Document Records - Vintage Blues and Jazz

Document Records
Texas Girls 1926 - 1929

7.49    7.49 New

Bobbie Cadillac
Hattie Hudson
Coley Jones
Ida May Mack
Lillian Miller
Gertrude Perkins


Lillian Miller
01 - Kitchen blues
02 - Harbor blues
03 - You just can`t keep a good woman down
04 - Butcher shop blues
05 - Dead drunk blues

Hattie Hudson
06 - Doggone my good luck soul
07 - Black hand blues

Gertrude Perkins
08 - No easy rider blues
09 - Gold daddy blues

Ida May Mack
10 - Wrong doin` daddy (take 1)
11 - Wrong doin` daddy (take 2)
12 - Elm Street blues (take 1)
13 - Elm Street blues (take 2)
14 - Mr. Moore blues (take 1)
15 - When you lose your daddy (take 2)
16 - Mr. Forty-nine blues (take 1)
17 - Mr. Forty-nine blues (take 2)
18 - Goodbye rider (take 1)
19 - Goodbye rider (take 2)

Bobbie Cadillac And Coley Jones
20 - Carbolic acid blues
21 - I can`t stand that
22 - He throws that thing
23 - Listen everybody
24 - Easin` in

Lillian Miller
Hattie Hudson
Gertrude Perkins
Ida May Mack
Bobbie Cadillac And Coley Jones

Includes accompaniment by Hersal Thomas, piano; Charlie Hill, guitar; Coley Jones, guitar; K.D. 44 Johnson, piano; Alex Moore, piano.

Genres: Texas blues, Country blues, female blues vocal; Texas blues piano.

Informative booklet notes by Paul Garon.
Detailed discography.

From the CDs booklet notes
This assortment of Texas blues by Texas women contains a number of excellent pieces. Hattie Hudson's lilting "Doggone My Good Luck Soul" is backed with another song dealing with luck, "Black Hand Blues", and both are outstanding. In these she was accompanied by Willie Tyson on piano, who with Octave Gaspard on tuba, had the pleasure of being on one of the great blues records of all time, Gertrude Perkins' "No Easy Rider". The guitarist on both her sides is almost certainly Coley Jones, who also accompanies Bobbie Cadillac. With her rural-sounding accent and her moaned lines - the latter a trademark of many Texas singers - she delivers an extraordinary performance. In "Gold Daddy Blues", she seems to reverse the pimp/prostitute roles at the end of the song, when she sings

Oh, say, gold daddy, are you holding out on me? (2x)
Bring it in on time, I'll count it up and see.

Or, she is merely parroting, with parody, the pimps's accusation? An enticing ambiguity!...

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