The Traditional Delta and Country Blues

Blind Dog's Blues (BDR-0947) Oct. Broadcasting

Guitar Shorty - Jessie Jones; Dock Boggs - Little Omie Wise; Charlie McCoy - Last Time Blues; Kokomo Arnold - The Twelves; Mississippi Fred McDowell - Red Cross Store Blues; Pink Anderson - In The Jailhouse Now; John Jackson - If Hattie Wanna Lu, Let He Lu Like A Man; Big Boy Cleveland - Quill Blues; Kid Prince Moore - Sally Long; Furry Lewis - When I Lay My Burden Down; Robert Johnson - Last Fair Deal Gone Down; Arthur "Big Boy" Crudup - If You Ever Been To Georgia; Big Bill Broonzy - When Things Go Wrong (It Hurts Me Too); Blind Willie McTell - Love Changing Blues; Blind Blake - Search Warrant Blues; Ma Rainey - Gone Daddy Blues; Howard Armstrong - Bogan's Secret (Spoken); J.B. Lenoir - Round And Round; Charlie Burse and His Memphis Mudcats - Magic Spell Blues; Roosevelt Scott - Doctor Bill Blues; Jimmy Strange - Quarter Splow Blues; Lewis Black - Spanish Blues; Jack Kelly & His South Memphis Jug Band - Cheatin' Woman; Robert Lee McCoy - Tough Luck; The Hokum Boys - You Do It; Leadbelly - Gallis Pole; Blind Boy Fuller - Break Of Day Blues; Sampson Pittman - Welfare Blues; Lonnie Johnson - What A Real Woman; Luke Jordan - Pick Poor Robin Clean #2; Blind Boy Fuller - Mean And No Good Woman; Memphis Jug Band - Stingy Woman Blues; Billy Boy Arnold - Cell No. 13 Blues; Cannon's Jug Stompers - Viola Lee Blues; Casey Bill Weldon - Somebody Changed The Lock On My Door; Jelly Roll Morton - L'il Liza Jane; Little Brother Montgomery - No Special Rider; Ted Mays And His Band - Take It Home To Grandma; Big Bill Broonzy - The Southern Blues; Mack Rhinehart & Brownie Stubblefield - I Can't Take It Anymore; John Oscar - In The Gutter; Ollie Shepard - Solid Jack; Chicago String Band - Memphis, Tenn. 1939 Blues; Roosevelt Sykes - Drinkin' Woman Blues; Georgia White - Away All The Time; Ben Abney (Peg Leg) - What Makes Your Heart So Hard?; Georgia White - Fare Thee Honey Fare Thee Well; Jelly Roll Morton - Creepy Feeling, Concluded; Wesley Wallace - No. 29; Georgia White - 'Taint Nobody's Business If I Do; Jelly Roll Morton - I Hate A Man Like You; Black Boy Shine - Sail On Little Girl No 3; ...

44 Blues by Eugene Powell

44 Blues - Eugene Powell, G position, standard tuning.


Well, I walked all night long, with my 44 in my hand
Well, I walked all night long with my 44 in my hand
I says, I was lookin' for my woman, and I found out with another man

I thought I heard my baby sayin', she heard the 44 whistle blow (Spoken: I was shootin' at her)
I thought I heard my baby sayin', that she heard the 44 whistle when it blowed
And she said it blows just like, that it wasn't gonna blow the blues no more


I wore my 44 so long, 'til it made my shoulder sore
I wore my 44 so long, and it made my shoulder
Now I gotta do what I wanta do, sweet mama, then I ain't gonna wear my 44 no more

I wore my 44 so long (Spoken: In a old shoulder scabbard, you know), 'til it made my shoulder sore
Wore my 44 so long, and it made my shoulder sore
After I do what I wanta do, then I ain't gonna wear my 44 no more

Charlie Burse

Charlie Burse, b. August 25, 1901 in Decatur, AL, d. December 20, 1965 in Memphis, TN, blues musician, best known for his skill with the ukulele. He was nicknamed "The Ukulele Kid" and "Uke Kid Burse" because of his talent, which extended to other musical instruments.

