Document Records - Vintage Blues and Jazz

Document Records
Georgia Blues 1928 - 1933


7.49    7.49 New
 

FEATURED ARTIST / S
Guy Lumpkin
Eddie Mapp
Fred McMullen
Slim Barton
Curley Weaver
Ruth (Mary) Willis
Slim Barton and Eddie Mapp
Slim Barton, Eddie Mapp and James Moore
Curley Weaver and Clarence Moore
Eddie Mapp and Guy Lumpkin
Eddie Mapp, James Moore and Guy Lumpkin

    TRACK LIST

Curley Weaver
01 - Sweet Petunia Listen
02 - No no blues (14705) Listen
03 - No no blues (Curley Weaver with Eddie Mapp) (464-A) Listen

Eddie Mapp and Guy Lumpkin
04 - Decatur Street drag Listen
05 - Riding the blinds Listen

Curley Weaver
06 - Dirty deal blues Listen
07 - It`s the best stuff in town Listen

Slim Barton, Eddie Mapp and James Moore
08 - I`m hot like that Listen
09 - Careless love Listen
10 - Wicked travelin` blues Listen
11 - It`s tight like that Listen
12 - Poor convict blues Listen

Curley Weaver
13 - Ta ta blues Listen

Eddie Mapp, James Moore and Guy Lumpkin
14 - Where you been so long Listen

Slim Barton and Eddie Mapp
15 - Fourth Avenue blues Listen

Curley Weaver and Clarence Moore
16 - Baby boogie woogie Listen
17 - Wild cat kitten Listen

Fred McMullen
18 - Wait and listen Listen
19 - Rolling mama Listen
20 - Just can`t stand it (Duet with Ruth Willis) Listen
21 - I`m still sloppy drunk (Ruth Willis, vcl) Listen
22 - Man of my own (Duet with Curley Weaver) Listen
23 - Poor stranger blues (Duet with Curley Weaver) Listen
24 - Dekalb chain gang Listen

Featuring recordings by;

Curley Weaver, vocal guitar.

Eddie Mapp, harmonica.

Guy Lumpkin, guitar.

Slim Barton, guitar.

Clarence Moore, vocal

Fred McMullen, vocal guitar.

Ruth Willis, vocal.

With contributions by Buddy Moss, guitar.

 

Genres; Atlanta, Georgia Blues, Country Blues, Blues guitar, Blues harmonica, bottleneck-slide guitar.

 

Informative booklet notes by Keith Briggs.

Includes detailed discography.

 

Six assorted sides by Curley Weaver, plus one with Clarence Moore; the only pairing by Eddie Mapp & Guy Lumpkin; the six sides by Slim Barton & Eddie Mapp, plus one with James Moore; the Mapp-Moore-Lumpkin; and the five sides by Fred McMullen, plus the two where he accompanied Ruth Willis. The net result is a splendid anthology of Georgia blues, superbly evoking the Atlanta of the late 1920s and early '30s. These, of course were the days when giants like Willie McTell walked the earth, but a local music scene is always as much about the minor figures, and shadowy though the Mapps, Lumpkins and McMullen's are, they are vital components in the construction as a whole.

 

Weaver himself was never a giant on McTell's scale, but he was an important artist, who played a significant role in shaping the city's music at the time, appearing as accompanist to several artists, as well as recording extensively in his own right. Possibly the most stunning of all his work is included here - "No No Blues", bursting with energy, the slide guitar brilliantly rhythmic and the vocals driving the song along with an urgency he never seemed to quite match on his other records (not even on other versions of the same song). Fred McMullen did not record very much, and he is something of a mystery, but his "De Kalb Chain Gang" is a classic prisoner's blues, and his accompaniments to Ruth Willis and others suggest that he must have been known around town, even if the evidence collected in later years tells us otherwise. Wait and Listen a reworking of Tommy Johnson's 'Big Road Blues', probably filtered through the Mississippi Sheiks with it's strange stop-start timing and simple yet confident, well executed bottleneck-slide, reveals no ordinary musician. Slim Barton, the much respected harmonica player Eddie Mapp, James Moore and "Guy" Lumpkin are minor figures, whose 15 minutes of fame occurred when they recorded all at the same time in Long Island for the QRS label. In various combinations they worked their way through a series of recordings that have been compared with those of the later groupings The Georgia Browns and Georgia Cotton Pickers for verve and skill. There are driving dance tunes like "Decatur Street Drag", which has some tough guitar work from Lumpkin, old-fashioned rags like "Hot Like That", slow blues in the solo "Wicked Treating". All in all, this is a useful and thoroughly enjoyable addition to the documentation of blues in Georgia, filling out what we know about Weaver, focusing on the enigmatic McMullen and shining some light in a few long-dark corners that deserve at least a little attention.

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