Document Records - Vintage Blues and Jazz

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Charlie & Joe McCoy Vol 1 1934 - 1936

 

 Charlie McCoy, vocal, mandolin; Joe McCoy, vocal, guitar.

Includes: Robert Lee McCoy, harmonica; Ransom Knowling, double bass; Harmon Ray (Peetie Wheatstraw's Buddie), vocal; Little Brother Montgomery, piano; and others.
Genres: Blues, Mississippi Blues, Swing / Blues.

Informative booklet notes by Teddy Doering.
Detailed discography.

Hallelujah Joe Ain't Preachin No More and one might add: He's swinging now ! - this could be the motto of this CD. Following the trend of the time both Charlie and Joe McCoy played from the early 1930 onwards in the swing-oriented vein of the Bluebird beat. Gone were the days of the Jackson blues style with its subtleties in the guitar playing or the delicate singing. The new style, however, had its advantages, too. Continued...

 




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Charlie & Joe McCoy Vol 2 1936 - 1944

Charlie McCoy, vocal, mandolin; Joe McCoy, vocal, guitar.

Includes: Robert Lee McCoy, harmonica; Ransom Knowling, double bass; Harmon Ray (Peetie Wheatstraw's Buddie), vocal; Little Brother Montgomery, piano; and others.
Genres: Blues, Mississippi Blues, Swing / Blues.

Informative booklet notes by Teddy Doering.
Detailed discography.

Hallelujah Joe Aint Preachin No More and one might add: he's swinging now - this could be the motto of this CD. Following the trend of the time both Charlie and Joe McCoy played from the early 1930 onwards in the swing-oriented vein of the Bluebird beat Gone were the days of the Jackson blues style with its subtleties in the guitar playing or the delicate singing. The new style, however, had its advantages, too. Continued...




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Memphis Minnie & Kansas Joe Vol 1 1929 - 1930

Kansas Joe (Joe McCoy), vocal, guitar.
Memphis Minnie, vocal guitar.
 
With contributions by: Memphis Jug Band: Will Shade, harmonica; Charlie Burse, guitar; Hambone Lewis, jug.
 
Genres: Country Blues, Memphis Blues, Country Blues Guitar.
Informative booklet notes by Alan Balfour.
Detailed discography.
 
From this albums booklet notes:
Recording as "Kansas Joe" and "Memphis Minnie" at their 1929 debut recording session the couple cut six numbers, three featuring Kansas Joe as a vocalist, two with Minnie taking the vocals and the third found them duetting. These recordings weren't afforded immediate issue but were released over a period of time. For example, the coupling Bumble Bee / I Want That was not on sale until some fifteen months later. It was to be the suggestive "Bumble Bee" ("Got the best stinger I've ever seen") that was to make Memphis Minnie. So successful was the song that Victor "borrowed" Minnie to record a version fronting a caucus of the Memphis Jug Band. Vocalion then responded with Bumble Bee No. 2 and New Bumble Bee. The song was such hot property on the race market that in the last six months of 1930, unreleased recordings apart, there were no fewer than five versions, on three different labels, of "Bumble Bee" — three of which are present on this compilation. Continued...

 




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Memphis Minnie & Kansas Joe Vol 2 1930 - 1931

Memphis Minnie, vocal, guitar; Kansas Joe McCoy, vocal, guitar.
 
Genres: Memphis Country Blues, Country Blues Guitar.
Informative booklet notes by Alan Balfour.
Detailed discography.
 
From this album's booklet notes:
This compilation represents Memphis Minnie and Kansas Joe’s first encounter with the Chicago. Between June 1930 and January l931 the pair recorded on several occasions and cut several dozen titles. However, as a result of America's slide into depression, most songs took many months to release and with the exception of the coupling, "I Don't Want No Woman I Have To Give My Money To" / Cherry Ball Blues, nearly all songs recorded during June were left on the shelf. Subsequently they were issued with items from later sessions. Vocalion's follow-up release, What's The Matter With The Mill / North Memphis Blues, didn't appear until November featuring titles recorded in October, the former ostensibly about a broken down corn mill but in reality sexual innuendo and the latter, apparently in praise of the culinary delights to be found at a Memphis cafe, is thought by some commentators to concern a house of ill repute! Continued...



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Memphis Minnie & Kansas Joe Vol 3 1931 - 1932

Memphis Minnie, vocal, guitar, bottleneck-slide guitar, Kansas Koe McCoy, vocal, guitar, mandolin.
 
Genres: Memphis Country Blues, Country Blues Guitar, Country Blues Mandolin.
 
Informative booklet notes by Alan Balfour.
Detailed discography.
 
From this album’s booklet notes:
At the dawn of 1931 sales of race records were in sharp decline. Companies who six months previously had pressed in the region of 2,000 copies per record had cut that almost by half. Industry figures of the time showed that race records only accounted for about one percent of total sales, a very significant drop from the previous year. It was in this climate, and the period covered by this compilation, that Memphis Minnie and Kansas Joe continued to record. A measure of the seriousness of the situation as it affected them can probably be gauged by their output; barely thirty titles recorded, at least half a dozen of which never saw release. Despite all this the quality of their recordings didn't appear to suffer and, if anything, seemed to draw from Minnie a renewed sense of personal intensity both in lyric and playing.



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Memphis Minnie & Kansas Joe Vol 4 1933 - 1934

Memphis Minnie, vocal, guitar; Kansas Joe McCoy, vocal, guitar.
 
With contributions by: Charlie McCoy, guitar; and others…
 
Genres: Memphis Country Blues. Country Blues Guitar.
Informative booklet notes by Alan Balfour.
Detailed discography.
 
From this album's booklet notes:
After a gap of almost two years Memphis Minnie returned to the studio in November 1933 but this time it was as a solo artist. The session only produced four numbers of which two were commercially released. My Butcher Man, a double-entendre employing some nice 'meat cutting' imagery ("slice my pork chop, grind my sausage too" etc) and culminating in the vivid, "if anybody ask you "butcher man where you bin?", show them that long bladed knife, tell 'em you've bin butchering out in that slaughter pen" was coupled with the outstanding, Too Late, a blues that in structure and attack owed more to Mississippi than Memphis or Chicago, the superb guitar accompaniment so reminiscent of Mattie Delaney. Continued...



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Too Late Too Late Blues 1926 - 1944
DOCD-5150 Too Late Too Late Blues 1926 - 1944 Alternative takes and rare, late, discoveries. Various. The first Document CD appeared in 1990 with DOCD-5001 “Tommy Johnson”. Three years and 150 releases later the first volume of the “Too Late, Too Late” albums appeared. The unprecedented unleashing of such a fast growing bulk of blues and gospel recordings in such a “completist” fashion inspired both fans of the music and collectors alike. Once that the great river of releases had been flowing for a while collectors began to think again about what might be hidden in the corners of their collections or had until then been regarded of no real significance. In addition there were recent and continue to be, rare finds. A Big Bill Broonzy 78 had just recently been found, having been picked up in a lot that was saved from the street where it had been left for disposal. Then there was the box of Paramount tests that had been found several years ago which were made available. Collectors also began to revisit their records with more attention being paid to the recordings themselves and on many occasions found that takes that appeared on their records were not the takes that had thus far been re-issued.



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Too Late Too Late Vol 2 1897 - 1935



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Religious Music Vol 2 1923 - 1935



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