Document Records - Vintage Blues and Jazz

Document Records
Female Blues Singers Vol 2 B 1920 - 1928

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Baby Benbow
Mary H Bradford
Florence Bristol
Lil and Will Brown (Ivy Smith & Cow Cow Davenport)
Flo Bert
Glory Bernard


Baby Benbow
01 - Down home gal Listen
02 - Don`t blame me Listen

Bernard Glory
03 - Put it here or keep it out there Listen
04 - That`s why the undertaker`s busy Listen
05 - South bound blues Listen
06 - Cockroach blues Listen

Flo Bert
07 - Don`t take away those blues (take 1) Listen
08 - Don`t take away those blues (take 4) Listen
09 - Whistle and I`ll come to meet you (take 1) Listen
10 - What`cha gon`na do when there ain`t no jazz Listen
11 - Sweet mamma, papa`s getting mad Listen
12 - I`ve got the blues for my Kentucky home (take 6) Listen
13 - I`d love to fall asleep and wake up in mommy`s arms Listen

Mary H Bradford
14 - Chattanooga blues Listen
15 - Selma `bama blues Listen
16 - Waco Texas blues Listen
17 - Loafing blues Listen
18 - Awful lawdy lawdy blues Listen

Florence Bristol
19 - How come you do me like you do? Listen

Lil and Will Brown (Ivy Smith and Cow Cow Davenport)
20 - You had it and you didn`t want it Listen
21 - Moanful mama Listen
22 - Save my jelly Listen
23 - Three card monte blues Listen

Female Blues Singers Vol 2 B 1920 - 1928

Genres: Blues, Classic Blues, Female Blues, Jazz.
Informative booklet notes by David Evans
Detailed discography.

This second volume of female blues singers are all in a vaudeville mould, but they display the full variety of singing and personality styles within this institution. Accompanists include Bennie Moten, Duke Ellington and Cow Cow Davenport. The female blues singers who made records in the 1920s and early 1930 are often simplistically characterized as "vaudeville" artists. This series of fourteen, concentrating on singers who made only a handful of recordings and who mostly remain biographically obscure, reveals the true diversity of the female artists of this era.

While the vaudeville theatres and travelling tent shows were probably the main venues for most of them, some sang in cabarets and others in low-down barrelhouses. Some were vaudeville veterans whose careers stretched back to the teens or even earlier, while others were young new arrivals on the stage. Yet others sound as though they had just emerged from a rough saloon and house party environment. Some created their own excellent song material, while others were merely the vehicles for ambitious song-writers who often also served as their accompanists. Some are obscure and many others leave us wishing they had been more extensively recorded. Whatever the case, they fill out the picture of the blues of this era and present plenty of fine musical moments and material of great interest.

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