Document Records - Vintage Blues and Jazz

Document Records
Big Bill Broonzy Vol 1 1927 - 1932

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Big Bill Broonzy


Big Bill and Thomps
01 - House rent stomp Listen

Big Bill Broonzy
02 - Big Bill blues (20373) Listen
03 - Down in the basement blues Listen
04 - Starvation blues (20923) Listen
05 - I can`t be satisfied (9599) Listen
06 - Grandma`s farm Listen
07 - Skoodle do do (9601) Listen
08 - Tadpole blues Listen
09 - Skoodle do do (16573) Listen
10 - Saturday night rub (9594) Listen
11 - Pig meat strut (9587) Listen
12 - Papa`s gettin` hot Listen
13 - Police station blues Listen
14 - They can`t do that Listen
15 - State Street woman Listen
16 - Meanest kind of blues Listen
17 - I got the blues for my baby Listen
18 - The banker`s blues Listen
19 - How you wan`t done? (17284) Listen
20 - Too too train blues (18383) Listen
21 - Mistreatin` mamma (18384) Listen
22 - Big Bill blues (18385) Listen
23 - Brown skin shuffle Listen
24 - Stove pipe stomp Listen
25 - Beedle um bum Listen
26 - Selling that stuff Listen

Big Bill Broonzy, guitar, vocal.

Including: John Thomas, guitar, speech; Frank Brasswell, guitar.; "Georgia Tom" Dorsey, piano; Steele Smith, banjo, vocal.

Genres: Country Blues, Country Blues Guitar, Hokum.
Informative booklet notes by Keith Briggs.
Detailed discography.

When Big Bill Broonzy came to Chicago from Arkansas in 1920 he was still "country" but, as he was to prove time and again in his long career, he was also adaptable and despite his supremely affable, easy-going manner he knew what he wanted and was prepared to persevere until he got it. One of the things he wanted was to make records.

His break came when he approached Paramount Records. They cut four tracks, which remained unissued but later re-cut two of the titles. The resultant record presented Big Bill and Thomas performing House Rent Stomp and Big Bill Blues. Bill later justified knowing that he was bilked on the pay he received because he and Thomas alone bought at least fifty copies!

There was to be only one more release on Paramount before Big Bill hit his big year of 1930, when, using the pseudonym of Sammy Sampson he cut five tracks, four of which appear here, for the Perfect label in New York, then, learning the tricks of the trade he became Big Bill Johnson for Gennett in Richmond before returning to Paramount as Big Bill Broomsley. From his country origins he moved on to investigate hokum numbers and vaudeville songs. Always keeping an eye out for the main chance, he upgraded his sound by the addition of a piano when he cut three sides utilising the talents of Georgia Tom Dorsey; forever malleable at the same time moulding himself into his basic, unchanging role of good-time rounder, some-time philosopher and full-time bluesman.

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