Document Records - Vintage Blues and Jazz

Document Records
Memphis Jug Band Vol 2 1928 - 1929

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Memphis Jug Band
Minnie Wallace


Memphis Jug Band
01 - She stays out all night long (take 2) Listen
02 - Lindberg hop (overseas stomp) (take 1) Listen
03 - Sugar pudding Listen
04 - A black woman is like a black snake Listen
05 - On the road again Listen
06 - Whitewash station blues Listen
07 - Stealin` stealin` Listen
08 - Jug band waltz Listen
09 - Mississippi River waltz Listen
10 - I can`t stand it Listen
11 - What`s the matter? Listen
12 - Dirty butter (Minnie Wallace, vcl) Listen
13 - The old folks started it (take 1) (Minnie Wallace, vcl) Listen
14 - Feed your friend with a long handled spoon Listen
15 - I can beat you plenty Listen
16 - Taking your place Listen
17 - Tired of you driving me Listen
18 - Memphis yo yo blues Listen
19 - K.C. moan Listen
20 - I whipped my woman with a single-tree Listen

Memphis Jug Band Vol 2 (13th February 1928 to October 1929)
Includes: Will Shade; vocal, guitar; (Casey Bill) Will Weldon, guitar; Vol Stevens, banjo-mandolin; Charlie Polk, jug; Charlie Burse, vocal, guitar; Jab Jones, jug; Hattie Hart, vocal; And others…
Genres: Memphis Blues, Country Blues, Jug Bands
Informative booklet notes by Chris Smith.
Detailed discography.
When the Memphis Jug Band reassembled in September 1928 to cut eight titles for Victor, they began in larky mood. New member (on disc at least) Jab Jones sang what was nominally a tribute to Charles Lindbergh's solo flight across the Atlantic the previous year, but his version of the Lindyhop is a crazy, almost surrealist one. Sugar Pudding, a version of "Take Your Fingers Off It", marked the debut of Jones's thunderous jug, replacing the less forthright Charlie Polk. The other new member was the extrovert Alabaman guitarist and singer Charlie Burse. He was one of the singers on both On The Road Again, whose chorus refers to Monk Eastman's eponymous gang, active in New York in the late 1890s, and the hybrid A Black Woman Is Like A Black Snake, with its 12 bar verse and 8 bar chorus. The cryptic Whitewash Station opened proceedings on 15th September, followed by the Memphis Jug Band’s most famous number, the beautiful Stealin' Stealin', relaxed, nostalgic, and superbly played. The two waltzes that closed the session, though unusual on race records, were probably no novelty to the band, which would have been expected to play such pieces for dancing by both blacks and whites.
It was a year before the band returned to the microphones, and violinist Milton Roby (correct spelling) was added in place of Vol Stevens, bringing his broad, bluesy tones, learned on the medicine shows, to four songs that sound very much of that milieu — some of them obviously cleaned up for recording — and also to two provocative, sexy vocals by Minnie Wallace: Dirty Butter has fine piano and The Old Folks Started It has complex harmonica from Will Shade. A two day session in October 1929 began with the band in slightly lacklustre mood, though they perked up for Tired Of You Driving Me. This date saw the debut on record of Tewee Blackman, Will Shade's guitar teacher, older than Shade, and a very accomplished player. His arpeggio style is heard on more records than the standard discography allows, but he was seldom heard to better effect than on Memphis Yo Yo Blues and K. C. Moan. The first title featured the forthright, sensual singing of Hattie Hart, interwoven, like Minnie Wallace's, with imaginative harmonica work. K. C. Moan is perhaps the Memphis Jug Band's finest recording, excellent two guitar work supporting long, drawn-out notes on the harmonica and an intricate kazoo solo from Ben Ramey, apart from Shade the only member of the band who'd played on their first records. The vocal completes a spellbinding performance. The session ended with a light-hearted song about marital violence (a singletree, or swingletree, is the crosspiece of a plough). With a nonchalant "bam-bam-be-deedle-am", the Memphis Jug Band left the recording studio. By May, 1930, when the Jug Band next recorded, unemployment in the US stood at over four million. The band, doubtless recognising that folks wanted to be lifted out of their troubles, didn't let the Depression affect their music, as can be heard on DOCD-5023.
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