Blues and Jazz Seven
Lucille Hegamin and Her Blue Flame Syncopators
Lucille Hegamin with Woodling's Society Entertainers
Lucille Hegamin with the Dixie Daises
and others...

Informative booklet notes by Chris Smith
Detailed discography

The life and career of Lucille Hegamin (1894-1970) are dealt with in detail in the notes to Document DOCD-5419/20/21. Her chief claim to fame is as the second African- American blues singer to record, after Mamie Smith; she is also noteworthy for a more bluesy delivery than Smith generally managed, albeit often on songs that are close to the pop end of the blues. In those early days, the interaction that generated recordings took place between stage and vaudeville artists, usually female, the record companies, and Tin Pan Alley composers, both white and black. For many years neglected by comparison with the folk blues singers, and even with the more consistently jazzy stage performers, artists like Lucille Hegamin may perhaps be finally accorded their true place, and their true merits, thanks to the Document series which is now approaching its conclusion.

See also:

DOCD-5419 'Lucille Hegamin Vol 1 1920 - 1922'

DOCD-5420 'Lucille Hegamin Vol 2 1922 - 1923'

DOCD-5421 'Lucille Hegamin Vol 3 1923 - 1932'

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