Stackhouse & BluEsoterica (Jim O'Neal)

Benefit at Buddy Guy's Legends on November 30

2011-10-20T13:30:00.000-07:00

Kenny Neal called this morning after talking to Buddy Guy and confirming a date at Buddy Guy's Legends for the Jim O'Neal Blues Benefit on November 30. Thanks to Kenny and all the Chicago musicians who have called or sent messages, including Billy Branch, Eddie C. Campbell, Eddy Clearwater, Elmore James Jr., Bo Dudley, Deitra Farr, Sugar Blue, and Nora Jean Wallace (Bruso).

Kenny and Memphis Gold, who organized the Oct. 20 benefit in Hyattsville, Maryland, both know what it's like to face major health challenges. Not long ago Kenny had to take a year off from performing and undergo chemotherapy, while Memphis Gold (Chester "Chet" Chandler, aka "K.D.") suffered a serious fall that caused spinal damage and still needs a wheelchair or walker to get around. Thanks for the inspiration you have provided, Kenny and K.D.!

Blues Benefit shows

2011-10-18T22:18:00.000-07:00

My sincere thanks go out to everyone who has sent donations and good wishes since I was diagnosed with cancer in June. Several benefits have been organized to help with expenses, including one on Oct. 20 at the Surf Club in Hyattsville, Maryland, put together by D.C. bluesman Chester "Memphis Gold" Chandler and another on Oct. 28 at Knucklehead's in Kansas City headed by Baton Rouge's Kenny Neal. Kenny is also working on another date at Buddy Guy's Legends in Chicago, possibly on November 19. More details will be posted as available.

In the meantime, I am receiving chemotherapy and so far I've been able to continue to work at my laptop doing writing and research for the Mississippi Blues Trail. I have lots of writing and research projects still to do and it's been gratifying to have the warm support of friends in the blues community.

Jim

http://www.artsjournal.com/jazzbeyondjazz/2011/10/jim-oneal-living-blues-founder-ill-and-uninsured.html

Robert Johnson Centennial Celebration

2011-05-03T17:05:00.000-07:00

From the Greenwood Convention & Visitors Bureau:
CONTACT: Paige Hunt
662-453-9197
paige@gcvb.com

The Official Robert Johnson Centennial Celebration scheduled for Greenwood, May 5-8, 2011, will include the following events:

Robert Johnson Exposed: History and art exhibit at Cottonlandia Museum: Opening Thursday, May 5th: Open to the public, the art show will detail Robert Johnson’s life. The exhibit will include never before seen original album art, family pictures, and artistic interpretations of the legend created in the years after his untimely death. The exhibit will remain open throughout the summer.

Alluvian Happy Hour: Thursday Night, May 5th:
Live blues music and specialty cocktails.

Delta Blues Legend Tours: Friday, May 6th and Saturday, May 7th:
Guided tours through Baptist Town and historic blues locations. Advance reservations required.

The Official Robert Johnson Centennial Concert: Friday night, May 6th, Whittington Park: A free concert with Jay Lang and the Devils Due, Bobby Rush and more to welcome travelers to town and celebrate the guitar legacy of the blues.

Robert Johnson Life & Legacy Expert Panel: Saturday morning, May 7th
A line up of known blues experts moderated by Jim O’Neal, Research Director of the Mississippi Blues Trail, will engage all aspects of the blues world to discuss Johnson’s music and legacy. Panelists to include Scott Barretta, Steve LaVere, Sylvester Oliver, Vasti Jackson, Scott Ainslie, and Judge Mike Mills.

Alluvian Spa Specials: Thursday, May 5th - Sunday, May 8th: The Alluvian Spa will offer a 60 minute Soulful Massage for $100 and their Bluesberry Spa services, including facials, body scrub and wrap and a mani/pedi. Advance reservations required.

Delta Dinner Class at The Viking Cooking School: Saturday, May 7th: Viking Cooking School will offer a Delta Dinner class. The menu includes Delta hot tamales, catfish, mile high coconut meringue pie, fried dill pickles and sweet tea. Advance reservations required.

The Official Robert Johnson Centennial Concert: Saturday night, May 7th, Whittington Park: A free concert with blues and rock n' roll greats. Honeyboy Edwards, Kenny Brown Band, Alvin Youngblood Hart, RJG – Robert Johnson Grandson Band, Keb' Mo' and The Warren Haynes Band along with other world famous blues acts will take the stage to honor Johnson’s legacy.

Community Church Service at Little Zion M.B. Church: Sunday morning, May 8th: On Robert Johnson’s actual birthday, an open church service will be held to commemorate Robert Johnson and his legacy with Steven Johnson as guest preacher.

Memphis Gold at the Chicago Blues Festival

2011-05-03T16:58:00.000-07:00

Stackhouse Recording Company artist Memphis Gold finally has a slot at the Chicago Blues Festival at the Pepsi Front Porch stage on Sunday, June 12, at 2:15 p.m. He will be accompanied by the Billy Branch band. He is planning on bringing copies of his new CD, "Pickin' in High Cotton," which leads off with the sure-to-controversial "How You Gonna Play the Blues."

I will also be on two 11:30 a.m. panels at the festival's Mississippi Juke Joint stage: a Robert Johnson panel on Friday (with members of Johnson's family participating) and a Mississippi Blues Trail panel on Saturday, with Alex Thomas, Scott Barretta, and Rip Daniels.

CHICAGO BLUES & SOUL SHOWDOWN in TOKYO!

2010-01-06T16:53:00.000-08:00

TOKYO . . . WICHITA . . . BILOXI

CHICAGO BLUES & SOUL SHOWDOWN! In Tokyo
For any of you who happen to be in or want to go to Tokyo for a special series of concerts, how’s this for a show:

The FLAMINGOS (featuring original vocalist Terry Johnson)
MITTY COLLIER (former Chicago soul singer now a gospel singer and pastor)
BYTHER SMITH (Chicago blues guitar man)
THE JOHNNY RAWLS SOUL BLUES REVUE featuring CARL GREEN on sax

Shows every night, January 21 through January 25, at the Yoshimoto Prince Theater in Shinagawa, Tokyo

Yasufumi Higurashi, founder of Blues Interactions/P-Vine Special Records, put this package together with the promoter, Yoshimoto Creative Agency. I helped coordinate the U.S. end of the booking with the artists. For further details on the concerts, contact Yoko Yamabe at
dogtailpro@ybb.ne.pp

BLUES MASTERS OF WICHITA
I won’t be able to be in Tokyo for the shows, but here’s what I’m looking forward to in January, as a rare opportunity to see a gathering of musicians who represent Wichita’s little-known but deep history of blues, jazz and R&B. As veteran guitarist Berry Harris says, if Alan Lomax had come to do field work in Wichita, people would know about the talent there. But Lomax didn’t. So I hope some of the interviews I’ve been doing can help fill in that informational gap. (Thanks to Berry, Rudy Love and the Love family, and Wichita Blues Society president Randy Crump, Rcrump7744@aol.com.)

The Wichita Blues Society presents its 12th Annual Blues Ball on Saturday, January 16, at the Cotillion Ballroom in Wichita. The event honors Blues Masters of Wichita featuring Berry Harris, Ray Drew, Henry Walker, Rudy Love, D.D. Dunn and Mr. Lee. Big Clyde Sheely and Rib Bone are backing them up. For further information call 316-722-4201 or log on to thecotillion.com.

BILOXI BLUES

I’ll also be on the radio for a telephone interview (and wishing I could be down on the coast in person) about the Mississippi Blues Trail on Friday, Jan. 15, 2010, at 7:35 a.m. on The Morning Show on WTNI, 1640 AM, from Biloxi.

Santa’s Messin’ With the Kid

2009-12-15T00:48:00.000-08:00

Santa’s Messin’ With the Kid!

Here’s an unexpected Christmas present courtesy of CBS television: On the Tuesday, Dec. 15, 2009, episode of the crime drama NCIS (7:00 pm CST, 8:00 pm EST), Eddie C. Campbell’s song “Santa’s Messin’ With the Kid,” as performed by Lynyrd Skynyrd, is heard in the background when agents DiNozzo and David go to a honky-tonk bar.

CBS has already pulled one blues surprise this season, in the Sept. 3 episode of another crime show, CSI, entitled “Gone Dead Train,” named after – of course – the King Solomon Hill record. Two of the CSI investigators turn out to be prewar blues collectors who try to stump each other – one plays Robert Johnson’s “Dead Shrimp Blues,” which is too easy, and the other counters with “Gone Dead Train,” prompting the incorrect guess “Mississippi John Hurt?” Way off. Hill sounds like Blind Lemon, not John Hurt.

Still, kudos to the writer, Jacqueline Hoyt, and even to CSI co-star Laurence Fishburne, despite his previous miscasting as Ike Turner in “What’s Love Got to Do With It?”

On the blues trail in Tutwiler

2009-12-14T21:22:00.000-08:00

Here’s a photo by Melanie Young of Living Blues from the November 25 Mississippi Blues Trail marker ceremony in Tutwiler, from left: Jerome Little (Tallahatchie County Board of Supervisors), Tutwiler Mayor Genether Miller-Spurlock, me, Robert Plant, former mayor Robert Grayson, and Mississippi State Senator David Jordan. All spoke at the event, with local officials taking pride in Tutwiler’s place in blues history and Senator Jordan reminding the local “Bible thumpers” of their connections to the blues. Former Tutwiler resident Panny Mayfield of the Clarksdale Press Register arranged for Plant’s participation in sponsoring the marker. His appearance was kept hush-hush so as not to overwhelm Tutwiler with hordes of Led Zeppelinites, so festivities remained pleasantly low-key. Many of the older residents in attendance had no idea who he was, in fact, although they did know the people pictured on the marker, including Tutwiler musicians Tom Dumas and Lee Kizart, as well as Sonny Boy Williamson No. 2, who is buried about two miles from town. Plant took time for interviews and conversations with media and fans. He recalled Sonny Boy’s stays in England, talked about his fascination with the Delta and with its blues artists, including Rube Lacy and Tommy McClennan, and mentioned that Led Zeppelin once had chances to purchase the Chess, Sun, and Vee-Jay labels – he and Jimmy Page wanted to do it, but the other band members weren’t interested. Local blues aficionado Johnny Jennings also had some interesting stories to tell about meeting Sonny Boy in Tutwiler. (More about that another time.)

Some culprits from the Mississippi Blues Trail staff sabotaged me that day (my birthday) by circulating 61 on 49 name tags and coronating me with a paper crown. My sister Julie published my “61 on 49” reference as a mystery quiz on Facebook, prompting a guess that I would be turning 61 in the Tallahatchie County Correctional Facility on Highway 49. Now that is truly insulting. I would hope that if I ever achieve the necessary criminal credentials, I would at least have the honor of serving in the state penitentiary at Parchman, which is only a few miles down the road on 49.

Robert Plant said he also turned 61 in August. In honor of the first (and only) time I saw Led Zeppelin (at the Kinetic Playground in Chicago, Feb. 7, 1969), here is a photo of a John Bonham drumstick I picked up at that concert:

I'll be 61 on 49

2009-11-20T21:12:00.000-08:00

The 95th marker on the Mississippi Blues Trail is being unveiled on Wednesday, November 25, in beautiful downtown Tutwiler, Mississippi, in honor of W.C. Handy's encounter with the guitarist who introduced him to the sounds and lyrics of "Goin' Where the Southern Cross' the Dog." I'll be there for the ceremony, which begins at 11:30 a.m., along with Brenda, Dela and Louis. The 25th also happens to be the day I turn 61, and Tutwiler is on Highway 49, so that makes for some kind of crossroads numerology, I guess -- although I have never for a minute believed that any of the points where Highways 61 and 49 meet (or used to meet) could possibly be "THE" crossroads that Robert Johnson believers are always seeking, if there even is such a place.

Meanwhile, as Mississippi Blues Trail research continues to peel away layers of hidden history, even in such accepted and often documented scenarios as W.C. Handy's experiences in Tutwiler and Cleveland, Mississippi, we'll have some "new" (actually very old) details to reveal soon that may result in a rewriting of blues history at the turn of the century in Mississippi, thanks to leads from Handy scholar Elliott Hurwitt with the participation of David Evans and a network of sources across the South.

Jim

Rooster Blues' 30th anniversary

2009-11-06T19:39:00.001-08:00

I’ve been so engrossed in research and writing for the Mississippi Blues Trail (www.msbluestrail.org) that I haven’t blogged here in over a year. But today seems like a good time to resume, because it was 30 years ago (Nov. 5 & 6, 1979) when I went into the studio with Eddy Clearwater to record the first Rooster Blues album, “The Chief.” Carey and Lurrie Bell, Lafayette Leake, Casey Jones, Joe Harrington, Abb Locke, and Chuck Smith played on the session, and Mac Johnson (Mac Thompson) was there to cut a 45 too. Most tracks on “The Chief” were recorded live to two-track, something that rarely happened on later Rooster Blues sessions.

And now it’s been close to 10 years since Rooster Blues Records was sold to Connecticut businessman and blues enthusiast Rob Johnson. Business turned out to be dismal in the new Rooster Blues era and the label ceased operations not long after I helped produce the last release, Willie King’s “Living in a New World.” Stay tuned while we see if there’s a way to bring Rooster Blues back to life . . .

In the meantime I’ve managed to release a few CDs on the Stackhouse label. The latest is “Gator Gon’ Bitechu” by Memphis Gold (Chester Chandler), who knows not only how to create original blues music but how to maintain a positive attitude in the face of disaster (he was once homeless on the streets of D.C., and just last year suffered severe injuries in a fall from a tree while working as a tree trimmer). Memphis Gold is at the Cape May Jazz Festival in New Jersey this weekend (www.capemayjazz.com). Check out his web site at http://www.memphisgoldprod.net/fr_index.cfm.

Next Stackhouse release is the long-awaited compilation of 1950s and ‘60s sides by East St. Louis DJ, singer, and trumpet player Gabriel (he has a last name but doesn’t think you or the IRS need to know it) –- rocking, sometimes zany stuff including snippets from his radio shows and tracks with the great Bennie Smith on guitar. Gabriel still broadcasts every Sunday night at midnight on KDHX – check out his show at www.kdhx.org.

BLUES BLABBING ITINERARY

2008-04-22T22:48:00.000-07:00

All right, this is for all you who have said, “Jim O’Neal never says anything.” True, I would rather write words and listen to others’ words than speak them myself, but I do have a limited capacity for speech, and all it takes to get my mouth moving is an invitation to New Orleans, or Mississippi, or Chicago. Or Kansas City, Kansas, for that matter, even though it’s just a few minutes from my house. In fact I’ll be participating in panel discussions, symposiums and conferences in all those places. Want me to come to Texas or Florida or California? How about Acapulco or Hawaii or Jamaica? Call me – I’m easy! Brenda and I will be glad to be your guests.

Are you ready for STARTLING REVELATIONS??!! INSIGHTFUL COMMENTARY??!! Well, don’t count on me, but fortunately, there are some very interesting people on the panels listed below. So come on out and say hello, especially if you want to repay that loan I made you years ago or if you want us to take your Paramount 78s home with us because they’re taking up too much space in your house.

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PONDEROSA STOMP MUSIC CONFERENCE
The Cabildo, Jackson Square, New Orleans

Tuesday, April 29
3 p.m. Field Recordings Panel with Joe Bihari, Jim O’Neal, Ben Sandmel, and George Mitchell, moderated by Andria Lisle

Wednesday, April 30
11 a.m. Joe Bihari Oral History. Interviewers: John Broven & Jim O’Neal.
4 p.m. Louisiana Red Oral History. Interviewers: Mike Hurtt & Jim O’Neal

For more on the Ponderosa Stomp concerts and conference:
http://www.ponderosastomp.com/ponderosa_stomp_7.php

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BLUES & THE SPIRIT SYMPOSIUM, Dominican University
7900 West Division Street, River Forest, Illinois (just west of Chicago)

Thursday, May 22
7:00-10:00 p.m. Opening Plenary (Shaffer Silveri Atrium/Parmer Hall)
Welcome and Invocation
Donna Carroll, President, Dominican University
Janice Monti, Symposium Director
Imago Dei Gospel Choir

Elders Council: Chicago's Musical Legacy
Sterling Plumpp, Professor Emeritus of Literature, University of Illinois at Chicago
Timuel Black, Educator, Historian, Political Activist
Paul Garon, Author, Co-founder of Living Blues Magazine
Jim O'Neal, BluEsoterica Archives & Productions, Co-founder of Living Blues Magazine
Mrs. Willie Dixon, CEO & President, Blues Heaven Foundation
(Convener: Barry Dolins, Deputy Director of Neighborhood Festivals and the Chicago Blues Festival)
(Discussant: George Bailey, Professor of English, Columbia College Chicago)

Reception with music by Larry Taylor and the Family Band

For more details: http://www.dom.edu/blues/schedule.html
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CHICAGO BLUES FESTIVAL, Grant Park
Route 66 tent panels

Thursday, June 5:
Chicago Blues Festival 25th Anniversary (with other members of the original Chicago Blues Committee that booked the first festival in 1984)
The Centenarians: Louis Jordan, Tommy McClennan & Blind John Davis (celebrating the 100th anniversary of their births in 1908)

Friday, June 6:
“Sweet Home Chicago”: Anthem or Cliché?

Sunday, June 8:
B.B. King Museum/Mississippi Blues Trail
The Future of the Blues (with Larry Taylor & Nate Lawrence)

For a complete schedule of panels and performances at the festival:
www.chicagobluesfestival.us
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KANSAS CITY KANSAS STREET BLUES FESTIVAL

Saturday, June 28:
Kansas City Blues panel

Come support one of the best local festivals in the country. This one was originally modeled after the Sunflower River Blues Festival in Clarksdale, Mississippi, as a tribute to a rich hometown African-American blues heritage. Come hear some fine blues acts you may not get to hear anywhere else and help the KCK Street Festival maintain its “real deal” policy. Which isn’t always easy in Kansas City . . .

Phone: (816) 529-6538
http://www.kckstreetbluesfest.com

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MISSISSIPPI DELTA TENNESSEE WILLIAMS FESTIVAL
Clarksdale, Mississippi

Sept. 26:
Clarksdale Blues History presentation

http://www.coahomacc.edu/twilliams/about.html

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MISSISSIPPI BLUES TRAIL marker unveiling ceremonies

I make it to a few of these events, too – as travel plans develop, I’ll post itineraries. I have put some information on the Mississippi Blues Trail in another post.

www.msbluestrail.org

THE NATCHEZ BURNING Mississippi Blues Trail marker

2008-04-22T22:04:00.000-07:00

Here’s the text for the Mississippi Blues Trail marker that was unveiled on April 18, 2008, in Natchez, at the Natchez Association for the Preservation of African-American Culture (NAPAC) Museum on Main Street, commemorating the 1940 fire at the Rhythm Club, the blues songs it inspired, and the musicians who died there. As usual, we gathered much more material than could fit on the marker. I wanted to mention the 1940 Library of Congress recordings of Lucious Curtis and others in Natchez, the 1941-42 Library of Congress/Fisk University study that was proposed for Natchez but ended up being conducted in Coahoma County and the North Delta, and the many Natchez musicians who have played the blues, from Papa Lightfoot and Cat-Iron to Hezekiah & the Houserockers and Y.Z. Ealey. But luckily there are at least two more markers scheduled for Natchez to discuss the local blues history. We’re also hopeful that our Oxford (Mississippi) research associate Tom Freeland will have some real biographical information soon on the mysterious Geeshie Wiley, who was reported to be from Natchez, but who had family ties in Oxford.

Marker text (front):

THE NATCHEZ BURNING

One of the deadliest fires in American history took the lives of over 200 people, including bandleader Walter Barnes and nine members of his dance orchestra, at the Rhythm Club (less than a mile southeast of this site) on April 23, 1940. News of the tragedy reverberated throughout the country, especially among the African American community, and blues performers have recorded memorial songs such as “The Natchez Burning” and “The Mighty Fire” ever since.

Marker text (back):

THE NATCHEZ BURNING

Did you ever hear about the burnin’
That happened way down in Natchez Mississippi town?
The whole buildin’ got to burnin’,
There my baby laying on the ground.

“The Natchez Burning” – Howlin’ Wolf

Few events in African-American history have been as memorialized as the Natchez fire of 1940. In addition to a monument, markers, museum exhibits, and annual local ceremonies in remembrance of the dead, the fire has inspired both prose and poetry, as well as songs by blues and gospel singers. Just weeks after the disaster, the Lewis Bronzeville Five, Leonard “Baby Doo” Caston, and Gene Gilmore recorded the first commemorative songs in Chicago. The most well-known song to address the topic, “The Natchez Burning,” recorded in 1956 by Howlin’ Wolf, led to versions by Natchez bluesmen Elmo Williams and Hezekiah Early, rock performer Captain Beefheart, and others. John Lee Hooker, blind ballad singer Charles Haffer of Clarksdale and Louisiana guitarist Robert Gilmore also sang about the tragedy on various recordings.

The blaze reportedly began when a discarded match or cigarette ignited the decorative Spanish moss that hung from the ceiling of the Rhythm Club (also called the Rhythm Night Club), a corrugated metal building on St. Catherine Street. Windows had been boarded shut, and when the flames erupted, hundreds of frantic patrons stormed the only door. Bandleader Walter Barnes was hailed as a hero for trying to calm the crowd while he and the band continued to play the song “Marie.” When the mass of bodies blocked the exit, victims suffocated or were burned or crushed to death.

Barnes, a Vicksburg native, had moved to Chicago in 1923 and recorded with his Royal Creolians band in 1928-29. He developed a successful career taking his dance music to small southern towns where big-time entertainers rarely performed. In keeping with the musical fashion of the era, by 1939 he had renamed his unit the Sophisticated Swing Orchestra. Barnes recruited musicians from several different states for his final tour. The impact of the holocaust hit home not just in Natchez and Chicago, but all the way from Texas to Ohio when the musicians’ bodies were sent home for funerals. Fellow bandleader Clarence “Bud” Scott, Jr., a guest of Barnes’s, also perished in the flames.

The Chicago Daily Defender, the nation’s leading African-American newspaper, covered the Natchez story extensively. Barnes had also been a columnist for the Defender, and the paper reported that more than 15,000 people attended his funeral. The first monument to the victims was dedicated on the Natchez Bluff on September 15, 1940, by the Natchez Civic and Social Clubs of Chicago and Natchez. A state historical marker was later erected at the former site of the Rhythm Club.

PHOTO CAPTIONS

(1) Walter Barnes and his Sophisticated Swing Orchestra, Chicago, 1939. Back row, from left: Calvin Roberts, Preston Jackson, trombones; Oscar Brown, drums; Harry Walker, guitar. Front, from left: Ellis Whitlock, Frank Greer, Otis Williams, trumpets; John Reed, Lucius Wilson, James Cole, John Hartfield, saxes. Standing: Walter Barnes, clarinet. Roberts, Walker, Reed, Cole, and Barnes died in the Natchez fire; Brown survived, but vowed never to play music again. The other musicians in this photo were not with the band in Natchez. Neither was singer Gatemouth Moore, despite stories he told in later years -- Down Beat magazine reported that Moore was in Memphis at the time. This photo came from the collection of Vicksburg drummer Walter Osborne, who carried on the dance band tradition with his group, the Red Tops.

Photo courtesy Blues Archive, John D. Williams Library, University of Mississippi.

(2) Clipping from Down Beat magazine, May 15, 1940:

MUSICIANS WHO DIED IN HOLOCAUST
Walter Barnes, 33, leader, sax and clarinet, Chicago.
Juanita Avery, 20, vocalist, Dallas.
James Coles, sax, Huntington, W. Va.
John Henderson, sax, Augusta, Ga.
Jesse Washington, sax, Chicago.
John Reed, sax, Huntington, W. Va.
Clarence Porter, piano, Ft. Myers, Fla.
Harry Walker, guitar, Cincinnati.
Calvin Roberts, trombone, Cincinnati.
Paul Stott, trumpet, Indianapolis.
Bud Scott, visiting band leader.

BAND SURVIVORS
Arthur Edwards, bass, Denver.
Oscar Brown, drums, Denver.
Jimmy Swift, bus driver, Chicago.
Walter Dillard, valet, Chicago.

(3) Two women hold a clump of Spanish moss outside the Rhythm Club, which burned when moss used for decoration caught on fire.

(4) The Rhythm Club drew a paid Tuesday night attendance of 557 to dance to Walter Barnes's orchestra, according to Time magazine. The club's wooden interior burned, but the metal structure kept the deadly flames inside. New safety laws were enacted after the disaster of April 23, 1940.

Record labels: “The Natchez Burning” – Howlin’ Wolf (Chess); “The Death of Walter Barnes “ – Baby Doo (Decca); “The Natchez Fire” – Gene Gilmore (Decca); “It’s Tight Like That” – Walter Barnes’ Royal Creolians (Brunswick).

Record labels courtesy Jim O'Neal, BluEsoterica Archives and Chuck Haddix, UMKC Marr Sound Archives.
Natchez photos courtesy Joan Gandy, Eric Glatzer, Darrell White, and NAPAC Museum.
Research assistance: Eric Glatzer, Preston Lauterbach, and UMKC Miller Nichols Library.
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SOME . . . of the rest of the story

Some notes not on the marker:

Tiny Bradshaw and his band were originally booked to play the Rhythm Club on April 23, but Bradshaw accepted an offer to play at the Apollo Theater in Harlem instead, and Barnes took the booking.

The 1940 monument to the fire victims on the Natchez Bluff lists all the deceased band members cited in the Down Beat clipping except for John Henderson. James Coles is listed on the monument as James Cole. The Down Beat clipping was actually the same as one that first appeared in the Chicago Defender on May 4, 1940, except for the headline.

All the news reports on the Barnes band cited their name as the Royal Creolians. Barnes had used this name when the band recorded in 1928-29 for Brunswick (which included a couple of covers of blues hits with vocals – “It’s Tight Like That” and “How Long How Long Blues,” in addition to dance instrumentals), and continued to use it in performance. However, the 1939 photo reproduced on the marker is identified as the “Walter Barnes Sophisticated Swing Orchestra,” reflecting the change in musical fashion from hot jazz to swing. News reports also often referred to Barnes “and his band from Chicago,” but as the list of band members showed, only Barnes and saxophonist Jesse Washington were from Chicago; both were originally from Vicksburg. Washington had also played with Ransom Knowling’s Aristocrats of Swing in Chicago, according to the April 15, 1939 Defender. Barnes had developed a routine of heading south for the winter every year and using Jacksonville, Florida, as a base for his tours of the southern states. Barnes was not a major recording artist; he cut only a few singles, and did not record after 1929 – but apparently he didn’t need to; in the tradition of many traveling show bands, dance orchestras, and territory bands, all he needed to do to attract and entertain crowds was to hire good musicians who could play the dance hits of the day.

The Bud Scott who died in the fire was a saxophonist and bandleader from Natchez. He was booked to play a dance in Greenville with his 12-piece orchestra the following week. He was the son of Clarence “Bud” Scott, Sr., who led what must have been a very impressive string band – Little Brother Montgomery recalled that Scott, a Natchez mandolinist, had 14 violinists in the band. Scott Sr. raised his son in Chicago, according to the Defender, and Scott Jr. returned to Natchez, where he had been leading his own group for four years. These Scotts have been confused with the banjo player Arthur “Bud” Scott (c. 1890-1949), a prominent New Orleans jazzman who played with King Oliver, Kid Ory, and others, and who was also based in Chicago at one point, and later in California.

Many histories written long after the fact have incorporated stories told by blues shouter (and later the Reverend) Arnold Dwight “Gatemouth” Moore that he was singing with the band, but survived because he was outside in the bus when the fire broke out. Moore had indeed sung with the band – in the 1930s – but he is not mentioned in any news accounts of the fire, including the short list of musicians who survived the fire, and in fact Down Beat placed him in Memphis, along with former band members Tommy Watkins (trumpet) and Edgar Brown (piano) in a May 15, 1940, article headlined “Ex-Barnes Men Happy They Left Before Tragedy.”

Much more can be written about the various songs dealing with the Natchez fire, but for now, we should point that some erroneous references have been cited at various web sites, including the never-to-be-trusted (but often useful as a starting point) Wikipedia. These songs, for instance, have been given as examples of songs about the fire, but I’ve listened to them and none of them has anything to do with Natchez, a fire, a departed loved one, or any sort of tragic disaster:

“We The Cats Shall Hep You” – Cab Calloway
“For You” – Slim Gaillard
“You’re a Heavenly Thing” – Cleo Brown

A good discussion of songs inspired by the fire (and other events) can be found in Luigi Monge’s chapter, "Death by Fire: African American Popular Music on the Natchez Rhythm Club Fire," in the book Nobody Knows Where the Blues Come From: Lyrics and History, edited By Robert Springer (University Press of Mississippi, 2006). The songs are:
"Mississippi Fire Blues" and "Natchez Mississippi Blues" by Lewis Bronzeville Five, Bluebird B8445, Chicago, May 9, 1940.
"The Death of Walter Barnes" by Baby Doo (Leonard Caston) and the flip side, "The Natchez Fire," by Gene Gilmore, Decca 7763, Chicago, June 4, 1940.
"The Natchez [Theater] Fire Disaster," by Charles Haffer Jr., unissued Library of Congress track 6623-B-2, July 23, 1942.
"The Natchez Burning," by Howlin' Wolf, Chicago, July 19, 1956, Chess 1744.
"Wasn't That a Awful Day in Natchez?" by Robert Gilmore, prob. 1956 or 1957, Plaquemines Point, Louisiana, a track on the LP A Sampler of Louisiana Folksongs, Louisiana Folklore Society LFS-1.
"Natchez Fire" ("Burnin'") by John Lee Hooker, Detroit, April 20, 1959, a track on Riverside LP 008.
"Fire at Natchez (The Great Disaster of 1936)," by John Lee Hooker, March 9, 1961, Culver City, California, a track on Galaxy LP 201 and 8201.
"The Mighty Fire" ("Great Fire of Natchez"), by John Lee Hooker, July 28, 1963, Newport, Rhode Island, a track on Vee-Jay LP 107.
"The Natchez Burning," by Willie Wright, April 7, 1976, Sweet Home, Arkansas, a track on Rooster Blues LP R7605.
"Ice Storm Blues, Parts One & Two," by Big Jack Johnson, 1994, Clarksdale, Rooster Blues cassette R-60C.
"The Burning," by Little Whitt & Big Bo, February 1995, Tuscaloosa, Alabama, a track on Vent Records CD VR 30009.
"Natchez Fire," by Elmo Williams & Hezekiah Early, 1997, Waterproof, Louisiana, a track on Fat Possum CD 80313.

Monge mentions two recordings that were released on Rooster Blues Records during the time I co-owned the label. The first, a version of Wolf’s “The Natchez Burning” by Arkansas guitarist Willie Wright, was first released on the Rooster Blues LP Keep It To Yourself: Arkansas Blues, Vol.. 1 – Solo Performances, which is now available on CD (Stackhouse SRC-1910). This was recorded by Louis Guida in 1976 as part of a Bicentennial field recording project, and the title on the original tape was “Madison, Mississippi,” because that’s what Wright is singing, rather than “Natchez, Mississippi.” (Or it could just as well have been "Mattson, Mississippi.") I changed it on the album to “The Natchez Burning” because that’s what the song was, just with a different town name. (Monge transcribes this as “the messy Mississippi town.”)

The other recording, also inspired by Wolf’s Natchez song, with new lyrics sung to the same music, was Big Jack Johnson’s “Ice Storm Blues,” in which the Clarksdale ice storm of 1994 replaces the Natchez fire of 1940 as the topic of disaster (although on a much less deadly scale). This was a cassette-only release in the U.S. although it was issued in Japan on a P-Vine Special CD. It’s among a number of tracks recorded at the Stackhouse Recording Studio (R.I.P.) in Clarksdale that I hope to release on a Stackhouse CD and/or in whatever digital/electronic format is necessary in the coming day and age.

Another recording that transposes Wolf's song about the fire onto another event is "The Burning" by Alabama bluesmen Little Whitt and Big Bo, recorded for Vent Records in 1995: "Have you ever heard about the burning that happened way down in a Mississippi town? Well, those evil people there burned the schoolhouse down to the ground."

As for Wolf’s own recording, “The Natchez Burning,” although it was recorded July 19, 1956, in Chicago, Chess did not release it until November 1959 when it appeared as the “A” side of Chess single 1744. I don’t know the reasoning for this, other than it appears from perusing Wolf’s discography that he was not recording many sessions for Chess in 1959-60, and Chess started pulling some unissued tracks from past sessions to keep the singles flowing. I also thought maybe there was some sort of 20th anniversary memorial to the fire in Chicago in the spring of 1960 and that the single might have been released to coincide with that, but I have no evidence of that. The Defender did run an article about Walter Barnes on the 20th anniversary of his demise.