Born in Decatur, Alabama, Burse learned to play banjo and guitar during his early life. He was also proficient with the tenor guitar and the mandolin. Additionally, Burse performed as a vocalist and could keep rhythm using the spoons. Burse became known as a member of Will Shade's Memphis Jug Band, which he joined in 1928 upon his arrival in Memphis, Tennessee. Burse recorded over 60 tracks as a member of the Memphis Jug Band. Shade and Burse exhibited notable differences in temperament. Shade was businesslike and orderly, acting as the band’s business manager and generating a substantial income from its recordings, enough to purchase a house for himself. Burse, in contrast, was described as a hell-raiser, and "obnoxious and abusive at times". Surprisingly, however, there seems to have been remarkably little tension between the two men in their personal and professional association. Burse and Shade became lifelong friends, and the two would play together long after the Memphis Jug Band made its last recordings in 1934. Burse began his own short-lived band, the Memphis Mudcats, in 1939. The Memphis Mudcats attempted to modernize the traditional jug band; a bass was used instead of the jug, and the saxophone replaced the harmonica. In 1956, Burse and Will Shade were rediscovered and recorded by blues researcher Samuel Charters. In 1963 Burse and Shade collaborated on one of their last recordings, Beale Street Mess-Around. After the band’s dissolution, Burse and Shade continued to work together until Burse's death on December 20, 1965; the two men would often play on street corners or at house parties. Their renown began to revive toward the end of their lives, especially triggered by their rediscovery by Charters. Burse died of heart disease, and was buried in Rose Hill Cemetery in Memphis, Tennessee.

Charlie Burse Biography by Eugene Chadbourne

When a musician is described by biographers as "obnoxious and abusive at times," it naturally makes the individual in question seem all the more fascinating, especially if the person was armed with a ukulele. Such is the case with the Uke Kid, eventually best-known by his real name, Charlie Burse. He was not an original member of the historic Memphis Jug Band, but he became part of the loose roster of players associated with this group around 1928, only a couple of years after the group had begun recording. With Memphis as hot and sticky as it is, staying close to the shade seems to be a smart idea and in the case of Burse, that meant none other than Will Shade, the fascinating Memphis multi-instrumentalist who learned about jug band music in Kentucky and then brought the new sound to Memphis where it went over like a good fireworks display. Although they were lifelong associates and continued playing together for nearly four decades, Shade and Burse were not at all alike personally. The former man was all business; indeed, he was the business manager of the Memphis Jug Band, hired all the musicians, and was one of the first Memphis players to become a full-time musician and buy his own home with the proceeds. Burse, on the other hand, seems to have established a reputation as a hell-raiser and nothing but, although the term "egotist" is sometimes tossed in for good luck. Keeping the Uke Kid in line was just another of Shade's shady responsibilities, but it doesn't seem to have caused any serious friction because the two men kept up a happy musical relationship right up until Burse's death in the mid-'60s. One of their last recording efforts together was the wonderful Beale St. Mess Around album on Rounder, although it unfortunately was not released commercially until almost ten years after Burse died. This was a gathering of Memphis country blues and jug band vets, getting together in house to frolic around with the music they loved. Other members of the Memphis Jug Band at one time or another included Hattie Hart, Charlie Polk, Walter Horton, Memphis blues scene stalwart Furry Lewis, Memphis Minnie and her husband Kansas Joe McCoy, Dewey Corley, and Vol Stevens. Burse seems to have played more instruments than all these folks combined. In the true jug band tradition, he came to a session or gig loaded for bear, handling just about every instrument with strings on it that is normally used in country or country blues music, including tenor guitar, banjo, ukulele banjo, regular guitar, and mandolin. Ironically, he may have never actually played a normal ukulele, although jug band music scholars are still engaged in fisticuffs on this subject. In addition, he was a master rhythm keeper on the spoons and an enjoyable vocalist. In 1939, Burse put together his own band, the Memphis Mudcats. The Memphis Jug Band had at that point been stuck in low gear since the mid-'30s, when the public's taste in recordings began shifting and leaving the old-time jug band music at the bottom of the hill. Perhaps in reaction to these changing trends, the new Burse project boasted what was thought to be a more modern sound than the traditional jug band. This included an actual bass replacing the jug and the more sophisticated saxophone taking the place of the whining harmonica. This group may not have lasted long, but there was at least the opportunity to cut some sides for Vocalion. Burse went at it with relish in the late '30s, coming up with an especially enjoyable set of sides that included the promise of "Good Potatoes on the Hill," the pleasure of finding a "Weed Smoking Mama," and the gut-ache of "Too Much Beef." His song "Bottle Up and Go," itself based on a long strain of traditional material, seems to have been influential in the later progress of this particular lyric, often recorded as "Step It up and Go" blues players will sometimes to be said to be doing the Charlie Burse or "Memphis" version of the song. With this and other cultural accomplishments under his belt, along with whatever else was required to be abusive and obnoxious, Burse got the solo thing out of his system and went back into partnership with Shade, the two of them continuing to find performing opportunities around Memphis, although the gigs were not always on the level they might have wanted. The two bluesmen kept busy with Memphis house parties and playing for donations on street corners. As the Memphis music scene revitalized itself in the '60s and '70s, traditional players such as this became local heroes. Shade and Burse were first rediscovered and recorded by blues researcher Samuel Charters in 1956, during a period when Memphis' reputation for murders was running far ahead of music. Unfortunately, Burse passed away before too much of this new found glory could trickle down his way.

