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The Origins of “In The Mood “

We have been reading , amongst other things, the biography of talented poet , composer and lyricist Andy Razaf ((December 16, 1895 – February 3, 1973) .
He is best remembered these days for his work with Fats Waller on songs like “Ain’t Misbehavin'” and “Honeysuckle Rose” . He was responsible for at least contributing or composing over 800 songs in his lifetime.

Andy Razaf

He wrote some lyrics to the World War 2 hit In the Mood . The song is forever associated with Glenn Miller but its history and origins are complex and controversial .

 Please give us a shout if the Youtube links do not work .It is frustrating that some versions of songs are restricted in some countries
Our  article is not original research and  has relied heavily upon the Wikipedia Page “In the Mood ”

“In the Mood” was an arrangement by Joe Garland based on a pre-existing melody. Lyrics were added by Andy Razaf. The main theme, featuring repeated arpeggios rhythmically displaced, previously appeared under the title of “Tar Paper Stomp” credited to jazz trumpeter and bandleader Wingy Manone.

Manone recorded “Tar Paper Stomp” on August 28, 1930 in Richmond, Indiana and released it as a 78 single on Champion Records as by Barbecue Joe and his Hot Dogs / Personally I cannot find any image of that but we do see it on Champion by Manone   It was re-released in 1935 as by Wingy Manone’s Orchestra. The recording was re-released in 1937 as a Decca 78 single as by Wingy Manone and his Orchestra.

Tar Paper Stomp

Horace Henderson used the same riff in “Hot and Anxious”, recorded by his brother’s band, Fletcher Henderson and his Orchestra, on March 19, 1931, which was released on Columbia Records as by the Baltimore Bell Hops

Horace Henderson

Fletcher Henderson And The Baltimore Bell Hops. Rex Stewart (cnt) Russell Smith Bobby Stark (tp) Benny Morton Claude Jones (tb) Russell Procope (cl as) Harvey Boone (as) Coleman Hawkins (ts cl bar) Horace Henderson (p) Clarence Holiday (g) John Kirby (tu b) Walter Johnson (d) This recording also features Coleman Hawkins taking a clarinet solo –

Don Redman recorded “Hot and Anxious” in 1932 on Brunswick Records and  we can really begin to hear the tune morphing into   something else


Under copyright laws, a tune that had not been written down and registered with the copyright office could be appropriated by any musician with a good ear. Wingy Manone had brought up the issue of the similarity between “Tar Paper Stomp” and “In the Mood” to Joe Garland and to the publishing company of the song, Shapiro, Bernstein, and Company of New York. Manone also discussed the issue in Down Beat magazine. “Tar Paper Stomp” was copyrighted on November 6, 1941 as a pianoforte version by Peer International.


Joe Garland

The first recorded version of “In the Mood” was made by Edgar Hayes and his Orchestra in 1938, with Garland participating, released as a B side to their recording of “Stardust” on Decca Records. In this recording there was a baritone sax duet rather than a tenor sax battle.


The riff had appeared in a 1935 recording by the Mills Blue Rhythm Band entitled “There’s Rhythm In Harlem” released on Columbia Records which had been composed and arranged their  arranger and  Saxophone player Joe Garland .This group was led by Lucky Millinder and financed by Irving Mills.

Joe Marsala released a song entitled “Hot String Beans” on Vocalion in 1938 that also featured the riff from “Tar Paper Stomp”.

Joe Marsala, Sid Weiss, Wingy Manone, Carmen Mastren about 1935, NYC

Image Joe Marsala, Sid Weiss, Wingy Manone, Carmen Mastren about 1935, NYC.via the Adele Girard and Joe Marsala Facebook page

Wingy Manone recorded a new song entitled “Jumpy Nerves” on April 26, 1939 that incorporated the riff from “Tar Paper Stomp” which was released as a 78 single that year on RCA Bluebird.

“As pointed out by music historian Dennis Spragg of the Glenn Miller Trust, up until this time
almost all the fragments of “In the Mood” had been composed and performed by African American artists, thereby limiting their radio airplay and record sales. Eventually, seeking wider exposure, Garland would begin to pitch the memorable tune to various white bandleaders.” quote courtesy Library Of Congress


Before offering it to Glenn Miller, Garland sold the tune to Artie Shaw in 1938, who chose not to record it because the original arrangement was too long. However, he did perform it in concert. The initial Artie Shaw performance was over six minutes in length with a lackluster audience response.