John Lee Hooker’s first song about the fire, “Natchez Fire," issued in England on Riverside LP 008, was recorded April 20, 1959, in Detroit, according to The Blues Discography 1943-1970. Some have presumed Hooker’s track was inspired by Wolf’s 1956 recording, but unless he heard a pre-release version of “The Natchez Burning” either at a Wolf performance or at Chess, Hooker must have come up with the theme on his own. He had also just done his first version of “Tupelo Blues” (about the 1936 Tupelo tornado – although he depicts the event as a flood) on Riverside (U.S.) LP 12-838, so perhaps the Hook was either inspired, or prompted by the producer, to come up with some topical disaster songs. Hooker, who recorded three versions of this song on various albums, also dated the Natchez fire at 1936, but then he gave conflicting years for his own birthdate, too. (We’ll try to sort that one out when we get to the Mississippi Blues Trail marker for Hooker.)

The Captain Beefheart version of "Natchez Burning" is a 43-second a cappella track from a 1972 radio show at WBCU in Boston, with Beefheart giving his best Wolf voice simulation. This was released on the Grow Fins boxed set of Beefheart rarities, which also includes a few other Wolf songs, and, following the disaster theme, a version of "Tupelo" (in a John Lee Hooker-ish voice, of course) and another blues that mentions a tornado. The British blues-rock band the Groundhogs also recorded "Natchez Burning."

There are many more articles about the fire, which was reported in Time, Variety, Down Beat, and other magazines in 1940, as well as in an Associated Press story that was carried by newspapers all across the country, and of course in all the African-American newspapers.

Time magazine gave the story the jive treatment, focusing on the sponsorship of the dance by the Moneywasters Social Club and concluding with a quote from the bartender whose wife died in the fire: “My old lady looked like a pickle when they brung her out. She burned like a pickle. Dead."
(http://www.time.com/time/magazine/article/0,9171,763917,00.html)

Other publications carried such headlines as “212 Negroes Perish in Dance Hall Fire That Sweeps Structure in Mississippi” (Reno Evening Gazette, April 24, 1940) and “Cries of Burning Negroes Heard For Blocks” (Natchez Democrat, April 24, 1940). The Natchez paper later printed a long list of every person who had donated even 50 cents to the relief and rescue effort.

Preston Lauterbach, who sent some of the Natchez clippings, has a good piece on the Natchez fire and monument at the internet’s best web site for those who want to dig deeper (as in underground) into the historical and living traditions of blues and other roots music, Backroads of American Music: http://www.backroadsofamericanmusic.com/

Keep up with the Mississippi Blues Trail markers as they are unveiled at http://www.msbluestrail.org/

We’d like to turn the marker texts and graphics into a book with expanded comments about everything we DIDN’T get to on the markers - - - publishers, please contact us if you’re interested.

Copyright 2008 Jim O’Neal, BluEsoterica Archives & Productions.

The Mississippi Blues Trail marker project

2008-04-22T21:31:00.000-07:00

The MISSISSIPPI BLUES TRAIL markers
www.msbluestrail.org

Mississippi Blues Trail markers installed so far:

1- Charley Patton (Holly Ridge) December 11, 2006
2- Nelson Street (Greenville) December 11, 2006
3- WGRM (Greenwood) December 11, 2006
4- Riverside Hotel (Clarksdale) January 18, 2007
5- Peavine (Boyle) February 7, 2007
6- Rosedale, February 7, 2007
7- Hwy. 10 & 61 (Leland) March 29, 2007
8- Honeyboy Edwards (Shaw) April 13, 2007
9- Muddy Waters (Stovall) April 13, 2007
10- Jimmie Rodgers (Meridian) May 3, 2007
11- Robert Johnson gravesite (Greenwood) May 16, 2007
12- Subway Lounge/Summers Hotel (Jackson) May 30, 2007
13- Son House (Tunica) June 18, 2007
14- Willie Dixon (Vicksburg) June 28, 2007
15- Hickory Street (Canton) July 17, 2007
16- Blue Front Cafe (Bentonia) August 21, 2007
17- Magic Sam (Grenada) August 28, 2007
18- Howlin’ Wolf (West Point) August 30, 2007
19- Memphis Minnie (Walls) September 27, 2007
20- Columbus Mississippi Blues (Catfish Alley, Columbus) September 28, 2007
21- Rabbit Foot Minstrels (Port Gibson) October 9, 2007
22- Tommy Johnson (Crystal Springs) October 19, 2007
23- Bo Diddley (McComb) November 2, 2007
24- Broadcasting the Blues (American Blues Network, Gulfport) November 3, 2007
25- Trumpet Records (Jackson) November 17, 2007
26- Otis Rush (Philadelphia) December 6, 2007
27- Robert Nighthawk (Friars Point) December 13, 2007
28- Elvis and the Blues (Tupelo) January 8, 2008
29- Robert Johnson birthplace (Hazlehurst) January 31, 2008
30- James Cotton (Tunica) February 13, 2008
31- Livin’ At Lula: Charley Patton, Bertha Lee, Sam Carr, Frank Frost (Lula) February 13, 2008
32- Mississippi John Hurt (Avalon) February 23, 2008
33- Red Tops (Vicksburg) March 28, 2008
34- Elks Lodge (Greenwood) March 28, 2008
35- Malaco Records (Jackson) April 8, 2008
36- Rhythm Club (Natchez) April 18, 2008
37- Dockery Farms – Birthplace of the Blues? (Dockery) April 19, 2008

Next marker unveilings:

38- Pinetop Perkins (Belzoni) May 3, 2008
39- Hopson Planting Company (Clarksdale) May 3, 2008
40- Hubert Sumlin (Pillow Plantation, Greenwood) May 6, 2008 (2:00 p.m.)
41- Highway 61, northern end (Tunica) May 7, 2008
42- Alamo Theatre (Jackson) May 22, 2008

Writing texts and researching the history for the Mississippi Blues Trail markers is my main blues project these days. Scott Barretta of Living Blues and I, along with the rest of the editorial and design team (including Dr. Sylvester Oliver in Holly Springs, Chrissy Wilson of the Mississippi Department of Archives & History in Jackson, and Wanda Clark in Greenwood) are generating the text and photos for these historical markers – 37 so far, with about 100 more to do over the next three years.

This has turned into a much more intensive process than any of us imagined when we compiled the marker site list with the Mississippi Blues Commission. Rather than just repeat and rehash previous biographies and histories, we’re using the ever-increasing wealth of data available from online searches, genealogy databases, libraries, local community sources, musicians and their families, the BluEsoterica archives of interviews and subject files, and a super crew of international blues heads including Bob Eagle in Australia, Eric LeBlanc in Canada, and Howard Rye, Alan Balfour, Chris Smith and others in the U.K., as well as the collections at Delta Haze Corp. in Greenwood and the Blues Archive at the University of Mississippi’s John D. Williams Library. Collectors such as Richard Nevins of Shanachie and Yazoo Records, Paul Garon, Woody Sistrunk, and Ken Oilschlager have also provided images of record labels and other material. At the top of the back side of the Son House marker at the site of the old Clack Store in Tunica County, for example, is a photo of the only copy known in blues collectors' circles of Son House's "Preachin' the Blues."

The affiliation of this project with the state of Mississippi has opened up new streams of information from the source, as various local officials, tourism directors, historical societies, and chambers of commerce have aided in the search and put us in contact with musicians, relatives, and others involved in the blues (most recently, for example, a cousin of Arthur “Big Boy” Crudup in Forest, Mississippi, who took it upon himself to compile Crudup’s family history). In the process of this, we’re finding out that a number of blues artists weren’t born when or where the previously published bios say, and histories are being revised and sometimes constructed virtually from scratch. We’re currently in the throes of unraveling the mangled and tangled tale of Otis Spann, self-proclaimed second lieutenant, medical college student, and pro football quarterback.

Keep up with markers as they are unveiled at www.msbluestrail.org.

We’d like to turn the marker texts and graphics into a book with expanded comments about everything we DIDN’T get to on the markers - - - publishers, please contact us if you’re interested.

See next post for text and additional notes on the most recent marker in Natchez.

Dear Jerry, Rest in Peace . . . (from Nancy Klein)

2007-12-15T14:59:00.001-08:00

We're sorry to have to pass along the following news sent by Philadelphia Jerry Ricks' constant partner and traveling companion, Nancy Klein, on Monday, Dec. 10, from Croatia:

It is with a most sorrowful heart, I tell you of the passing of our Beloved Jerry Ricks, Monday morning, 10:05 in hospital, Rijeka, Croatia. He will be missed tremendously by all those who loved him,and for the joy he brought to so many around the world through his ownstyle of Blues.
With Love,
Nancy

Philadelphia Jerry Ricks benefit October 28

2007-10-15T08:14:00.000-07:00

Philadelphia Jerry Ricks, the most cosmopolitan* of blues artists -- maybe the most cosmopolitan person I've ever known, period -- has been hospitalized in Croatia (one of his regular bases of recent years). Complications have arisen from a brain tumor operation, and his friends back home (Michael Cloeren, Doug Waltner and others) have organized a benefit concert for his medical expenses at the Commodore Barry Club in Philadelphia on Sunday, Oct. 28, from 2 p.m. to 9 p.m. For more information on the concert or to send donations, please see details at
www.mountainofblues.com.

We've all been awaiting Jerry's return to the states for several years now, but he had been keeping busy in Croatia, Turkey, Switzerland, Russia, and elsewhere, learning the languages wherever he and his partner Nancy would go, and amassing more knowledge to add to his discussions on anything from the French Revolution to the highways of Montana to the blues recordings of Peanut the Kidnapper. When I once told a friend I had recorded an album by Jerry (Deep in the Well, Rooster Blues R2636, recorded at the Stackhouse Recording Studio in Clarksdale, December 1996), her response was "What? A monologue?" Actually, we did record a monologue on blues history at that session, so far unreleased. Let's hope Jerry will be back with us soon to regale us with more tales and more of the blues played as only he can play it.

* cosmopolitan = so sophisticated as to be at home in all parts of the world or conversant with many spheres of interest [American Heritage Dictionary]

Welcome to Stackhouse & BluEsoterica

2007-05-15T12:21:00.000-07:00

Welcome to the website world of BluEsoterica Archives & Productions, BluEsoterica.com Mail Order, Stackhouse Recording Company, Drop Top Music, and Jim O'Neal. This archival, production, consultation, research, publishing, media, and mail order enterprise is dedicated to the esoteric appreciation of the blues, as well as to buying, selling, and trading all sorts of records, with an eye for the obscure and unusual.

If you want to read or write about some new, obscure, or overlooked details on blues, I launched this website also as a research forum for such ramblings and musings. If you have something you want to ask or discuss or spout off about, send it in. When I can get it together, I also still write a BluEsoterica column in that magazine down in Mississippi I helped start a year or 37 ago called Living Blues (http://www.livingblues.com/). See the expanded Howlin' Wolf interview at The Voice of the Blues page here from the first issue of LB, along with the corrections, additions and updates to the book of Living Blues interviews, The Voice of the Blues. (By the way, Living Blues has reprinted issue No. 1, available from this site for $10.00 plus postage & handling.)

I have a knack for co-founding struggling blues entities, including Living Blues Magazine, Rooster Blues Records, and the Sunflower River Blues Association. I no longer own Rooster Blues, and most folks would say this is a great time NOT to be in the blues record business. On the other hand, with CD sales and work for blues artists in general at a low ebb, the need has never been greater. So, I can't help but take the plunge again with a new record label, Stackhouse Recording Company. There's no money behind this venture, as usual, so new CDs can only be released after enough money has come in from sales of the previous ones. I'll take on an investor or partner if someone wants to take a chance on a good cause, but you can also help out if you're just here to buy records. Visit our online catalogue and check out the books, magazines, CDs, LPs, 45s, 78s, and musical memorabilia. I buy and sell soul, R&B, funk, jazz, country, folk, world/ethnic, gospel, soundtrack, and rock 'n' roll records as well as blues.

Thanks to the friends who have been helping out, in Kansas City and Clarksdale, including Brenda Haskins, Nancy Kossman, James "Superwolf" Trotter, Renee Bassett, Joni "Woman" Mayberry, Philadelphia Jerry Ricks, Nancy Klein, and Charles "Rags" Ragsdell, who is responsible for the latest http://www.bluesoterica.com/ website design and online ordering system -- and of course also to the resident gremlins, mail order helpers who hold packages while we stand in line at the post office, and music critics who inform me when "stupid" music comes on the radio or CD player, Dela O'Neal (age 11) and Louis O'Neal (age 9).

Our site features:

The Voice of the Blues Page: The Voice of the Blues book additions & corrections

Muddy Waters' First Chicago Record

Howlin' Wolf Interview (1969)

Mail Order Catalogue: Blues, R&B/Soul/Funk, Rock 'n' Roll, Country, Jazz, Gospel, Soundtracks, and World Music: CDs, LPs, 45s, 78s, blues books, magazines & memorabilia

BluEsoterica Archives & Productions: Archival and Documentary Projects, Presentations

Stackhouse Recording Company news and new CD releases

BluEsoterica Research Forum: Research -- Trivia - Blues Mysteries: Join in the latest discoveries, musings, postulations, and ramblings on our minds and yours. Please e-mail us with your questions, answers, and comments.

Recommended: Events, Artists, Recordings, Websites, Booking Contacts

HELP WANTED: INTERN/VOLUNTEER
We're looking for someone who enjoys working with old vinyl, listing records on the computer. We also need data entry, cataloguing, and filing assistance to manage our archives. (See BluEsoterica Archives & Productions page.) We have many interview tapes that need to be transcribed; anyone with a good ear for Southern blues dialect who wants to assist, please contact us. One day maybe we can get a grant to pay someone to do some of this archival work, but it's a volunteer job for now.

INVESTORS - PRODUCTION SPONSORS: See "Productions" ("Services") page for opportunities to work with us on our archives and record productions.

SITE SEARCH MISSPELLINGS: This is for those who've tried to search the web for us under various permutations of BluEsoterica. If you've searched for Bluesoeteria, Bluesoteria, Bluesesoterica, Blusoterica, Bluesotarica, Blusotarica, Bluesotaria, Bluesotrca, Bluesotrica, Bluestrica, Blues Esoterica, Bluesamerica, Blueserotica, Bluesetcetera, Bluesadnauseam . . . you've found us!

STACKHOUSE RECORDING COMPANY and
BLUESOTERICA ARCHIVES & PRODUCTIONS
Jim O'Neal, 3516 Holmes Street, Kansas City MO 64109. (816) 931-0383
Research e-mail: bluesoterica@aol.com
Mail order e-mail: Stackhouse232@aol.com
Online order/auction sales: Visit our online catalogue at http://www.bluesoterica.com/ , as well as on eBay (Seller ID: Stackhouse232); at http://www.jimoneal.gemm.com/, and at http://www.jimoneal.musicstack.com/.

Copyright © 2007 BluEsoterica.com. All Rights Reserved.

Mail order postage & handling charges

2007-05-03T16:08:00.000-07:00

MAIL ORDER postage & handling rates as of May 15, 2007:

Postage & handling (USA) for one 45, EP, LP, CD, cassette, book, photo, or magazine: $4.50; each additional record, cassette or magazine $0.50; each additional book $2.50.
78 rpm records, posters, and T-shirts: $7.95 for one 78, poster, or T-shirt, each additional item $0.50. Posters are sent in mailing tubes. Books, LPs, 78s, and magazines sent by media mail unless first class/priority is requested at a higher rate. Priority mail rates upon request. Double albums and albums in library folder bindings count as 2 LPs for postage calculations.

Insurance (optional): USA: $2.05 for $100.00 insurance; $2.45 for $100.01 to $200.00 insurance; $4.60 for $200.01 to $300.00 insurance.

Air mail postage & handling for foreign buyers for one 45, cassette, photo, or CD: $7.95 to all countries. Each additional 45, cassette, photo, or CD: $1.50.

Air mail postage & handling for foreign buyers for one LP, T-shirt or magazine: $7.95 Canada, $14.00 all other countries. Each additional LP, T-shirt or magazine: $3.00 Canada; $5.00 all other countries. Double albums and albums in library folder bindings count as 2 LPs for postage calculations.

Air mail postage & handling for foreign buyers for one 78, poster or book: $18 Canada, $24 all other countries. Each additional 78, poster or book: $3.00 Canada; $5.00 all other countries.

Delta Blues Map Kit: postage & packing same as 45/cassette/CD.

Payment: Checks or money orders in U.S. dollars; PayPal, Western Union, or MoneyGram; cash by registered mail. PayPal e-mail: Stackhouse232@aol.com. Credit card customers please use PayPal. Send orders to: Stackhouse Records, 3516 Holmes St., Kansas City, MO 64109. Phone (816) 931-0383.

Order Confirmation, Availability: All orders are subject to confirmation by Stackhouse & BluEsoterica, and are subject to stock on hand at the time the order is processed.
Please allow five business days for orders to be processed.

Copyright © 2007 BluEsoterica.com. All Rights Reserved.

78s for sale: blues, R&B, old-time, jazz, dance bands

2006-09-26T10:33:00.000-07:00

We have thousands more 78s, but this is all we've been able to list so far! (If you live in the Kansas City area and want to help us list records, please contact us.)

STACKHOUSE Mail Order Catalog 2006
3516 Holmes St.
Kansas City, MO 64109
(816) 931-0383
stackhouse232@aol.com
www.stackhouse-bluesoterica.blogspot.com
www.bluesoterica.com

All items subject to availability. Let us know what you want to order and we will invoice you for the total. Or you may send payment with your order and we will send refunds for any items that are unavailable.

Payment: Checks or money orders in U.S. dollars; PayPal, Western Union, or MoneyGram; cash by registered mail. PayPal e-mail: Stackhouse232@aol.com. Credit card customers please use PayPal, Western Union or BidPay. Send orders to: Stackhouse, 3516 Holmes St., Kansas City, MO 64109.

Postage & handling (USA) for one 45, EP, LP, CD, cassette, book, photo, or magazine: $3.75; each additional record, cassette or magazine $1.00; each additional book $2.50. 78 rpm records: As above, plus $2.00 additional packing charge per box. Books, LPs, 78s, and magazines sent by media mail unless first class/priority is requested at a higher rate.

Insurance: USA: $1.35 for up to $50.00 insurance; $2.30 for $100.00 insurance; $1.05 per each additional $100.00. Required on purchases of $50 or more in the USA.

Air mail postage & handling for foreign buyers for one 78: $15 Canada, $24.50 UK, Europe & South America, $30 Australia & Japan. Each additional 78: $2.00 Canada; $4.00 European continent; $5.00 UK, Australia & Japan.

78 RPM RECORD GRADING
Records are visually graded by VJM CONDITION CODES per VJM’s Jazz & Blues Mart:
N (new) or M (mint): New and unplayed. NM or N- (near mint): Nearly same as N/M but played a few times. E+: plays like new, with very, very few signs of handling, such as tiny scuffs from being slipped in and out of jackets. E: excellent (still very shiny, near new looking with no visible signs of [groove] wear but with a few inaudible scuffs and scratches). E-: still shiny, but without the luster of a new record. Very little wear, plays distortion-free. V+ or VG+: An “average” looking 78 in which scuffs and general use has dulled finish somewhat. Wear is moderate but playing is generally free of distortion. Surface noise still not pronounced. V or VG: very good (moderate, even wear throughout but still very playable. Surface noise and scratches audible but not intrusive.) V- or VG- = quite playable; some distortion in louder passages but music remains loud in most places. Surface noise from wear and scratches well below music level. G+: gray throughout but still serviceable. Music begins to sound muffled. G (good): quite worn/damaged, but surface noise still below music level. Listenable. G-: Music muffled from wear but still exceeds surface noise. F+: most of record remains audible over surface noise but listening uncomfortable. F (fair): further deterioration but still generally audible. P (poor): unplayable.

VJM standard abbreviations: sfc = surface; lbl = label; nap = not affecting play; scr = scratch; lc = lamination crack; cr = crack; hc/hlc = hairline crack; wol = writing on label; sol = sticker on label; fade = faded label; gr = groove; eb = edge bite; ec = edge chip; ef = edge flake; cvr = cover; s = stereo; rf = rough; aud/inaud = audible/inaudible.

[e.g., 10gr eb = 10 groove edge bite; 2"hc nap = 2-inch haircrack not affecting play]

[+ and – denote in-between grades. Grades with a slash in between indicate the condition of Side A/Side B.]

