Document Records - Vintage Blues and Jazz

Document Records
Lil Son Jackson Volume 1

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Lil Son Jackson
01 - Roberta Blues Listen
02 - Freedom Train Blues Listen
03 - Ground Hog Blues Listen
04 - Bad Whiskey Bad Women Listen
05 - Gone With The Wind (She's Gone) Listen
06 - No Money, No Love Listen
07 - Talkin' Boogie Listen
08 - Milford Blues Listen
09 - Cairo Blues Listen
10 - Evil Blues Listen
11 - Gambling Blues Listen
12 - Homeless Blues Listen
13 - Ticket Agent Blues Listen
14 - True Love Blues Listen
15 - Evening Blues Listen
16 - Spending Money Blues Listen
17 - Tough Luck Blues Listen
18 - Peace Breaking People Listen
19 - Rockin' And Rollin' Listen
20 - Two Timin' Woman Listen
21 - Rocky Road Listen
22 - Disgusted Listen
23 - Travelin' Alone Listen

Lil Son Jackson – Volume 1 'Rockin' and Rollin' - (1948 - 1950)

Lil Son Jackson, vocal, guitar.
Genres: Blues, Country Blues, Country Blues Guitar, Texas Country Blues.

Informative booklet notes by Gary Atkinson.
Detailed discography.

In 1948 Lil’ Son Jackson took the 250-mile trip south to Houston where he was persuaded to cut an acetate demo for the Gold Star record company. In the final two years of the decade new releases by solo bluesman was already becoming a minority. There were still some strong “country blues” artists, including another Texas bluesman, Lightin’ Hopkins, who were having significant hits on labels such as Regal based in New Jersey and Gotham which were still putting out records in the “rural blues genre”.

Gold Star’s owner, Bill Quinn, liked what he heard on the demo and decided, perhaps with Hopkins success in mind, to record and release four titles by Jackson giving him the recording name of “Little Son” Jackson.  

His first four sides to be released; Roberta Blues / Freedom Blues and Ground Hog Blues / Bad Whiskey-Bad Women were good, honest Texas “Country” blues. “Roberta” and “Whiskey” featured driving single beat bass rhythms typical of other Texas guitarists such as Lead Belly and Mance Lipscomb. The rhythm coupled with single repeated notes highlighting Jackson’s cool, clear vocals all with some nice guitar licks added up to some fine performances.
If the rural blues were going to be recorded and released as a commercial propositions as 1950 approached then they would have to be good. These were excellent and proved to be instant hits.

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