Document Records - Vintage Blues and Jazz

Document Records
Trixie Smith Vol 2 1925 - 1939

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Trixie Smith

01 - Everybody loves my baby (take 6)
02 - How come you do me like you do? (take 6)
03 - You`ve got to beat me to keep me
04 - Mining camp blues (take 1)
05 - Mining camp blues (take 2)
06 - The world`s jazz crazy and so am I (take 1)
07 - The world`s jazz crazy and so am I (take 2)
08 - Railroad blues (take 1)
09 - Railroad blues (take 2)
10 - Everybody`s doing that Charleston now (take 1)
11 - He likes it slow (take 2)
12 - Black bottom hop
13 - Love me like you used to do
14 - Messin` around (take 1)
15 - Messin` around (take 2)
16 - Freight train blues
17 - Trixie blues
18 - My daddy rocks me
19 - My daddy rocks me no. 2
20 - He may be your man (but he comes to see me sometime)
21 - Jack I`m mellow
22 - My unusual man
23 - No good man note: see also docd-5573.

Trixie Smith Vol. 2 – 1925-1939

Trixie Smith, vocal.


With contributions by;

Miff Mole, trumpet.

Jimmy Lyell, clarinet

Louis Armstrong, cornet.

Charlie Green, trombone.

Buster Bailey, clarinet.

Fletcher Henderson, piano.

Charlie Dixon, banjo.

Joe Smith, clarinet

Johnny Dodds, clarinet, alto sax

Jimmy Blythe, piano.

Sidney Bechet, clarinet, alto sax

Sammy Price, piano.

Teddy Bunn, guitar.

Richard Fullbright, stand-up bass.

And others…


Genre: “Classic Blues”, Female Blues, Jazz.

Inforamtive booklet notes by Keith Briggs.

Includes detailed discography.


Paramount continued to record Trixie Smith up until 1926. During this period her vocal prowess on record gained in strength, although the discs’ appeal to latter day collectors was centred more on the accompanists rather than the featured vocalist and their appearance on LP was usually due to the presence of such luminaries as “Trombone Cholly” Green, Don Redman, Miff Mole, Buster Bailey and particularly, Louis Armstrong. Her repertoire continued to be varied, she could record a pop song such as “Everbody Loves My Baby”, a dance number such as “Everbody’s Doing That Charleston Now”, then cap it with one of the toughest and most chilling songs ever committed to wax; the unnerving, masochistic anthem, “You’ve Got To Beat Me To Keep Me”. High spots were provided by her justly famous “Railroad Blues”, “Freight Train Blues” and the somewhat less satisfying "Choo Choo Blues". The first of these is a variation on the “Alabamy Bound” theme while the second became one of Paramount’s biggest sellers leading to “cover” versions being produced on Columbia by Clara Smith (‘the World’s Champion Moaner’, no less) (Document DOCD-5365), on Vocalion by Lena Henry (Document DOCD-5513) and on Ajax by Josie Miles (Document-5466). “How Come You Do Me Like You Do?”, on the other hand, found an interpreter in Walter “Buddy Boy” Hawkins whose countrified version was also issued on Paramount in 1929 as “How Come Mama Blues (Deeble Bum Blues)” (Document DOCD-5035).

In 1938 she entered Decca’s New York studios to cut eight tracks with an all star line-up which included Sidney Bechet, clarinet, Charlie Shavers, trumpet, Teddy Dunn, guitar and Sam Price, piano. For most of these recordings she reprised the better known hits of her earlier career. She revamped “Freight Train Blues” dropping some choruses and shuffling the verses around. Perhaps her own taste was better illustrated by the one track from this session that was never issued; the standard “Lady Be Good”. The following year Decca employed her on what was to be her last session. Only one track was issued.

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