The tune was finally sold in 1939 to Glenn Miller, who played around with its arrangement for a while. Although the arrangers of most of the Miller tunes are known, things are a bit uncertain for “In the Mood”. It is often thought  that Eddie Durham (who contributed other arrangements on the recording date of “In the Mood”, August 1, 1939 as well), John Chalmers, Chummy MacGregor (the pianist, composer, and arranger in the Glenn Miller Orchestra) and Miller himself contributed most to the final version. According to the account by MacGregor, “all they used of the original arrangement were the two front saxophone strains and another part that occurred later on in the arrangement.” Both MacGregor and Miller were involved in creating the final arrangement: “MacGregor mentioned that additional solos were added to the original arrangement and he wrote the finishing coda. Miller probably edited some of the arrangement along with MacGregor.”


Miller’s “In the Mood” (RCA B-10416-A), when released in July of 1940, and no doubt aided
by its high energy feel and slightly risqué title, became a success with audiences. It would go on
to be broadcast on 62 occasions by Glenn Miller and his Orchestra on their CBS program
“Chesterfield Moonlight Serenade,” on “Coca Cola Spotlight Bands,” and on remote broadcasts
for NBC and Mutual and Miller and the Band played it in Sun Valley


“In the Mood” proved to have staying power even then. Soon after its debut, everywhere you
turned, Americans were awash in the “Mood.” Though Miller never recorded the song with the
Razaf lyrics (“Who’s the lovin’ daddy with the beautiful eyes/What a pair o’ lips, I’d like to try
‘em on for size.”), other bands did. The first was, interestingly, also for RCA Records. In
November 1939, that label released a version with singing provided by the Four King Sisters.
Meanwhile, songstress Paula Kelly sang “In the Mood” accompanied by Al Donahue and his
Orchestra also that same year for a Vocalion (Columbia) release. By the end of 1940,” courtesy Library of Congress


Two editions of the sheet music are in common circulation. The 1939 publication, credited to Garland and Razaf, is in A♭ and has lyrics beginning, “Mister What-cha-call-em, what-cha doin’ tonight?” as can be heard
The 1960 reprint, credited only to Garland (with piano arrangement by Robert C. Haring), is in G and has lyrics beginning, “Who’s the livin’ dolly with the beautiful eyes?”

Just before we close maybe we should  say that we think that aspects of the  tune  have  its roots further back than Wingys 1930 version .Looking in our catalogue we find  on   JPCD-1518-2  ” Clarinet Get Away “by  O’Bryant’s Washboard Band (1925)
Jimmy O’Bryant (cl), Jimmy Blythe (p), Jasper Taylor (wb) Recorded June 1925 in Chicago, Ill Released on Paramount 12287

You can hear the song here

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Confessions of a Vinyl Addict – Part 4

From Hull to Nashville

By Gary Atkinson


The first set of Document CDs that I wrote booklet notes for were “Ma” Rainey Vols. 1 to 4. I was paid ten Document CDs for each volume’s notes. I was rich!!!

Given the critical slamming I gave those first Document CDs when writing for the blues magazine, I was more than a little surprised when the reviews editor rang to say that Johnny Parth had recommended me for a job. They wanted me to write some booklet notes, and the deal was that, as payment for my services, for every set of booklet notes that I wrote I could choose ten CDs from the now huge Document catalogue. The first task was for me to write notes for four volumes of Ma Rainey CDs.

Four x ten booklet notes= forty CDs in wages.

I couldn’t be happier. I would be CD rich!!! If only I could get the local supermarket and a petrol garage to accept CDs in payment…

I accepted the task and began earnestly tapping out my first notes.

Things were going well with the work for Document, and I loved it; the research, trying to create interest with the text, informing the reader to the best of my ability. I was becoming well and truly invested in the project, and in Document’s mission.

After a while, having written a reasonable number of notes, I made a phone call to Johnny. By and large I’m not a technologically minded person, but it had occurred to me, in 1999, that as more people were bringing computers into their homes and gaining access to the world-wide-web, this influx would include the PCs of potential Document customers. I voiced this idea to Johnny, and suggested that he invest in creating a Document website from which he could sell CDs. At the time, he told me that he had no interest in the web, or computers for that matter, but if I still wanted to pursue the website idea then he would have no objection to my setting one up. I could buy CDs from Document and then start selling them online. The idea had its possibilities, and considering the rural part of the country which we were living in, I thought an internet business might not be such a bad idea. Having said that, I still came off the phone unsure as to how I felt about running such a business myself.