BLUES and R&B 78s
BIG MACEO: Anytime For You/ Since You’ve Been Gone. Bluebird 34-0703 E+ $18
WALTER BROWN. New Four Day Rider/Gonna’ Open Up A Business. King 4170 V $6
WILLIE BRYANT (with the Tab Smith Septette). Blues Around The Clock(Parts 1 & 2). Apollo 364 V $5
LAWRENCE (PIANO ROLL) COOK HIS “PLAYER PIANO” & ORCH. (The Jim Dandies-v.). The Old Piano Roll Blues/Why Do They Always Say”No”?. Abbey 15003 V to V+ $3
IDA COX and HER ALL STAR BAND. Four Day Creep/Hard Times Blues. Vocalion 05298 V- 2” hc glued at edge nap $3
LARRY DARNELL. I Love My Baby/My Kind Of Baby. Regal 3274 V+/V rf nap $4
PERLINE ELLISON. New That Ain’t Right/Razor Totin’ Mama. Decca 7910 V-/V+ groove digs at end of Side A $8
KING ODOM QUARTET. Amazin’ Willie Mays/Basin Street Blues. Perspective PR-5001 E $10
TODD RHODES ORCHESTRA (Laverne Baker-v.). Trying/Snuff Dipper. King 4556 G+ to V- $4
5 Red Caps : Words Can't Explain/Strictly on the Safety Side, Beacon 4120, VG+ to E-. $6
Marie Adams w/ Bill Harvey's Band: I'm Gonna Play the Honky Tonks/MySearch Is Over, Peacock 1583, VG- ef nap. $4
Gene Allison : My Heart Remembers/Have Faith, Vee-Jay VJ 273, E. $8
Ernie Andrews : Wrap It Up, Put It Away/Soothe Me, G&G 1, E-. $6
Ernie Andrews : Wrap It Up, Put It Away/Soothe Me, G&G 1, F cracked. $1
Mickey Baker (as Big Red Mc Houston): I'm Tired/Where Is My Honey, Groove G-0020, E+ sol white lbl DJ flexible disc. $20
Gene Barge : Country/Way Down Home, Checker 839, VG- wol. $4
Lefty Bates and his Band: Somebody Will Understand/Chicago Cha Cha, United U-206, E+. $15
Lefty Bates and his Band: Somebody Will Understand/Chicago Cha Cha, United U-206, E/E+ ld. $12
Beale St. Boys : Fatstuff Boogie/Lazy Joe, Savoy 693, VG+ tol. $12
Walter Beasley : Georgia Skin/Toad Frog Blues, OKeh 8540, F ec nap. $4
Bees : Toy Bell/Snatchin' Back, Imperial 5314, VG+ large chip taped back into place. $1
Jimmy Bell Trio: Stranger In Town/Boy Doy, Premium PR-870, E/VG+. $30
Buster Bennett Trio: Mr. Bennett Blows/Hard Luck Blues, Columbia 37951, F ld. $1
Buster Bennett Trio: Mr. Bennett Blows/Hard Luck Blues, Columbia 37951, VG. $5
Buster Bennett Trio: Reefer Head Woman/Leap Frog Blues, Columbia 30001, NM-. $15
Big Three Trio : You Don't Love Me No More/My Love Will Never Die, OKeh 6901, E+ white label DJ wol. $25
Big Three Trio : Signifying Monkey/You Sure Look Good To Me, Bullet 275, VG+. $20
Big Three Trio : Reno Blues/I'll Be Right Some Day, Columbia 30142, VG scr/VG+. $10
Big Three Trio : Blue Because of You/Got You on My Mind, OKeh 6863, NM. $25
Big Three Trio : 88 Boogie/You Sure Look Good To Me, Columbia 38093, E-/E+. $15
Larry Birdsong : Pleadin' For Love/You'll Never Never Know, Excello 2076, G slt wrp, eb nap. $2
Blasers & Tommy (Mary Jo) Brandon: She Needs To Be Loved/Done Got Over, United U-191, E, cracked, playable. $3
Blasers & Tommy (Mary Jo) Brandon: She Needs To Be Loved/Done Got Over, United U-191, E+/E- to E. $15
Bobettes w/ Reggie Obrecht Orchestra: Mr. Lee/…The Stars, Atlantic 1144, G+ ec nap, lbl torn wol. $2
Bea Booker : If I Had Known/Comfort In My Heart, Peacock 1682, VG+ ef nap wol. $10
Wee Bea Booze : So Good/These Young Men Blues, Decca 8658, E-. $10
Eddie Boyd & His Chess Men: I'm A Prisoner/I've Been Deceived, Chess 1606, E- label faded. $15
Little Eddie Boyd & his Boogie Band: Rosa Lee Swing/Blue Monday Blues, RCA Victor 20-2703, VG- ld. $12
Little Eddie Boyd & his Boogie Band: Rosa Lee Swing/Blue Monday Blues, RCA Victor 20-2703, E- w/ large 1-inch chip taped in place, 1st inch of record not playable. $1
Little Eddie Boyd w/ J.T. Brown's Boogie Band: I Had To Let Her Go/Kilroy Won't Be Back, RCA Victor 20-2311, E. $20
Calvin Boze & His All Stars: Satisfied/Working With My Baby, Score 4008, E+. $20
Calvin Boze & His All Stars: Waiting And Drinking/If You Ever Had the Blues, Aladdin 3045, VG+/E- lbl wear. $30
Hadda Brooks Trio: Minuet In G Boogie/It All Depends On You, Modern 156, E-/VG+ small hc, playable. $4
Louis Brooks & His Hi-Toppers: Gonna Stop Foolin' Myself/Don't You Know, Excello 2119, E. Earl Gaines vocal. $15
Louis Brooks & His Hi-Toppers: Bus Station Blues/Rollin' Home, Excello 2159, NM-. $20
Louis Brooks & His Hi-Toppers: It's Love Baby/Chicken Shuffle, Excello 2056, VG-. Earl Gaines vocal. $8
Charles Brown w/ Johnny Moore's Three Blazers//Hadda BrooksTrio: I'll Get Along Somehow/Morroco Blues, Modern Music MM 135, VG- lbl wear. $3
Lee Brown : Lemon Roller/Forsaken Blues, Decca 7615, VG-/VG. $15
Lee Brown : Carpenter Man Blues/Little Girl Little Girl, Decca 7504, VG/VG- ef nap lbl wear. $12
Lee Brown : Little Brown Skin Girl/My Driving Wheel, Decca 7686, E-. $18
Lee Brown : Little Leg Woman/Lucille Blues, Decca 7775, F ld. $2
Lee Brown : Little Leg Woman/Lucille Blues, Decca 7775, G+ ef nap. $5
Lee Brown : Lock And Key Blues/Treated Like A Dog, Decca 7654, E-. $12
Lee Brown : Lock And Key Blues/Treated Like A Dog, Decca 7654, VG- cracked, playable. $2
Lee Brown : My Little Girl/Let Me Be Your Bo Weavil, Decca 7790, E-. $12
Lee Brown with Sam Price's Fly Cats: New Little Girl Little Girl/Moanin' Dove, Decca 7575, VG-/VG+ small hc nap. $8
Lee Brown : Another Little Girl/Cross The Santa Fe, Decca 7697, VG- dig on side 2. $8
Nappy Brown w/ the Zippers Quartet: Little By Little/I'm Getting Lonesome, Savoy 1506, E. $10
Nature Boy Brown & his Blues Ramblers: Strictly Gone/House Party Groove, United U-121, E/E+. $20
Ruth Brown with Budd Johnson's Orchestra: Am I Making The Same Mistake Again/Teardrops From My Eyes, Atlantic 919, VG. $8
Ruth Brown with Orchestra: Be Anything(But Be Mine)/5-10-15-Hours, Atlantic 962, G/G+ wol. $4
Tommy (Weepin' and Cryin') Brown : No News From Home/Never Trust A Woman, Savoy 838, VG to VG+. $15
Joe Buckner w/ Tommy Dean's Orchestra: How Can I Let You Go/Why Don't Chu, Vee-Jay VJ 141, VG+. $15
Joe Buckner/Tommy Dean's Orchestra w/ Tommy Dean's Orchestra: One More Mile/Straight and Ready, Vee-Jay VJ 172, VG+/VG. original "One More Mile" of James Cotton fame. $15
Bumble Bee Slim & Peetie Wheatstraw(b side): Meet Me In The Bottom(Hey Lawdy Mama)/No Good Woman(Fighting Blues), Decca 7170, VG+ to E-. $30
Allen Bunn & his Orchestra: My Flight/Two Time Loser, Apollo 442, G heat marks, plays with noise. $4
Allen Bunn & Trio: She'll Be Sorry/The Guy With a "45", Apollo 436, E pimples in wax, wol. $20
Cadets : Stranded In The Jungle/I Want You, Modern 994, VG-. $4
Cadillacs - w/ Jesse Powell Orchestra: Let Me Explain/Speedo, Josie (JOZ) 785, E. $35
Cats 'N Jammer Three vocals by Bill Samuels: I Cover The Waterfront/Jockey Blues, Mercury 2003, VG+ small lc nap. black label. $10
Cats 'N Jammer Three vocals by Bill Samuels: I Cover The Waterfront/Jockey Blues, Mercury 2003, VG- ld. maroon label. $6
Chanceteers : The Flame/Night Beat, Chance 1107, G+/G. $5
Chantels : Come My Little Baby/Maybe, End E-1005, E+. $25
Charms : Who Knows/Hearts Of Stone, DeLuxe 6062, E-/VG-. $15
Christine Chatman & her Orchestra: Hurry, Hurry/Naptown Boogie, Decca 8660, VG+ ef nap wol. $15
James (Beale Street) Clark : Love Me Or Let Me Be/Get Ready To Meet Your Man, Columbia 36948, E- lc nap. $18
Peter Cleighton (Doctor Clayton): 41 Blues/Love Is Gone, OKeh O6375, VG+. $35
Peter Cleighton (Doctor Clayton): Slick Man Blues/Confessin' The Blues, OKeh O6398, VG/E+. $35
Clovers : Lovey Dovey/Little Mama, Atlantic 1022, G. $2
Coasters : Turtle Dovin', Atco 6064, VG-. $5
Jimmy Coe & his Gay Cats of Rhythm: Run Jody Run/The Jet, States S-155, E/E+. $18
Sam Cooke w/ Rene Hall's Orchestra: Forever/I'll Come Running Back To You, Specialty 619, VG- 3 gr ef, wol. $2
Jack Cooley & his Orchestra: Could But I Ain't/Rain On My Window, States S-125, E/E-. $40
Cousin Joe w/ Earl Bostic & His Orchestra: My Tight Woman/Lightnin' Struck The Poorhouse, Gotham 121, E hc nap. $5
Pee Wee Crayton : Answer To Blues After Hours/Louella Brown, Modern 20-763, E+ hc nap. $20
Pee Wee Crayton : The Bop Hop/I Love You So, Modern 20-675, E- to E. $20
Pee Wee Crayton : I Need Your Love/You Know,Yeah, Imperial IM-777, E. $20
Pee Wee Crayton : Dedicating The Blues/Good Little Woman, Modern 20-774, E+/VG- wol. $20
Arthur"Big Boy" Crudup : Gonna Follow My Baby/Mean Old 'Frisco, Bluebird 34-0704, E+. $20
Arthur"Big Boy" Crudup : Give Me A 32-20-Blues/Raised To My Hand-Blues, Bluebird B-9019, E+. $25
Arthur"Big Boy" Crudup : My Wife And Woman/The War Is Over, RCA Victor 20-5563, E to E+. $20
Arthur"Big Boy" Crudup : Gonna Follow My Baby/Mean Old 'Frisco, Bluebird 34-0704, E to E+. $18
Arthur"Big Boy" Crudup : That's Why I'm Lonesome/Just Like A Spider, RCA Victor 20-3140, VG+/E-. $18
Arthur"Big Boy" Crudup : My Mama Don't Allow Me/Standing At My Window, Bluebird 34-0717, VG. $18
Arthur"Big Boy" Crudup : Cool Disposition-Blues/Keep Your Arms Around Me-Blues, Bluebird 34-0738, NM-. $25
Percy Lee Crudup : Open Your Book (Daddy Wants To Read With You)/Tears In My Eyes, Checker 754, VG- ld. $25
Maxwell Davis : Bristol Drive/Resistor, Modern 20-805, VG/VG+. $8
WALTER DAVIS. If It Hadn’t Been For You/The Way I Love You. Bluebird B-8534 V-/V rf nap $15
Walter Davis : If It Hadn't Been For You/The Way I Love You, Bluebird 8534, F+. $2
Walter Davis : Let Me In Your Saddle/Green and Lucky, Bluebird 8282, VG broken. $2
Walter Davis : Blue Sea Blues/Broke And Hungry, Bluebird 5038, G+ slt wrp, dig on side 2, ld. $8
Walter Davis : Cuttin' Off My Days/I Like The Way You Spread Your Wings, Bluebird 7978, G- ld. $8
Walter Davis : Everything Is O.K./Mercy Blues, Bluebird 8058, E-. $25
Walter Davis : Fifth Avenue/I Ain't Got Changing Clothes, Bluebird 7021, VG- ef nap. $20
Walter Davis : Good Gal/Shady Lane, Bluebird 6996, VG/VG-. $20
Walter Davis : Hello Baby/I Feel All Right, Bluebird 8998, G+. $10
Walter Davis : The Only Woman/Ever Since You Been Gone, Bluebird 8773, E/VG+ cracked but playable. $4
Walter Davis : Moonlight Is My Spread/Don't The Clouds Look Lonesome, Bluebird 6167, G+/VG- dig on side 2. $15
Walter Davis : New "Come Back Baby"/I'll Be Back After While, Bluebird 8833, G+/E. $15
Walter Davis : New Orleans/Corrine, Bluebird 8227, VG- ef nap ld. $18
Walter Davis : So Long Baby/What May Your Trouble Be, RCA Victor 20-5168, VG - to VG. $15
Walter Davis : You Make My World So Bright/Tears Came Rollin' Down, RCA Victor 20-5012, VG- to VG. $15
Walter Davis : Please Remember Me/New B&O Blues, RCA Victor 20-1999, E+ cracked, repaired by tape, plays through. $4
WALTER DAVIS. Just One More Time/Things Ain’t Like They Used To Be. RCA Victor 20-2335 E $18
Floyd Dixon : The River, Radio Recorders acetate RR 1959 (R-3981), E-. $75
Doctor Clayton : I Need My Baby/Hold That Train, Conductor, RCA Victor 20-1995, E+. $20
Doctor Clayton : Doctor Clayton Blues/Gotta Find My Baby, Bluebird 8901, E-/VG. $20
Doctor Clayton : Honey Stealin' Blues/On The Killin' Floor-Blues, Bluebird 34-0702, VG eb taped in place, 1st 1/2 inch unplayable. $2
Doctor Clayton : Angels In Harlem/Ain't Gonna Drink No More, RCA Victor 20-2153, E/E+ sol. $20
Doctor Clayton : Ain't No Business We Can Do/Moonshine Women Blues, Bluebird B-9021, VG/VG-. $15
Bill Doggett : Honky Tonk (Parts 1&2), King 4950, VG+. $5
Bill Doggett : Blue Largo/Ram-Bunk-Shun, King 5020, F+/G- ld. $1
Fats Domino : It Must Be Love/Young School Girl, Imperial 5537, E+. $8
Fats Domino : Reeling And Rocking/Goin' Home, Imperial 5180, VG- warped, cracked. $1
Fats Domino : What Will I Tell My Heart/When I See You, Imperial 5454, E to E+. $5
Fats Domino : I'm In Love Again/My Blue Heaven, Imperial 5386, VG-/VG. $3
Fats Domino : When The Saints Go Marching In/Telling Lies, Imperial 5569, VG+. $5
Don Juan Trio : A Long Time/Two Guitar Blues, Modern 20-654, E sol. $8
Thomas A. Dorsey (as Georgia Tom & Jane Lucas): Terrible Operation Blues/Where Did You Stay Last Night, Decca 7259, VG. $40
Thomas A. Dorsey w/ Celestial Singers: I'm Climbing Up The Rough Side Of The Mountain/Some Day I'm Going To See My Jesus, MGM 11461, E, 1/2-in scr side 2. $35
Drifters : Adorable/Steamboat, Atlantic 1078, G+. $3
Du-Droppers : I Wanna Know/Laughing Blues, RCA Victor 20-5229, G+. $5
Du-Droppers : Get Lost/Don't Pass Me By, RCA Victor 20-5504, VG-. $5
Du-Droppers : Come On And Love Me Baby/Go Back, Red Robin 116, G. $8
Du-Droppers : I Found Out/Little Girl,Little Girl, RCA Victor 20-5321, G+ 5 gr eb. $1
Champion Jack Dupree : Weed Head Woman/Bad Health Blues, OKeh 6197, E. $30
Champion Jack Dupree : County Jail Special/Fisherman's Blues, Joe Davis 5103, E noisy patch at beginning of each side. $12
Champion Jack Dupree : Dirty Woman/Just Like A Woman, Vik 260, E. $20
Champion Jack Dupree & his Band: One Sweet Letter/Mean Mistreatin' Mama, Apollo 413, G+/VG. $10
Champion Jack Dupree : She Makes Good Jelly/Rum Cola Blues, Joe Davis 5100, E++. $25
Jack Dupree : Wet Deck Mama/Love Strike Blues, Davis 5108, VG+/VG. $18
Jack Dupree : The Blues Got Me Rockin'/Tongue-Tied Blues, King 4633, E. $15
Jack Dupree : Wet Deck Mama/Love Strike Blues, Davis 5108, E+. $20
Monte Easter & his band w/ Mary DePina: Boogie Woogie Man/I Love My Man, Aladdin 147, E+ cracked. $3
Billy Eckstine & his Orchestra: If That's The Way You Feel/Blowing The Blues Away, DeLuxe 3001, F/G+. $1
Billy Eckstine Orchestra conducted by Russ Case: I'll Know/I've Never Been In Love Before, MGM 10825, VG- scr. $2
Billy Eckstine Orchestra conducted by Russ Case: I'm A Fool To Want You/Love Me, MGM 10982, VG- ef hc. $1
Billy Eckstine Orchestra conducted by Hugo Winterhalter: Mr. B's Blues/I'm Falling For You, MGM 10208, E. $4
Billy Eckstine Orchestra conducted by Hugo Winterhalter: Caravan/A Senorita's Bouquet, MGM 10368, VG-/G+. $2
"Big Boy' Teddy Edwards : I'm Gonna Tell My Mama On You/Louise, Bluebird 5826, G+ 1-inch ck playable. $20
The Fat Man w/ Sunnyland Slim Trio: You've Gotta Stop This Mess/Glad I Don't Worry No More, Nashboro 516, NM cracked, taped (playable). $25
Five Keys Orchestra Conducted by Van Alexander: Wisdom Of A Fool/Now Don't That Prove I Love You, Capitol 3597, E- to E ef nap. $10
"Dusty" Fletcher w/ Jimmy Jones & his Band: Open The Door, Richard! (Parts 1&2), National 4012, VG cracked. $1
Earl Forest w/ the Beale Streeters: Whoopin' and Hollerin'/Pretty Bessie, Duke R-108, G+ 10 gr eb. $1
Four Bluejackets : Baby, Baby, Please Come Home/I Know Who Threw The Whiskey In The Well, Mercury 8017, E. $8
Four Buddies : Sweet Slumber/Don't Leave Me Now, Savoy 779, G+. $5
Four Kings (Willis Threats vocal): All Alone Blues/Hayes' Boogie, Aladdin 157, G+ to VG- scr side 1. Henry Hayes band. $12
Four Tunes w/ Sid Bass Orchestra: Sugar Lump/I Understand, Jubilee 5132, VG-. $3
Ernie Freeman Combo: Jivin' Around (Parts 1&2), Cash 1017, G+ ef nap. $2
Joe "Papoose" Fritz : Better Wake Up Baby/Real Fine Girl, Peacock 1606, E to E+. $10
Joe "Papoose" Fritz w/ Bill Harvey & his Orchestra: Cerelle/If I Didn't Love You So, Peacock 1640, E+. $10
Lowell Fulson w/ Orchestra: Ride Until The Sun Goes Down/Christmas Party Shuffle, Swing Time ST 320, NM. $15
Bill Gaither (as Leroy's Buddy) Honey Hill piano: Tee-Ninecy Mama/Curbstone Blues, Decca 7271, G+. $6
Bill Gaither (as Leroy's Buddy) Honey Hill piano: Right Hand Friend/Mean Old World To Live In, Decca 7606, VG/VG-. $15
Bill Gaither (as Leroy's Buddy): Too Late Too Late/Sweet Mama, Decca 7637, VG-/G+. $8
Bill Gaither (as Leroy's Buddy): Army Bound Blues/Kentland Blues, Decca 7647, VG+ to E-. $18
Little Bill Gaither : Worried Life Blues/Creole Queen, OKeh O6561, VG+. $25
Pvt. Cecil Gant : I Wonder/Cecil Boogie, Gilt-Edge 500 CG, VG-/VG+. $4
Paul/Annie Laurie Gayten & his Orchestra: You Ought To Know/I'll Never Be Free, Regal 3258, VG-/G+. $4
Jazz Gillum (as Bill McKinley): She Keeps On Rickin'/I Went To The Gypsy, Perfect 20982, F. $10
Jazz Gillum : You Got To Run Me Down/I'm Gonna Train My Baby, RCA Victor 20-2405, VG. $15
Jazz Gillum : You Drink Too Much Whiskey/Down South Blues, Bluebird 9004, VG- 3 gr rf side 1. $3
Jazz Gillum : You Are Doing Me Wrong/It's All Over Now, Bluebird 8975, E to E+. $18
Jazz Gillum : War Time Blues/One Letter Home, Bluebird 8943, VG. $18
Jazz Gillum : The Blues What Am/Roll Dem Bones, RCA Victor 20-2580, VG+. $15
Jazz Gillum & his Jazz Boys: Hard Drivin' Woman/Got To Reap What You Sow, Bluebird 8287, G+ scr/VG. $5
Jazz Gillum & his Jazz Boys: She Won't Treat Me Kind/I'll Get Along Somehow, Bluebird 8106, G+. $8
Jazz Gillum : No Friend Blues/From Now On, Bluebird 9034, VG-, small dig side 1. $5
Jazz Gillum : Maybe You'll Love Me Too/Riley Springs Blues, Bluebird 8846, VG hc nap. $6
Jazz Gillum : Five Feet Four Blues/Go Back To The Country-Blues, Bluebird 34-0730, E+. $18
Jazz Gillum : Can't Trust Myself/All In All Blues, RCA Victor 20-2232, E+/E. $18
Jazz Gillum : Take One More Chance With Me/Look What You Are Today, RCA Victor 22-0033, E+. $18
Jazz Gillum : Five Feet Four Blues/Go Back To The Country-Blues, Bluebird 34-0730, E, 2-inch edge bite taped in place. $1
Jazz Gillum : Keep On Sailing/Fast Woman Blues, RCA Victor 34-0747, VG, 8 gr rf side 2. $1
Jazz Gillum : Gonna Take My Rap/Chauffer Blues, RCA Victor 20-2783, E to E+. $18
Jazz Gillum : Hand Reader Blues/You Should Give Some Away, RCA Victor 20-2964, NM/E+. $18
Jazz Gillum : I Got Somebody Else/It Looks Bad For You, Bluebird 8816, F/G-. $3
Jazz Gillum : I'm Gonna Leave You On The Outskirts Of Town/Woke Up Cold In Hand, Bluebird 9042, E. $18
Jazz Gillum : I'm Not The Lad/Long Razor Blues, RCA Victor 20-2120, NM. $18
Jazz Gillum : Jazz Gillum's Blues/Country Woman Blues, RCA Victor 22-0005, E+. $18
Jazz Gillum : Deep Water Blues/I Couldn't Help It, Bluebird 34-0709, E. $18
Lloyd Glenn All Stars feat. Maxwell Davis: New Flying Home/Jumpin' With Lloyd, RPM 332, G+ lbl torn. $3
Lloyd Glenn & His Joymakers: Joymakers Boogie/Advice To A Fool, Imperial 5031, VG+/VG. $12
Good Rockin' Sam w/ Kid King's Combo: Funny Funny Feelin'/Don't Let Daddy Slow Walk You Down, Excello 2070, E/VG. $12
Jimmie Gordon & His Vip Vop Band: Bleeding Heart Blues/Number Runner's Blues, Decca 7536, F. $2
Jimmie Gordon & His Vip Vop Band: Delhia/St. Peter Blues, Decca 7592, VG+/VG. $15
Jimmie Gordon & His Vip Vop Band: Get Your Mind Out Of The Gutter/Do That Thing, Decca 7611, VG- sol. $8
Jimmie Gordon : Little Red Dress/Graveyard Blues, Decca 7301, F+. $3
Jimmie Gordon & His Vip Vop Band: She Wants To Rattle Me All The Time/Rattlesnake Bite, Decca 7409, E+, 2-inch eb glued in place. $1
Jimmie Gordon : Beer Drinking Woman/Lookin' For The Blues, Decca 7865, E. $15
Clarence Green & his Orchestra: Galveston/Green's Bounce, Eddie's Records 1207, G+/E. $15
Lil Green & her Orchestra: Take Me Back To Little Rock (Arkansas)/You've Been A Good Ole Wagon, RCA Victor 20-2417, VG+. $6
Lil Green : Romance In The Dark/What Have I Done, Bluebird 8524, G. $3
Lil Green : Keep Your Hand On Your Heart -Blues/Don't Know What I Will Do-Blues, Bluebird 8949, VG, small dig on side 2. $5
Guitar Slim w/ Lloyd Lambert's Orchestra: When There's No Way Out/If I Had My Life To Live Over, Atco 6120, E+/NM. $25
Guitar Slim & His Band: Woman Troubles/Cryin' In The Mornin', Imperial 5278, E sol. $35
Guitar Slim & His Band: Sum'Thin' To Remember You By/You Give Me Nothin' But The Blues, Specialty 569, NM/E+. $30
Guitar Slim & His Playboys: New Arrival/Standin' At The Station, Imperial 5310, E+/E wol. $35
Guitar Slim : If I Should Lose You/It Hurts To Love Someone, Atco 6097, E+. $20
Guitar Slim w/ Lloyd Lambert's Orchestra: I Won't Mind At All/Hello, How Ya' Been, Goodbye, Atco 6108, NM. $25
Guitar Slim & His Band: A Letter To My Girlfriend/The Story Of My Life, Specialty 490, E to E+. $25
Roy Hamilton : You'll Never Walk Alone/I'm Gonna Sit Right Down And Cry, Epic 9015, VG-. $1
Harlem Hamfats : Who Done It?/She's Trickin' Me, Decca 7274, VG+. $18
Harlem Hamfats : New Oh Red!/Move Your Hand, Decca 7218, VG-/G+. $8
Harlem Hamfats : When The Sun Goes Dow In Harlem/That's Going To Ruin Your Beauty Spot, Vocalion O4813, E. $35
Harlem Hamfats : Ooh-Wee Babe/Growling Dog, Decca 7283, VG-/VG. $15
Harlem Hamfats : Empty Bed Blues/We Gonna Pitch A Boogie Woogie, Decca 7326, VG-/G+ pimples in wax. $6
Peppermint Harris : The Blues Pick On Me/Let's Ride, Sittin' In Wth 597, VG/E-. $12
Wynonie Harris : Confessin' The Blues/Bloodshot Eyes, King 4461, VG- lc. $3
Roy Hawkins : I Walk Alone/Gloom And Misery All Around, Modern 842, G+ to VG-. $12
Roy Hawkins & his Orchestra: Where You Been/On My Way, Modern 20-752, VG/VG+. $15
Al Hibbler w/ Orchestra directed by Jimmy Mundy: Now I Lay Me Down To Dream/This Is Always, Atlantic 945, VG. $6
Albert Hibbler w/ Orchestra under supervision of Billy Strayhorn: Fat and Forty/My Little Brown Book, Sunrise 2002, G sol. $2
Albert Hibbler : Poor Butterfly/Tonight I Shall Sleep, Sunrise 503, VG tol. $5
Gladys Hill w/ Al Grey All Stars: Prison Bound/Don't Touch My Bowl, Peacock 1618, E- wol. $15
Earl Hines & his Orchestra, vocal Billy Eckstein: Stormy Monday Blues/Jelly, Jelly, RCA Victor 20-2895, E white promo lbl. $20
Gilbert Holliday : At Last/These Foolish Things, Regent 1044, E-. $12
Camille Howard : Has Your Love Grown Cold/Barcarolle Boogie, Specialty 309, VG+/VG dig side 1. $3
Camille Howard : Maybe It's Best After All/Ferocious Boogie, Specialty 359, VG/G. $3
Rosetta Howard & the Harlem Hamfats: Oh Rider/All On Account Of You, Decca 7531, VG+ small scr. $10
Rosetta Howard w/ The Harlem Blues Serenaders: Come Easy Go Easy/Plain Lenox Avenue, Decca 7627, E-. $12
Rosetta Howard & the Harlem Hamfats: If You're A Viper/Rosetta Blues, Decca 7370, E-. $20
Rosetta Howard & the Harlem Hamfats: If You're A Viper/Rosetta Blues, Decca 7370, G/F. $3
Rosetta Howard & the Harlem Hamfats: My Blues Is Like Whiskey/Stomp It Out Gate, Decca 7640, VG+/E-. $12
Rosetta/w/Hamfoot Ham Howard & the Harlem Hamfats: Let's Fall In Love Again/It's Your Turn, Decca 7410, E- ef nap. $12
Helen Humes & Her All-Stars: He Don't Love Me Any More/Pleasing Man Blues, Philo 125, G+ ld. $4
"Ivory" Joe Hunter w/ Johnny Moore's 3 Blazers: Blues At Sunrise/You Taught Me To Love, Exclusive 209, F+ pimpled wax. $1
Ink Spots : A Kiss And A Rose/A Knock On The Door, Decca 24611, VG ef nap. $2
Ink Spots : I Don't Want To Set The World On Fire/Hey Dog!, Decca 3987, VG-/G+. $2
Bull Moose Jackson & his Buffalo Bearcats: I Can't Go On Without You/Fare Thee Well, Deacon Jones, King 4230, G+ hc. $1
Bull Moose Jackson & his Buffalo Bearcats: Love Me Tonight/We Can Talk Some Trash, King 4250, VG 1-inch ec. $1
Bull Moose Jackson & his Buffalo Bearcats: Have You No Mercy/Without Your Love, King 4422, E- rf start. $6
Lil' Son Jackson & His Rockin' & Rollers: Red Light/Aching Heart, Imperial 5144, G+/VG. $15
Lil' Son Jackson : Two Timin' Women/Rocky Road, Imperial 5119, VG+/VG. $20
Lil' Son Jackson : Travelin' Alone/Young Woman Blues, Imperial 5192, VG/E-. $20
Lil' Son Jackson : Ticket Agent Blues/True Love Blues, Imperial 5100, G/G+. $8
Lil' Son Jackson : Ticket Agent Blues/True Love Blues, Imperial 5100, E-. $25
Lil' Son Jackson : Rockin' And Rollin' #2/Journey Back Home, Imperial 5204, E-/E. $25
Lil' Son Jackson & His Rockin' & Rollers: Mr. Blues/Time Changes Things, Imperial 5131, VG/VG-. $18
Lil' Son Jackson : Movin' To The Country/Confession, Imperial 5248, VG+. $20
Lil' Son Jackson : Black And Brown/Sad Letter Blues, Imperial 5218, E/G+. $18
Lil' Son Jackson : Dirty Work/Little Girl, Imperial 5259, E-/VG. $20
Lil' Son Jackson : Get High Everybody/Let Me Down Easy, Imperial 5300, VG+. $20
Lil' Son Jackson : Rockin' And Rollin' #2/Journey Back Home, Imperial 5204, G+. $8
Frankie (Half Pint) Jaxon & the Harlem Hamfats: Chocolate To The Bone/No Need Knockin' On The Blind, Decca 7360, VG+/VG. $30
Frankie (Half Pint) Jaxon : Take Off Them Hips/Give Me A Pigsfoot And A Bottle Of Beer, Decca 7795, VG+/VG. $30
Frankie (Half Pint) Jaxon w/ The Harlem Hamfats: She Loves So Good/Riff It, Decca 7482, VG+. $30
Frankie (Half Pint) Jaxon : Let Me Ride Your Train/Be Your Natural Self, Decca 7786, VG to VG+. $30
Frankie (Half Pint) Jaxon : Fan It Boogie Woogie/Don't Pan Me, Decca 7638, VG+. $30
Jimmie Lee & Artis : Why Do You Make Me Feel Blue/All Right Baby, Modern 899, G+/E-. $6
Little Willie John : Person To Person/Until You Do, King 5091, E- 10 gr eb. $1
Buddy Johnson & his Orchestra-vocal byElla Johnson-A- ArthurPrysock-B: You'll Get Them Blues/I Wonder Where Our Love Has Gone, Decca 48040, VG+ to E-. $3
Buddy Johnson & his Orchestra-vocal by ArthurPrysock-B: Hey, Sweet Potato/One Thing I Never Could Do, Decca 48028, E- sol, bumps in wax. $3
Mary Johnson : Those Black Man Blues/Peepin' At The Risin' Sun, Decca 7012, G to G+ eb nap. $10
Merline Johnson (as the Yas Yas Girl & her Jazz Boys): You Can't Have None Of That/I'd Rather Be Drunk, Columbia 37786, E- to E. $15
Merline Johnson : New Muddy Water Blues/He Roars Like A Lion, Bluebird 6985, E+ 1-inch hc taped (playable). $5
Merline Johnson (as the Yas Yas Girl & her Jazz Boys): Fine And Mellow/Nobody Knows How I Feel, Vocalion O5105, E wol sol. $20
Merline Johnson (as the Yas Yas Girl): Two By Four Blues/Good Old Easy Street, OKeh O6446, E-/VG+. $18
Merline Johnson (as the Yas Yas Girl): I'd Rather Drink Muddy Water No. 2/Blues Everywhere, Vocalion O3638, G- to G. $4
Merline Johnson (as the Yas Yas Girl & her Jazz Boys): You're A Pain In The Neck To Me/You Don't Know My Mind, Vocalion O5501, VG+. $20
Merline Johnson (as the Yas Yas Girl): I'll Try To Forget/Want To Woogie Some More, Vocalion O5337, VG. $18
Merline Johnson (as the Yas Yas Girl): Man To Man/Worried Heart Blues, OKeh O5870, VG-. $12
Merline Johnson (as the Yas Yas Girl): New Drinking My Blues Away/Crime Don't Pay, Vocalion O3928, G-. $3
Merline Johnson (as the Yas Yas Girl): New Drinking My Blues Away/Crime Don't Pay, Vocalion O3928, G+/VG-. $8
Pete Johnson : Blues On The Down Beat/Kaycee On My Mind, Decca 3384, E. $15
Wille Johnson w/ Thelma: Don't Tell Mamma/Here Comes My Baby, Savoy 881, E to E+. $25
Curtis Jones : I'm With You Again/I'm Losing My Mind Over You, Vocalion O4617, G. $6
Curtis Jones (guitar by Hot Box Johnson): Heavy Hip Mama/Private Talk Blues, Vocalion O5071, VG+ eb cracked. $1
Curtis Jones : Let Me Be Your Playmate/Highway 51 Blues, OKeh O3990, G+. $5
Curtis Jones : Glamour And Glory Blues/Bed Side Blues, Columbia 37463, E/VG+ ld. $10
Curtis Jones : Glamour And Glory Blues/Bed Side Blues, Columbia 37463, E+/E. $12
Curtis Jones : Worryin' Away My Heart For You/Ity Bitty Jitter Bug, OKeh O6105, VG+. $18
Curtis Jones : Treat Me Like I Treat You/Love Land Blues, OKeh O5947, E first 2 gr damaged side 2. $10
Curtis Jones : Lonesome Bedroom Blues/You Got Good Business, OKeh O3756, VG small eb glued in place. $3
Curtis Jones : Don't Leave Me Baby/Her Love Will Get It, Columbia 37472, E to E+. $12
Curtis Jones : Don't Leave Me Baby/Her Love Will Get It, OKeh O6428, G-/G+. $5
Curtis Jones : Good Whiskey/Pocket-Book Blues, Vocalion O4392, VG- lc ef nap. $10
Louis Jordan & His Tympany Five: You Can't Get That No More/Mop!Mop!, Decca 8668, G+ cracked. $1
Louis Jordan & His Tympany Five: (You Dyed Your Hair)Chartreuse/Lemonade, Decca 27324, E- dig on side 1. $4
Louis Jordan & His Tympany Five: I'm Gonna Leave You On The Outskirts Of Town/It's A Low Down Dirty Shame, Decca 8638, G digs. $1
Louis Jordan & His Tympany Five: That Chick's Too Young To Fry/Choo Choo Ch'Boogie, Decca 23610, VG+ sol. $3
Louis Jordan & His Tympany Five: That Chick's Too Young To Fry/Choo Choo Ch'Boogie, Decca 23610, VG. $2
Kansas City Kitty & Georgia Tom (Guitar by Tampa Red): The Doctor's Blues/You Got That Stuff, Vocalion 1508, G small dig, rf start. $20
Swinging Sax Kari & Orchestra vocal by Gloria Irving: Henry/You Let My Love Grow Cold, States 117, E+. $12
Jackie Kelso : Blue Moon/Smiles, Mambo 108, E to E+. $15
B.B. King & his Orchestra: You Know I Love You/You Didn't Want Me, RPM 363, VG dig on side 1. $6
B.B. King & his Orchestra: Fine Lookin' Woman/She Don't Move Me No More, RPM 348, VG- ec nap. $6
B.B. King & his Orchestra: Please Love Me/Highway Bound, RPM 386, G+/VG+ wol. $4
B.B. King : She's A Mean Woman/Hard Workin' Woman, RPM 330, VG/E- hc nap wol. $10
B.B. King : Story From My Heart And Soul/Boogie Woogie Woman, RPM 374, E cracked. $1
B.B. King & his Orchestra: You Know I Love You/You Didn't Want Me, RPM 363, G+/VG-. $4
B.B. King & his Orchestra: Woke Up This Morning/Don't Have To Cry, RPM 380, G-/G+. $2
B.B. "Blues Boy" King & his Orchestra: Love You Baby/The Woman I Love, RPM 408, NM. $15
Kid King Combo: "Banana Split'/Skip's Boogie, Excello 2009, G+. $5
Saunders King & his Orchestra: Stormy Night Blues/Unfaithful Blues, Aladdin 3040, E+. $15
Saunders King Rhythm: After Hours/Why Was I Born, Rhythm 201, G+/E+. $10
Little Eddie Kirkland : It's Time for lovin' to be done/That's All Right, RPM 367, E 10 gr eb, cracked. $5
Eartha Kitt w/ Henri Rene & his Orchestra: Santa Baby/Under The Bridges Of Paris, RCA Victor 20-5502, VG+ cracked, playable. $1
Morris Lane : Summertime/You Go To My Head, Savoy 677, VG+. $8
Julia Lee & her Boy Friends: Oh, Marie!/On My Way Out, Capitol 340, VG/VG+. $6
Julia Lee & her Boy Friends: Out In The Cold Again/Charmaine, Capitol 1896, VG ef to 1st groove. $6
Julia Lee & her Boy Friends: You Ain't Got It No More/Oh, Chuck It(In A Bucket), Capitol 57-70031, VG. $6
Jimmy Liggins & His Drops of Joy: Lover's Prayer/The Washboard Special, Specialty 406, E-. $12
Jimmy Liggins & His Drops of Joy: I Want My Baby For Christmas/Shuffle-Shuck, Specialty 380, E+. Specialty sleeve with artist faces/record lists. $18
Jimmy Liggins & His Drops of Joy: I Can't Stop It/Troubles Good-Bye, Specialty 520, VG to VG+. red label. $10
Jimmy Liggins & His 3-D Music: Drunk/I'll Never Let You Go, Specialty 470, VG cracked. $1
Jimmy Liggins & His 3-D Music: Drunk/I'll Never Let You Go, Specialty 470, G+. $3
Jimmy Liggins & His Drops of Joy: Don't Put Me Down/Nite Life Boogie, Specialty 339, E-/VG-. $12
Jimmy Liggins & His Drops of Joy: Careful Love/Homecoming Blues, Specialty 319, VG-. $6
Jimmy Liggins & His Drops of Joy: Brown Skin Baby/Dark Hour Blues, Specialty 434, E/E+. $15
Joe Liggins & His "Honeydrippers": Whiskey, Gin & Wine/One Sweet Letter, Specialty 402, VG-/E-. $5
Joe Liggins & His "Honeydrippers": Big Baritone/Miss You, Exclusive 102, E-/VG-. $5
Joe Liggins & His "Honeydrippers": The Honeydripper Parts 1 &2, Exclusive 207, VG- cracked ld. $1
Joe Liggins & His "Honeydrippers": The Blues/Blow Mr. Jackson, Exclusive 244, VG-. $3
Joe Liggins & His "Honeydrippers": Blue Moods/I've Got A Right To Cry, Exclusive 68, VG+/VG. $5
Little Ceasar w/ the Red Callender Sextette: Atomic Love/You Can't Bring Me Down, Recorded In Hollywood 239, VG/VG- ld. $12
Little Esther w/ The Earle Warren Orchestra: Tell Him That I Need Him So/Cryin' And Singin' The Blues, Federal 12042, E-. $20
Little Esther w/ The Earle Warren Orchestra: Don't Make A Fool Out Of Me/I'm A Bad, Bad Girl, Federal 12023, E-/VG+. $18
Little Esther w/ The Earle Warren Orchestra: Don't Make A Fool Out Of Me/I'm A Bad, Bad Girl, Federal 12023, E-. $20
Little Esther : Somebody New/Ramblin' Blues, Federal 12090, E+/E. $25
Little Esther & Mel Walker(A)/Little Esther(B) w/ Johnny Otis Orchestra: Deceivin' Blues/Lost Dream Blues, Savoy 759, VG. $10
Little Esther(A) & Mel Walker(B) w/ Johnny Otis Orchestra & The Beltones(A): Just Can't Get Free/Cupid's Boogie, Savoy 750, VG-/G+. $8
Little Son Joe/Monkey Joe & his Music Grinders: My Black Buffalo/Mobile And K.C. Line, Vocalion O4978, E to E+. $45
Louis & Frosty : Lonesome & Confused, C Note SL-109(1208), G ec nap. $8
Nellie Lutcher & Her Rhythm: He's A Real Gone Guy/Let Me Love You Tonight, Capitol 40017, VG slt wrp. $2
Nellie Lutcher & Her Rhythm: The Pig-Latin Song/Fine Brown Frame, Capitol 15032, E-. $4
Nellie Lutcher & Her Rhythm: Wish I Was In Walla Walla/A Maid's Prayer, Capitol 15279, G+/VG+. $2
Wille Mabon & his Combo: Worry Blues/I Don't Know, Chess 1531, G+ ld. $4
Wille Mabon & his Combo: Worry Blues/I Don't Know, Chess 1531, E. $10
Percy Mayfield : Lost Love/Life Is Suicide, Specialty 390, G+/E. $5
Jimmy McCracklin w/ His Blues Blasters: Looking For A Woman/You Don't Love Me, Swing Time 260, E+/E. $15
Jimmy McCracklin (Jimmy Nichols--piano): Highway 101/Baby Don't You Want To Go, Globe 104, E-. $35
Jimmy McCracklin : Achin' Heart/Street Loafin' Woman, Globe 109, VG- small cr nap. $18
Jimmy McCracklin (Jimmy Nichols--piano): Miss Mattie Left Me/Mean Mistreated Lover, Globe 102, VG-/E-. $30
Jimmy McCracklin w/ His Blues Blasters: That's Life/What's Your Phone Number, Swing Time 285, E-. $10
Jimmy McCracklin & his Band: The Walk/I'm To Blame, Checker 885, VG-. $8
Memphis Jimmy McCracklin //David Blunston: You Deceived Me/Blunston's Boogie, Excelsior 182, E broken, taped back together; playable with a "pop". $6
Brownie McGhee (as Big Tom Collins): Heart Breaking Woman/Watchin' My Stuff, King 4568, VG. $20
Brownie McGhee & the Block Busters: A Letter To Lightnin' Hopkins/Smiling and Crying Blues, Jax 302, E. $35
Jay McShann & His Jazz-Men-Vocal-Jimmy Witherspoon(A)Numa Lee Davis(B): Hard-Working Man's Blues/When I've Been Drinking, Philo 109, F 10 gr eb. $1
Jay McShann & His Sextette: Have You Ever Loved A Woman/Gone With The Blues, Mercury 8032, VG-. $6
Jay McShann & His Orchestra, vocals Albert Hibbler(A),Walter Brown(B): Get Me On Your Mind/The Jumpin' Blues, Decca 4418, VG. $8
Jay McShann & The Sextette: Hootie Boogie/Garfield Avenue Blues, Mercury 8002, VG+, 1/2-inch ec glued in place. $1
Jack McVea & his All Stars vocalRabon Tarrant(B): Wine-O/Frisco Blues, Black & White 751, F ef nap. $2
Memphis Minnie : You Got To Get Out Of Here/Western Union, Columbia 30134, E-. $20
Memphis Minnie : You Can't Rule Me/No Need You Doggin' Me, Vocalion O3697, E-, minor heat warp near edge. $20
Memphis Minnie : When You Love Me/Love Come And Go, OKeh 6733, E/E-. $20
Memphis Minnie : Pig Meat On The Line/This Is Your Last Chance, OKeh O6505, VG+/E-. $25
Memphis Minnie & Son Joe: Please Set A Date/True Love, Columbia 36895, VG+. $20
Memphis Minnie : Nothing In Rambling/Boy Friend Blues, Columbia 37689, VG+. $20
Memphis Minnie : Me And My Chauffeur Blues/Can't Afford To Lose My Man, OKeh O6288, E-. $25
Memphis Minnie : Looking The World Over/Black Rat Swing, OKeh 6707, VG+. $20
Memphis Minnie : Killer Diller/Hold Me Blues, Columbia 37977, E to E+. $20
Memphis Minnie : In My Girlish Days/My Gage Is Going Up, OKeh O6410, VG+/E-. $25
Memphis Minnie : I'm Not A Bad Gal/It Was You Baby, OKeh O6624, VG+ to E-. $25
Memphis Minnie : Good Morning/I Don't Want You No More, Vocalion O3436, VG. $30
Memphis Minnie : Daybreak Blues/Million Dollar Blues, Columbia 30120, E-. $20
Memphis Minnie : Fish Man Blues/Lean Meat Won't Fry, Columbia 37579, E-/E+. $20
Memphis Minnie : I'm So Glad/Mean Mistreater Blues, Columbia 37295, NM. $20
Memphis Slim : Harlem Bound/Life is Like That, Miracle 111, VG+. $8
Amos Milburn & his Aladdin Chicken-Shackers: Three Times A Fool/Let Me Go Home, Whiskey, Aladdin 3164, VG+ to E-. $8
Amos Milburn & his Aladdin Chicken-Shackers: Everybody Clap Hands/That Was Your Last Mistake-Goodbye, Aladdin 3090, E-. $8
Amos Milburn & his Aladdin Chicken-Shackers: Glory Of Love/Baby,Baby, All The Time, Aladdin 3248, VG. $6
Amos Milburn & his Aladdin Chicken-Shackers: Greyhound/Kiss Me Again, Aladdin 3150, VG- sol. $4
Amos Milburn & Band: I Need Someone/French Fried Potatoes And Ketchup, Aladdin 3320, VG-. $6
Amos Milburn & his Aladdin Chicken-Shackers: Johnson Rag/Walking Blues, Aladdin 3049, VG+/E-. $8
Amos Milburn & his Aladdin Chicken-Shackers: Rocky Mountain/How Could You Hurt Me So, Aladdin 3226, G+/E. $6
Amos Milburn & his Aladdin Chicken-Shackers: Sax Shack Boogie/Remember, Aladdin 3064, VG to VG+. $5
Amos Milburn & his Aladdin Chicken-Shackers: Ain't Nothing Shaking/Just One More Drink, Aladdin 3093, G+/VG hcnap. $3
Roy Milton : Rainey Day Confession Blues (Parts 1&2), Roy Milton Record Co. l-10, VG. cartoon labels in nice condition. $25
Roy Milton : Am I Wasting My Time?/Night And Day(I Miss You So), Specialty 438, E+. $8
Roy Milton & His Orchestra vocal RM & Mickey Champion(B): Skid Row/Rocking Pneumonia And T Boogie Woogie Flu, King 5069, E/E-. w/ Mickey Champion. $10
Roy Milton & His Solid Senders: R.M. Blues/Rhythm Cocktail, Juke Box 504, VG cracked. $2
Roy Milton & His Solid Senders vocal by Camille Howard(B): Big Fat Mama/Thrill Me, Specialty 518, VG+/VG- hc nap. $4
Roy Milton & His Solid Senders vocal by Camille Howard(B): When I Grow Too Old To Dream/Pack Your Sack…Jack, Specialty 517, VG+ cracked. $1
Roy Milton & His Solid Senders: I Have News For You/T-Town Twist, Specialty 407, G+ wol. $4
Monkey Joe & his Music Grinders: Good Business#2/B.V.D. Blues, Vocalion O4871, E+/E to E+. $35
Monkey Joe : Just Out The Big House/New York Central, Vocalion O4618, VG heat marks. $18
Monkey Joe & his Music Grinders: Tailor Made Woman/Trouble Comin' On, Vocalion O4814, E+. $35
Monkey Joe : Three O'Clock Blues/Some Sweet Day, Vocalion O4294, E-. $35
Moonglows : Sincerely/Tempting, Chess 1581, E-. $15
Johnny Moore's Three Blazers: Merry Christmas, Baby/Lost In The Night, Exclusive 254, VG rf nap. $4
Johnny Moore's Three Blazers vocal Charles Brown(A): I Want You-I Need You/Hard Tack, Exclusive 226, VG. $4
Johnny Moore's Three Blazers: Soothe Me/Scratch Sheet, Exclusive 259, E-/VG+ sol. $5
Johnny Moore's Three Blazers: Be Fair With Me/Sunny Road, Exclusive 233, VG+/VG-. $4
Johnny Moore's Three Blazers feat. Mari Jones: How Could You Be So Mean/Mean Papa Blues, Aladdin 3139, E. $12
Johnny Moore's Three Blazers feat. Mari Jones: How Could You Be So Mean/Mean Papa Blues, Aladdin 3139, NM. $15
Johnny Moore's Three Blazers vocal Charles Brown(A): I Want You-I Need You/Hard Tack, Exclusive 226, G. $3
Johnny Moore's Three Blazers/Will Rowland: You Won't Let Me Go/Shuffle Boogie, Modern 142, P. $1
Red Nelson : Working Man Blues/Back Home, Bluebird 7960, G+/VG-. $25
Red Nelson (as Dirty Red): You Done Me Wrong/Hotel Boogie, Aladdin 207, VG/VG+. $40
Red Nelson : Crying Mother Blues/Streamline Train, Brunswick 3508, E. $25
Red Nelson (as Dirty Red): Mother Fuyer/Home Last Night, Aladdin 194, E/E-. $75
Red Nelson & his Washboard Band: Prowling Groundhog No. 2/Don't Tear My Clothes No. 3, Vocalion O3965, G+/VG. $30
Chuck Norris : Messin' Up/Let Me Know, Atlantic 994, VG-. $15
Nutmegs : Story Untold/Make Me Lose My Mind, Herald 452, VG-. $10
Orioles : Deacon Jones/Tell Me So, Jubilee 5005, VG/VG-. $15
Johnny Otis Orchestra; vocals Mel Walker & Little Esther(A): I Dream/Hangover Blues, Regent 1036, E+. $15
Johnny Otis Orchestra; vocals Mel Walker: Rockin' Blues/My Heart Tells Me, Savoy 766, VG-/E. $10
Johnny Otis Orchestra vocals Mel Walker: Rockin' Blues/My Heart Tells Me, Regent 1027, G+ to VG-. $5
Johnny Otis Orchestra ;vocals:Little Esther. Mel Walker, Lee Graves: Wedding Boogie/Far Away Blues, Savoy 764, E/E+. $10
Danny Overbea & his Combo: Train, Train, Train/I'll Wait, Checker 768, F. $2
Danny Overbea w/ King Kolax Orchestra: 40 Cups Of Coffee/I'll Follow You, Checker 774, E. $25
Little Junior Parker & The Blue Flames: Backtracking/I Wanna Ramble, Duke 137, E+/E. $35
Prince Patridge w/ Monroe Tucker Orchestra: Cooperation (Parts 1&2), Cat 105, VG+. $15
Penguins : Hey Senorita/Earth Angel, Dootone 348, VG-. $6
Lloyd Price & his Orchestra: Lawdy Miss Clawdy/Mailman Blues, Specialty 428, VG-. $5
Lloyd Price & his Orchestra: Lawdy Miss Clawdy/Mailman Blues, Specialty 428, VG ld wol. $6
Ravens : Looking For My Baby/Begin The Beguine, Mercury 5800, VG-. $5
Ravens : Write Me A Letter/Summertime, National 9038, G-/G ld ef nap. $3
Ravens : You Foolish Thing/Honey I Don't Want You, Columbia 39408, VG+. $25
Gene Redd (Vocal Obligatto by Valerie Carr): I Dreamed The Blues/In The Redd, Federal 12119, VG- DJ wlp wol. $6
Lula Reed : Don't Make Me Love You/Going Back To Mexico, King 4649, VG-. $5
Royals : That's It/Someone Like You, Federal 12160, VG- to VG. $12
Royals : Work With Me Annie/Until I Die, Federal 12169, G. $6
Little Jimmy Scott : I'll Be Seeing You/I Won't Cry Anymore, Roost 615, VG- to VG lc. $3
Ollie Shepard : Hard Times Is On Me/Army Camp Blues, OKeh O6409, E-. $10
Six Teens : A Casual Look/Teen Age Promise, Flip 315, VG-. $5
Emitt Slay Trio (Bob White Organ & Vocal): I've Learned My Lesson/You Told Me That You Loved Me, Savoy 892, NM-. $18
Bessie Smith : Yes Indeed He Did/Devil's Gonna Git You, Columbia 14354-D, VG-/G+ digs on side 2. $20
Bessie Mae Smith (as Blue Belle): Sweet Black Woman/Good Feelin' Blues, OKeh 8659, VG- to VG. $40
Bessie Mae Smith (as Blue Belle): Boa Constrictor Blues/Sneakin' Lizard Blues, OKeh 8538, G+ lc nap; scr. $20
Clara Smith : I'm Gonna Tear Your Playhouse Down/You Don't Know My Mind, Columbia 14013-D, VG/VG-. $20
Effie Smith : Effie's Blues/I'm In The Groove Tonight, G&G 7, E/E+. $15
Fletcher Smith : Brand New Neighborhood/Mean Poor Gal, Swing Time 329, NM/E+. $15
Fletcher Smith : Brand New Neighborhood/Mean Poor Gal, Swing Time 329, E. $12
Fletcher Smith : Brand New Neighborhood/Mean Poor Gal, Swing Time 329, NM. $18
Willie"Long Time" Smith : No Special Rider Here/Due Respects To You, Columbia 37827, G+/E+. $18
Willie"Long Time" Smith : No Special Rider Here/Due Respects To You, Columbia 37827, VG+/E- to E. $20
Spiders : I Didn't Want To Do It/You're The One, Imperial 5265, G+. $5
Spiders : I Didn't Want To Do It/You're The One, Imperial 5265, VG+/VG 3 gr rc. $5
Strangers : Dreams Came True/How Long Must I Wait, King 4766, VG- ec nap. $20
Sunnyland Slim (as Dr. Clayton's Buddy & his Orchestra): Walking With The Blues/Farewell, Little Girl, RCA Victor 20-3235, NM. $60
Sunnyland Slim (as Dr. Clayton's Buddy & his Orchestra): Broke And Hungry/Across The Hall Blues, RCA Victor 20-3085, NM. $60
Sunnyland Slim (as Dr. Clayton's Buddy & his Orchestra): Illinois Central/Sweet Lucy Blues, RCA Victor 20-2733, VG/E. $50
Joe Swift w/ Johnny Otis & His Orchestra: That's Your Last Boogie/What's Your Name, Exclusive 51x, E. $8
Johnny Temple w/ The Harlem Hamfats: What Is That Smells Like Gravy/County Jail Blues, Decca 7456, E-. $20
Johnny Temple : What Is That She Got-Blues/Big Woman Blues, Bluebird 8968, VG+/E-. $25
Johnny Temple : Cherry Ball/Let's Get Together, Decca 7678, G cracked. $3
Sonny Terry Trio: Hootin' Blues/Dangerous Woman, Gramercy 1004/5, VG-. $35
Lillette Thomas & Her Boys: Blues For My Daddy/Lillette's Boogie, Sterling 100, VG-/VG. $10
Sonny Thompson : Pastry/I Hope You Love Me Too, King 4678, VG- cracked, playable. $1
Sonny Thompson (vocal by Rufus Junior): Let's Call It A Day/Blues Mambo, King 4541, G+/VG- wol. $3
Three Flames (vocal by "Tiger" Haynes): Open The Door, Richard!/Nicholas(Don't Be So Ridiculous), Columbia 37268, E. $8
Turbans : Let Me Show You(Around My Heart)/WhenYou Dance, Herald 458, E-/VG+. $15
Joe Turner w/ Bill Moore's Lucky Seven: Mad Blues/Sunday Morning Blues, National 4009, VG cracked. $1
Joe Turner //Pete Johnson: Piney Brown Blues/627 Stomp, Decca 18121, VG- rf nap. $4
Eddie Vinson : Lazy Gal/Bonus Pay, Mercury 8039, VG cracked, playable. $1
Eddie "Mr. Cleanhead" Vinson & his Orchestra: It's A Groovy Affair/I've Been So Good, Mercury 2030, VG-. $5
T-Bone Walker w/ Marl Young & his Orchestra: Evening/T-Bone Boogie, Rhumboogie 4002, NM. $35
T-Bone Walker w/ Marl Young & his Orchestra: I'm Still In Love With You/Sail On Boogie, Rhumboogie 4000, G+. $10
T-Bone Walker : My Baby Left Me/She Is Going To Ruin Me, Old Swingmaster 11, E to E+. $30
Dinah Washington w/Lucky Thompson's All Stars: Wise Woman Blues/No Voot, No Boot, Apollo 368, VG+/VG. $8
Ralph Willis feat. Brownie Magee & Orchestra: Somebody Is Got To Go/Blues,Blues,Blues, Jubilee 5034, VG. $8
Billy Wright : I Keep Drinkin'/Billy's Boogie Blues, Savoy 715, VG-/VG. $8
Billy Wright : Thinkin' Blues/Back Biting Woman, Savoy 733, VG-. $8
Buster Bennett Trio: Mr. Bennett Blows/Hard Luck Blues, Columbia 37951, VG+. $8
Blasers & Tommy (Mary Jo) Brandon: She Needs To Be Loved/Done Got Over, United U-191, E. $15
Billy Ford & his Night Riders: Smooth Rocking/You Foxie Thing, United 142, E, crack taped, playable. $2
Julia Lee & her Boy Friends: Lies/Gotta Gimme Whatcha Got, Capitol 308, VG+/VG- to VG. $6
Roy Milton & His Solid Senders: Best Wishes/Short,Sweet and Snappy, Specialty 414, G+. $4
Arbee Stidham (Lefty Bates Band): Look Me Straight In The Eye/I Stayed Away Too Long, States 164, NM-. $20
Billy Ford & his Night Riders: Confessing/Old Age, United 167, E++ to NM. $12

