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| Sonny Boy Williamson Vol 2 1938 - 1939 £8.69 |
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| Sonny Boy Williamson CDs
By 1938 any lingering doubts Bluebird had about Sonny Boy Williamson had been laid to rest and they had him in the studio 3 times that year. Sonny Boy was joined by Big Joe Williams and Yank Rachell during his second session in the studio and it is speculated to be the latter playing guitar on the rather hastily arranged title track "My Baby I've Been Your Slave". For the second number Yank Rachell is on his more usual instrument, the Mandolin, to contribute to the crisp backing of "Whiskey Headed Blues", a number that has since been given various
treatments by artists such as Tommy McClennan and John Lee Hooker. On a following track "Shannon Street" Sonny Boy describes getting drunk
in Jackson and his wife's reaction to the event. Alcohol and Sonny Boy Williamson were not a good mix and he would have increasing problems
with it throughout his life. "Deep Down In The Ground" is built on the base of another song "Stack of Dollars", a song associated with Sleepy
John Estes and often performed by Big Joe Williams. For the next session Sonny Boy Williamson found himself in the recording company of Robert Lee McCoy (Nighthawk) on guitar, Rufus 'Speckled Red' Perryman on piano and an unknown (speculated to be Willie Hatcher) on Mandolin. This time round the songs were more of a mixture and Sonny Boy illustrates that both he and his Harmonica have made the transition from a country style of playing to a big city environment sound. On the tracks "Little Girl Blues" and "Low Down Ways" it is almost impossible to believe that the same man can be both playing and singing. Other tracks include the swing dance number "Susie Q", "Goodbye Red" which is a reply to Harlem Hamfat's hugely successful "Oh Red !". These up beat foot tapping numbers are are balanced by the urban inspired tracks "Insurance Man" and "The Right Kind Of Life". More innovations were to follow on the 1939 session where Sonny Boy was joined by Walter Davis and Big Bill Broonzy. One of the outstanding tracks "Little Low Woman Blues" has Sonny Boy playing a high register Harmonica which foreshadows the sound of Jimmy Reed. Big Bill's gutitar work is more sophisticated than that of Sonny Boy's previous partners, shown to good effect on the tracks "Good For Nothing Blues" and "Sugar Mama Blues No.2" where his delicate runs and fills almost over-shadow the Harmonica. On the final track "Good Gravy" Big Bill and Sonny Boy spark off each other to perform a bravura performance that really swings. |
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| Sonny Boy Williamson More Titles? |
TRACK LIST
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