VA - 1999 - Rare Country Blues Vol. 3 (1928-1936) [EAC FLAC]seeders: 3
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VA - 1999 - Rare Country Blues Vol. 3 (1928-1936) [EAC FLAC] (Size: 149.27 MB)
Description Ripped from original CD with Exact Audio Copy.  Art, cue sheet & Rip log included. All tracks are Properly tagged with art embedded in tag. VA - 1999 - Rare Country Blues Vol. 3 (1928-1936) [EAC FLAC]  Rare Country Blues Vol. 3 (1928-1936)  Artist: Various Artists Title: Rare Country Blues Vol. 3 (1928-1936) Release Date: January 1, 1999 Label: Document Records Catalog: DOCD-5642 Genre: Blues Styles: Country Blues, Acoustic Blues, Early American Blues Duration: 1:09:35 Liner notes by Steven C. Tracy (Copyright 1999: Document Records, Austria) With this release of rare country blues, gaps that had been previously plu ed by releases on the da music label — featuring Cincinnati blues and two artis. with ties to Atlanta, Georgia — are finally filled in by the Document series In the broader context of the blues as a whole, Cincinnati has a relatively minor part to in play in blues history. Though there were and are strong concentrations of the population of African Americans in particular sections of the city, the West End in particular, fed copiously by river traffic and railroad routes from various parts of the country into the city, no singular style of performance associated with the city developed. Lacking a particular stylistic identity and any status as a recording center, no distinctive blues identity emerged. That there was an active blues scene in the 1920s and 1930s, however, is clear, Mth appearances by Leroy Carr and Scrapper Blackwell, Black Boy Shine, and Fats Waller being among the highlights. But, in fact, some brilliant and distinctive local artists also gave them a real run for the money in bars and joints and on the street corners of Cincinnati's red light "tenderloin" district, located in the area of George Street (mentioned in several songs included here and in Leroy Carr's "George Street Blues") in Cincinnati's West End. However, the Cincinnati blues and jug band recordings may in fact have even closer ties than geographical location. The aural and archival evidence su ests that the monickers KID COLE, BOB COLEMAN, and WALTER COLEMAN (as well as Walter Cole, Kid Coley, and Sweet Papa Tadpole — check out DOCD-5189, 5076, and 5321 and JPCD 1504), may hide the identity or identities of just one person, or maybe two people who were related and at one time lived at the same address in Cincinnati. The recorded evidence is compelling: Kid Cole and Bob Coleman are undoubtedly the same person — vocal quality, musical style, and lyric similarities confirm it, and Sweet Papa Tadpole and Walter Coleman are also one in the same. All of the "other" figures demonstrate a number of the same qualities that tie these performers together more closely than mere stylistic influence would explain. From the 1928 recordings by Kid Cole to Walter Coleman's 1936 masterpieces, we encounter that bright, quavery, bouncy lilt of the extroverted Coleman as he struts through songs distinguished by joie de vivre and traditional lyrics given a distinctive twist of originality, from the typewriter reference in "Hey, Hey Mama Blues,. to the rattlesnakes in "Niagara Fall" and "Cincinnati Underworld Woman" (a close relative to "Sweet Home Chicago"' "Sweet Old Kokomo"), to using soap and towels to keep the "yes ma'am" clean, to decks of cards and dice being laid on the singer's grave. The repetitions of words and phrases, lyrics, subjects, even entire songs, as in "Yes Ma'am" and the "Bed Slats" song also recorded by Stovepipe No. 1 (who accompanied Kid Cole on record) all establish the close ties. The fact that we hear the performer in a variety of settings — solo, duet, with pianist and jug, and as part of a jug band — does little to mask the underlying similarities. The Coles/ Colemans/Tadpoles are engaging, endearing performers of formidable talent, climaxing in the instrumental virtuosity and drive and vocal and lyric facility of Walter's six brilliant 1936 sides, especially "Going To Cincinnati,. a classic performance and a veritable guide book to places and personalities in the African American West End community of Cincinnati where it was produced. The qu.tion is, whether Cincinnati was unique among lesser acknowledged cities with blues scenes in being blessed with such outstanding music, or were there such artists in many other cities whose brilliance has gone undocumented. BILLY BIRD, who recorded four sides in Atlanta, Georgia in 1928 is himself a biographical blank, garnering nary a mention in Bruce Bastin's excellent Red River Blues. His four sides use a similar guitar