Document Records - Vintage Blues and Jazz

Document Records
Bo Carter Vol 2 5th June 1931 to 26th March 1934

7.49    7.49 New

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Bo Carter (Bo Chatman)


'Jabo' Williams
01 - So long, baby, so long
02 - The law gonna step on you
03 - Pig meat is what I crave
04 - Howling tom cat blues
05 - Ants in my pants
06 - Blue runner blues
07 - I`ve got a case of mashin` it
08 - You don`t love me no more
09 - What kind of scent is this?
10 - Pretty baby
11 - I want you to know
12 - Last go round
13 - I keep on spending my change
14 - Baby, how can it be?
15 - Bo Carter special
16 - Beans
17 - Nobody`s business
18 - Queen bee
19 - Tellin` you `bout it
20 - Please don`t drive me from your door
21 - Pin in your cushion
22 - Banana in the fruit basket

Bo Carter, vocal, guitar.
With contributions by Lonnie Chatman, violin.
Genres: Country Blues, Mississippi Blues, Country Blues Guitar.
Informative booklet notes by Ken Romanowski
Detailed discography.
In the time between his December 1928 New Orleans session and his next solo recording date at the King Edward Hotel in Jackson, Mississippi on December 15, 1930, Bo Carter had participated in numerous sessions in the role of accompanist. There were two sessions in Memphis in late September 1929 and February 1930 where Chatman's Mississippi Hotfooters (with Carter probably on violin) backed both Walter Vincent (Vincson) and Charlie McCoy on several tracks apiece. On these occasions he most likely had contact with some of the other artists who recorded there. Included among their number were some of the more popular and influential Race artists of the period: Jim Jackson, Tampa Red, Georgia Tom, Speckled Red, Furry Lewis, Memphis Minnie, Kansas Joe, Robert Wilkins, Jed Davenport, and Garfield Akers.
An extended session with the Mississippi Sheiks in San Antonio in June 1930 was the occasion to record not only with the family group and to support Texas Alexander with them, but to record with Walter Jacobs (Vincson) and the Carter Brothers as well. The point of all this is that Carter went from being a versatile performing musician to being an experienced recording musician in a relatively short time period. He had ample opportunity to witness first-hand what other artists were recording, how they met the very different demands of the new medium, what the companies themselves were likely to want, and ultimately, what it took to produce a best-selling blues record.
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