Blind Dog's Blues (BDR-0944) Oct. Broadcasting

Blind Roosevelt Graves and Brother - Guitar Boogie; Clifford Gibson - Hard Headed Blues; Cannon's Jug Stompers - Feather Bed; Charlie Campbell - Goin' Away Blues; Precious Bryant - If You Don't Love Me, Would You Fool Me Good?; Robert Lee McCoy - She's Got What It Takes; Roy Book Binder - Married Man's A Fool; Jaybird Coleman - I'm Gonna Cross The River Of Jordan, Some O' These Days; Arthur "Big Boy" Crudup - Never No More; Bobby Grant - Lonesome Atlanta Blues; Bumble Bee Slim - Rough Road Blues; Bo Carter - Arrangement For Me-Blues; Sylvester Weaver - Six-String Banjo Piece; Lightnin' Wells - I'll See You In My Dreams; Frank Stokes - It's A Good Thing (Take 1); Charley Patton - High Water Everywhere: Part 1; Big Bill Broonzy - Trouble In Mind; Algia Mae Hinton - You'd Better Let That Liar Alone; Cephas & Wiggins - Jelly Roll; Henry Townsend - She Walked Away; Robert Pete Williams - Freed Again; Sam McGee - Easy Rider; Blind Willie Johnson - Dark Was The Night - Cold Was The Ground; Bo Weavil Jackson - Christians Fight On, Your Time Ain't Long; Porkchop - G Burns Is Gonna Rise Again; Oscar Woods - Low Life Blues; Bumble Bee Slim - Strange Angel; Leadbelly - Rock Island Line; Noah Lewis - Selling The Jelly; Jack Kelly & His South Memphis Jug Band - High Behind Blues; King David's Jug Band - What's That Tastes Like Gravy; Sam Collins - Lonesome Road Blues; Mississippi John Hurt - Creole Belle; Walter Davis - What's The Use Of Worrying; Dock Boggs - Pretty Polly; Papa Charlie Jackson - Don't Break Down On Me; Tommie Bradley - Pack Up Her Trunk Blues; Leadbelly - Irene; Lonnie Johnson - Just A Roaming Man (Take C); Skip James - My Last Boogie; Tampa Red - Hold To His Hand; Blind Boy Fuller - Rag, Mama, Rag (Take 1); Memphis Jug Band - Coal Oil Blues; Lead Belly - My Friend Blind Lemon; Buddy Moss - My Baby Won't Pay Me No Mind; Blind Lemon Jefferson - Pneumonia Blues; Edward Thompson - West Virginia Blues; John Jackson - When He Calls Me; Memphis Minnie - Tricks Ain't Walking No More; John Jackson - I Bring My Money; John Jackson - Knife Blues; Robert Wilkins - Jesus Said If You Go; ...

Complete Recorded Works, Vol. 8 (1938-1939) by Big Bill Broonzy

Label: Document Records.
Release Date: 1992.
Recording Time: 61 minutes.
Release Info: Compilation Studio Recording.
Recording Date: September 15, 1938 - February 10, 1939.

Styles: Acoustic Blues, Acoustic Chicago Blues, Country Blues, Regional Blues, Blues Revival, Pre-War Blues.

Big Bill Broonzy's popularity continued to rise during the five months covered by this CD (the eighth of 11) in Document's "complete" Broonzy series. In addition to 21 studio sides (five previously unissued) made in Chicago, Broonzy is heard performing "Done Got Wise" and "Louise, Louise" at John Hammond's "Spirituals to Swing" concert at Carnegie Hall (with the backing of pianist Albert Ammons and bassist Walter Page). Otherwise, the influential guitarist/singer is featured with the Memphis Five (a group including trumpeter Walter Williams and altoist Buster Bennett) and various trio/quartets with his regular pianist of the period, Joshua Altheimer. This CD is particularly notable for including the original version of "Just a Dream," which became a standard. Otherwise, Broonzy shows off the influence of both swing and country-blues in varying combinations; his repertoire here includes "Trouble and Lying Woman," "Flat-Foot Susie With Her Flat Yes Yes," "Preachin' the Blues" and "Fightin' Little Rooster." - Review by Scott Yanow.