A few days later, before I had a chance to come to a decision, Johnny rang to propose a very different idea, ‘I was wondering,’ he said, ‘how would you like to have all of Document?’ Thinking that he was referring to the Document catalogue and my incomplete, but still vast collection of Document CDs, I refused on the grounds that I was perfectly happy to keep writing his booklet notes in return for the CD payments. ‘No, no’ he said. ‘What I am saying is, would you like all of Document; everything? The discussion carried on like this for a few minutes until the penny dropped. Johnny was actually offering to sell me the company. Life for the East Hull pre-fab home boy were becoming that little more bizarre. We talked a little more and Johnny suggested a price. Though I had worked in the music business, I had never been in the record business, and so didn’t know whether the number he proposed was a little or a lot, unreasonable or a bargain. ‘Yes, alright.’ I said, thinking to myself ‘I’ll worry about this tomorrow’ and with that our conversation later came to a close and I gently put down the phone. I then went into the living room. ‘I’ve just had the weirdest conversation with Johnny.’ I said to Gillian. ‘He’s just asked me if I want to buy Document. I mean, Document Records, the whole thing, the business, the company.’ Without flinching, my wife Gillian replied ‘I hope that you said yes.’

One of the main streets in Vienna was sealed off as the world’s biggest truck was loaded up with 175,000 CDs.

Within a few months one of the main streets in Vienna was sealed off as the world’s biggest truck was loaded up with 175,000 CDs. As we cleared the warehouse of all its stock I discovered, behind a rack of shelving, some plain, grey card sleeves, about twelve or so. They were the same size as LP covers but slightly more bulky, and when I asked Johnny what they were, he said, ‘Oh, I forgot them. They are just some of the old metal masters from when we had Document LPs.’ Delighted at this news I asked where the rest of them were. ‘I put them all for scrap years ago.’ He replied. Seeing the shock and disappointment on my face, he added ‘Why would I want to keep them?  vinyl is finished and we’re never going to produce it again.’

I considered the scene, as part of Document’s history was dumped, and told him of how surprised I was that someone with such a strong collector sense had got rid of them. ‘CDs are the best,’ he replied. ‘I would never go back to vinyl.’ I taped the heavy bundle of masters together and put them into my bag, resolute that this piece of history wasn’t going into the furnace. I then walked out into the street to see the last of the CDs being loaded up. There wasn’t an inch of space left in the truck. Waving goodbye to the driver, I told him I’d see him in Scotland and I made my way to Vienna airport.

We couldn’t have gone into the record industry at a worse time. After a hundred years of an increasingly successful existence, it took its biggest and near fatal nose dive just as the ink was drying on the Document purchase agreement. Watching the rapid decline of vinyl singles and LPs was depressing, and entering into the industry via the eye of a revolutionary storm was, to say the least, exasperating and unnerving. The next ten years were made up of a heady blend of nightmares, nail biting and breath holding, mixed in with moments of great excitement, fascination and satisfaction. Despite all of this however, my biggest regret was still that I would never be responsible for any vinyl being released… Or so I thought.

The levels of music piracy were suffocating, as the switch to digital made available the easiest way to copy music at home since the industry began. And yet, after a decade of decline, it was vinyl that began to produce whispers of optimism. The first clues came five or six years ago when distributors around the world, and in particular in the U.K. and the U.S.A. informed us that the previously declining vinyl sales had suddenly started going into reverse. What’s more, record shop owners, mail order record retailers, collectors and our own Document customers started to make positive comments about vinyl making a gradual return. Sales reports are one thing but hearing statements from those involved first hand is another, and it was all the more encouraging that this interest was being particularly driven by younger music buyers, and vinyl releases by bands themselves. Despite my personal excitement, I resisted climbing onto the roof of the Document offices, bursting into song with ‘When Johnny Comes Marching Home’ whilst holding a huge international flag bearing an LP and a 45. Much as I would have dearly loved for Document to have begun producing vinyl, I held back any decision to do so. I knew that my desire to produce LPs was, at that point being too heavily weighted by my own romantic feelings and not by any water-tight business strategy. Even so, the Siren’s song, calling ‘Gary, Gary, produce vinyl LPs and we shall be yours’ was becoming increasingly difficult to resist.

An oasis on the streets of England; Drumbeat in Lancashire. Will the revival of vinyl also breathe life into the land’s second-hand record stores? Let’s hope so…

Around this time I found myself wandering into a second-hand record shop in Lancashire, England. I had visited it about a year before, but my catch had been good, and memorable enough to make it worthy of a return visit.

