When the legendary Blind Blake and Charlie Spand teamed up for this exquisite recording in the 1920s, they could scarcely have guessed that their contribution would be enjoyed for almost 80 years, and how would you explain their song being ripped to mp3 and played through and I-Pod. Here is one helluva track for your enjoyment, from two masters of ragtime and blues whose influence continues to grow in the new millennium.
Here’s a fun song from one of the greatest songwriters ever, Mr. Irving Berlin.
Nice clean mp3, considering it was ripped from a 78 RPM vinyl record recorded in 1914!
Man, this is some roadhouse bustin’ piana ticklin’ fiddle faddlin’ saloon gristle. Every riff in this nugget has been been refried, and served up a zillion times. But imagine, as you listen, how it sounded when this was first made. Cliches only become cliches after people repeat them over and again. This would have blown the roof off any public watering hole, for sure, in its day, and that’s why it sounds so darn familiar in these modern times.
All I can tell you is you all better heed the advice of one Will Shade when he tells you that you better leave that stuff alone. That stuff may taste sweet, but it may kill ya just as easy. That’s what the man said…now hear him sing it…
A surprisingly clean copy of a good ole side o’ vinyl by Lonnie Johnson.¬† Sincere and true lyrics are universal in their appeal, and a magnificent performance of vocal and piano accompaniment is something to treasure in this time of canned music.
Bessie Jackson was a pseudonym for Lucille Bogan, a classic female blues artist from the ’20s and ’30s. This 1927 recording made her famous and raised a few eyebrows amongst her listening audience. Lyrical content was not as ‘randy’ as it is today and songs like this were considered to be lyrically perverse. Judge for yourself…
Here is another 1927 classic from the archives. Her voice rings out her thoughts about going down to the Levee with that lonesome feeling as the piano walks you back home again. This old gritty recording takes you right there…
There aint no beatin’ around the bush with this tune! She is tellin’ you exactly what is on her mind in this amazingly blunt and truthful testament to a particular type of vocation.
At age sixteen Frank Melrose left home and eventually settled in St. Louis and then Kansas City, where he got busy playing music. Melrose was a big fan of Jelly Roll Morton. Morton and Frank became friends and jammed together occasionally in clubs on the South Side of Chicago. Here is one track that may have been a simple moment between them. Pass the Jug.
Junius “Junie” Cobb was a highly versatile musician. He played banjo, clarinet, piano and saxophone. He moved to Chicago in the 1920’s and played with King Oliver as a banjoist for a couple of years before creating his own style with his band the Corn Eaters, which included his brother Jimmy Cobb on trumpet for “Transatlantic Stomp.”