C&W, BLUEGRASS & OLD-TIME 78s
Roy Acuff & his Smoky Mountain Boys: All The World Is Lonely Now/That Glory Bound Train, Columbia 36974, E hc nap. $1
Roy Acuff & his Crazy Tenneseeans: Wabash Cannon Ball/Freight Train Blues, Okeh O4466, VG- lc nap. $1
Roy Acuff & his Smoky Mountain Boys: Songs Of The Smoky Mountains: 2 78s, 2 missing from set: Pins & Needles/ The Precious Jewel,Wait For The Light To Shine/Low & Lonely, Columbia C-143, E. In album with illustrated "hillbilly" caricatures cover. $5
Roy Acuff & his Smoky Mountain Boys: Sweeter Than The Flowers/Tennessee Waltz, Columbia 20551, E-/VG. $2
J.T Adams & the Men of Texas: Rock-A-My Soul/Crying In The Chapel, Republic 7052, NM flexible disc. $10
Bob Atcher & Bonnie Blue Eyes(B): Walking The Floor Over You/Sweethearts Or Strangers, Okeh 6496, E- cracked but playable. $1
Gene Autry : Cowboy's Yodel/Blue Days, Conqueror 7831, G-/G ec nap. $10
Gene Autry & Jimmy Long: My Carolina Mountain Rose/Watching The Clouds Roll By, Banner 32928, VG+. $8
Gene Autry & The Pinafores: Rudolph, Thr Red-Nosed Reindeer/If It Doesn't Snow On Christmas, Columbia 38610, E/E-. $1
CLIFF EDWARDS (UKELELE IKE). June Night/Insufficient Sweetie. Pathe’ 025121 E $10
FIDDLIN’ WILLIE AND THE OZARK PALS (Key Twins/ Leon Key-v.). Why Not Confess/Knocking At Your Door. Disco 1500 E- (Obscure St. Louis label) $20
LULU BELLE & SCOTTY. Wish I Was A Single Girl Again/Never Take No For An Answer. Vocalion 04772 V+ $8
FRANK LUTHER. My Little Old Home Down In New Orleans/ Oklahoma Blues. Banner 6341 E-/E+ $15
PATSY MONTANA (w/ the “Prarie Ramblers”). Little Rose Of The Prarie/My Dear Old Arizona Home. Vocalion 04247 V+ $12
NORMAN PHELPS and his VIRGINIA RAMBLERS. Sweet Violets/ It’s Tight Like That. Decca 5191 V $12
Gene Autry : There'll Never Be Another Pal Like You/Tears On My Pillow, Columbia 20259, VG+. $2
Jack Boles : Rockin' Chair Blues/Runnin' Round, MGM 10931, VG/VG-. $6
Chris Bouchillon : Born In Hard Luck/The Medicine Show, Columbia 15151, VG. $35
Bill Boyd & his Cowboy Ramblers: Yes You Did/Texas Blues, RCA Victor 21-0164, E pimples in wax. $3
Jimmy Boyd w/ Mitch Miller & his Orchestra: I saw Mommy Do The Mambo(With You Know Who)/Santa Claus Blues, Columbia J-225, VG+/E-. $2
Owen Bradley & His Quintet: Tennessee Blues/Aboard The Sentimental Train, Coral 60565, E-. $3
Clif Bruner : My Pretty Blonde/I'll Try Not To Cry, Decca 46033, E- pimples in wax. $2
Ed Camp : Sure Of Your Heart/I'm Gonna Put The Wammy On You, Imperial 8301, E-/VG+. $5
Ernie Chaffin : I Can't Lose The Blues/Get Me On Your Mind, Hickory 1024, VG+. $4
Cowboy Copas : There Ain't Nobody Gonna Miss Me/You Live In A World All Your Own, King 511, G+ 8 gr ec. $1
Billy Cox & Cliff Hobbs: I've Found My Love/The Last Letter, Conqueror 9218, F+. $2
Al Craver : The Death Of Floyd Collins/Little Mary Phagan, Columbia 15031-D, G+. $5
Mr. & Mrs. Hugh Cross : I Love You Best Of All/You're As Welcome As The Flowers In May, Columbia 15259-D, E ec to 1st groove. $10
Cumberland Mountain Folks : The Tramp On The Street/Put My Rubber Doll Away, Columbia 20187, VG, taped at edge, bump in 1st few grooves of one side. $4
Ted Daffan and his Texans: My Fallen Star/Are You Satisfied Now, Columbia 37501, E-. $2
Ted Daffan's Texans: Born To Lose/No Letter Today, OKeh 6706, VG+. $2
Vernon Dalhart : Wreck Of The Old 97/The Prisoner's Song, Victor 19427, VG+. $3
Vernon Dalhart : The Wreck Of The 1256/Mother's Grave, Victor 19812, VG sol. $3
Vernon Dalhart : The Sidewalks Of New York/Th Girl I Left Behind Me, Columbia 437-D, E-/E. $3
Vernon Dalhart : The Prisoner's Song/Ain't-Ya Comin' Out To-night?, Columbia 257-D, E+ lc. $3
Vernon Dalhart : The Old Fiddler's Song/Lay My Head Beneath A Rose, Brunswick 3234, E-. $3
Vernon Dalhart : The Mississippi Flood/My Blue Ridge Mountain Home, Okeh 45107, F lc. $2
Vernon Dalhart : The Little Black Mustache/Old Bill Moser's Ford, Columbia 15077-D, E- lc. $3
Vernon Dalhart : The Cowboy's Dream/Bury Me Not On The Lone Prarie, Cameo 1203, VG+ pimples in wax. $5
Vernon Dalhart : A Boy's Best Friend Is His Mother/The Prisoner's Song, Silvertone 3030, VG+. $5
Vernon Dalhart : The Governor's Pardon/The Engineer's Child, Victor 19983, VG+. $3
Darby & Tarlton : Touring Yodel Blues/Slow Wicked Blues, Columbia 15419, F+/F. $6
Al Dexter & his Trooper: Down At The Roadside Inn/New Soldier's Farewell, OKeh O6127, E+. $3
Dixon Bros. : Answer To Maple On The Hill (Part 1)/Greenback Dollar (Part 2), Bluebird 6462, VG 1-inch crack. $2
Deacon Evans & his Texans: When You Smile/Hillbilly Steel Guitar, Imperial 8038, VG/VG-. $5
Red Foley : Tennessee Border/Candy Kisses, Decca 46151, VG+ to E-. $3
Red Foley w/ The Dixie Dons(B): Old Kentucky Fox Chase/Mississippi, Decca 46241, E-/VG+. $3
Girls of The Golden West : Home Sweet Home In Texas/The Cowgirl's Dream, Montgomery Ward 4417, G+. $4
Grandpa Jones & His Grandchildren : Weary Lonesome Me/Grandpa's Boogie, King 812, E-/VG+. $4
The Hi-Flyers : Answer To It Makes No Difference Now/You Can Depend On Me, Vocalion 4703, G+/VG. $6
Pee Wee Hunt & his Orchestra: Twelfth Street Rag/Somebody Else, Not Me, Capitol 15105, E-. $2
Pee Wee Hunt & his Orchestra: Twelfth Street Rag/Somebody Else, Not Me, Capitol 15105, VG+ heat damage near edge. $1
Lonesome Pine Fiddlers : I'm Left Alone/Twenty-One Years, RCA Victor 20-5011, E-. $5
Nick Lucas : Blue Heaven/Among My Souvenirs, Brunswick 3684, E-. $15
J.E. Mainer's Mountaineers: Maple On The Hill/Take Me In The Lifeboat, Bluebird 6065, E cracked but playable. $2
Leon McAuliffe & his Western Swing Band: I'm Going Back To Birmingham/Blacksmith Blues, Columbia 20907, VG+. $4
Leon McAuliffe & his Western Swing Band: Blue Guitar Stomp/I Didn't Know How Much I Loved You, Columbia 20845, VG+, crack taped at edges. $2
McMichen's Melody Men : Let Me Call You Sweetheart/Sweet Bunch of Daisies, Columbia 15111-D, VG+ to E-. $15
Moon Mullican : When Love Dies Where Does It Go/What's The Matter With The Mill, King 1447, VG/E. $5
Bill Nettles & his Dixie Blue Boys: Hadacol Boogie/I'm Footloose Now, Mercury 6190, VG+ circular crack around label, playable. $3
Bill Nettles & his Dixie Blue Boys: Hadacol Boogie/I'm Footloose Now, Mercury 6190, VG+. $8
Prairie Ramblers : There's More Pretty Girls Than One/We Parted By The Riverside, Conqueror 8713, VG-, long scratch on one side. $4
Rhythm Rockers feat. Chet Atkins: Peanut Vendor/Tricky, RCA Victor 20-6808, VG to VG+. $5
Jesse Rodgers //Barbara Brown: The Yellow Rose Of Texas/Buttons And Bows, Varsity 114, VG+ to E- lc nap. $6
Jimmie Rodgers : Whisper Your Mother's Name/A Drunkard's Child, Victor 22319, E heat damage makes 1st 1/2 inch unplayable. $3
Jimmie Rodgers : Blue Yodel No.3/Never No Mo' Blues, Victor 21531, VG- to VG. $12
Jimmie Rodgers : Blue Yodel/Away Out On The Mountain, Victor 21142, E- to E. $15
Jimmie Rodgers : My Little Old Home Down In New Orleans/Dear Old Sunny South By The Sea, Victor 21574, E+. $20
Jimmie Rodgers : My Old Pal/Daddy And Home, Victor 21757, E-/VG+. $12
Jimmie Rodgers : Roll Along Kentucky Moon/Why Should I Be Lonely, Bluebird 5082, VG- 1-inch ec taped back in place, skips. $10
Jimmie Rodgers : Blue Yodel No. 11/The Brakeman's Blues, Victor 21291, G+/VG-. $12
Smokey Rogers & his Four Star Rangers: What It Means To Be Blue/Blues In My Mind, 4 Star 1020, VG+. $10
Tommy Scott : Tennessee/Freckle-Faced Gal, Federal 10011, E+ to NM. $12
Sons of the Pioneers : Cowboy Camp Meetin'/Tumbling Tumbleweeds, RCA Victor 20-1904, VG+. $2
Carl T. Sprague : O Bury Me Not On The Lone Prarie/The Cowboy's Dream, Victor 20122, E- dig on side 2. $6
Charles Lewis Stine : The Wreck On The C&O/The Ship That Never Returned, Columbia 15027, looks E but some "wrinkling" visible under surface on one side,causes some noise. $8
Tom Tall : Remembering You/Give Me A Chance, Fabor 125, VG to VG+. $6
Ernest Thompson : The Little Rosebud Casket/In The Baggage Coach Ahead, Columbia 216-D, E-. $8
Jack Toombs : Foolish Jealousy/My Imagination, Excello 2041, E cracked but playable. $3
Merle Travis : No Vacancy/Cincinnati Lou, Capitol 258, VG+ sol. $6
"T" Texas Tyler : Deck Of Cards/Sweet Thing, 4 Star 1228, VG- ld around spindle hole. $3
Bob Wills & his Texas Playboys: Bob Wills Special/New San Antonio Rose, Columbia 37014, E-/VG+. $3
Bob Wills & his Texas Playboys: Roly-Poly/New Spanish Two-Step, Columbia 36966, E-. $3
Bob Wills & his Texas Playboys: Sugar Moon/Brain Cloudy Blues, Columbia 37313, VG+ lc nap. $3
Johnnie Lee Wills & his Boys: Square Dance Boogie/Late Evening Blues, Decca 46053, E+/NM- pimples in wax. $4

GOSPEL/RELIGIOUS 78s
BIDDLE UNIVERSITY QUARTET: Who’ll Be A Witness/Heaven. Pathe’ 22415 NM $20
BLACKWOOD BROS. QUARTET: What A Saviour/Sing Be Happy. Blackwood Bros. Quartet 1147 E- $5
BREJOT TRIO/ w/ W.A. BLOUNT. I Bowed On My Knees And Cried Holy/Peace In The Valley. Ambassador AR-1 V+ (Little Rock, Arkansas, label) $12
MARIAN CRAWFORD/STERLING TRIO. Beulah Land/Beautiful Isle Of Somewhere. Pathe’ 20241 E+ $12
CRITERION QUARTET. Wayside Cross/Church In The Wildwood. Brunswick 2196 G+/V- $4
FISK UNIVERSITY JUBILEE SINGERS. Keep A’Inchin’ Along/Shout All Over God’s Heaven. Columbia 658-D E- $12
REV. J.M. GATES. The Dying Gambler/One Thing I Know. Victor 20332 G+/V+ $10
MELODY BOYS OF LITTLE ROCK, ARKANSAS (Smilin’ Joe Roper-Pianist). Pray/Under His Wing. Gospel Record 198 E- $12
STAMPS OZARK QUARTET: I’m Free Again/Rock A My Soul. White Church 5107 E- $12
TASKIANA FOUR. Crying Holy Unto The Lord/Oh My Mother, You Got To Bow So Low. Victor 20959 V- $8
Blackwood Brothers Double Quartet : Master The Tempest Is Raging/Rock Of Ages, Gospel 1154, VG+. $5
Blackwood Brothers Quartet : Swing Down Chariot/Roll On Jordan, Blackwood Bros. 1162, E to E+. $5
Blackwood Brothers Quartet : Master The Tempest Is Raging/Rock Of Ages, Blackwood Bros. 1154, E to E+. $5
Blackwood Brothers Quartet : Lead Me To That Rock/He'll Understand And Say Well Done, Blackwood Bros. 1157, E+. $5
Rev. J.C. Burnett Assisted by Sisters Grainger & Jackson: The Down Fall Of Nebuchanezzar/I've Heard Of Them, Columbia 14166, F. $1
Coleman Brothers : I Can See Everybody's Mother But Mine/Plenty Of Room In The Kingdom, Manor 1003, VG+ to E-. $8
Dixie Sacred Singers //Hamlin Sacred Quartette: Nearer My God To Thee/Tell Mother I'll Be There, Challenge 339, E-. $5
Famous Gay Sisters : The Little Old Church/That's What I Like About Jesus, Savoy 4046, E. $5
Four Leaf Clovers Quartet : Do Lord/There Is Only One, Bibletone 5513, VG+. $1
Golden Gate Jubilee Quartet : Jonah/Behold The Bridegroom Cometh, Bluebird 7154, G+/G- dig at side 1 start. $2
Rev. Kelsey //Lena Phillips: Little Boy/Send The Rain, MGM 10250, VG+/E- sol. $3
Rev. Kelsey's Congregation: Little Boy/Hide My Soul, Super Disc 1057, VG+ broken, taped together, only about one-third of the record is playable. $1
Andy Kirk & his Orchestra w/ Jubalaires: Get Together With The Lord/I Know, Decca 18782, VG to VG+. $2
Bill Mann : Heartaches/When God Is Near, Rainbow 2106, E+ to NM cracked but playable. $1
Pace Jubilee Singers : Everybody Got To Walk His Lonesome Valley/You Gonna Reap Just What You Sow, Victor 20310, G-. $2
Oscar Seagle : Standin' In The Need O' Prayer/Golden Crown, Columbia A2889, E/E- rf nap. $2
Phil Spitalny & his Hour of Charm All Girl Orchestra & Choir: Now The Day Is Over-Rock Of Ages/Sweet Hour of Prayer, Charm X-CR-507/1007, VG. $2
Phil Spitalny & his Hour of Charm All Girl Orchestra & Choir: Faith Of Our Fahters-Doxology/Abide With Me, Charm X-CR-506/1006, VG- cracked. $1
Thomas Family : I Ain't Gonna Study War No More/You Better Get Down On Your Knees And Pray, Majestic 11009, E- to E pimples in wax. $2
Thomas Family : I Can't Sit Down/Farther Along, Majestic 11008, E- to E pimples in wax. $2