On this particular day the owner was wearing a black shirt, top button undone, and black ‘stay-press, casual pants.’ An old rocker who had been in the business for years, his grey hair sweeps neatly from one side of his head to the other, and underneath, his face has a certain kind of redness that suggests that he is not one hundred per cent in the best of health. He acknowledged me with a smile and a nod. Shortly after arriving, whilst quietly flipping through the LP covers, I heard his voice call from the back of the shop. “Want a mug of tea whilst your browsing, lad?” he asked in a broad Lancashire accent. Saying that I would ‘love one,’ he reappears several minutes later, bearing a chipped mug of strong tea from a tiny kitchen area, sectioned off from the rest of the shop by an ancient, heavy, curtain. “I’m trying to get the place organised,” he told me, evidently not remembering that I had already paid a visit once before, when the place was just as chaotic and disorganised then. Tall stacks of records, looking as if they might topple over at any minute, created a small maze of pathways around the shop, each having to be explored because of the vagaries of the shelving system (where there were shelves). “What ya into?” he asked. I tell him and he replied “Blues. Right, then. You’ll find blues there in those two racks, and then there’s some over there”. Then, pointing a finger into an entirely different part of the shop, “and then some over there too. Oh, and you might find some under there but I’ll have to shift them boxes so’s ya can get at ‘em. Ow’s yer tea?” I realized that he had a natural hospitality that no customer relations course could ever teach. I don’t ever want him to “get organized”, I thought to myself.  For me, the place was perfect, just as it is. The chaos only added to the element of surprise when, unexpectedly, one suddenly stumbles upon a gem.

I asked him how business was doing, and he told me that it was ‘Not bad… Not brilliant.’ He went on to say that his CD sales had practically collapsed because ‘Well, they’ve been taken over by vinyl.’ This came as a surprise, ‘Aye, lots of young uns comin’ in that I’ve never seen before, comin’ in an’ asking for vinyl,’ he assured me. Even so, I could tell that business is patchier than he might have wanted to admit, in particular with many of these kind of shops, awkwardly hanging on, away from the city centers. I worried a little, and hoped that he would survive. ‘I don’t make a lot but I pay me bills and to be honest,’ he added, his face lighting up, ‘one of the reasons I keep going is because I like to chat with folk and because I get some interesting people comin’ in here, talkin’ about music and records.’

One of the several purchases that I made at the second-hand record shop in Lancashire.

At the end of a good two hours, which feels more like mountaineering and exploration than browsing in the grown up, magical, ‘Mr Ben’ shop, I took a pile of records over to the till thinking that this was probably one of the biggest sales that he’d had for that week, at least. He added it all up in his head, no computer, no calculator, no electronic till. Did it again, to make sure, rounds it off to the nearest tenner and concluded, “You’ve done alright there, lad. There’s some good stuff there.” I thanked him for the records and the tea, and made my way home, hoping very much that the second-hand record shop will still be there on my return. It felt like those early teenage years once again, with my records in a plain polythene bag clasped securely under my arm, satisfied, curious and excited about what I will hear on them. This time though, as for a long time, I would not be stuffing them up my jumper, prior to walking in through the front door of my home.

Over the following months, encouraged by industry and media reports of the rise in vinyl record sales, we spoke more in the office about the possibility of releasing Document LPs. It was close to the Christmas of 2011, and as we monitored the situation, I received an email which puzzled me. It was from a company that I had not heard of before, Third Man Records, asking for a time when I might be available to receive a telephone call from Jack White. I only knew of one Jack White, the Jack White of the White Stripes fame, and I was sure that we couldn’t be talking about the same person… Could we? I replied to the message, giving them phone numbers of when and where I could be reached. Nothing happened. Christmas came and went and after a while I put this odd communication aside. Someone, I thought, has had an idea and then dropped it. These things happen, so I forgot all about it. A few months later, I was working from our house in the North of England when the telephone rang. Gillian took the call from downstairs. I could hear her chatting away and after a few minutes assumed that it was either some business she was dealing with or a personal call. I carried on with my work until I was interrupted by Gillian calling from the bottom of the stairs, ‘Gary, Jack White’s on the phone.’

The first vinyl album that I worked on. I loved the radical album cover artworks, which, for me, stated that this music (these records) should no longer be the preserve “the high-brow, serious, collector”.