accompaniment/arrangement, and a very distinctive one at that; a listen confirms that the arrangement has very close affinities with that used by Carl Martin on his 1935 recording of "Crow Jane," which David Moore speculated in the notes to Document 5229 Martin might have learned from Joe Evans, who himself used the accompaniment in a 1931 recording of "My Baby Got a Yo-Yo" by Arthur McClain. In his songs, Bird seems to rely on traditional, sometimes highly poetic lyrics, especially on "Down In The Cemetery," while his "Alabama Blues" is performed to the same tune as Jim Jackson's "Kansas City Blues," utilizing the "T for Texas" lyric in part one and making an uncensored reverence to "another ni er in my stall" in part two. TOO TIGHT HENRY is Henry Lee Castle, who was born in Georgia in 1899 and recorded there in 1928 and in Chicago in 1930 before moving to Helena, Arkansas in the 1930s. In Living Blues 33, Lee Jackson recalled Henry as a superior guitarist who traveled with Blind Blake and Blind Lemon Jefferson. More recent r.earch by Paul Swinton, who is A work on a volume dealing with Blind Lemon Jefferson, confirms the Jefferson associations and sightings in and between Gill, Arkansas and Charleston, West Virginia. In fact, Swinton reports that on at least one occasion Jefferson and Castle played together at a promotional event held at Paramount's main record dealer in West Virginia, Pugh Furniture Company, 1320 Wilson St. in Charl.ton. Swinton concludes that Jefferson and Casde played together from time to time between 1927 and 1929. Jim O'Neal and Steve LaVere added more reminiscences in LB 34, including information about broadcasting over KFFA in Helena and news of Castle's death of congestive heart failure on August 16, 1971 at Bethesda Hospital in Chicago. Not a strong singer, despite some attractive falsetto passages on "Squinch Owl Moan," Castle nonetheless confirms Jackson's recollection of a formidable guitarist, particularty on the comedy dialogue "Charleston Contest," where he makes his twelve-string guitar fairly ring with energy and invention, especially when he demonstrates how he can play his guitar percussively and beat the old guitar players at their own game. His Vocalion recordings as part of the Beale Street Rounders, which carried over Jed Davenport from his slightly earlier Brunswick recordings and added a pianist, are on BDCD-6028. Like the other performances represented on this CD, he unfortunately was not as widely recorded as he deserved, and no interviewer got to him for his reminiscences before his death, depriving us all of more fine music and some potentially fascinating information: an all-too-frequent occurence in the history of the blues. Sources: Steven C. Tracy, Going To C.cinnati: A History of the Blues in tbe Queen Cay, University of Illinois Press; Bruce Bastin, Red River Blues, University of Illinois Press; Dave Moore, No. to Document DOCD 5229 Carl Martini Willie "61" Blackwell; Justin O'Brien, "All Round Man: Lee Jackson," Living Blues 33; Jim O'Neal and Steve LaVere, "Too Tight Henry," Living Blues 34; Paul Swinton, phone conversation, April 23, 1999. AllMusic Review by Steve Leggett: Document Records, a British reissue label, has set an admirable goal of releasing all the music found on 78s from the 1920s and '30s. Their collections are historical and archival in intent and are absolutely essential to scholars, collectors, and others interested in music of the period. Rare Country Blues, Vol. 3 assembles the complete known recordings of several obscure artists: Kid Cole, Walter Coleman, Bob Coleman, the Cincinnati Jug Band, Billy Bird, and the fascinating Too Tight Henry, whose two-part talking blues "Charleston Contest" crackles with personality and is the highlight of this collection.  Kid Cole: 01 - Sixth street moan 02 - Hey hey mama blues 03 - Hard hearted mama blues 04 - Miagra fall blues Cincinnati Jug Band: 05 - Newport blues 06 - George Street stomp Bob Coleman & The Cincinnati Jug Band: 07 - Tear it down 08 - Cincinnati underworld woman Bob Coleman: 09 - Sing song blues Walter Coleman: 10 - I`m going to Cincinnati 11 - Greyhound blues (tell me driver how long`s that greyhound been gone?) 12 - Mama let me lay it on you (take a) 13 - Smack that thing 14 - Mama let me lay it on you (take c) 15 - Carry your good stuff home Billy Bird: 16 - Mill man blues 17 - Down in the cemetary 18 - Alabama blues - part 1 19 - Alabama blues - part 2 Too Tight Henry: 20 - Charleston contest - part 1 21 - Charleston contest - part 2 22 - Squinch owl moan 23 - The way I do Note: This is not my rip. My thanks to the original uploader (whoever that may be).    ♪♬♫ ENJOY! ♪♬♫ Related Torrents
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