JAZZ 78s
Earl Bostic & his Orchestra: Wrap Your Troubles In Dreams/Serenade, King 4369, F+ ef to 1st groove side 1. $1
Earl Bostic : Temptation/Artistry By Bostic, Gotham G-160, VG to VG+. $3
King Cole Trio: (Get Your Kicks On) Route 66/Everyone Is Sayin' Hello Again, Capitol 256, VG/VG+ sol. $3
King Cole Trio: Come In Out Of The Rain/Can You Look Me In The Eyes, Capitol 418, E. $3
King Cole Trio: I Can't See For Lookin'/Straighten Up And Fly Right, Capitol 154, G+. $1
King Cole Trio: I Can't See For Lookin'/Straighten Up And Fly Right, Capitol 154, VG-. $2
King Cole Trio: You Don't Learn That In School/Meet Me At No Special Place, Capitol 393, E-. $3
GENE AMMONS (Mary F. Graham-v.). My Foolish Heart/Bless You. Chess 1425 V- wol ld (the first release on the Chess label) $8
GENE AMMONS. Fuzzy/Traveling Light. United U-185 E+/NM $8
COUNT BASIE AND HIS ORCHESTRA. Feedin’ The Bean/I Do Mean You. Okeh 6180 E- rf nap $4
COUNT BASIE AND HIS ORCHESTRA (James Rushing/Helen Humes-v.) .I Want A Little Girl/It’s Torture. Okeh 5773 V/V+ $4
GEORGE BARNES SEXTET. Lover Come Back To Me/Pink Elephants. Keynote K-652 E+ tape on label $8
BUNNY BERRIGAN AND HIS ORCHESTRA (Sue Mitchell-v.). The Image Of You/I’m Happy Darling, Dancing With You. Victor 25587 G+/V- $3
BOOTS AND HIS BUDDIES (Celeste Allen-v.). I Like You Best Of All/Jealous. Bluebird B-6862 E/E- $8
DON BYAS ALL STAR QUARTET (Johnny Guarnieri-p.). Avalon/Blue And Sentimental. Jamboree 905 E/E- Small scr side B $4
CAB CALLOWAY AND HIS ORCHETRA. Peckin’/Manhattan Jam. Variety VA 612 V/V- $6
CASTLE JAZZ BAND. Farewell Blues/I’ve Been Floating Down That Old Green River. Castle Records No. 9 E- $5
CHRIS CONNOR. I Miss You So/My Heart Is So Full Of You. Atlantic 1105 V+ to E- wol $4
JUNIOR DANIELS (w/ The Al Haig Trio). The Lamp Is Low/Autumn Serenade. Discovery 507 E+ $5
DUKE ELLINGTON AND HIS ORCHESTRA. Stevedore Stomp/Harlemania. Bluebird B-6306 V $4
DUKE ELLINGTON AND HIS ORCHESTRA. Cocktails For Two/Live And Love Tonight. Victor 24617 V+ $5
COLEMAN HAWKIN’S ORCHESTRA. It’s The Talk Of The Town/Stuffy. Capitol 205 E rf nap $5
ERSKINE HAWKINS AND HIS ORCHESTRA (Asa A. Harris-v.). Remember/Tippin’ In. RCA Victor 20-1639 E/G+ $4
ERSKINE HAWKINS AND HIS ORCHESTRA (Jimmy Mitchelle-v.). Nona/I Know A Secret.Bluebird B-10979 V/V+ rf nap $4
EARL HINES AND HIS ORCHESTRA. Boogie Woogie On St. Louis Blues/ Number 19. Bluebird B-10674 G+ $3
JOHNNY HODGES AND HIS ORCHESTRA. You Can Count On Me/Kitchen Mechanic’s Day. Vocalion v4917 V to V+ $6
ILLINOIS JACQUET, “SHORTY NADINE”, LES PAUL w/ JACK MCVEA, J.J. JOHNSON, JOHNNY MILLER & LEE YOUNG. Jazz At Carnegie Hall (Part 2, Vol. 1): Blues/Lester Leaps In. Arco 1232 E- $8
STAN KENTON (June Christy-v.). How High The Moon/Interlude. Capitol 15177 E- $4
ANDY KIRK AND HIS CLOUDS OF JOY(June Richmond-v.). Then I’ll Be Happy/Dunkin’ A Donut. Decca 2723 V+ $5
GENE KRUPA’S ALL STARS. Swing Is Here/I Hope Gabriel Likes My Music.Blue Ace 231 E 1” rc wol $1

78s - Popular Vocals (Prewar):
FRANCES ALDA. By The Waters Of Minnetonka. Victrola 64908 E+ $3
ALL STAR TRIO. Anytime, Anyday, Anywhere/My Wonder Girl. Brunswick 2052 E/E+ $5
BARBARA BROWN/& JOHNNY FRANK. I’ve Got My Love To Keep Me Warm/Powder Your Face With Sunshine (Smile! Smile! Smile!). Varsity 128 V+ to E- $5
ALBERT CAMPBELL & HENRY BURR. Don’t Bite The Hand That Feeds You. Silvertone 46207 V $5
FOUR KING SISTERS (w/ The Rhythm “Reys”). Oh, How I Miss You Tonight/Don’t Sit Under The Apple Tree (With Anyone Else But Me). Bluebird B-11511 V+ $5
EDWARD JOHNSON. Her Bright Smile Haunts Me Still. Victrola 64839 E+ to NM- $5
BILLY JONES-ERNEST HARE/AL BERNARD. Say It With A Ukelele/Me No Speak-a Good English. Okeh 40040 G+ rc 10g $1
JOHN MCCORMACK. Mother Machree. Victrola 64181 E+ $3
ERNESTINE SCHUMANN-HEINK. Thy Beaming Eyes. Victrola 87288 E+ $3

78s - Dance Bands & Pop Orchestras:
AMBROSE AND HIS ORCHESTRA. Hors D’oeurvres/Streamline Strut. Decca 500 E $8
$5
THE AMBASSADORS. That Old Gang Of Mine/Foolish Child. Vocalion 14674 E- shiny $5
BOB CHESTER AND HIS ORCHESTRA (Betty Bradley/Gene Howard-v.). He’s My Guy/By The Light Of The Silvery Moon. Bluebird B-11562 E- $5
BOB CHESTER AND HIS ORCHESTRA (Dolores O’Neill). Old, Old Castle In Scotland/Talkin’ To My Heart. Bluebird B-10916 E- $5
FRANCIS CRAIG AND HIS ORCHESTRA. In The Middle Of The Night/Ting-A-Ling. Columbia 649 V+ $3
HAL DAVIS AND HIS ORCHESTRA. You Fit Into The Picture/I Believe In Miracles. Bluebird B-5795 V+ $5
DIXIE MARIMBA PLAYERS. Jeannine/Someday, Somewhere. Conqueror 7138 looks E Shiny but has bumps in wax $5
WILLIE FARMER AND HIS ORCHESTRA (Ann Seaton-v.). Sun Showers/Your Broadway and My Broadway. Bluebird B-7024 E- $7
NATHAN GLANTZ AND HIS ORCHESTRA (Bobby Dixon-v.) One More Night/An Old Guitar & An Old Refrain. Broadway 981 V to V+ $7
IMPERIAL DANCE ORCHESTRA (Arthur Fields-v.). The Stein Song/THE HOME TOWNERS: What A Funny World This Would Be. Banner 0626 E $7
DICK JURGENS AND HIS ORCHESTRA (Buddy Moreno/Harry Cool-v.). San Antonio Rose/My Sister And I. Conqueror 9626 E- $7
BENNIE KREUGER’S ORCHESTRA. I’ve Got My Habits On/School House Blues. Brunswick 2181 E-/E $8
ARTHUR LANGE AND HIS ORCHESTRA/HENRY SANTREY AND HIS CAMEO RECORD ORCHESTRA. Limehouse Blues/ Daddy’s Wonderful Pal. Cameo 545 V+ $8
ARTHUR LANGE’S ORCHESTRA/THE CAROLINERS. Land Of Cotton Blues/No, No, Nora. Cameo 602 V+/V $8
MARIMBAPHONE BAND. At The Cotton Pickers’ Ball/There’s A Lump Of Sugar Down In Dixie. Columbia A2550 V+ $6
MIAMI ROYAL PALM ORCHESTRA/GEORGE HALL AND HIS ARCADIANS. Ramona/My Honoloo.Romeo 2892 V-/V $5
RENE MUSETTE ORCHESTRA. Cuckoo Waltz/Short Cut Cutie. Standard T-2062 V+ 2g rf Side A $4
OZZIE NELSON AND HIS ORCHESTRA (Rose Ann Stevens/Ozzie Nelson & Harriet Hilliard-v.). Leanin’ On The Ole Top Rail/Three Foot Skipper Jones. Bluebird B-10499 V+ $6
OZZIE NELSON AND HIS ORCHESTRA (Rose Ann Stevens/Ozzie Nelson-v.). Strange Enchantment/That Sentimental Sandwich.Bluebird B-10196 E- $6
NEWPORT SOCIETY ORCHESTRA. All By Myself/Mimi. Vocalion 14210 V/V+ $5
ORIOLE DANCE ORCHESTRA/BILLY JAMES’ DANCE ORCHESTRA (Chas. Dickson/Harry Crane-v.). I Can’t Give You Anything But Love/Nobody Knows. Oriole 1319 V small rc, nap $4
NICHOLAS ORLANDO’S ORCHESTRA. Kentucky Dream Waltz/Velvet Lady-Medley Waltz. Victor 18539 E $5
NICHOLAS ORLANDO’S ORCHESTRA/WALDORF-ASTORIA DANCE ORCHESTRA. Till We Meet Again/Beautiful Ohio. Victor 18526 V/V+ $5
REILLY-FARLEY and their ONYX CLUB BOYS (Mike Reilly-v.). The Music Goes ‘Round And Around/Lookin’ For Love.Decca 578 G+/V $4
TODD ROLLINS AND HIS ORCHESTRA (Chick Bullock-v.). Take A Lesson From The Lark/The Boogie Man. Melotone M 13044 V- $5
THE SAXO-PIANO PHIENDS. Under The Honeymoon/In The Land Of Rice And Tea. Pathe’ 22300 E- $6
MAXINE SULLIVAN AND HER ORCHESTRA. Loch Lomond/I’m Coming Virginia. Vocalion 3654 V+ $5
VICTOR SALON ORCHESTRA. Eleanor/Out Of The Dusk To You. Victor 20176 E- $4

SOUNDTRACK 78s
Nat "King" Cole w/ Johnny Green Conducting the MGM Studio Orchestra: Raintree County/With You On My Mind, Capitol 3782, VG to VG+. From M-G-M Motion Picture. $3

7-INCH POP 78s
Halley Sisters //Patty Kay: Rock Love/Danger-Heartbreak Ahead, Prom 1108, VG-. 7-inch 78rpm. $5

For updated lists, see the Online Ordering section at www.bluesoterica.com. We buy and sell 45s, LPs, 78s, and CDs – blues, R&B, soul, funk, jazz, rock, world/ethnic, soundtrack, pop, folk, C&W, comedy, dance, spoken word & gospel, plus books & magazines, concert posters, photos & musical memorabilia.

You can also browse the lists under seller name JIMONEAL at www.jimoneal.gemm.com and under seller name BLUESOTERICA at www.jimoneal.musicstack.com.

Also see my eBay store: http://stores.ebay.com/BluEsoterica-com-Mail-Order_W0QQsspagenameZMEQ3aFQ3aSTQQtZkm

Most of the items at the eBay store are NOT listed on the other sites.

Record & Book Grading Guides

2006-09-26T10:29:00.000-07:00

Records are visually graded in most cases.

LP & 45 RECORD GRADING
Goldmine Grading Guide © Goldmine Magazine.

Mint (M): Absolutely perfect in every way -- certainly never played, possibly even still sealed.
Near Mint (NM or M-): A nearly perfect record, showing no obvious sign of wear. A 45 rpm sleeve has no more than the most minor defects, such as almost invisible ring wear or other signs of slight handling. An LP jacket has no creases, folds, seam splits or any other noticeable similar defect. No cut-out holes, either. The same is true of any other inserts, such as posters, lyric sleeves, and the like. Basically, Near Mint looks as if you just got it home from a new record store and removed the shrink wrap.
Very Good Plus (VG+): Shows some signs that it was played and otherwise handled by a previous owner who took good care of it. Record surfaces may show some slight signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experience. Slight warps that do not affect the sound are OK. The label may have some ring wear or discoloration, but is should be barely noticeable. The center hole is not misshapen by repeated play. Picture sleeves and LP inner sleeves will have some slight wear, lightly turn-up corners, or a slight seam-split. An LP jacket may have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount.
Very Good (VG): Many of the defects found in a VG+ record are more pronounced in a VG disc. Surface noise is evident upon playing, especially in soft passages and during the song's intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as will light scratches (deep enough to feel with a fingernail) that will affect the sound. Labels may be marred by writing, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time, only two or three of them.
Good (G), Good Plus (G+): Good does not mean bad! A record in Good or Good Plus condition can be put onto a turntable and will play through without skipping. But it will have significant surface noise and scratches and visible groove wear. A jacket or sleeve has seam splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the object.
Poor (P), Fair (F): The record is cracked, badly warped, and won't play through without skipping or repeating. The picture sleeve is water damaged, split on all three seams and heavily marred by wear and/or writing. The LP jacket barely keeps the LP inside it. Inner sleeves are fully seam split, and written upon.
--------------------------
[+ and – denote in-between grades. Grades with a slash in between indicate the condition of Side A/Side B.]
Other grading codes (from VJM and other sources):
LIB = Library copy. These albums have been reassembled in library binding format: the jackets have been taped around the edges, and the records are in a separate inner sleeve. Records and printed inserts are placed inside a stiff plastic Gaylord record holder. Library stamps and markings have been applied.
LIB, NOC = Library copy as above but with no original cover; only the record remains in the plastic record holder.
aud = audible
bb = bb hole in cover
boot = bootleg
cc = cut corner
co = cut-out
coh = cut-out hole punched in cover or label
cr = crack
cvr = cover
DJ = DJ or promotional copy
eb = edge bite
ec = edge chip
ef = edge flake
ep = extended play
fade = faded label
gr = groove [10g = 10 grooves]
hc/hlc = hairline crack
inaud = inaudible
lbl = label
lc = lamination crack
ld = label damage
m = mono
nap = not affecting play
non-lp = not on full-length LP or CD
oc = original cast recording
ost = original soundtrack
po = punch out
promo = promotional copy
ps = picture sleeve (45s)
re (also ri) = reissue
rf = rough
rw = ring wear
s = stereo
sc = scratched cover
scfs = scuffs
scr = scratch
sfc = surface
sl = slight
slt wrp = slight warp
sm = saw mark (cut-out mark)
sm splt = seam split
soc = sticker on cover
sol = sticker on label
sr = slight ring wear on cover
ss = still sealed
t = tear on cover
toc = tape on cover
tol = tape on label
va = various artists
wlp = white label promo
woc = writing on cover
wol = writing on label
xoc = “X” written on cover
xol = “X” written on label

78 RPM RECORD GRADING
Records are visually graded by VJM CONDITION CODES per VJM’s Jazz & Blues Mart:
N (new) or M (mint): New and unplayed. NM or N- (near mint): Nearly same as N/M but played a few times. E+: plays like new, with very, very few signs of handling, such as tiny scuffs from being slipped in and out of jackets. E: excellent (still very shiny, near new looking with no visible signs of [groove] wear but with a few inaudible scuffs and scratches). E-: still shiny, but without the luster of a new record. Very little wear, plays distortion-free. V+ or VG+: An “average” looking 78 in which scuffs and general use has dulled finish somewhat. Wear is moderate but playing is generally free of distortion. Surface noise still not pronounced. V or VG: very good (moderate, even wear throughout but still very playable. Surface noise and scratches audible but not intrusive.) V- or VG- = quite playable; some distortion in louder passages but music remains loud in most places. Surface noise from wear and scratches well below music level. G+: gray throughout but still serviceable. Music begins to sound muffled. G (good): quite worn/damaged, but surface noise still below music level. Listenable. G-: Music muffled from wear but still exceeds surface noise. F+: most of record remains audible over surface noise but listening uncomfortable. F (fair): further deterioration but still generally audible. P (poor): unplayable.

VJM standard abbreviations: sfc = surface; lbl = label; nap = not affecting play; scr = scratch; lc = lamination crack; cr = crack; hc/hlc = hairline crack; wol = writing on label; sol = sticker on label; fade = faded label; gr = groove; eb = edge bite; ec = edge chip; ef = edge flake; cvr = cover; s = stereo; rf = rough; aud/inaud = audible/inaudible.

[e.g., 10gr eb = 10 groove edge bite]

[+ and – denote in-between grades. Grades with a slash in between indicate the condition of Side A/Side B.]

BOOK GRADING (IOBA)
AS NEW (AN) or VERY FINE (VF): Without faults or defects, unread, in the same immaculate condition in which it was published
(Note: very few "new" books qualify for this grade, as many times there will be rubs/scuffs to the dustjackets from shipping, or bumped lower spine ends/corners from shelving).
FINE (F): Approaches the above, but not crisp. May show signs of having been carefully read, but no real defects or faults.
(NOTE: From here on, there may be "+" and "-" in a grade, which will mean that it is above the grade noted but not quite to the next higher grade for "+", and that it is below the grade noted but not quite to the next lower grade for "-".
NEAR FINE: Also used, although not contained in Bookman's Weekly definitions, meaning a book or dustjacket approaching FINE but with a couple of very minor defects or faults, which should be noted.
VERY GOOD: A used book showing some small signs of wear on either binding or dustjacket. Any defects/faults must be noted.
GOOD: The average used and worn book that has all pages or leaves present. Any defects must be noted.
FAIR: A worn book that has complete text pages (including those with maps or plates) but may lack endpapers, half-title page, etc. (which must be noted). Binding, dustjacket, etc. may also be worn. All defects/faults must be noted.
POOR or READING COPY: A book that is sufficiently worn that its only merit is the complete text, which must be legible. Any missing maps or plates should still be noted. May be soiled, scuffed, stained, or spotted, and may have loose joints, hinges, pages, etc.
EX-LIBRARY: Must always be designated as such no matter what the condition of the book.
BOOK CLUB: Must always be noted as such no matter what the condition of the book.
BINDING COPY: A book in which the text block, including illustrations, is complete but the binding is lacking, or in such poor condition it is beyond realistic restoration efforts.
REMAINDER MARKS, BOOKPLATES, PREVIOUS OWNER'S NAME: Should be noted unless you explain in your general information that you do not note such.
ODORS/SOILING : It is the bookseller's responsibility to either describe such conditions in book descriptions or rectify them before listing, if possible to do so without harm to a book or its dustjacket. If either cannot be rectified before listing a book online, then it should be mentioned in the description of the book. This also applies to dustjacket protectors and packing materials; buyers should not have to be responsible for trying to rectify odors or soiling not mentioned by a bookseller.

Always, if issued with one, the lack of a dustjacket or slipcase should be noted.

Mail order catalog CDs, LPs, 45s, magazines, books, memorabilia

2006-09-26T09:13:00.000-07:00

Here's a sample of the mail order items we have for sale. For thousands more, see the Online Ordering section at www.bluesoterica.com. We buy and sell 45s, LPs, 78s, CDs, and cassettes – blues, R&B, soul, funk, jazz, rock, world/ethnic, soundtrack, pop, folk, C&W, comedy, dance, spoken word & gospel, plus books & magazines, concert posters, photos & musical memorabilia.

You can also browse the lists under seller name JIMONEAL at www.jimoneal.gemm.com and under seller name BLUESOTERICA at www.jimoneal.musicstack.com.

Also see my eBay store: http://stores.ebay.com/BluEsoterica-com-Mail-Order_W0QQsspagenameZMEQ3aFQ3aSTQQtZkm

Most of the items at the eBay store are NOT listed on the other sites.

WANTED: 45s from Kansas City, St. Louis, Arkansas, Mississippi, Alabama, Kansas, Iowa, Florida, Texas, Kentucky, and Africa.

Jim O'Neal (Stackhouse232@aol.com)
STACKHOUSE & BLUESOTERICA 3516 Holmes St.
Kansas City MO 64109
(816) 931-0383

CDs * LPs * 45s * Books * Magazines * Memorabilia

BLUES FOR SALE Payment accepted by PayPal, check, money order or cash (please use registered mail if sending cash).

Postage & handling (USA) for one CD, 45, LP, book, photo, or magazine: $3.75; each additional record or magazine $1.00; each additional book $2.50. Insurance (optional): USA: $1.35 for up to $50.00 insurance; $2.30 for $100.00 insurance; $1.05 per each additional $100.00.

Air mail postage & handling for foreign buyers for one LP or magazine: $7.50 Canada, $12.50 UK & Europe, $15 Australia & Japan. Books: $7 Canada, $16 UK & Europe, $20 Australia & Japan. Each additional LP, book or magazine: $2.00 Canada; $4.00 Europe, $5.00 UK, Australia & Japan.

Air mail postage & handling for foreign buyers for one 45, photo, or CD: $7.50 Canada, UK, Europe & South America, $10 Japan & Australia. Each additional 45: $1.00 to all countries.

For more details, see the POSTAGE & HANDLING COSTS page at www.stackhouse-bluesoterica.blogspot.com.

All items subject to availability. Let us know what you want to order and we will invoice you for the total. Or you may send payment with your order and we will send refunds for any items that are unavailable.

STACKHOUSE RECORDING COMPANY CDs $12.98 each
SRC-1910 Keep It To Yourself – Arkansas Blues, Volume One: Solo Performances
SRC-1911 Memphis Gold: Prodigal Son
SRC-1912 Foree “Guitar” Wells & The Walnut Street Blues Band: It’s A New Day, Brother!
SRC-1913 D.C. Bellamy: Give Some Body to Somebody

ROOSTER BLUES CDs priced as noted (mint condition, most are still sealed).
R2616 Larry Davis: Funny Stuff. Handy Award winner prod. by Oliver Sain. $9.99
R2618 Magic Slim & the Teardrops: Grand Slam. Hard-driving 1982 Chicago blues session, plus 1975 EP tracks. Handy Award winner. $9.99
R2619 Valerie Wellington: Million Dollar $ecret. Chicago blues w/ Magic Slim & Teardrops. $12.99
R2620 Big Daddy Kinsey & the Kinsey Report: Bad Situation. $12.99
R2622 Eddy Clearwater w/ Otis Rush & Sugar Blue: Flimdoozie. $9.99
R2623 Roosevelt “Booba” Barnes & The Playboys: The Heartbroken Man. Electric juke joint blues from Greenville, MS. $12.99
R2624 Eddie Shaw: In The Land of the Crossroads. Clarksdale sessions. $12.99
R2626 Lonnie Shields: Portrait, 2000 re-release, new cover art. $9.99
R2628 Willie Cobbs: Down To Earth. Harmonica blues by originator of blues classic "You Don't Love Me". $12.99
R2630 Rawls & Luckett: Can’t Sleep at Night. Stax-style Southern soul & blues by Johnny Rawls & L.C. Luckett. $12.99
R2632 Robert “Bilbo” Walker: Promised Land. Hard-rocking Delta blues guitarist with Sam Carr & Frank Frost. $12.99
R2633 Lonnie Shields: Midnight Delight. Soulful blues w/ Al Green's horn section + Rawls & Luckett. $12.99
R2634 Super Chikan: Blues Come Home To Roost. Eccentric & original modern Delta blues songwriter, singer & guitarist. 2000 re-release, new cover art. $12.99
R2638 Eddie C. Campbell: Hopes and Dreams. Chicago blues w/ Billy Boy Arnold & Ernest Lane. $9.99
R2639 "Philadelphia"Jerry Ricks: Many Miles of Blues. Acoustic blues guitar master, recorded at Blue Heaven Studios. $12.99
R2640 DC Bellamy: Water to Wine. Exciting modern blues from K.C. $12.99
R2641 Various: And This Is Maxwell Street. 3-CD set of live 1964 recordings from Maxwell Street by Robert Nighthawk, Johnny Young, et al. One CD is an interview with Nighthawk done by Mike Bloomfield, with Nighthawk playing solo guitar. $21.99
R2642 Willie King & The Liberators: Freedom Creek. Live juke joint/political blues recorded at Bettie's Place. $12.99
R2643 Robert "Bilbo" Walker: Rock The Night, w/ Sam Carr & David "Pecan" Porter, live in Chicago. $9.99
R2644 Lady Bianca: Rollin’. Soulful & high-energy Oakland blues & funk. $12.99
R2645 Super Chikan: Shoot That Thang. More wacky, funky blues. $12.99
R2646 Arthur Williams: Midnight Blue. St. Louis blues harp. $9.99
R2647 Willie King & The Liberators: Living in a New World. Political juke joint blues, Memphis studio session. $12.99.
Howlin 4 Willie King & the Liberators: Advance Triple A/Progressive Sampler. 4 songs from R2647 CD for radio stations. $6
R9825 Rooster Blues 1980-2000. Sampler featuring 19 different artists incl. a few previously unissued cuts. $9.99

BLUES, SOUL & R&B CDs
(New CDs in mint condition unless noted otherwise).
R.L. Burnside : Mississippi Hill Country Blues, Swingmaster CD 2201. Acoustic blues guitar. $18.99
Maurice Davis : Into Something, Wilson WIL36. Soul blues. $12.99
Maurice Davis : I've Got To Move On, Wilson WIL32. Soul blues. $12.99
Maurice Davis: Trouble, Touring no#, promo. Soul blues. $12.99
Deep Cuts : The Deep Cuts Blues Band, self produced no #. Self-produced CDR by one of Clarksdale's favorite bands w/ covers & original material. $15.99
Wesley Jefferson Southern Soul Band: The Delta Blues Live From The Do Drop Inn, Repap no#. w/ Super Chikan. $18.99
Sax Kari as Candy Yams & the Bluesville Express: Love Juice, Hot Blues HTCD 33207-2. Florida blues. $9.99
Eddie Kirkland : Democrat Blues, Blue Suit BS-119D. Toledo sessions. Includes a 2nd bonus disc. $12.99
Lady Bianca : All By Myself, Magic-O MOCD-503, Sassy piano blues from Oakland. $12.99
Rudy Love: Labor of Love, Rudy Love Productions 676741000328. 16 tracks from the ‘60s thru ‘90s, including Rudy’s father Bob Love singing Good Morning, Little Schoolgirl with Don & Bob (1960). $17.99
Rudy Love: Infinite Love, Rudy Love Productions . Wichita soul singer. $15.99
Harold Melvin & the Bluenotes: Greatest Hits, CBS Special Products A 21149. $6.99
Memphis Gold : Memphis Gold, MG MG98101 (fine debut CD on his own label by singer-guitarist Chester “K.D.” Chandler, with special guest and co-producer Bobby Parker on guitar; Chandler learned from Rev. Robert Wilkins and was a member of The Fieldstones in Memphis.). $17.98
Lee Morris : Whip It On U, Da-Man Records DAMA 6846. Soul blues. $12.99
Mystery Man : Bedroom Workout, Wilson WIL33. Soul blues. $12.99
Calvin Owens & the Calvin Owens Blues Orchestra: The Best of Calvin Owens, Sawdust Alley Records SAZ4232. $15.99
Johnny Rawls: Lucky Man, Deep South Sound DSSCD01. $15.99
Earnest Guitar Roy : Ain''t Going Down That Road By Myself, JunBug Music CD-R001. Clarksdale blues guitarist. $17.99
John Sinclair & His Blues Scholars: Full Moon Night. (Japanese) P-Vine Special PCD-5122. $19.99.
Ike Turner & the Kings of Rhythm: Here and Now, IKON 8850. Ike's comeback blues CD. $9.99
Mose Vinson: Piano Man, Center for Southern Folklore CSF 1997-1, M. veteran Memphis pianist produced by the Center for Southern Folklore. 19 tracks -- boogie woogie, blues, gospel & talk. $15.99
Lee Shot Williams: Let The Good Times Roll, Wilson WIL35, M. soul blues. $12.99
Charles Wilson: You Got To Pay To Play, Wilson WIL34, M. soul blues. $12.99
Charles Wilson: Songs From The Vault, Wilson WIL27, M. soul blues. $12.99
Charles Wilson: It Ain’t the Size. Ecko ECD1023. Promo copy, used. $7.99.
Various: Soul Blues Volume 1, Wilson WIL30. Charles Wilson, Lee Morris, Bobby McNutt, Chuck Strong & Frank O. $12.99
Soul Blues Volume 2, Wilson WIL31. Charles Wilson, Shelia Louis, Will T., Nellie Travis, Earl Duke & Lee Morris. $12.99
Various: Traveling Through the Jungle: Fife and Drum Music from the Deep South, P-Vine Special PCD-5476. Japanese reissue of Testament CD. $17.98.

FOLK, SOUTHERN ROCK & GOSPEL CDs
John Mohead: Lula City Limits, Okra-Tone 4961. Southern country rock/folk from Lula, MS. $12.99
Mohead: Rural Electric, Okra-Tone 4962, $12.99
John Ruskey: Riverman, self produced no #. Self produced Clarksdale CD by canoe guide, musician & co-founder of the Delta Blues Education Fund. $15.99
Sweet Honey in the Rock: Breaths, Flying Fish FF 70105. $6.99
Sweet Honey in the Rock: Live at Carnegie Hall, Flying Fish FF 70106. $6.99

DELTA BLUES MAP KIT
by Jim O'Neal. 40-page guide to blues sites, juke joints, plantations,gravestones etc. August 2004 edition. Hand-stapled. $8.50. Postage & handling: same as CDs.

BLUES & GOSPEL LPs:
(new, still sealed)
Eddie C. Campbell: King of the Jungle, Rooster Blues R7602. $10
Fannie Bell Chapman: Gospel Singer (Southern Culture SC1702) $10
Aron Burton: Usual Dangerous Guy (Avaron 943) $8
Dorothy & George Jackson: Old Time Spirituals. Amblin 5287 (slide guitar) $15
George Jackson: Sweet Down Home Delta Blues, Amblin 14935. (K.C. slide guitarist) $25
Casey Jones: Still Kickin’ (Airwax AW3839) Chicago blues, funk & soul. $10
Casey Jones: Solid Blue (Rooster Blues R7612) $6
A.C. Reed & His Spark Plus: Take These Blues and Shove ‘Em, Rooster Blues R7606. $10
Various: Bothered All the Time, Southern Culture SC1703 $15
12-inch REGGAE EP: New Era: Joggin ina Babylon/Dubbin ina Babylon/Rappin ina Babylon, Rooster Reggae RR5446. $3

ROOSTER BLUES 45s
$2.50 each except as noted. Postage & handling same as CDs.
R47 Larry Davis: Walk Out Like a Lady/Since I Been Loving You (produced by Oliver Sain)
R50 Ernest Lane & Strength: Doggin’ No More/Little Girl $5
R51 Big Daddy Kinsey & The Kinsey Report: Treat Your Woman Right/Change Your Evil Ways $5
R53 Earnest “Guitar” Roy: I Wanna Know /Too Many Women
R54 Casey Jones: Mr. Blues/(Tribute to the) Boogie Men
R56 Little Jeno Tucker & the All Stars: Don’t Look Now But I’ve Got the Blues/It Ain’t No Use (Big Jack Johnson, guitar) $5
R57 Big Jack Johnson (B.J. the Oil Man): Rudolph Got Drunk Last Night/ Jingle Bell Boogie
R58 Lonnie Shields: I Can Play Dirty/Hard Times
R59 Willie Cobbs: Eatin’ Dry Onions/Goin’ to Mississippi

MORE BLUES and SOUL 45s:
Near mint to mint condition unless graded as used (VG+, VG, G, etc.). For more details on the grades used to describe the conditions, see the RECORD & BOOK GRADING page at www.stackhouse-bluesoterica.blogspot.com.

Chuck Berry : Run Rudolph Run/Merry Christmas Baby, Chess 1714, VG+. light blue label, cut-out. $8
Birdlegg & the Tight Fit Blues Band: Good Time Blues/Blues Jumped On a Rabbit, Tight Fit no #. San Francisco Bay Area blues harmonica. $5
Christine Burkley & Magnum Force Band: Sweeter Than Wine/Got to Have You, Milestone 100 (1980s soul from Greenville, Mississippi) $5
W.G. Carter (w/) Music by Bill Carter & His Blues Revue: Breakin' My Heart/Slick Talk, Blues Revue U-34079M. K.C. blues guitarist bill (W.G.) Carter. $10
Bessie Clark : He Is A Gambler/I've Got The Blues, Kenneth 125. 1960s West Side Chicago blues. $12
Charles Conley: Prison Bound/Bad Whiskey—Bad Women, Blues Connoisseur 1009 (solo county blues guitarist) $5
Big Jack Johnson : Daddy When Is Mama Comin' Home?/I Slapped My Wife in the Face, Earwig 491645-1, picture sleeve. $5
Rudy Love (w/) Love F&F: Does Your Mama (Know You Do This)/Housewife Blues, Love F&F 777. Wichita, Kansas soul/funk. $10
Robert Lowery: Mean Ole Twister/Evil Hearted Woman, Blues Connoisseur 1006 (country blues slide guitarist, Robert Johnson style) $5
Lil Mason : Cabrini Green Blues (Parts I&II) Streeter Craft CB 5581. Mighty Joe Young guitar, Roger Farrow harmonica. $15
Jerry McCain: She Tore Me Up/A Little Bit Of Something, Bad 45-1001, $10
Country Pete McGill Cotton Field Blues Band: Train, Train, Train, Train/Fallin' In Love With You, Blues King BK-004, produced by Twist Turner. $8
Organics (Griswolds): Trying for the Future/ Christmas Time Blues, Solid Rock , G+ to VG- labels torn. Toledo blues by Griswold brothers, 1968. $8
A.C. Reed : I Am Fed Up With This Music/I Got The Blues, Ice Cube IC 5926, M. X-rated unedited version. $3
Doc Terry : Running Blues/Down The Road I Go, D.T.P. 1421. East St. Louis harmonica blues $8
Jesse Thomas : Your Love is Automatic/ Rain Sleet or Snow, Red River U-25976M, Shreveport, Louisiana blues guitarist. $10
Yvonne Tims : Tumbleweed Lover/Blues Always, WMS WMS-45-101. Gulfport MS blues singer with steel guitar backing. $15
Jerry Washington : Let Me Love You Right or Wrong/Baby, Don't Leave Me, Excello EX 2336. $12
Robert Pete Williams : Goodbye Slim Harpo/Viet Nam Blues, Ahura Mazda 45-AMS-101. Blues picture sleeve with B&W photo & portrait. $15

BOOKS
THE VOICE OF THE BLUES: CLASSIC INTERVIEWS FROM LIVING BLUES MAGAZINE, edited by Jim O’Neal & Amy van Singel, personally autographed to you, if you like, by O’Neal. 427-page paperback first edition, Routledge, 2002. Interviews, including previously unpublished material, with Muddy Waters, Jimmy Reed, John Lee Hooker, Little Walter & Louis Myers, T-Bone Walker, Freddie King, Little Milton, Georgia Tom Dorsey, Houston Stackhouse, Eddie Boyd, Little Esther Phillips, and Sleepy John Estes & Hammie Nixon. $27.95 plus shipping & handling.

