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Georgia Tom Vol 1 1928 - 1930 More Info on our New Store >> |
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Yonder Come The Blues Various.
Informative booklet notes by Paul Oliver.
Detailed discography.
Paul Oliver is internationally recognised as being one of the most prolific and authoritive writers of the history and development of blues music. In the early 1970s an excellent series of paperback books were published by Studio Vista known as "Blues Paperbacks". The series covered many aspects of the music and included several biographies including a book on Charley Patton written by John Fahey, Tommy Johnson by Dave Evans and Peetie Wheetstraw by Paul Garon. The series also featured three books which looked at the development of the music; Savannah Syncopators by Paul Oliver, Blacks Whites and Blues by Tony Russell and Recording the Blues by the blues discographer Robert M.W. Dixon. To compliment his book Yonder Come the Blues, based on those three books, Paul Oliver personally invited Document to produce this CD illustrating many musical examples drawn upon in the book. Continued... More Info on our New Store >> |
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Blind Blake Vol 3 1928 - 1929 Blind Blake, vocal, guitar.
With contributions by; Elzadie Robinson, vocal, Charlie Spand, piano, Jimmy Bertrand, xylophone.
Genre: Country Blues, Ragtime Guitar, Blues Guitar
Informative booklet notes by Alan Balfour Includes detailed discography.
From this CD's booklet notes: By 1928 Blind Blake had gathered a faithful following, his appeal probably being due to the scope of his material, his popularity rivalling that of Blind Lemon Jefferson. The third volume in the series opens featuring Blind Blake in the role of sideman, lending his brilliant guitar leads in support of Elzadie Robinson on "Elzadie's Policy Blues" and "Pay Day Daddy Blues." Returning to recording under his own name, a session, or sessions, held during September 1928 seemed to find Blake obsessed by women and the problems they were causing him, at times sounding lachrymal and despondent “Search Warrant”, “Back Door”, desperate “Walkin’ Across The Country” and positively violent as in “Notoriety Woman”, “To keep her quiet I knocked her teeth out her mouth, that notoriety woman is known all over the south”. The final number recorded that month, “Sweet Papa Low Down”, with its cornet, piano and xylophone accompaniment, evoke the kind of bouncy tune popular with practitioners of the Charleston dance craze. It was to be a further nine months before Blake recorded again, this time in company with pianist Alex Robinson. The five titles cut were of a far less suicidal nature than previous and on one number in particular, “Doin’ A Stretch”, his approach owed much to the style of Leroy Carr. More Info on our New Store >> |
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Tampa Red Vol 1 1928 - 1929 Tampa Red, vocal, bottleneck slide guitar With contributions by: “Georgia Tom” (Thomas A. Dorsey) vocal, piano; Forster & Harris, vocal; Madlyn (Red Hot Shakin’) Davis, vocal; Frankie “Half-Pint” Jaxon, vocal; Martell Pettiford, guitar; Herman Brown, kazoo, washboard; Carl Reid, jazzhorn, jug. Genres; Country blues, Pre-war Chicago blues, hokum, blues guitar, blues piano, bottleneck slide guitar. Informative booklet notes by Teddy Doering. From this CDs booklet notes. For the moment, that was it…, one side and no more! The recording was issued as a flip side to Blind Lemon Jefferson “How Long How Long” (Document DOCD-5019) maybe as a ploy to encourage the market to listen to Tampa. After four months Tampa was in the recording studio again but this time only as a session man for Foster And Harris (Ma Rainey’s Boys) as they played out The Alley Crap Game a performance which would be taken up by the two blues brothers from Georgia Robert “Barbecue Bob” Hicks and Charlie “Laughing Charlie” Hicks in 1930 with their “Dark Town Gamblin’ – Part 1 (The Crap Game)” (Document DOCD-5048). Dodging the ricocheting dices, Tampa provides a gentle slide guitar accompaniment and keeps out of the arguing between the two gamblers. Continued... More Info on our New Store >> |
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Tampa Red Vol 2 12th January to 27th June 1929 Tampa Red, vocal, guitar, bottleneck-slide guitar. The Hokum Boys: Tampa Red, vocal, guitar; Georgia Tom Dorsey, piano. Genres: Blues, Blues Guitar, Blues piano, Hokum Blues. Informative booklet notes by Teddy Doering. From this CDs booklet notes. More Info on our New Store >> |
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Big Bill Broonzy Vol 4 1935 - 1936 Big Bill Broonzy, vocal, guitar. With contributions from: Black Bob, piano; Jazz Gillum, vocal, harmonica; Carl Martin, guitar; Zeb Wright, violin; Louis Lasky, guitar; and others. Genres: Blues, Early Chicago blues, blues guitar, blues harmonica. Informative booklet notes by Keith Briggs. From this album's booklet notes.
Prior to the recordings presented here Bill had worked with Georgia Tom Dorsey to produce one of the many successful guitar/piano combinations that were so popular in the wake of Leroy Carr and Scrapper Blackwell, the latter being a man to whom Bill gave a lot of attention. They had worked with Jane Lucas and the results were nothing like the blues and stomps of Bill's first appearances in the recording studios. Following this he had formed an alliance with pianist Black Bob with whom he worked the clubs and recorded. Along with Bob he would join with a group of other humble toilers in the local entertainment industry to produce the State Street Boys. Continued... More Info on our New Store >> |
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Big Bill Broonzy Vol 5 1936 - 1937 Big Bill Broonzy, vocal, guitar. With contributions from: Black Bob, piano; Jazz Gillum, vocal, harmonica; Carl Martin, guitar; Zeb Wright, violin; Louis Lasky, guitar; and others. Genres: Blues, Early Chicago blues, blues guitar, blues harmonica. Informative booklet notes by Keith Briggs. From this album's booklet notes.
Prior to the recordings presented here Bill had worked with Georgia Tom Dorsey to produce one of the many successful guitar/piano combinations that were so popular in the wake of Leroy Carr and Scrapper Blackwell, the latter being a man to whom Bill gave a lot of attention. They had worked with Jane Lucas and the results were nothing like the blues and stomps of Bill's first appearances in the recording studios. Following this he had formed an alliance with pianist Black Bob with whom he worked the clubs and recorded. Along with Bob he would join with a group of other humble toilers in the local entertainment industry to produce the State Street Boys. Continued... More Info on our New Store >> |
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The Hokum Boys Vol 1 1929 More Info on our New Store >> |
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The Hokum Boys & Bob Robinson 1935 - 1937 More Info on our New Store >> |
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Too Late Too Late Vol 4 c. 1892 - 1937 More Info on our New Store >> |
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