Credits: Joshua Altheimer - piano; Albert Ammons - piano; Buster Bennett - sax (alto); Keith Briggs - liner notes; Big Bill Broonzy - composer, guitar, primary artist, vocals; Blind John Davis - piano; Slim Gaillard - composer; Son House - composer; Ransom Knowling - bass; Horace Malcolm - piano; Walter Page - bass; Johnny Parth - compilation producer, producer; Derrick Stewart-Baxter - composer; Johnnie "Geechie" Temple - composer; Fred Williams - drums; Spencer Williams - composer; Walter Williams - trumpet.

Personnel: Big Bill And The Memphis Five: Big Bill Broonzy - vocals, guitar; accompanied by Walter Williams - trumpet; Buster Bennett - alto sax; Blind John Davis - piano; possibly Ransom Knowling - stand-up bass. Big Bill Broonzy - vocals, guitar; Joshua Altheimer - piano; unknown - stand-up bass. Big Bill Broonzy - vocals, guitar; accompanied probably Walter Williams - trumpet on 7; probably Buster Bennett - drums on 8; probably Horace Malcolm - piano; probably Fred Williams - drums on, 8. Big Bill Broonzy - vocals; accompanied by Joshua Altheimer - piano; unknown - guitar; Ransom Knowling - stand-up bass. Big Bill Broonzy - vocals, guitar; Albert Ammons - piano; Walter Page - stand-up bass. Big Bill Broonzy - vocals, guitar; Joshua Altheimer - piano; Fred Williams - drums. Big Bill And His Memphis Five: Big Bill Broonzy - vocals, guitar; Walter Williams - trumpet; Buster Bennett - alto sax; Blind John Davis - piano; probably Ransom Knowling - stand-up bass.

Tracks: 1) Going Back To Arkansas - Big Bill and The Memphis Five; 2) Rider Rider Blues - Big Bill and The Memphis Five; 3) Living On Easy Street - Big Bill Broonzy; 4) Good Time Tonight - Big Bill Broonzy; 5) Trouble and Lying Woman - Big Bill Broonzy; 6) I Believe I'll Go Back Home - Big Bill Broonzy; 7) Flat Foot Susie With Her Flat Yes Yes - Big Bill Broonzy; 8) Trucking Little Woman No.2 - Big Bill Broonzy; 9) Hell Ain't But A Mile and A Quarter - Big Bill Broonzy; 10) Don't You Lay It On Me - Big Bill Broonzy; 11) Done Got Wise - Big Bill Broonzy; 12) Louise Louise - Big Bill Broonzy; 13) Spreadin' Snake Blues - Big Bill Broonzy; 14) Baby Don't You Remember - Big Bill Broonzy; 15) Whiskey and Good Time Blues - Big Bill Broonzy; 16) Baby, I Done Got Wise - Big Bill Broonzy; 17) Preachin' The Blues - Big Bill Broonzy; 18) Just A Dream (On My Mind) - Big Bill Broonzy; 19) Fighting Little Rooster - Big Bill and The Memphis Five; 20) Mary Blues - Big Bill and The Memphis Five; 21) You Can't Sell 'Em In Here - Big Bill and The Memphis Five; 22) Just Got To Hold You Tight - Big Bill and The Memphis Five; 23) Just Got To Hold You Tight - Big Bill and The Memphis Five.

You Ain't The Last Man by Elzadie Robinson

You Ain't The Last Man - Elzadie Robinson. Robinson, vocal, Johnny St. Cyr, guitar in F position, standard tuning.


You say you are leaving, sweet man, good-bye
I won't shed a tear, I won't even sigh
You ain't the last man that the good Lord made

I'm sick and tired of your line of jive
And there's other good men, and they are still alive
You ain't the last man that the good Lord made

There was a time, honey, you could set me wild
But now your loving seems so tame and mild
You ain't the last man that the good Lord made

You had your chance, you couldn't make the grade
Your hateful ways made my love fade
'Cause you ain't the last man that the good Lord made