LIVING BLUES MAGAZINE Issue #1 (reprint of the first issue from 1970: Howlin’ Wolf on the cover. Articles include a Wolf interview & Magic Sam tribute) $10.

LIVING BLUES, JUKE BLUES, BLUES & RHYTHM and BLUES UNLIMITED Back Issues: We have a large selection of issues from 1970 to date, most priced at $5 to $10. See our website or eBay listings, or write us for a list.

12 ROOSTER BLUES PUBLICITY PHOTOS
The following Rooster Blues Records publicity photos from the 1980s and ‘90s are available at $3.50 or $5 each as noted, or you can choose any 8 for $24.99, or all 12 for $36, plus postage & handling (up to 12 photos, same as for 1 CD.).

All are black & white, 8x10 lithographic prints except for the glossies as noted. Many of these photos were taken by prominent blues and jazz photographers. All are near mint to mint stock copies (some show slight storage wear).

LONNIE PITCHFORD, posed with his various musical instruments (homemade and storebought) and carpenter’s tools, outside the Stackhouse/Rooster Blues headquarters in Clarksdale, Mississippi. Photo by Norman Mauskopf. Glossy. $5
ROOSEVELT “BOOBA” BARNES, shot in Greenville, Miss., 1988, by noted British photographer Valerie Wilmer. Glossy. $5

The following photos are $3.50 each:
VALERIE WELLINGTON, photo by veteran African-American photographer Doyle Wicks, Chicago, 1983..
MAGIC SLIM, photo from a 1980s Chicago Blues Festival, by Larry Kodani.
PHILADELPHIA JERRY RICKS, bare-chested with guitar, eyes closed. Photo by Marc Norberg.
ROBERT “BILBO” WALKER, grinning with guitar, Clarkdale, Mississippi, photo by Jim O’Neal.
WILLIE COBBS, face shot, posed with harmonica. Photographer unidentified.
EDDIE C. CAMPBELL, studio photo, singing with guitar, by James Fraher, 1990s.
EDDIE SHAW, smiling, hands spread, with saxophone, photographer unidentified. Chicago, c. 1990. Glossy.
EARNEST “GUITAR” ROY, sitting atop amplifier with guitar. Photo by Jim O’Neal, 1987-88.
LONNIE SHIELDS, posed with guitar outside the Stackhouse/Rooster Blues headquarters in Clarksdale, Mississippi, photo by Patty Johnson, c. 1989.
LARRY DAVIS “The Arkansas Blues Man,” smiling with guitar, onstage at Biddy Mulligan’s in Chicago, early 1980s, photo by Jim O’Neal. This is 8-1/2 x 11 and is a matte lithograph printed on thin paper stock. All other photos are on heavier photo stock.

BUMPER STICKER: “ROOSTER BLUES CLARKSDALE MISSISSIPPI, COAHOMA THE BLUES” $3

Illinois Blues concert, Chicago, Sept. 7

2006-08-30T23:42:00.000-07:00

Illinois blues, primarily of the non-Chicago variety, takes the spotlight in Chicago's Millenium Park on Thursday, Sept. 7, from 6:30 to 9:45 p.m., as part of the Great Performers of Illinois series Sept. 6-9. Chicago’s Queen of the Blues, Koko Taylor, and her daughter Cookie (Joyce Threatt), who runs the Koko Taylor Celebrity Aid Foundation, will co-host the program with curator Jim O’Neal of Living Blues Magazine.

Schedule (Jay Pritzker Pavilion):
6:30 p.m. Introductions
6:40 p.m. Black Magic Johnson (Springfield)
7:15 p.m. Jimmy Binkley with Preston Jackson (Peoria)
7:55 p.m. David Dee (East St. Louis)
8:45 p.m. Koko Taylor (Chicago)

Black Magic Johnson is a Springfield blues unit featuring vocalist, drummer and harmonica player Reggie Britton, who also writes most of the group’s material. Britton, who came to Springfield from East St. Louis in 1988, was voted the city’s Best Blues Artist in an Illinois Times entertainment poll. Britton played with the legendary blues pianist Eddie Snow (who recorded for Sun Records in Memphis) for several years and has worked with other blues, rock, country, and folk groups, including the Tom Irwin Band. “It was Eddie Snow who told me to take the torch,” Britton says. “He said he was giving it to me to run with, and it was Tom Irwin who helped me carry that torch to the next level.” Britton formed Black Magic Johnson to perform what he describes as “the plain old blues” -- but plain the music is not, thanks to Britton’s zest and originality. B.M.J. has worked as a duo and a trio and, on occasion, with additional members. The current lineup features Britton, guitarist Scott Neese, and bassist Chris Warren.

Jimmy Binkley was born and raised on Chicago’s West Side, where he learned blues and jazz piano well enough to form his own quintet and record for the legendary Checker, Chance, Dot, and Aladdin labels in the 1950s. His band traveled with such stars as the Flamingos and Della Reese, and on one tour in 1960 he ended up in Peoria. “I came here to play two weeks and I’ve been here ever since,” he says. Longstanding gigs at local nightclubs, restaurants and piano bars have kept Binkley occupied for the past 46 years. The MC at some of his early Peoria shows was comedian Richard Pryor, and Pryor later called his old friend Binkley to Hollywood to perform in the movie Jo Jo Dancer, Your Life Is Calling. Preston Jackson, noted Peoria visual artist who is also a veteran guitarist, is another longtime Binkley associate. While some of Binkley’s 1950s recordings have been reissued on CDs overseas, none of his songs were big hits in the ‘50s and he says he rarely, if ever, even performed them on his shows. But he has been relearning them and honing his blues repertoire to play at the Millenium Park concert, which he says will be his first performance in Chicago since he moved to Peoria.

Singer-guitarist David Dee is best known for his 1980s blues hit Going Fishing, which took him from the local clubs of East St. Louis to the national soul-blues “chitlin circuit.” Dee, a native of Greenwood, Mississippi, moved to East St. Louis as a youngster and except for a stay in Chicago and a stint in the army, he has lived there ever since. Dee started as a spiritual singer and later formed his own group, David and the Temptations. A booking agent in Springfield, Illinois, suggested the name David Dee to him (his real name is David Eckford), and that’s the name he has used on all of his recordings – five albums so far, along with several singles. Dee has been called the St. Louis area’s premier contemporary bluesman. His other moniker is ‘Workin’ Man,” and a hardworking man indeed he is. Recently retired from a construction job, he now works for the East St. Louis Police Department and still performs regularly with his Hot Tracks band, augmented on special occasions by his three daughters who also sing.

Koko Taylor has lived in the Chicago area ever since took the bus from Memphis to the Windy City in 1953. She recorded her biggest hit, Wang Dang Doodle, for Chess Records in 1965, and for the past 31 years she has been with Alligator Records. Koko has won more Blues Music or Handy awards than any other blues artist, male or female. Koko’s life has been a success story of the kind that’s rare in the blues, but she has always wanted to reach out and share, not just with her audiences but with other blues artists. To provide help for the blues community, Koko and her daughter Cookie started the Koko Taylor Celebrity Aid Foundation. Cookie, an Illinois native, born in Chicago, has contributed years of work to Koko’s career and to the foundation, which assists musicians with legal and medical issues.

As a prelude to the Thursday night show, two additional blues acts, Bobbye’ King and The Lady’s Choice Band from Peoria and one-man band Nuwki Nu from Seneca, will open the Sept. 7 blues festivities at the Prairie State Stage (Wrigley Square) from 11:30 a.m. to 1:00 p.m.

11:30 am. Nuwki Nu
12:15 p.m. Bobbye’ King & The Lady’s Choice Band

Bobbye' King & The Lady's Choice Band have emerged as one of central Illinois' leading blues acts over the past decade. Bobbye' King was born in Birmingham, Alabama, but her family moved to Peoria when she was a baby. She always wanted to be a singer, and leading her own band has been a dream come true for the husky-voiced vocalist who is well regarded both for her performances and her gracious personality. Although she has sung at Blue Chicago and played at various festivals in the Midwest and South, the Great Performers of Illinois show marks her first major Chicago festival appearance.

Nuwki Nu is a former resident of Chicago and Detroit now living in Seneca, Illinois, and performing as a one-man band. He represents a generation of African American culture in which, as he says, "I was programmed not to play the blues." But the Georgia-born keyboard and harmonica player has followed his own instincts to renew what he views as an honored and still relevant artistic and cultural form. Among his three self-produced CDs is Nuwki Nu ABC Blues Jam, a musical learning tool designed to teach a baby the ABC's. Nuwki Nu's performing territory of late has been the area north and west of Chicago. The Great Performers of Illinois concert is his first-ever appearance at a major festival.

Curator of the Illinois Blues concerts is blues historian/producer Jim O'Neal, a founding editor of Living Blues: The Magazine of the African-American Blues Tradition. Living Blues was founded in Chicago in 1970, when O'Neal was a journalism student at Northwestern University. Living Blues has always devoted extensive coverage to the traditional bases of blues such as Chicago, Mississippi and Memphis, but the magazine has also documented activity in many areas not generally known for blues. Plans are underway to expand the research undertaken to find blues performers for Great Performers of Illinois into a special issue of Living Blues devoted the various local African-American blues traditions of downstate and western Illinois. Blues performers from Carbondale, Champaign, East St. Louis, Springfield, Rockford, Galesburg, Bloomington, Cairo, Rock Island, and Peoria will be featured in the magazine and hopefully on future Great Performers of Illinois programs. Anyone with information on blues from these or other towns around Illinois is encouraged to contact O'Neal at bluesoterica@aol.com.
(Website: www.stackhouse-bluesoterica.blogspot.com.)

Among the many other acts booked for the Great Performers of Illinois concerts (including folk, rock, jazz, hip hop, and square dance performers), the following should also be of interest to many blues aficionados:

Thursday, Sept. 7, 4:30 p.m., Brownie Stage (Base of BP Bridge): Ellis Kell & Detroit Larry Davison (Quad Cities)
Thursday, Sept. 7, 5:30 p.m., Brownie Stage (Base of BP Bridge): Ray Buckner (Champaign)
Saturday, Sept. 10, 3:00 p.m., White Tailed Deer Stage: Sharon Clark (Carbondale)

For a complete schedule, see http://egov.cityofchicago.org/webportal/COCWebPortal/COC_EDITORIAL/GPILschedule2.pdf.

Great Performers of Illinois is sponsored by the Illinois Arts Council, the City of Chicago Department of Cultural Affairs, the Illinois Bureau of Tourism, the Illinois Department of Economic Opportunity, and the Chicago Office of Tourism, with participation by local agencies throughout the state.

Great Performers of Illinois information is available at http://www.877chicago.com/ , http://www.enjoyilllinois.com/ , or by calling toll free 1.877.Chicago (1.877.244.2246). For further media inquiries, contact Elizabeth Walasin Lulla of the Chicago Office of Tourism at 312.742.2036 or ewalasin@cityofchicago.org.

For help in locating, researching and recommending blues artists in Illinois, thanks to:
Steve Truesdale and Judy Burgess of the Illinois Central Blues Club in Springfield, Dave Beardsley of STLBlues.net, the Central Illinois Jazz Society and PeoriaJazz.com, John May of B.B.’s Jazz, Blues & Soups in St. Louis, Bob Keiser of the River City Blues Society in Peoria, Brenda Haskins and Lou Dare in Kansas City, Mitch Haskins at Meridian High School in Pulaski County, Lois Clark in Bloomington, Evan Jones in Belleville, James Davis in Cairo, Delta Frank Black in Clinton, the legendary Snooky Pryor and his family from Ullin, Illinois, and a special thanks to Barry Dolins of the Chicago Blues Festival for helping us plan this event. Thanks also to all the folks at the Chicago Department of Cultural Affairs and Office of Tourism who have worked so hard to make all this happen, including Claire Sutton, Marisa Wallen, Dayna Calderon, Dylan Rice, and Jason Moy.
-- Jim O’Neal

New CD releases: Foree Wells & D.C. Bellamy

2006-07-31T01:50:00.000-07:00

STACKHOUSE RECORDING COMPANY
http://stackhouse-bluesoterica.blogspot.com
3516 Holmes Street
Kansas City, MO 64109
(816) 931-0383
Stackhouse232@aol.com

SEPTEMBER 2006 RELEASES (Street date Sept. 19)

SRC-1913: D.C. BELLAMY:
GIVE SOME BODY TO SOMEBODY

D.C. Bellamy’s influences range from the soulful music of his half-brother, Curtis Mayfield, to the basic blues beat of Jimmy Reed, from the humor of Bobby Rush to the tight blues ensemble work of the Muddy Waters band. Yet he sounds like none of those greats (except, on occasion, for Muddy, when he digs down deep for a roaring blues delivery) – D.C.’s music is refreshingly original, buoyed by a flair for catchy musical hooks, clever turns of phrase, sparkling guitar licks, and songs that make you pay attention to his keen insights into human nature.

Micajah Ryan, noted engineer whose credits include albums by Bob Dylan, Guns N’ Roses, John Prine, and Megadeth, among others, recorded D.C.’s new album at the audiophile facility Blue Heaven Studios in Salina, Kansas, and was so inspired by the originality of D.C.’s blues that he also wanted to write the liner notes. As he wrote: “I began to realize that this was no ordinary blues artist. Sure, the form was the same, the keys were familiar and the songs were instantly recognizable as the blues, but there was something different happening here. . . . Not massively different, just different enough to make it fascinating. . . . It is fresh at a time when I did not think that the blues genre could be fresh again.”
(UPC 049998 191321)

SRC-1912: FOREE “GUITAR” WELLS & THE WALNUT STREET BLUES BAND:
IT’S A NEW DAY, BROTHER!

Foree Wells traveled from Kentucky to Memphis to jam on Beale Street and play guitar on a Sun Records session with Rosco Gordon in the 1950s. Back home in Louisville, he emerged as the leading force on the local blues scene, mentoring a number of musicians including his three sons who worked with him in the Walnut Street Blues Band. Wells sported a guitar style influenced by Gatemouth Brown, B.B. King, Pee Wee Crayton, and Louisville’s Eggie Porter (guitarist on Hank Ballard and the Midnighters’ early sides).

Those influences are evident on It’s a New Day, Brother!, along with tracks that dip into vintage Santana and Allman Brothers territory. This, Wells’ only album, was first scheduled for release on the Rooster Blues label but when Foree died in 1997 and the label changed hands, the CD remained unissued – until now.

(A release was announced in 2001, and it was listed for sale by a number of dealers, but no CDs were ever manufactured by the new Rooster Blues ownership. At last, Stackhouse Recording Company is proud to release this historic CD, by arrangement with Rooster Blues and with the sponsorship of an organization that Foree Wells helped to found in Louisville, the Kentuckiana Blues Society.)

The album's spark and originality stand as a tribute to an outstanding artist who would have been internationally recognized as a major blues talent had he lived to celebrate its release.

(UPC 049998 191222)

FEBRUARY 2006 RELEASES

SRC-1910: KEEP IT TO YOURSELF: ARKANSAS BLUES, Volume 1 – Solo Performances (Various Artists)

Selected as an Outstanding Folk Recording by the Library of Congress’ American Folklife Center, Keep It To Yourself follows in the tradition of field recordings conducted by Library of Congress folklorists of decades past. Producer Louis Guida scoured the fields, hills, front porches, prisons, and juke joints of Arkansas to record these blues performances in 1976. Most tracks are downhome guitar blues, most notably by the crippled Pine Bluff singer who plays slide guitar with a butter knife, CeDell Davis (well known in blues circles for his subsequent Fat Possum recordings). Eight other performers are featured, including Cummins Prison inmate Reola Jackson, whose a cappella moan was recorded while a prison door slams in the background. (Previously released in the U.S. on LP only, Rooster Blues R7605).
(UPC 825346 558325)

SRC-1911: MEMPHIS GOLD: PRODIGAL SON

Memphis Gold calls his music “Sanctified Beale Street Urban Gutbucket Blues,” and with the national release of Prodigal Son he stakes out his claim to this special realm of blues turf, which extends from his Memphis birthplace to his present home in the Washington, D.C. area. Memphis Gold (singer-guitarist-harmonica player Chester “K.D.” Chandler) performed on Beale Street as a child and learned from the legendary blues and gospel guitarist Reverend Robert Wilkins, who recorded the seminal version of Prodigal Son that the Rolling Stones once copied. Memphis Gold is joined on this CD of fresh, soulful and original blues by D.C. area musicians such as harp players Phil Wiggins and Charlie Sayles and Nighthawks drummer Pete Ragusa. Memphis Gold first released this CD on his own, to enthusiastic reviews and airplay, but with no distribution, so Stackhouse Records and City Hall are proud to bring this hidden treasure into the light.
(UPC 049998 191123)

Distributed in North America by:

CITY HALL RECORDS
101 Glacier Point, Suite C
San Rafael, CA 94901
PHONE: (415) 457-9080 FAX: (415) 457-0780 www.cityhallrecords.com

Mail orders: $12.98 per CD. Postage & handling for one CD: $3.75 (US), $7.50 (Canada, Europe & South America), $10.00 (Asia, Africa & Australia), plus $1.00 for each additional CD.

Send orders to: STACKHOUSE, 3516 Holmes St., Kansas City, MO 64109 with a check or money order in U.S. dollars, or send payment over the Internet by PayPal to e-mail Stackhouse232@aol.com.

CD: Memphis Gold: Prodigal Son - SRC-1911

2006-07-30T23:58:00.000-07:00

MEMPHIS GOLD
Prodigal Son
Stackhouse Recording Company SRC-1911
(UPC 049998 191123)

Memphis Gold calls his music “Sanctified Beale Street Urban Gutbucket Blues,” and with the national release of Prodigal Son he stakes out his claim to this special realm of blues turf, which extends from his Memphis birthplace to his present home in the Washington, D.C. area. Memphis Gold (singer-guitarist-harmonica player Chester “K.D.” Chandler) performed on Beale Street as a child and learned from the legendary blues and gospel guitarist Reverend Robert Wilkins, who recorded the seminal version of Prodigal Son that the Rolling Stones once copied. Memphis Gold is joined on this CD of fresh, soulful and original blues by D.C. area musicians such as harp players Phil Wiggins and Charlie Sayles and Nighthawks drummer Pete Ragusa. Memphis Gold first released this CD on his own, to enthusiastic reviews and airplay, but with no distribution, so Stackhouse Recording Co. and City Hall Distributors are proud to bring this hidden treasure into the light.

Tracks: Come With Me, Don’t Let Her Ride, Crabcakes, Big Leg Woman, Prodigal Son, Chicken It, 3’s Tonic, Preacher Blues, Test Drive That Woman, Serves Me Rightm Melt Down Baby, Bedroom Mumba.

$12.98 plus $3.75 postage & handling (US), $7.50 Canada, UK, Europe & South America; $10.00 Asia & Australia, from Stackhouse Recording Co., 3516 Holmes St., Kansas City, MO 64109. E-mail for orders and PayPal payment: Stackhouse232@aol.com.

See our blog site for more blues, R&B, gospel, jazz and rock CDs and records: http://stackhouse-bluesoterica.blogspot.com/

To contact MEMPHIS GOLD for concerts, tours, and club dates, call (703) 243-6171, (703) 798-7249, or (703) 862-2084, or e-mail: mphsgold2000@yahoo.com.

Stackhouse CDs are distributed in North America by:

CITY HALL RECORDS
101 Glacier Point, Suite C
San Rafael, CA 94901
PHONE: (415) 457-9080 FAX: (415) 457-0780 www.cityhallrecords.com

Stackhouse Recording Company
c/o BLUESOTERICA ARCHIVES & PRODUCTIONS
Jim O'Neal
3516 Holmes Street
Kansas City MO 64109
(816) 931-0383
E-mail: Stackhouse232@aol.com
http://stackhouse-bluesoterica.blogspot.com

CD: Arkansas Blues Vol. 1 - Stackhouse SRC-1910

2006-07-30T23:13:00.000-07:00

KEEP IT TO YOURSELF: ARKANSAS BLUES VOLUME 1 -- SOLO PERFORMANCES
SRC-1910

Stackhouse Recording Company's first release is Keep It To Yourself: Arkansas Blues Vol. 1 -- Solo Performances, a collection of solo blues guitar, harmonica and piano performances recorded in Arkansas in 1976 featuring CeDell Davis, Willie Wright, W.C. Clay, Willie Moore, Trenton Cooper, Nelson Carson, Mack White, Reola Jackson, and Herbert Wilson.

The cover depicts a handpainted illustration of Sonny Boy Williamson from one of the old King Biscuit Flour/Sonny Boy Corn Meal trucks in Helena, Arkansas, that used to deliver to the grocery stores in the Delta; it appears on this CD cover in the correct color for the first time (the pink color on the original LP, Rooster Blues R7605, was a printer error).

The opening and closing tracks on the CD are versions of the King Biscuit Time radio show opening and closing themes performed by W.C. Clay, who was the guitarist on King Biscuit Time in the early 1950s. CeDell Davis has four tracks on the CD and will be featured on an upcoming solo CD of vintage recordings. Liner notes are by producer Louis Guida and Jim O'Neal.

This album was "Selected as an Outstanding Folk Recording" on a list released by the American Folklife Center at The Library of Congress.

Track Listing
1. King Biscuit Time (Opening Theme) - W.C. Clay
2. Keep It to Yourself - W.C. Clay
3. Someday Baby Blues - W.C. Clay
4. Standing at My Window - W.C. Clay
5. I'll Take Care of You - Reola Jackson
6. Roaring Twenties Rag - Nelson Carson
7. Hill Country Blues - Nelson Carson
8. Old Time March - Mack White
9. John Henry - Willie Wright
10. Standing Around Crying - Willie Wright
11. Willie's Blues - Willie Moore
12. Hello Central - Herbert Wilson
13. That's Boogie! - Trenton Cooper
14. Educator's Blues - Trenton Cooper
15. Fish Tail Theme - Trenton Cooper
16. Let Me Play with Your Poodle - CeDell Davis
17. Lonely Nights - CeDell Davis
18. Big G Boogie - CeDell Davis
19. How Much More - CeDell Davis
20. Natchez Burning - Willie Wright
21. What'd I Say - W.C. Clay
22. King Biscuit Time (Closing Theme) - W.C. Clay

Mail order price: $12.98 plus $3.75 postage & handling (USA). Foreign postage: $7.50 (Canada, Europe & South America); $10.00 (Asia & Australia). We accept PayPal, cash, checks, or money orders. Send orders to Stackhouse, 3516 Holmes St., Kansas City MO 64109. PayPal e-mail: stackhouse232@aol.com.

Vol. 2 of the Arkansas Blues series will feature bands recorded in 1976, including Calvin Leavy, Duke Bradley, and Harmonica Slim. These albums are produced in conjunction with the Delta Cultural Center in Helena.

Stackhouse CDs are distributed in North America by:

CITY HALL RECORDS
101 Glacier Point, Suite C
San Rafael, CA 94901
PHONE: (415) 457-9080 FAX: (415) 457-0780 www.cityhallrecords.com

Stackhouse Recording Company
c/o BLUESOTERICA ARCHIVES & PRODUCTIONS
Jim O'Neal
3516 Holmes Street
Kansas City MO 64109
(816) 931-0383
E-mail: Stackhouse232@aol.com
http://stackhouse-bluesoterica.blogspot.com

http://www.amazon.com/gp/product/images/B000CSUM4Y/ref=dp_image_text_0/102-2441295-0844965?ie=UTF8&n=5174&s=music

Stackhouse Recording Company

2006-07-30T22:30:00.000-07:00

Stackhouse Recording Company

Photo: STACKHOUSE R.I.P.
The Stackhouse, former home of Stackhouse Delta Record Mart, Rooster Blues Records, and Stackhouse Recording Studio (232 Sunflower Avenue, Clarksdale, Mississippi)

Stackhouse Recording Company
c/o BLUESOTERICA ARCHIVES & PRODUCTIONS
Jim O'Neal
3516 Holmes Street
Kansas City MO 64109
(816) 931-0383
E-mail: Stackhouse232@aol.com

New CD Productions & Compilations

Until 2004, CDs produced by BluEsoterica Productions appeared only on the Rooster Blues label (which I co-owned until 1999). Production activities have slowed to a halt at Rooster Blues, but I have plenty of ideas for new albums and plenty of albums in the can that never got released. I had planned for a new label, Stackhouse Recording Company (SRC), to have a retail, mail order, distribution and promotion base in Clarksdale, Mississippi, at the Stackhouse store, which was the headquarters of Rooster Blues Records, Stackhouse Delta Record Mart, and Stackhouse Recording Studio when I lived in Clarksdale from 1988 to 1998 (when I moved to Kansas City).

The store had been open at times in more recent years but it sat inactive for too long and fell victim to the Delta weather (hot summer sun, downpours of rain, high humidity and even the occasional ice storm). The building needs a new roof at minimum and may need to be torn down and replaced altogether. (For all I know, it may be being demolished at this very moment.) I tried in vain to find investors or partners to help keep the business going in Clarksdale, but no one was willing to take the chance, neither the local blues entrepreneurs nor the influx of out-of-town investors and speculators who have been buying up property in downtown Clarksdale. It was with both reluctance and relief that I finally gave up on maintaining a Clarksdale base for the record business, and in October 2005 I sold the building – at a huge loss, compared to what my former partner Patty Johnson and I paid a local realtor for it in 1988 (boy, did they ever see us coming!).

In the meantime, the Stackhouse label did release its first CD, a reissue of the 1983 Rooster Blues LP Keep It To Yourself: Arkansas Blues Vol. 1 -- Solo Performances, in cooperation with the Delta Cultural Center in Helena, Arkansas, and producer Louis Guida. The CD bears the old Clarksdale address (wishful thinking), but I have actually operated the label out of my house in Kansas City (just as I originally did with Rooster Blues in Chicago). For more details on the CD, see the post on Arkansas Blues Vol. 1. See also the posts on the most recent Stackhouse CDs, Memphis Gold: Prodigal Son and D.C. Bellamy: Give Some Body to Somebody.

CDs are available by mail for $12.98 plus $3.75 postage & handling (USA). Foreign postage: $7.50 (Canada, Europe & South America), $10.00 (Asia & Australia). We accept PayPal, cash, checks, or money orders. (By the way, we also have a stock of old Rooster Blues CDs. See our mail order catalog.)

DISTRIBUTION
Stackhouse CDs are distributed in North America by:

CITY HALL RECORDS
101 Glacier Point, Suite C
San Rafael, CA 94901
PHONE: (415) 457-9080 FAX: (415) 457-0780 www.cityhallrecords.com

Other CDs in the works include:

* Vol. 2 of the Arkansas Blues series, featuring bands recorded in 1976, including Calvin Leavy, Duke Bradley, and Harmonica Slim.

* Several never-released albums recorded at the Stackhouse in Clarksdale (including Monroe Jones, T-Model Ford & Willie Foster, Lonnie Pitchford, and the New Africa String Band).

* Various albums from the Rooster Blues catalog which I once owned and now am licensing back. By agreement with Rob Johnson, who nows owns Rooster Blues, Stackhouse has acquired the rights to release the following CDs which were originally scheduled to be issued on Rooster Blues:

• Foree "Guitar" Wells
• Lane Wilkins
• Willie Foster
• Eddie Rasberry
• Clarksdale, Mississippi: Coahoma The Blues [previously released only on cassette]

Also to come are historical albums from the archives of BluEsoterica Productions, including:

* Gabriel, the Wild Angel of the Blues (1950s-60s)
* St. Louis blues and R&B compilations -- various artists, produced by Gabriel (1950s-60s)
* And possibly some CDs of previously unissued Library of Congress material from Mississippi.

The Delta Cultural Center, the Kentuckiana Blues Society, db promotions, and individual supporters such as former Rooster Blues employee Billy Cochrane (www.vintageknives.com) have helped to sponsor or co-produce several recent and upcoming CDs, and I’m interested in hearing from anyone who’d like to sponsor other CDs or finance new recordings. As noted on the Stackhouse & BluEsoterica Welcome page:

I have a knack for co-founding struggling blues entities, including Living Blues Magazine, Rooster Blues Records, and the Sunflower River Blues Association. I no longer own Rooster Blues, and most folks would say this is a great time NOT to be in the blues record business. On the other hand, with CD sales and work for blues artists in general at a low ebb, the need has never been greater. So, I can't help but take the plunge again with a new record label, Stackhouse Recording Company. There's no money behind this venture, as usual, so new CDs can only be released after enough money has come in from sales of the previous ones. I'll take on an investor or partner if someone wants to take a chance on a good cause, but you can also help out if you're just here to buy records. Visit our online catalog and check out the books, magazines, CDs, LPs, 45s, 78s, and musical memorabilia. I buy and sell soul, R&B, funk, jazz, country, folk, world/ethnic, gospel, soundtrack, and rock 'n' roll records as well as blues.

Inquiries from distributors, retailers, collectors, and potential investors or co-producers are welcome.

Copyright © 2006 BluEsoterica.com. All Rights Reserved

Recommended blues events & websites (2005-2006)

2006-07-29T23:53:00.000-07:00

This page, copied from from the www.bluesoterica.com website, lists only the recommended blues events of 2005 along with a few websites to check out. It became a problem to keep the BluEsoterica website updated, which was a primary reason I've switched to blogging. I would still recommend the same festivals for the remainder of 2006. Ed Cabbell phoned to say he has already staged his 34th annual John Henry festival in West Virginia (last weekend) -- still one of most grassroots and least-publicized festivals anywhere, and the second oldest surviving blues festival in the country (beaten to the punch by a matter of months by Tom Mazzolini's San Francisco Blues Festival in 1973).

A new event to add to the 2006 calendar is the GREAT PERFORMERS OF ILLINOIS festival at Millenium Park in Chicago, an event designed to showcase the diversity of talent and culture in the state, especially from outside the Chicago metropolitan area. -- Blues will be featured on Thursday, Sept. 7. I'll post a press release about the event soon.
-- Jim O'Neal, July 30, 2006
---------------------

Recommended
Events, Bookings, Reviews & Notices

FESTIVALS
Feb. 17-19, 2005
Oxford, Mississippi
BLUES TODAY Symposium (www.livingblues.com) sponsored by Living Blues Magazine (800-390-3527) and the Center for the Study of Southern Culture (662-816-2055) at the University of Mississippi. This is a nice gathering of blues aficionados, scholars, writers and musicians, more down-to-earth than academic. Blues tours in Greenwood and Clarksdale are offered on the days before and after the conference.

April 22-May, 1, 2005
New Orleans
NEW ORLEANS JAZZ & HERITAGE FESTIVAL (www.nojazzfest.com , 504-522-4786). This festival is huge and spread out, with music at tents and stages all over - blues, Cajun, zydeco, jazz, New Orleans R&B, rock, gospel, and more. Some say it's grown too big, but there's plenty of fine music and room to move about the grounds.

April 26-27, 2005
Rock N' Bowl, New Orleans
PONDEROSA STOMP (www.ponderosastomp.com, 504-723-0153) "Celebrating the Unsung Heroes of the Blues, Soul, Rockabilly, Swamp Pop and New Orleans R&B." This amounts to a party thrown in a bowling alley by the estimable "Dr. Ike" for his friends and fellow enthusiasts, bringing together a dream lineup of established legends and guys who might be "famous" for the one obscure record they made in 1952.

June 24-26, 2005
Kansas City, Kansas
KANSAS CITY KANSAS STREET BLUES FESTIVAL (www.kckstreetbluesfest.com, 913-328-0710) A free grassroots community blues event in the heart of the African-American neighborhood, featuring many of the Kansas City area's finest blues performers, as well as special guest headliners. On Third Street between Garfield & Parallel, in front of KCK's favorite blues joint, the Club Paradox.

