Document Records - Vintage Blues and Jazz

Blind Boy Fuller Vol 1: 23rd Spetmber 1935 to 29th April 1936

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FEATURED ARTIST / S
Blind Boy Fuller

    TRACK LIST

Blind Boy Fuller
01 - Baby, I don`t have to worry Listen
02 - I`m a rattlesnakin` daddy Listen
03 - I`m climbin` on top of the hill Listen
04 - Ain`t it a crying shame? Listen
05 - Looking for my woman Listen
06 - Rag, mama, rag (take 1) Listen
07 - Rag, mama, rag (take 2) Listen
08 - Baby, you gotta change your mind Listen
09 - Evil hearted woman Listen
10 - My brownskin sugar plum Listen
11 - Somebody`s been playing with that thing Listen
12 - Log cabin blues (take 1) Listen
13 - Log cabin blues (take 2) Listen
14 - Homesick and lonesome blues Listen
15 - Walking my troubles away (take 1) Listen
16 - Walking my troubles away (take 2) Listen
17 - Black and tan Listen
18 - Keep away from my woman (take 1) Listen
19 - Keep away from my woman (take 2) Listen
20 - Babe you got to do better Listen
21 - Big bed blues Listen
22 - Truckin` my blues away Listen
23 - (I got a woman crazy for me) She`s funny that way Listen
24 - Cat man blues (take 1) Listen

Blind Boy Fuller, vocal, guitar.
 
With contributions by, Blind Gary Davis, guitar; Bull City Red, washboard.
 
Genres: Country blues, Piedmont blues, Country blues guitar, ragtime guitar.
Informative booklet notes by Ken Romanowski.
Detailed discography.

Review by John Morthland

Along with Blind Willie McTell, Fuller is the most compelling of the Piedmont bluesmen, an intricate guitarist and robust singer with a large and varied repertoire; he was also one of the last commercially potent country bluesmen. The North Carolina street singer was best known for nimble, acrobatic rags: Step It Up and Go and Trucking My Blues are the most enduring, though Rag, Mama, Rag (with Rev. Gary Davis), Piccolo Rag and Big Leg Woman Gets My Pay are nearly as strong. Davis was also devastating on slow blues like Keep Away From My Woman and My Brownskin Sugar Plum, and virtuoso slide workouts like Homesick and Lonesome Blues. entendres like What's That Smells Like Fish and suitably pious on gospel material like Davis' Twelve Gates to the City.

He may have been a synthesizer rather than innovator, but hey, so was Robert Johnson. In the case of both men, nobody did it better.

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