Document Records - Vintage Blues and Jazz

Female Blues Singers Vol 7 G/H 1922 - 1929

7.49   
 

FEATURED ARTIST / S
Fannie May Goosby
Christina Gray
Ruth Green
Sadie Green
Marie Grinter
Helen Gross
Katherine Handy

    TRACK LIST

Fannie May Goosby
01 - Grievous blues (8386) Listen
02 - I`ve got the blues, that`s all Listen
03 - Grievious blues (71925) Listen
04 - All alone blues Listen
05 - I`ve got a do right daddy now Listen
06 - I believe my man is got a rabbit`s leg Listen
07 - Goosby blues Listen
08 - Can`t use you blues Listen
09 - Dirty moaner blues Listen
10 - Fortune teller blues Listen
11 - Stormy night blues Listen

Christina Gray
12 - The Reverend is my man Listen
13 - Just like you walked in, you can walk out Listen

Ruth Green
14 - Sad and lonely blues Listen
15 - Mama`s got something I know you want it Listen

Sadie Green
16 - Alley man (haul my ashes) Listen
17 - Don`t wear your welcome out Listen

Marie Grinter
18 - Morning dove blues Listen
19 - East and West blues Listen
20 - M. C. blues Listen

Helen Gross
21 - Better give your sweetie what she needs Listen
22 - I wanna jazz some more Listen

Katherine Handy
23 - Loveless love Listen
24 - Early every morn Listen

DOCD-5511
Female Blues Singers Vol 7 G/H 1922 - 1929

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

Another cross section of mainly vaudeville style blues, this volume features, among others, two important names from blues / jazz history; Fannie May Goosby who was one of the first two blues singers to be recorded in the deep south (the other was Lucille Bogan) and W.C. Handy’s daughter Katherine Handy. There are excellent tracks from Helen Gross and Sadie Green provides the risqué Alley Man and Don’t Wear Your Welcome Out. Accompaniment to this fascinating collection is provided by, amongst others, Clarence Williams, Eddie Heywood, Joe Robichaux, Johnny Dunn and Bob Fuller.

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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