June 9-12, 2005
Grant Park, Chicago
CHICAGO BLUES FESTIVAL (City of Chicago Web Site , 312-744-3315) The biggest and always one of the best blues festivals, with a variety of national and local blues talent, panels, booths, ethnic food, etc. And it's free! Enjoy the smaller crowds at the Juke Joint and Front Porch stages if the Main Stage masses turn you off. Afterwards, you can find lots of opportunities to catch live music after the fest every night at clubs around town.

July 29-31, 2005
Big Boulder Resort, Lake Harmony, Pennsylvania
POCONOS BLUES SUMMER MUSIC FESTIVAL (www.big2resorts.com/summer-blues-festival.asp, 800-468-2442): In a resort in the Pocono Mountains, an eclectic assortment of blues talent from around the country gathers every year. This festival always gets positive reviews for its choices in music and for its setting and atmosphere. I haven't made it to this one yet but some day . . .

July through September
Bay Area, California
The BAY AREA BLUES SOCIETY has been presenting annual summer festivals in several cities including Oakland, Hayward-Russell City, Siskiyou, and Vallejo, in recent years. This series looks like just the kind of blues festivals we love, loaded with local acts few people outside the area have ever heard of and not headlined by blonde whiz kids or rock bands. For more details, see website http://bayareabluessociety.net, or contact Ronnie Stewart, BABS, P.O. Box 5471, Mill Valley, CA 94942-5471 (510-836-2227).

August 12-13, 2005
Clarksdale, Mississippi
SUNFLOWER RIVER BLUES FESTIVAL (www.sunflowerfest.org): A prime showcase for blues and roots music from the Delta since 1988, featuring an acoustic stage and a main stage next to the Delta Blues Museum. Admission is free, and there's juke joint music after the fest. The Delta Blues Museum (www.deltabluesmuseum.com, 662-627-6820) also sponsors education programs leading up to the festival. The fest is organized by a volunteer group, the Sunflower River Blues Association, which has no office, but you can get festival details from the Delta Blues Museum, or Roger Stolle or Joni Mayberry at Cat Head (662-624-5992), or media contact Panny Mayfield (panny@gci.net).

August 17, 2005
Morgantown, West Virginia
JOHN HENRY FESTIVAL, Hazel Ruby-McQuain Riverfront Park: This is a hard one to find out about – director Ed Cabbell doesn’t advertise, doesn’t do internet, and the festival has no website – but ever since 1973 this event has celebrated the heritage of legendary folk hero John Henry by presenting the black music of Appalachia, both secular and sacred, along with an eclectic mix of other American folk forms and world music. The full name of the festival is actually the John Henry Memorial Authentic Blues and Gospel Jubilee. Sparky Rucker is a regular here. Events are held in Morgantown over a period of days; this year it begins August 17 with a concert in an amphitheater on the Monongahela River. Contact Ed Cabbell, P.O. Box 1172, Morgantown, WV 26507 (304-292-8016). For general info, the local Board of Park and Recreation Commissioners (304-296-8356) does have e-mail if you’re phone- or snail mail-challenged: info@boparc.org.

Sept. 17, 2005
Greenville, Mississippi
The MISSISSIPPI DELTA BLUES FESTIVAL (www.deltablues.org/gen-info.html), the oldest blues festival in Mississippi and the largest one anywhere sponsored by an African-American organization, began presenting blues from the juke joints, the chittlin' circuit, and the national blues scene in 1978 amidst the cottonfields south of Greenville. The event was almost cancelled in 2004, however, until other local sponsors stepped in to offer a substitute festival in downtown Greenville. To find out what's going on this year, contact M.A.C.E. at (888) 81-BLUES or (662) 335-3523, or check with the Greenville Greenville/Washington County Convention and Visitors Bureau (www.thedelta.org, 662-334-2711 or 800-467-3582).

Sept. 24-25
Great Meadow, Fort Mason, San Francisco
SAN FRANCISCO BLUES FESTIVAL (www.sfblues.com, (415) 979-5588 The oldest surviving blues festival in the world, presented every year since 1973, featuring national and Bay Area acts. The fest is large and it isn't free or privately funded, so in order to sell tickets, some mainstream blues or blues-based acts are booked, but it's one of the better festivals of this kind. (Too often, committees who book other blues festivals end up with a "lowest common denominator" roster loaded with rock bands or big names from other fields with not much of a blues connection.) Many great national and Bay Area bluesmen and women have appeared here, and there is a free kickoff concert the day before the festival.

Oct. 6-8, 2005
Helena, Arkansas
KING BISCUIT BLUES FESTIVAL (www.kingbiscuitfest.org, 870-338-8798): A favorite event of the blues festival crowd, King Biscuit offers multiple stages and always books talent worth seeing. Like the Sunflower festival across the river in Clarksdale, it draws a mix of fans who travel from afar to "the Biscuit" every year and a large local black audience. The free festivities are in downtown Helena, where the King Biscuit phenomenon began as a radio show in 1941 - still broadcast today on KFFA radio (1360 AM), hosted by Sonny Payne at the Delta Cultural Center.

Oct. 14-15, 2005
Blue Heaven Studios, Salina, Kansas
BLUES MASTERS AT THE CROSSROADS (www.blueheavenstudios.com, 800-716-3553, 785-825-8609) This intimate festival, in the converted First Christian Church, 201 South 8th Street, in Salina, gives Blue Heaven Studios owner Chad Kassem a chance to bring little-known blues acts from the bayous, backwoods, and big city ghettos of America to the middle of Kansas. Artists are typically overwhelmed by the warm reception they receive. The atmosphere is more like what might be expected from a respectful European or Japanese audience.

Recommended Websites

www.bluesworld.com- BluesWorld.com has the best selection of information and links we've found. Check out all the bibliographical and discographical links, essays, interviews, histories, record labels, and lots more. Bluesworld's Joel Slotnikoff also holds regular auctions of rare 78s.

For fans who want to know more about one of the little-recognized esoteric genres of blues, the Chicago jump/jazz/lounge blues of the '40s and '50s, there is an excellent, well-researched site from the Red Saunders Research Foundation at http://hubcap.clemson.edu/~campber/rsrf.html.

KOKO TAYLOR CELEBRITY AID FOUNDATION: celebrityaidfoundation@hotmail.com, PO Box 2545, Country Hills, IL 60478, phone 708-612-1978 or 206-6554, phone/fax 708-206-9900. Koko has tried her hand at two blues clubs and a banquet hall in recent years but none of the business ventures succeeded; now she and her family have started a foundation to provide social services, counseling (on topics such as insurance, health care, and alcohol/drug problems), and music business education to musicians and their families. Among the speakers on the foundation's schedule has been former soul singer Joe Simon, now Bishop Joe Simon. Koko is addressing some vital issues and deserves thanks and support for her efforts.

MAIL ORDER RECORD SALES and AUCTIONS: Be Sure to visit our Online Catalogue. More records are also listed online on eBay (Seller ID: Stackhouse232); at www.jimoneal.gemm.com; and under seller name BLUESOTERICA at www.jimoneal.musicstack.com.

We buy and sell soul, R&B, funk, jazz, gospel, country, world/ethnic, novelty, and rock 'n' roll records as well as blues. We also appraise music collections.

Copyright © 2006 BluEsoterica.com. All Rights Reserved.

BluEsoterica Research Forum (June 2002-April 2006)

2006-07-29T23:33:00.000-07:00

[This page contains all the material posted on the BluEsoterica Research Forum at www.bluesoterica.com from June 2002 to April 2006. New postings will appear on this blog.]

THE BLUESOTERICA RESEARCH FORUM . . .

. . an off-the-wall site for immortalizing the obscure details of blues history, carrying on the legacy of the S/DDRMMOC&RBN (Stackhouse/Delta Record Mart Mail Order Catalogue & Rooster Blues Newsletter, published in Clarksdale, Mississippi, 1989-94), my "BluEsoterica" column in Living Blues magazine (1994-96, revived in 2002 in conjunction with this website), and Mike Rowe's Numerology Guide in Blues Unlimited magazine (1973-78, supposedly being resuscitated exclusively for this website).

I've invited Mike, Paul Garon, Dick Shurman, Bob Eagle, and other co-conspirators to bring up new issues designed for sufferers of blues dementia, plus reprinting inglorious scribblings of the past. To start with, we offer the beginning of BluEsoterica: the first column, from Living Blues #114, March/April 1994, and a new research proposal from Paul Garon. This and future reprints may include bits and pieces that didn't fit onto the BluEsoterica pages in LB, along with revised and updated information. Readers' questions, comments, theories, and contributions are welcome.

We will post some submissions for public discussion, but we also welcome private inquiries from researchers who may not want their material made public.

The column started out with a burst of queries in 2002, but little or no response to answer those queries. So the queries are still here on the website, if anyone out there has anything to contribute. Many other questions sent in by researchers have been answered privately.

BluEsoterica (Living Blues #114, March/April 1994)

Sometimes it strikes me that Living Blues is so serious about its mission, and its readers so worked up defending or attacking editorial policies, reviewers' opinions, or each other, that we overlook the minutely detailed, legendarily obscure, or insanely esoteric questions about the music we love.

You know, the stuff that most British blues magazines, European discographers, and Japanese collectors seem to dote on. Who played guitar on the 1924 Edna Johnson session for Gennett? Did Patton spell his name Charlie or Charley? Did he really wear his bowtie at an angle to cover the scar on his neck? And where was who when that Clarksdale mill burned down (in Patton's Moon Going Down)? Which mill was it (I've already asked the Clarksdale Fire Department!)? Why do blues artists give so many different birthdates for themselves in different interviews? Who was Monroe Moe Jackson? Was he related to Monroe Guy Jackson? Why did they take him out of the revised edition of Blues Records 1943-1970? Into how many thousand fragments did that tape of the unissued Little Walter alternate take explode when Mike Rowe and I were trying to operate the tape machine in the old Chess Records vault? Whatever happened to those pieces of tape? And shouldn't the term be "alternative take," not "alternate take"? What planet was Homesick James born on? Who stole the Robert Johnson plaque from the monument at Mt. Zion? Why doesn't Highway 61 run from Chicago to the Gulf of Mexico like the song says it does? How many Guitar Slims are there? How many Luther Johnsons? Willie Browns? Who had bigger feet, Howlin' Wolf or Sonny Boy? Whatever happened to Willie Steel? Casey Bill Weldon? Louise Johnson? Leecan & Cooksey? Shy Guy Douglas? Frankie "Half-Pint" Jaxon? How do I "dust my broom"? What was the first 10-inch blues LP? What was the last? Who misidentified those photos of Bob Koester's in LB 112?

It is into such matters that this column will foolishly delve. Guest columnists with mysteries to investigate, minutiae to propose, or absurdities to ponder are invited to contribute.

"MANUWAT BLUES" & "JUNIAN, A JAP'S GIRL CHRISTMAS FOR HIS SANTA CLAUS" [sic]

The largest and most intriguing extant body of still-unissued prewar blues recordings must be those in the Library of Congress' Archive of Folk Culture (formerly known as the Archive of Folk Song). I'd always wondered about some of the curious titles listed in the prewar discography, Blues & Gospel Records 1902-1943, by Dixon & Godrich, and finally had a chance to hear some of them on a recent visit to the library in Washington, D.C. Two days of listening convinced me it would take months to hear it all, but I also came away convinced that many of the titles and artists' names have been listed erroneously for years, ever since (or even before) the early editions of Dixon & Godrich in the 1960s. I looked forward to discovering what or who a "Manuwat" was, for instance, based on the entry of Manuwat Blues by singer-harmonica player Turner Junior Johnson, recorded in Clarksdale in 1942, only to find that a previous researcher (whose handwriting I recognized as that of Trix Records' Pete Lowry) had corrected the catalogue card to read Minglewood Blues. Johnson's song is based on the 1928 Cannon's Jug Stompers record; in neither version is the word "Minglewood" sung, but Johnson does introduce the song by that name.

All right, then, next question: what or where was Minglewood? In Bengt Olsson’s 1970 book Memphis Blues, West Tennessee resident David Rice remembered: “Minglewood is a sawmill place in Ashport, west of Ripley. It was torn down 15 or 20 years ago.” John “Memphis Piano Red” Williams added, “Minglewood is a box factory.” The name, however, seems to have been mangled, according to Paul Garon: A photo from the University of Louisville Photographic Archives published in Garon’s Blues and the Poetic Spirit (1975) bears the caption: “Workers at the Mengel Box Company, Louisville, Kentucky, 1920. The Mengel Box Co. also owned the town of Mengelwood, Tennessee, on the outskirts of Memphis. The town in mentioned in many blues by Memphis singers.”

In the case of Manuwat Blues, and several others, whoever first entered the title for the Library of Congress apparently couldn't decipher the words; another 1942 Clarksdale vocal/harmonica side by Jesse James Jefferson (Preacher Thomas), listed as She's A Big Sturdy Woman, turned out to be She's A Biscuit Turnin' Woman. But it also seems that, in transmitting the information to Dixon & Godrich, errors were made either in copying the names and titles (presumably by hand, since the entire folk song catalogue is indexed only on typed cards, not on computer), or in deciphering the handwriting when the information was retyped by the discographers. The Mississippi artist listed in D&G as Will Storks is in fact Will Starks (or, in Alan Lomax's book The Land Where the Blues Began, Will Stark); a Clarksdale listing credited to "Marilyn Davis & Ollie Upchurch" is by a male vocalist, Maryland Davis Upchurch, accompanied by his son Ollie Upchurch.

The most puzzling title of all is listed in D&G as Junian, A Jap's Girl Christmas For His Santa Claus (sic), by Willie Blackwell, recorded by Alan Lomax in Arkansas in 1942. The song has been released on a Library of Congress album (Folk Music in America, Volume 10: Songs of War & History, LBC 10) as Junior, A Jap Girl's Christmas For Her Santa Claus. On Travelin' Man CD 07, Mississippi Blues: Library of Congress Recordings 1940-1942, it's called Junior's A Jap's Girl Christmas For His Santa Claus (sic). (The sics appear in the printed titles in Dixon & Godrich and on the CD.) In his book, Lomax refers to the song as A Jap Girl For Next Christmas From Santy Claus, and names the artist only as "Willie B." The L of C album notes even state: "Blackwell's song has one of the most bizarre titles in the Archive of Folk Song -- a title confirmed, incidentally, by his own announcement on the original disc." The opening verse, as transcribed in the booklet to LBC 10, is: "Goodbye I got to leave you, I got to fight for America, you and my boy/Goodbye babe, I hate to leave you, I got to fight for you, America and my boy/Well well, you can look for a Jap girl's Christmas, oooh lord baby, for Junior's Santa Claus." By these interpretations, I suppose Blackwell, who was preparing to serve his country in World War II, must have intended to capture a geisha girl and bring her home to Junior; or maybe the Japanese girl's Christmas was to be celebrated with Junior or Santa in some other way. Bizarre indeed.

However, upon relistening to the track, I've decided that we've been missing the all-too-gruesome point of Mr. Blackwell's tale of sending baby Junior a Japanese Christmas present. I'm sure the last line is: "Well, well, you can look for a Jap's SKULL Christmas, oooh Lord, baby, for Junior's Santa Claus." (The title, then, with missing words filled in, would be something like [I'm Going To Send] Junior A Jap's Skull [For] Christmas For His [Present from] Santa Claus.) (The term "Santa Claus" has been used elsewhere in blues and gospel to mean the Christmas gift, not jolly St. Nick himself -- a relevant line here would be Rev. A.W. Nix's "Death might be your Santa Claus" from Death Might Be Your Christmas Gift, recorded in 1927.) The bone-chilling connection is made clear by Blackwell's third verse: "Yes, when Junior starts to teethin', baby, please write to me/When Junior starts to teething, oh baby, please write to me/Well, well, I'm gonna send him a Jap's tooth so that he can cut his [with ease?]." On that deathly holiday note, we'll end this query with another one: Whatever happened to Willie Blackwell? He showed up in Memphis in the early '70s and may have gone back to Flint, Michigan, where he'd lived earlier. Did he ever aqcuire such grisly war souvenirs as he promised in his song? Anyone with knowledge of Willie Blackwell, please let us know.

POSTSCRIPT:

We’ve since learned the answers to a few questions posed above. (Some of the questions which were written for the column in 1994 were cut from the published version in LB, such as “What ever happened to . . .?” The late Shy Guy Douglas, one of those mystery artists, has since been documented on some Nashville blues/R&B reissues.) Monroe Moe Jackson, Highway 61, and the subject of blues artists’ birthdates were discussed in subsequent BluEsoterica columns. A new edition of the prewar discography, Blues and Gospel Records 1890-1943 by Robert M.W. Dixon, John Godrich, & Howard Rye, was published in 1997, making note of some of the Library of Congress errors listed above but still listing the Blackwell song as Junian, A Jap’s Girl Christmas For His Santa Claus [sic].

The Library of Congress, meanwhile, has made some progress in cataloguing its collections of field recordings, and has even posted an excellent site online at http://lcweb2.loc.gov/ammem/lohtml/lohome.html, entitled “Southern Mosaic: The John and Ruby Lomax 1939 Southern States Recording Trip.” Which will lead us to another listening misadventure . . . next time.

Name: Jim O’Neal
Email: bluesoterica@aol.com
Date: 6/24/2002

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WHERE DID THEY COME FROM?

"Who will help me make the bread," said the Little Red Hen. Well, we all know how that ended! Even so, I'm going to jump in a suggest a project even while declining the position of project leader.

Several people have echoed Paul Oliver's complaint that it's too bad we don't know where all the 78s in our collections came from. When the records first came out of the South (or "the field" as some would call it) and went into the first great collections: Klatzko, Whalen, McKune, et al. (not to mention Koester, Thompson, and others), no note was made of where the record was found. True. And even later generations tended to commit the same sin: the Perls generation did little to record the source of the records in their collections.

But is it really too late? Obviously it's too late to draw on the memories of Klatzko, McKune and Perls, but those of us who are still alive have access to two sources: our memories of where specific items came from (admittedly subject to well-known vagaries) and labels on the 78s we currently own. For example, I remember quite vividly all the details of certain finds, and I'm sure other collectors do, too. And many of the records in my possession have labels on them indicating where they were sold: Sam's Tailor Shop says one. Often we remember what cities we found our records in, and often the records themselves bear ownership labels that give the residence of the owner.

A compilation of this information would be an enormous job, just as it would be enormously valuable. For many collectors, going through their own records could be a pretty big job right there! But it's a project worth doing, before any more of us--and our memories--die.

Name: Paul Garon
Email: beasley@beasleybooks.com
Date: 6/23/2002

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THE DEVIL’S SON-IN-LAW RETURNS!

Paul Garon has also asked that we announce his forthcoming revised and expanded edition of his 1971 book The Devil’s Son-In-Law: The Story of Peetie Wheatstraw and His Songs. Paul would like to hear from anyone who has information on Peetie that did not appear in the original book.

For a copy of Paul and Beth Garon’s mail order catalogue of rare blues and jazz books and radical literature, please contact:

Beasley Books (ABAA)
1533 W. Oakdale
Chicago, IL 60657
(773) 472-4528
(773) 472-7857-FAX
beasley@beasleybooks.com

*****************

While we’re at it, I’ll add these names to the list – I’m looking for unpublished material, reminiscences from other artists or sources, photos, memorabilia, newspaper ads or clippings, or just comments or insights that researchers, collectors, and fans may want to share on the following artists:

TAMPA RED

>>listings from Jacksonville FL & Tampa FL city directories in the 1920s as Hudson Whittaker;

>>information, including death dates, on his parents, John and Elizabeth Woodbridge, who were killed in an auto accident; also any information on his grandparents;

>>death date of his wife and business manager, Frances;

>>any surviving relatives in Georgia or Florida.

BIG BILL BROONZY

IKE TURNER & THE KINGS OF RHYTHM

ROBERT NIGHTHAWK

CHARLEY PATTON

Name: Jim O'Neal
Email: bluesoterica@aol.com
Date: 7/13/2002

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August 16, 2002-February 2, 2005:
And a few more odds and ends:

* BRIGHT STAR FLOUR: This was one of at least three brands of flour that sponsored blues broadcasts on KFFA radio in Helena, Arkansas, in the 1940s. King Biscuit Flour and the King Biscuit Time show are well known in blues lore, and I found Mother's Best Flour in a Mississippi grocery store in the 1990s (although I don't know if it's still being marketed). But I've never seen a sack of Bright Star Flour -- does anyone have a flour sack, or a photo, or other information on Bright Star?

* TALAHO SYRUP: Another radio sponsor of a Sonny Boy Williamson show, in Mississippi. (Could be spelled TALLY HO or something similar.) Are there any bottles, ads or photos of this product out there?

* BEN HARPER: Just curious -- there was a blues singer named Ben Harper who recorded in Los Angeles in the 1960s; is the current recording artist Ben Harper any relation?

* MAGIC SAM: Dick Shurman, who wrote the liner notes for a new Delmark compilation of Magic Sam sides, asks: Why wasn't Sam on Shakey Jake's Bluesville LP sessions? Legal reasons? (Sam and Jake regularly worked together in Chicago at the time.)

* BOBBY “GUITAR” BENNETT: What ever happened to BOBBY “GUITAR” BENNETT, who made several blues and soul 45s in the ‘60s and ‘70s, including the title track of the reissue compilation When Girls Do It? For the past 30 years I have been asking sources around Philadelphia, where Bennett was reportedly based, but no one has been able to tell us anything yet.

* CLARENCE ASHE: Another one I’ve been curious about for years, Clarence Ashe specialized in monologues of tragicomic blues situations, one of which found him employed giving baths to dogs! In another, he sings “My horse went blind and my mule went lame.” He recorded for Zell Sanders’ J&S label in New York, but I have a copy of one early J&S 45 that has a Montgomery, Alabama address. (Some J&S sides were also released on Chess and ABC-Paramount). Percy Welch, the Macon, Georgia bandleader who gave Little Richard his first job, has co-composer credit on one of Ashe’s records. Does anyone know more about Clarence Ashe?

* DIXIE BLUES BOYS: This two-harmonica blues group has long been a mystery among collectors. The two sides of their 1955 single for Modern’s Flair subsidiary, along with some unreleased material, are on the Modern Downhome Blues Sessions Volume 3 CD. Their identities were finally confirmed when Ace Records’ John Broven found the original contract they had signed with Modern, revealing the names of four members: Charles S. Johnson, Ozie Saxton, Dan Winston, and Clarence Wilkins. (A fifth musician was also present on the session: the lineup included two harps, guitar, upright bass, and drums. The band may have traveled from the South or Midwest to Los Angeles, and at least some of them stayed there. Guitarist Stormy Herman remembered Saxton and “Leonard” as a harmonica team in L.A. in the mid-’50s, and said Saxton played on his Dootone record.) Further information on the group is still sketchy. They have flown so far under the blues radar that they may have been an itinerant band, traveling from town to town, setting up on the streets or finding jobs at clubs and restaurants. Census and death records reveal an Ozie or O.Z. Saxton who born in Arkansas on Sept. 28, 1905, lived in Leflore County, Mississippi, in 1930, had a Social Security card issued in Missouri, and died at Vernon Convalescent Hospital in Los Angeles on Oct. 28, 1983 – his death certificate listed his occupation as “musician.” One Dan Winston was born in Louisiana on May 25, 1913, with a Social Security number issued in Louisiana; he died in L. A. on Oct. 8, 1979. Suggested points of origin or later bases of operations for the group include Monroe, Louisiana, Itta Bena, Mississippi, Helena, Arkansas, St. Louis, and Kansas City. Thanks to Eric LeBlanc and Bob Eagle for census and death records research. Any information on these folks would be appreciated.

* PINE TOP SLIM, LEROY SIMPSON, ARKANSAS JOHNNY TODD, BIG BILL DOTSON, and BIG CHARLEY BRADIX are among the artists who will appear on the Modern Downhome Blues Sessions Volume 4 anthology. Little information has turned up on these artists so far. Pine Top Slim was reportedly discovered on the streets of Atlanta by producer Joe Bihari; Billboard magazine reported in March 1952 that Dotson was recommended to Modern by DJ Johnny Martin of WLOU in Louisville, Kentucky; Bradix (1911-1981) was a Dallas, Texas pianist who had 78s on Blue Bonnet, Colonial, and Aristocrat; and Leroy Simpson and Arkansas Johnny Todd were names made up by reissue compilers Frank Scott and Bruce Bromberg back in 1969 when they found unidentified acetates in the Modern vaults. The Simpson and Todd tracks were issued on the Kent LP Blues From the Deep South; the Biharis didn’t want them released simply as “Unidentified Artists,” so Frank and Bruce devised bluesy-sounding names for the phantoms. If you have any idea who these artists really are, or any info about Pine Top Slim, Charlie Bradix, or Big Bill Dotson, please let me know!

Other artists on the Vol. 4 whose careers have been better documented are include Jesse Thomas from Shreveport, Louisiana; Dallas pianist Alex Moore, and Dallas guitarist Little (Lil’) Son Jackson. Any unpublished material or memorabilia from these artists would be welcome too, and acknowledged in the liner notes.

Name: Jim O'Neal
Email: bluesoterica@aol.com
Dates: 8/16/2002 to 2/2/2005

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BLIND WILLIE McTELL

For a forthcoming biography of Blind Willie McTell, Michael Gray (author of Song & Dance Man III: The Art of Bob Dylan seeks any information, particularly anecdotal and unpublished. Many thanks in advance.

Michael Gray
Pear Tree House
Tinley Garth
Kirkbymoorside
York YO62 6AR
England
TEL 44 1751 433439
FAX 44 1751 433360

Name: Michael Gray
Email: michael.gray@phonecoop.com
Date: 8/24/2002

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RALPH S. PEER

For a forthcoming biography of Ralph S. Peer, Richard M. Sudhalter seeks all information, particularly anecdotal and primary-source matter, published and unpublished, about Peer's relations with the various blues artists he recorded for Okeh and Victor. Particularly important is any direct reminiscence by the artists involved about Peer's approach to recording them, his business arrangements with them, and his overall manner. All thanks in advance.

Richard M. Sudhalter, author of *Lost Chords* and *Stardust Melody*

Name: Richard M. Sudhalter
Email: rms@panix.com
Date: 8/26/2002

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ELLIS WILLIAMS 1928 COLUMBIA SESSION

In October 1928, at a Columbia field session in Johnson City, Tennessee, Frank Walker recorded two sides by a man named Ellis Williams. Both were released on the 14,000 series; Williams was probably the only blues musician to record at the session (except for a possible unreleased band called The Queen Trio). Has anybody ever found out anything about him? He's not on any of the SSDI rolls.

Any help appreciated.

Name: Charles Wolfe
Email: cwolfe@mtsu.edu
Date: 8/29/2002

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who WAS it made up this song?

Is anyone able to understand Baby Face Leroy (or the version of the song form which he may have borrowed the lyrics) on "Boll Weevil" where he tells Muddy Waters and Little Walter what to say if anyone asks them who made up the song?

Name: Dick shurman
Email: rshurman@ccs.nsls.lib.il.us
Date: 4/25/2005

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Lightnin' Hopkins

for a forth coming biography of Lightnin' Hopkins I'm looking for previously unpublished interviews and/or documents, contracts, adverts, lyrics, anything related his life, etc. Thanks.

Name: Tim O'Brien
Email: timothy_obrien@hotmail.com
Date: 10/30/2005

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Andrew Brown - Brave 45

Who owns or knows someone who owns a copy of ANDREW BROWN's BRAVE 45 - a copy or a copy of the label will earn you a free 2 cd BOX of BIG BROWNS BLUES by ANDREW BROWN (available this year 2006)

Name: Gerrit Robs
Email: g.t.robs@worldonline.nl
Date: 3/6/2006

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a Harmonica you all must see!

Hi folks...sorry to put a "commercial" thing here, but i'm sure you'll all agree item number 7408651580 I listed on ebay today is worth having a look at! details follow, thanks much. The rarest blues harmonica you could imagine and a "missing link" between the acoustic delta blues of Sonny Boy Williamson and the electric amplified blues of Little Walter (!!!) Yes, believe it or not, a RESONATOR is soldered to the harmonica so it could be heard over the din of a juke-joint. Purchased in Alabama land of Jaybird Coleman and Bullet Willams (two early and somewhat mysterious Alabama harmonica players of the late 1920's and early 1930's) and likely dating to that period based on the ORIGINAL PAINT rust and wear. I can not read the brand name of the harmonica itself, I can make out the words "easy blowing" and "germany" so those of you who are harmonica scholars and collectors will probably be able to make it out or identify. Those of you who have studied the emergence of the blues know folks such as Muddy Waters biggest problem was being heard over the crowd at jukes and rent parties, the electric guitar solved that problem and created Chicago and Electric blues. In a similar manner, the microphone took the "mississippi saxophone" of early delta blues players into a new realm when Little Walter and others plugged in. This "make-do" resonator I believe was an attempt to add musical volume to the instrument but it is certainly the only one I have ever seen and as such is quite a find. The metal bowl or hubcap type metal resonator is 7 inches across the opening and 5 inches tall. The harmonica itself is well-soldered into the piece and is 4 inches long. There is genuine age, wear and signs of legitimate vintage use, this is no recent concoction (although it is such a need idea I don't doubt there will one day be others! and YES...IT DOES STILL PLAY.

Name: Jim Linder
Email: jlinder706@aol.com
Date: 4/19/2006

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Copyright © 2006 BluEsoterica.com. All Rights Reserved.

BluEsoterica Archives & Productions

2006-07-29T13:46:00.000-07:00

BLUESOTERICA ARCHIVES & PRODUCTIONS
Research & Production e-mail: bluesoterica@aol.com
Mail order e-mail: Stackhouse232@aol.com

BluEsoterica Archives

The BluEsoterica Archives consists of extensive subject files, more than 2000 tapes of interviews and music, negatives from 1500 rolls of film (about 40,000 images), plus thousands of records, a comprehensive library of books and magazines, a poster collection, and other memorabilia. This is what I kept or have since accumulated AFTER Amy van Singel and I donated thousands of records and files to help start the University of Mississippi Blues Archive. I would like to either find a permanent home for this material outside of my house, or create a new, funded and staffed archival organization to manage the collections here.

Institutions or organizations interested in sponsoring, housing, or cataloguing the archives, please contact us.

Towards an Interview/Oral History Archive
I'm especially interested in establishing a full-fledged archive for tapes of interviews and oral histories, as proposed in "The Voice of the Blues." I have begun collecting audio and video tapes from interviewers, researchers, DJs, and documentary producers, and am planning on transferring them to digital format, and making them available for future documentary and research use, contingent upon permission from each interviewer. For the present, I would at least like to hear from people who have taped interviews (or written interview notes) so that I can begin identifying and cataloguing the source material. Just send a list of interview subjects with dates and any explanatory notes you may care to add. I'll post a database of interview tapes on this website.

BluEsoterica Productions
Recent BluEsoterica album productions: Willie King & the Liberators: "Freedom Creek" and "Living in a New World"; Super Chikan: "Shoot That Thang"; Robert "Bilbo" Walker: "Rock the Night"; D.C. Bellamy: "Water to Wine"; Eddie C. Campbell: "Hopes and Dreams"; "Philadelphia" Jerry Ricks: "Many Miles of Blues" [all on Rooster Blues Records]. See Stackhouse Recording Company page for most recent and upcoming productions.

Work on recent documentaries: Fuji TV (Japan): "The Roots of Music" series; "Blues Story," August 2003 PBS documentary produced by Shout! Factory and Imaginary Entertainment; other programs on PBS, NHK, Mississippi ETV, and other networks. Compilations and liner notes: Rooster Blues, Delmark, BMG, Rhino, Ace, Blue Suit, and others. Interviews conducted and videotaped for "Blues Story" and for Acoustic Sounds/Blue Heaven Studios' "Blues Masters at the Crossroads." Concert and Festival Coordination services available.

Presentations
Call or e-mail if you want a custom-designed blues presentation for schools and youth groups (connecting blues to hip-hop, country, and rock music), or for seminars, workshops, panel discussions, festivals, and documentary projects. Recent presentations and panels: Blues, Hip-Hop and Contemporary Music; Blues and Storytelling; Mississippi Blues Women; Mississippi Roots of American Popular Music; Robert Johnson; John Lee Hooker; Junior Parker; The State of the Blues; Screamin' and Cryin' About the Blues; Jazz Gillum, Pinetop Smith, and Fred McDowell Tribute (Chicago Blues Festival).

Whenever possible, I like to do these presentations in conjunction with a blues artist who will demonstrate the music and participate in the discussion. "Philadelphia" Jerry Ricks, a storehouse of acoustic blues knowledge and licks, is available for such programs; artists who can illustrate other aspects of the blues include Super Chikan, Willie King, D.C. Bellamy, and Lane Wilkins.

Music Publishing
The Drop Top Music catalogue contains hundreds of songs written by Eddy Clearwater, Eddie Shaw, Gabriel, James "Super Chikan" Johnson, Eddie C. Campbell, Valerie Wellington, Lonnie Shields, Lonnie Pitchford, Foree "Guitar" Wells, and others. Please contact us for samples or licensing information.

Booking Contact
BluEsoterica is NOT a booking agency, but I do want to help blues artists get more and better gigs, so I'm offering to put promoters, club owners, and festivals in touch with artists or their agents, and in certain cases help with booking arrangements for "Philadelphia" Jerry Ricks, Eddie C. Campbell, Willie King & the Liberators, D.C. Bellamy, Super Chikan, Lady Bianca, Robert "Bilbo" Walker, Lane Wilkins, Ike Turner, Memphis Gold, Dennis Binder, Big George Brock, Magic Slim & the Teardrops, Eddie Shaw, Eddy Clearwater, and Sax Kari, along with many others, especially artists from Mississippi, Chicago, and Kansas City.

DJ Service
I can also direct you to a DJ if you're in need of an expert record-spinner, especially in the funk and soul genres. James "Superwolf" Trotter and his partner Memphis Black play the hardest-to-find, hardest-hitting funk 45s and LPs if you're into obscure local releases from Youngstown, Ohio, Miami, or North Carolina. Blues, reggae, Haitian, Cuban, and African music also available.

Radio
BluEsoterica doesn't have a regular radio program of its own, but my collection of blues, R&B, jazz, world music, and rockabilly serves as a lending library for various DJs in the Kansas City area, and I do make guest appearances and work on documentaries on various stations around the country.

Submitting Demos and Promo/Review Copies
Material may be submitted to BluEsoterica Archives & Productions, 3516 Holmes St., Kansas City, MO 64109. CDs and records will usually be added to the archives here for documentary, radio, and DJ use. We also welcome new VINYL releases on LP, 12-inch EP, or 45rpm (or 78!).

Tour Guide Service
Want a custom-designed tour of the Mississippi Delta, Chicago, Kansas City, Memphis, wherever? I've coordinated tours for years, including the annual Down Home Blues Tour for Japanese tourists, and can put you in touch with guides who know the territory.

New Productions & Compilations
For more info, visit the Stackhouse Recording page.

Mail Order Record Sales and Auctions
Visit our Online Catalogue and check out the thousands of CD, albums, cassettes, magazines, and posters we have for sale.

We also buy soul, R&B, funk, jazz, gospel, country, world/ethnic, novelty, and rock 'n' roll records as well as blues. We also appraise music collections.

Also see our listings on eBay (Seller ID: Stackhouse232); at http://www.jimoneal.gemm.com and at http://www.jimoneal.musicstack.com.

BLUESOTERICA ARCHIVES & PRODUCTIONS
Jim O'Neal 3516 Holmes Street Kansas City MO 64109 (816) 931-0383
Research & Production e-mail: bluesoterica@aol.com
Mail order e-mail: Stackhouse232@aol.com

Copyright 2006 BluEsoterica.com. All Rights Reserved.

This page and others have been copied to this blog from the www.bluesoterica.com website.

THE VOICE OF THE BLUES, Muddy Waters & Howlin' Wolf

2006-07-29T13:21:00.000-07:00

THE VOICE OF THE BLUES
BluEsoterica provides updates and corrections to the book "The Voice of the Blues: Classic Interviews from Living Blues Magazine" (Routledge, 2002, edited by Jim O'Neal and Amy van Singel).

"The Voice of the Blues" is a collection of interviews conducted from 1967/68 to 1981, originally published in Living Blues, America's first blues magazine, with chapters expanded for this book to include introductions, postscripts, editors' notes, and previously unpublished questions and answers from several interviews.

Includes interviews with Muddy Waters, Jimmy Reed, John Lee Hooker, Little Walter & Louis Myers, T-Bone Walker, Freddie King, Little Milton, Georgia Tom Dorsey, Houston Stackhouse, Eddie Boyd, Little Esther Phillips, and Sleepy John Estes & Hammie Nixon. 427 pages, paperback, with Foreword by Peter Guralnick, 43 photos and detailed index.

Signed Copies are available for only $29.95 plus $4.50 shipping & handling (USA). Air mail shipping & handling: $7.95 Canada, $18.00 all other countries.

CORRECTIONS AND ADDITIONS

First, apologies to Ward Gaines, co-author with Scott Dirks and Tony Glover of the new Little Walter biography "Blues With a Feeling -- The Little Walter Story": an unnamed gremlin somehow got Ward's name wrong on page 282 of TVOTB.

Next, in the Muddy Waters interview, p. 180, Muddy recalled his first Chicago recording session (released on the 20th Century label under the name James "Sweet Lucy" Carter) and said that Memphis Slim, Jimmy Rogers and Lee Brown also recorded at the same session. Details from Scott Dirks on this rare Memphis Slim/Jimmy Rogers/Lee Brown 78 on the Harlem label have since been published on Big Joe Louis' website: "Jimmy Rogers' First Recording," at http://www.louismusic.co.uk/.

We also have some comments on this session from the producer, J. Mayo Williams, who told us in an unpublished 1972 Living Blues interview that he had recorded Muddy. At the time, not knowing about the 20th Century 78, we mistakenly assumed Mayo had recorded Muddy's Columbia sides.
Here is the transcription of the relevant portion of the interview:

LB: Did you have anything to do with Chess, like when they were Aristocrat and then Chess later on?
JMW: No. Here: Chess used to be my distributor. Yeah, when they was right over here on 43rd Street . . . I mean 51st Street. And I'm the first one to record Muddy Waters.
LB: Really?
JMW: Yeah.
LB: Did you record him for Aristocrat?
JMW: I recorded him for myself.
LB: When was that?
JMW: Now that was in the Civic Opera Building, and the engineer didn't know how to put that eccentric [concentric] groove in the records, and they were never released. They didn't know how to . . . you know where that eccentric groove is, you know, where it rejects and so forth and so on? The engineers didn't know how to put in a lead-in line, from the beginning. And I just, I had them around here someplace. I don't know where in the hell they are.
LB: You still have them?
JMW: (Laughs). I don't know where they are, I haven't been able to--
LB: Do you remember the titles of the songs he sang?
JMW: I don't even remember the titles.
LB: Did he play by himself or with a band?
JMW: No, he had a little group.
LB: Do you remember how many people were in the group? And what they played?
JMW: No. I got his picture stickin' up there. [The walls of Williams' office were filled with photo collages of blues and jazz artists.] Yeah. I only keep it because these others, I recorded everybody you see in here, all these others, at some time or other. And now, you asked me if I had done anything for Chess. When Chess was just starting in the big time, you see, I got in touch with him. He had been my distributor over here at 51st Street. I got in touch with him. Then he began to make money and got too big for me. Yeah. And I got in touch with him. Now he's gonna send me, he tells me that he will send a couple of his lieutenants out to see me and I told him about having these records, you see. He's gonna send a couple of lieutenants out to see me, and I just wouldn't see 'em, you see. I wanted to talk to Chess, but he was too big for me then, see. And consequently I never paid any more attention to those records. Would be worth money today, if I had 'em I could get 'em re-recorded or retaped and processed, and make some money. But that was the story of Muddy Waters. And I never will forget it. They had a studio up in the Civic Opera Building on about the 13th or 14th floor. And Muddy Waters was glad to record.
LB: He had never made any records [in Chicago] before that, had he?
JMW: No.
LB: Was that about 1950 or earlier?
JMW: Now, let me see. No, that was . . . all of this was after '46, so it could have been around between '50 and '55, some time about then, you see. But, well, I made a whole lot of mistakes at this game, too, you see. But money was coming, so . . .
[The date of this session is listed in "Blues Records 1943-1970" as 1946. Producer Lester Melrose also recorded Muddy for Columbia in September of that year.]

The NORTH LITTLE ROCK blues sessions
In the Houston Stackhouse interview (p. 130-131), Stackhouse recalled a recording session he did in North Little Rock with Ernest Lane on piano. I speculated that this must have been done at Charles Scroggins' [sic] Music Center for the Bihari brothers' Modern/RPM labels. (Joe Bihari recorded Driftin' Slim, Baby Face Turner, Junior Brooks, and Sunny Blair at the Music Center in 1951-52.) More recent research at the library in Little Rock revealed that the store was owned by Martin Scroggin, and through an internet search I managed to contact his son, during the course of writing liner notes for Ace Records' reissue CD series The Modern Downhome Blues Sessions. The Music Center had a set-up to record anyone who came in off the street wanting to make a demo for a fee of three dollars, and that's how Driftin' Slim and his crew first came to record there. Scroggin pitched the demos to Joe Bihari and Bihari returned to do the official Modern/RPM sessions. It appears that the Stackhouse/Lane sides were done as three-dollar demos, paid for by local club owner Jim Lindsay, and were not acquired by Modern. At least one of the Stackhouse demos survived and we hope to have some news soon about releasing it on CD.

The JIMMY REED Family Blues Tradition
I wrote that one of Jimmy Reed's daughters had told me that the Reed family had all gone into gospel music in the introduction to the Reed interview (p. 307). In 2004 I got to spend some time with some of the Reed family again at the Blues Foundation's Hall of Fame induction ceremony and dinner in Memphis. Jimmy Reed Jr. is active in the church and no longer sings blues or soul (his 1967 Mercury 45, it turns out, is a prized item among "Northern Soul" collectors, valued at $200 or more!). But his younger sister Rose is indeed singing the blues, and did some of her father's songs during the Chicago Blues Festival in June 2004 at Gregg Parker's Chicago Blues Museum tent. If anyone would like to contact the Reed family, please call or e-mail me for contact info.

The HOWLIN' WOLF Interview
And, to readers who bought "The Voice of the Blues" expecting to read an interview with Howlin' Wolf as advertised on the back cover, we ended up eliminating the Wolf interview (from the first issue of Living Blues in 1970) from the first draft of the book, although the publisher's copywriters didn't know that. The Wolf interview, we felt, was not as informative as others done later in Living Blues (no fault of Wolf's, just of the uninformed interviewers!) -- but, as a service to our readers and to all Howlin' Wolf fans, we're reprinting it here (with revisions from the original LB feature, with thanks to Allmusic Zine).

Other "missing" interviews, chopped from the manuscript when the publisher told us we had to cut back on the page length: Champion Jack Dupree (by Staffan Solding), Brownie McGhee & Sonny Terry (by Barry Elmes), Big Joe Turner (by Paul Clinco), Lowell Fulson (by Bruce Iglauer, Jim O'Neal & Bea Van Geffen), Percy Mayfield (by Dick Shurman), and Z.Z. Hill (by Jim O'Neal). We hope to publish these and several others in a second volume of blues interviews.

And now:

"I'M NOT TRYIN' TO TURN YOU ALL SMART"
An Interview with HOWLIN' WOLF

On Oct. 10, 1969, Howlin' Wolf was (believe it or not) the opening act for a Paul Butterfield concert at Cahn Auditorium on the campus of Northwestern University in Evanston, Illinois. Three naive young enthusiasts managed to get an interview with the Wolf backstage for WNUR, the college radio station. Wolf was quite gracious, good-humored, and patient with these novices; the part I remember best about the interview was Wolf reassuring us as we fumbled for questions: "Take your time, you know, I ain't in no hurry. . ."
Over the years I've often wished I had known enough at the time to have done an in-depth interview with Wolf; by the time I knew what questions I should have asked, Wolf had become virtually unapproachable -- or so it seemed to me and many others. During Wolf's final years stories constantly circulated about how embittered he had become about the music business, or at least about how other people were getting rich off his music. I always regretted that I didn't try to get to know him better, but he cut such an imposing, intimidating figure that I could barely manage to say hello, even though I went to see him many times when he was playing the West Side blues bars. In retrospect I think Wolf might have actually enjoyed telling his stories to someone; I can remember times I saw him sitting alone at the bar, neither approaching anyone nor being approached. Maybe he didn't want to be bothered, but maybe he was lonely. Another regret is that we only used 22 minutes of tape for the interview, because Wolf continued to talk long after the tape ran out. [See notes at the end of the interview that I wrote at the time.]
When Living Blues Magazine published its first issue in early 1970, we chose the Howlin' Wolf interview as our premier cover story. I remember two responses to that feature in particular. One was a letter from a blues authority from overseas who was dumbfounded that we had asked Wolf about Jeff Beck instead of about his recollections of historical figures such as Ishmon Bracey. (I was the culprit who asked if he knew Jeff Beck; the reason was that Beck had recently recorded Wolf's "I Ain't Superstititious" on his "Truth" album with the following note on the back cover: "I Ain't Superstitious: Stolen riff from old 'Howlin' Wolf' tune, but he doesn't mind because I asked him.".) The other response was Wolf's. Sometimes when we went to Big Duke's Blue Flame Lounge, where Wolf was performing regularly, we'd take copies of Living Blues #1 and usually we'd just give them away to the musicians, barmaids and customers instead of trying to collect 50 cents for them. When Wolf saw this, he chastised me for giving away something I should be selling. A couple of years later, of course, I heard that Wolf was complaining because Living Blues had never paid him any money . . . At any rate, here is the complete, re-transcribed, unedited version of the Howlin' Wolf interview which appeared in Living Blues #1 (certain words and phrases sound different now, relistening to Wolf's speech after 30 years of transcribing blues interviews.) The interviewers (not credited in that issue, I guess because we didn't want our ignorance exposed) were: Amy van Singel (the host of WNUR's blues show), Jim O'Neal, and Dave Loebel.

Portions of this interview tape can be heard in the 2003 BMG/Bluebird DVD documentary The Howlin' Wolf Story.

-- Jim O'Neal
Founding Co-Editor, Living Blues

AVS: We're talking with Howling Wolf here. I'd like to know where you were born, because I heard it's been in Arkansas and Mississippi both.
HW: Well, I was born in Aberdeen, Mississippi. That's about 160 miles beyond Memphis, kinda 'tween Memphis and Jackson on Highway 45 goin' south. [*Wolf's birthplace has since been pinpointed as White Station, Mississippi, close to the towns of Aberdeen and West Point. A statue of Wolf was erected in West Point in 1997.]
AVS: Did you grow up in Mississippi?
HW: No. I growed up in Arkansas. Around Forrest City, West Memphis, and like that.
AVS: When did you come to Chicago?
HW: I come to Chicago in '52, somewhere about '52.
AVS: Uh, when did you make your first recordings? Were these before you came to Chicago?
HW: Yes. I made -- [coughs] excuse, excuse me -- I made my recordin' with, uh, uh, Chess. Leonard Chess. Chess and Checker.
AVS: Right.
HW: Um-hum. And that was in '48 when I first started out really to makin' records. But I been playing for 35 years. I was playing long, way before I cut, started to cuttin' records, through-and-out the South. [*Discographies cite the date of Wolf's first recording as 1951.]
AVS: Who taught you how to play harp?
HW: Rice Miller.
AVS: Second Sonny Boy!
HW: Yeah.
AVS: I thought it was the first one.
HW: No. The first Sonny Boy, they say he got killed here in Chicago. But Rice Miller was my man that I learned under. He married my sister -- half-sister. And I got a chance to learn how to blow a harp.
AVS: Right. You were at Ann Arbor Blues Festival. Did you like it?
HW: It was wonderful. Really wonderful. I didn't know how the peoples like it. See, I always like to go around and play for 'em any time they ask, or call on me, you know.
AVS: Where are you playing on the West Side now? We went down, I guess it was Roosevelt Road, and we saw about four different signs where you're playing.
HW: Well, you see, I just moved from there, first sign. I'm gone to the next sign, that's close to California. See, that lady there at Damen & Roosevelt, she got to the place she mistreat my friends, you know. One night she'll charge 'em a dollar and the next night a dollar and a half, and the peoples got to grumblin' about it, you know. So they come to tellin' me their trouble. I told her about it. She thought I shouldn'ta, so I just left, went down right through, 'cross Western, at, on the corner of California.
JO: Is that Walton's Corner?
HW: No. Yeah, right there at Walton's Corner. They call it Duke's Place. It's on the left hand side.
AVS: That's about the fourth name we've heard for it.
HW: Ha, ha, ha, ha, ha, ha. Yeah.
[*Note: The clubs Wolf referred to were the Key Largo (at "the first sign"), at the corner of Damen Ave. & W. Roosevelt Rd., and Big Duke's Flamingo Lounge, 2657 W. Roosevelt Rd.]
JO: Are you gonna play guitar tonight too?
HW: Yes, I play some guitar, you know, uh, sometime. I always let Hubert play because he's a young man and I want him to be seen. I partly raised him, you know. I always keep him out there in the front and I do the singin', but if he get kinda sluggish with it, then I'll play.
[*Note: I can recall a night at Pepper's Blues in the Loop, a couple of years later, when Wolf decided that not only Hubert, but the rest of the band as well, were too "sluggish" to be onstage, so he commanded them to leave, told the audience why, and proceeded to sit down with his guitar to do the set himself. It took him a while to try to tune the guitar and nothing much happened, unfortunately.]
AVS: Who's in your band?
HW: I have Hubert, the lead guitar player, Hubert Sumlin. Then I have my bass player, his name Calvin Jones, but we all call him Fuzzy. And my drummer is named Willie Williams, and my piano player is named Detroit Junior.
AVS: Is this the Detroit Junior -- where's he from?
HW: Yes, the same.
AVS: Is he from -- he's made records on his own . . .
HW: Yeah, but he, he fell on the wayside. I'm carryin' him along, you know, until he get another break. And my horn blower, tenor sax, is named Willie Young. And me: I am the Wolf! [Laughs.]
AVS: Yeah! You wanta say that again--I gotta get that!
HW: And me, I am the Wolf.
AVS: Thank you. Wow, that's great. Um, can you tell us about the psychedelic blues album that you made for Chess [Cadet Concept LP 319, Wolf's latest LP release at the time of the interview]?
HW: Ooh, well, oh, that was Marshall Chess's ideas, you know. I never did go for it, I never did like it, because that queer sound in there, "bow-wow-wow-wow." [Room erupts in laughter.] I just don't like it. I still don't like it. But the teenagers go for it, you know. So he's runnin', he's out there, a young man out there with the young crowd. So I just made it for him, you know. Course, I been with 'em ever since he was a baby, you know. I been with that company ever since that boy was a baby, you know. So.
JO: Have you recorded anything since then?
HW: Yes, I got out a new one out now. If they goin' on and turn it loose, "I'm into hard luck and I ain't doin' no good." ["Hard Luck," a 45 rpm single on Chess 2081, recorded July 14, 1969.]
JO: Are you still writing your own songs?
HW: Some of 'em. And some of 'em I get from different fans, you know, and give 'em their portion, you know, write -- the writers' portion. When the royalties come out. I get some from the white groups, from the colored groups, from the -- from the Puerto Rican. Different fans, you know.
AVS: I'd like to hear one of those!
HW: They always keep me in song, you know, because I make 'em, why, they know they gonna get their, their writers' share, you know.
AVS: What songs are you gonna do tonight?
HW: Oh, I do what the peoples ask me to do. I don't know what I'm gonna do! You know. (Laughs). You see you gotta . . .
AVS. Yeah. Can you do "300 Pounds of Joy"? That's my favorite song.
HW: Yes, OK.
JO: Do "I Ain't Superstitious"?
HW: Well . . . maybe I will. OK. I ain't sung that "Superstitious" in so long I might not know how to now. Several people ask me, you know.
JO: Do you know Jeff Beck?
HW: Jeff Beck?
JO: Yeah.
HW: I don't reckon I do.
JO: He recorded "I Ain't Superstitious." He's an English blues group.
HW: Yeah. Well, I'm glad somebody thought enough of it to take it and do somethin' with it. Maybe the next fella can do more with it than I. But I don't feel bad about it because there's -- when somebody take your number and use it, why, that's lettin' 'em know that you -- that they really appreciate your sound, you know. I wished a lot of 'em 'd take 'em and doin' it. I ain't givin' 'em no trouble copyin'.
JO: Quite a few people have.
HW: Um-hum. Yeah.
AVS: Questions, anybody? I'm trying to think of what else I have to ask you.
HW: [Coughs.] You have to excuse me.Well, take your time, you know. I ain't in no hurry, you know. Think of what you want to think of. I know -
JO: Do you -- do you prefer playing the blues clubs or concerts like this?
HW: Well, I -- I just like to play anywhere, you know. I play in the blues clubs, concerts . . . It doesn't matter.
JO: I notice, like, Muddy Waters doesn't play the clubs much anymore, does he?
HW: [Coughs.] Well, I can't speak for Muddy Waters. They play different places and I hope 'em good luck at it. I don't have anything to say about the guy, you know. Treat me all right. But I can this: they are jealous hearted, you know. Are jealous hearted musicians, you know. See, if you can't do like your songs, get kinda jealous of you. Like you, like they think you better than them and all that, but I don't fool with those kind of peoples, you know. I ain't got the time.
AVS: You played up in Madison, Wisconsin, recently, didn't you?
HW: Yes, I did. I was up there a few weeks ago. Last night I was in Appleton, Wisconsin.
AVS: Yeah, yeah. Is that -- is that Lawrence University?
JO: Lawrence? Yeah.
AVS: Yeah, we talked to some people.
HW: Oh, they had a wonderful time there last night. They didn't want me to leave, but I told 'em "I gotta make it." They wanted me to stay all night, I said, "No, no." [Laughter in room.] "You gon' mess me up on this other job. I gotta go now." They taken me to their little studio, you know, down right 'cross the streets there, little studio in the basement. And we drinkin' some wine and talk some trash -- don't have that on there [on tape]! [Laughter.]
[Two musicians come in, get five dollars from the Wolf to buy some wine, talk a few minutes with him, and leave. "Don't tell nobody where I'm at, hear?" Wolf tells them as they go.]
JO: Who were they [the musicians]?
HW: That -- that was Fuzz with that, the one I paid. They call him Calvin but everybody calls him Fuzz. And that guy there was Detroit Junior, that little low fella.
JO: He's the guy I saw at Pepper's, you remember, that night?
AVS: Huh.
HW: Yeah, that's Detroit.
JO: Yeah. Doesn't he play at Pepper's?
HW: Yes, he fool around and fell on the way. He's a good musician all right, but he gets, get drunk and be late on the job and can't keep his musicians straight, and he just, just give it up for awhile, he said the guys wouldn't do right for him. Say he was tired of all them headaches. I don't blame him 'bout that. You know, when you playing and got a contract signed with people, you got to be there. And they lookin' for your band to be there, but some people, they'll get carried away over somethin' else and be late gettin' to the job, you know. Nothin' you can do about it, you know. Or either keep 'em or let him go.
JO: So do the members in your band change a lot?
HW: Hm?
JO: Do you change your band around a lot, with different people?
HW: With different musicians?
JO: Yeah.
HW: Oh, yeah, in a, in a club, you know, but not in a place like this [a concert hall], you know, because peoples payin' to come in and you don't want the -- I don't know how they'd like it, you know, unless we kinda do it. I might put 'em up there and then they'll get insulted. I don't want to do that. Now when I'm playin'down there at the club, you know, I'll let anybody play. Anybody that think they want to play, they welcome. But I can't do it out here. I don't think. I ain't gon' try. [Laughter.]
DL: Have you ever played with Paul Butterfield?
HW: Huh?
DL: Have you ever played with Paul Butterfield? 'Cause Muddy has.
HW: No. No, I never played with Paul. Paul's a nice boy. And one thing about Paul: he kept the colored boys until he got straightened out like he wanted. And, from me -- he took 'em away from me, you know, and -- and now he done put 'em down and got somebody else. That's the only thing I felt band about him when he was startin'. He got my, a couple of my good musicians. And kept 'em awhile. I don't know what the break-up was, but I asked the musicians what was the break-up but they never did tell me. I never knew, I ain't never got to see Paul to ask him why did he, he didn't keep 'em, you know. Course sometimes musicians get unruly and you have to put him down. But I still would want to know what happened, you know.
JO: Who were those musicians?
HW: Oh, my drummer, er, a one, uh, my bass player. Sammy Lay for one and, and Jerome Arnold was the other'n -- mixed-breed Negro, look like a Mexican, Puerto Rican or somethin'. But his name was Jerome Arnold.
JO: Can I ask you, who you think is the best harp player?
HW: Well, I don't go --
JO: Besides yourself.
HW: I don't go into these things. I don't know.
JO: Is there someone you --
HW: I don't make no comments on musicians.
JO: OK.
HW: I'm not tryin' to turn you all smart because I don't, because I might be talkin' somethin' I don't know, and fact of the business, just don't make it to talkin' about musicians. Let the peoples, let them decide. Just like some of 'em say right now, they call my kind of music folk songs. But them no folk songs, them old blues. See? And if ain't that it's rock 'n' roll. It's still old blues. Old gutbucket stuff.
AVS: What was your first record?
HW: Oh, "Smoke Stack Lightnin'," I think. ["Moanin' at Midnight" b/w "How Many More Years" was actually Wolf's first release -- Chess 1479.] No, I don't care what you're doing, if you go down in a four-bar intro, I mean 12-bar with four-bar intro, you're playing the blues, you know. When you step the stuff up you're playin' rock 'n' roll, then you can turn around and play jazz, you know.
JO: Have you ever played anything but the blues?
HW: No. No, I don't play anything but the blues, but now I never could make no money on nothin' but the blues. That's -- that's why I wasn't interested in nothin' else but the blues, you know. Course now I ain't gon' pour no water on somebody else 'cause he like jazz, how-high-is-the-moon and who-bop-a-dop, that's his business. [Laughter.] But me, I just like them old blues. 'Cause I don't know nothin' but the blues. Now the reason I play 'em, I come up hard. I suffered 'em, a lot of places. Person ain't never had no in hard times, why they don't know the blues mean anyway. Take the young generation: they don't understand but they tryin' to learn it. But see, men from me on back up, they know what it mean. Take these kids -- take these peoples over here. They wouldn't had even knowed, they wouldn't even thought about the Negroes now as well as they do until the English boys come here and and made a fortune and went back home. Then everybody went to runnin' with the Negro sounds, you know. That was a good sound, you know. Just as well's to face it. They was out there playin' that longhaired music and stuff -- hillbilly music. [Laughs.] Now today, just about every young cat you see now playin' anything, he gon' play him some blues before he's done, you know. All right. 'Cause conditions make you have the blues, make you be content, you know. If you ain't got it, you got to be content. Um-hum.
JO: Why do you think young black people today don't like the blues as much?
HW: Well, he don't understand it. He doesn't understand it. They would -- 40 percent [of] dudes, you know, they say they don't like the blues, but whenever they get to a place and get to drinkin' a few drams, then they fall right back to his old inherit, you know what I mean. Blues. Well, let him tell it out there while he's got his hair slicked up, startin' out he says, "No, I don't like the blues." But just as soon as he get out there and get to drinkin', and you watch his attitude. Every time he run to the piccolo [jukebox] he want to put some B.B. King or Muddy Waters on there, you now. And beat everybody in the house stompin' it. [Laughter.] Oh, you can't leave your inherit, I don't care where you go. Um-um. You take it's just like your inherit: you can't leave it. You might go off a while of it, but you got to go back to it, you know. So I have to be with these here Negroes, you know. My people. You can't leave your inherit, I don't care how far you go, you got to look back at it, you know, or come back to it, to a certain extent. I might be wrong, but that's the way I see it.

[Tape ran out at this point. Wolf continued talking for another hour. Some of his comments:
"My daddy was a black Negro, my mother was a half Indian."
Wolf worked as a plumber, and still works on pipes for friends. He doesn't like electrical work -- "I know too many people that got burnt out like that."
He said he has been to Europe three times -- first during World War II, and then two blues tours in the '60s. He found audiences there enthusiastic, but couldn't understand their "gobble-gobble-gobble."]
[A group of musicians finally returned with a pint of Canadian Club, a can of 7 Up and five cups. After the liquor was gone, Wolf said, "Don't let nobody know we was here," leaving the bottle and cups in the room as everyone left.]

Copyright © 2007 BluEsoterica.com. All Rights Reserved.

Welcome to Stackhouse & BluEsoterica

2006-07-29T12:56:00.000-07:00

Welcome to the website world of BluEsoterica Archives & Productions, BluEsoterica.com Mail Order, Stackhouse Recording Company, Drop Top Music, and Jim O'Neal. This archival, production, consultation, research, publishing, media, and mail order enterprise is dedicated to the esoteric appreciation of the blues, as well as to buying, selling, and trading all sorts of records, with an eye for the obscure and unusual.

If you want to read or write about some new, obscure, or overlooked details on blues, I launched this website also as a research forum for such ramblings and musings. If you have something you want to ask or discuss or spout off about, send it in. When I can get it together, I also still write a BluEsoterica column in that magazine down in Mississippi I helped start a year or 37 ago called Living Blues (http://www.livingblues.com/). See the expanded Howlin' Wolf interview at The Voice of the Blues page here from the first issue of LB, along with the corrections, additions and updates to the book of Living Blues interviews, The Voice of the Blues. (By the way, Living Blues has reprinted issue No. 1, available from this site for $10.00 plus postage & handling.)

I have a knack for co-founding struggling blues entities, including Living Blues Magazine, Rooster Blues Records, and the Sunflower River Blues Association. I no longer own Rooster Blues, and most folks would say this is a great time NOT to be in the blues record business. On the other hand, with CD sales and work for blues artists in general at a low ebb, the need has never been greater. So, I can't help but take the plunge again with a new record label, Stackhouse Recording Company. There's no money behind this venture, as usual, so new CDs can only be released after enough money has come in from sales of the previous ones. I'll take on an investor or partner if someone wants to take a chance on a good cause, but you can also help out if you're just here to buy records. Visit our online catalogue and check out the books, magazines, CDs, LPs, 45s, 78s, and musical memorabilia. I buy and sell soul, R&B, funk, jazz, country, folk, world/ethnic, gospel, soundtrack, and rock 'n' roll records as well as blues.

Thanks to the friends who have been helping out, in Kansas City and Clarksdale, including Brenda Haskins, Nancy Kossman, James "Superwolf" Trotter, Renee Bassett, Joni "Woman" Mayberry, Philadelphia Jerry Ricks, Nancy Klein, and Charles "Rags" Ragsdell, who is responsible for the latest www.bluesoterica.com website design and online ordering system -- and of course also to the resident gremlins, mail order helpers who hold packages while we stand in line at the post office, and music critics who inform me when "stupid" music comes on the radio or CD player, Dela O'Neal (age 11) and Louis O'Neal (age 9).

Our site features:
The Voice of the Blues Page: The Voice of the Blues book additions & corrections; Muddy Waters' First Chicago Record; Howlin' Wolf Interview
Mail Order Catalogue: Blues, R&B/Soul/Funk, Rock 'n' Roll, Country, Jazz, Gospel, Soundtracks, and World Music: CDs, LPs, 45s, 78s, blues books, magazines & memorabilia
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HELP WANTED: INTERN/VOLUNTEER We're looking for someone who enjoys working with old vinyl, listing records on the computer. We also need data entry, cataloguing, and filing assistance to manage our archives. (See BluEsoterica Archives & Productions page.) We have many interview tapes that need to be transcribed; anyone with a good ear for Southern blues dialect who wants to assist, please contact us. One day maybe we can get a grant to pay someone to do some of this archival work, but it's a volunteer job for now.

INVESTORS - PRODUCTION SPONSORS: See "Productions" ("Services") page for opportunities to work with us on our archives and record productions.

SITE SEARCH MISSPELLINGS: This is for those who've tried to search the web for us under various permutations of BluEsoterica. If you've searched for Bluesoeteria, Bluesoteria, Bluesesoterica, Blusoterica, Bluesotarica, Blusotarica, Bluesotaria, Bluesotrca, Bluesotrica, Bluestrica, Blues Esoterica, Bluesamerica, Blueserotica, Bluesetcetera, Bluesadnauseam . . . you've found us!

STACKHOUSE RECORDING COMPANY and BLUESOTERICA ARCHIVES & PRODUCTIONS
Jim O'Neal, 3516 Holmes Street, Kansas City MO 64109. (816) 931-0383
Research e-mail: bluesoterica@aol.com Mail order e-mail: Stackhouse232@aol.com Online order/auction sales: Visit our online catalogue at www.bluesoterica.com , as well as on eBay (Seller ID: Stackhouse232); at http://www.jimoneal.gemm.com/, and at http://www.jimoneal.musicstack.com/.

Copyright © 2007 BluEsoterica.com. All Rights Reserved.