Within the first few minutes of the call we were talking about Document, our blues heroes and enthusiastically swapping record collector stories. Jack said that some of the first records he ever bought were Document LPs, and told me a story about him buying perhaps twenty or so of them from a second-hand record shop in Detroit when he was just seventeen. I shared my own memories of Hull’s record exchanges, and of buying Roots LPs produced in Vienna by Johnny Parth. As the conversation rolled on, Jack proposed an idea, one which he had carried with him ever since picking up those LPs twenty years ago. The conversation lead to the collaboration of producing three sets of blues, vinyl, LPs. Our chat highlighted the fact that both of us had strong, shared ideas about how these LPs should be presented and who they should be aimed at. For both of us, the idea of a young Gary Atkinson or Jack White walking into a record shop, picking up one of these LPs, and being enthralled by what they heard, would be the most satisfying gain. If seasoned collectors liked them too then, that would be an unexpected bonus. We said our goodbye’s, and shortly after putting the phone down, I reflected on how I had previously resigned myself to accepting that I would never be fortunate enough to be involved in producing vinyl records, now, I was about to be an integral part of doing that very thing.

Discussions progressed over the following weeks and I decided early on that I didn’t want to just hand over the recordings, like a straight licensing deal. From the beginning, I knew that this project was going to be something special. Jack had made it clear that he wanted to make it so that every record released would remain in the catalogue ‘for as long as Third Man exists.’ Knowing what it takes to keep such a commitment, I began thinking about what I could do to help make these albums credible and interesting enough for people buying them, perhaps for generations ahead. I decided to revisit the original recordings. In addition to the Document masters already available, I had my own collection, which had been recently supplemented by two large collections of spool tapes containing twenty to thirty thousand recordings in each. These collections had been put together, back in the 1950s and 60s by two independent collectors committing their shellac 78 records, vinyl LPs, Eps and private recordings to tape.

The first of the McTell vinyl albums that I worked on. His guitar playing has never ceased to amaze me, from the day that I first that I began listening to his music in 1969.

Adding even more to this were recordings made available to me by other collectors. With all these resources to draw upon, I was able to examine and compare the condition of records, and upgrade them finished using sound restoration programs and techniques which were simply not available when the vast majority of Document productions were originally released. Thirteen albums, covering the full recorded works of Delta blues-man Charley Patton, Georgia blues-man, Blind Willie McTell and Mississippi string band The Mississippi Sheiks, were mastered up. We planned to launch the series by releasing the first volumes by each artist. I commissioned Mick Middles, music journalist and author of many excellent books covering the life and times of rock/pop artists and bands, to produce the sleeve notes. At the same time, Jack commissioned graphic artist Rob Jones to produce astonishing artwork for the record sleeves.

Revisiting, in such depth, the recordings of the artists featured on these LPs,, was fascinating and a joy.

After a few delays, which took the launch beyond Christmas, I sat down at my computer one morning in late January 2013, and opened up a curious email sent to me by Third Man. The message was rather cryptic, merely saying something like ‘heads up’ or words to that effect, and a link which took me to a fantastic promo film on the Third Man website, narrated by Jack and announcing the arrival of the first album. I was stunned. Suddenly it was really happening. A couple of weeks later I had the finished product in my hands. I could hardly believe it. I opened the package, and without any exaggeration, it felt as if I was being catapulted back in time to forty-four years ago, when I took my fist blues LP home. I sat down, looking at the fabulous covers, and as the stylus dropped onto the vinyl, I felt the warmth sweep over me. Except this time, in a way that surpassed all of my dreams and expectations, I was partly responsible for that warmth.

Postscript: This is the last part of Confessions of a Vinyl Addict, though I am delighted to able to say that, as of writing, I have not been cured.



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Confessions of a Vinyl Addict – Part 3

England, Vienna, Scotland.

By Gary Atkinson

I soon discovered that in addition to Rory Gallagher playing his famous, well worn, Fender Strat, he also played some superb, acoustic, blues on his 1930s National resonator guitar. This was another key factor in everting my collision course with purist music collector madness.

Whilst working, as an Office Junior at the City Engineers department of Hull City Council, I was approached by two close work friends. ‘Do you like Rory Gallagher?’ Dave asked. ‘No,’ I gave as a reply to a question, which, in my music-elitist view, needed no consideration. ‘Why not!?’ exclaimed Dave, genuinely puzzled. ‘He plays blues.’ I looked at him, mystified as to how he could come to such a ridiculous conclusion that a) Rory Gallagher played anything that could pass for blues music and that b) I would give such a singer that screamed his way through a song whilst playing screeching, electric-guitar, a microsecond of my time. Had the Hull City Corporation’s palatial Guildhall buildings have been mine, I would have told him to ‘Get out!’ Dave looked at me, obviously wanting to say more. Yet it was clear that he knew that, for the moment, he was not going to be given a way in to the impenetrable fortress of Atkinson’s world of music, despite his best of intentions.

On the Saturday afternoon following the conversation with Dave, the countryside’s tranquillity was shattered by the roaring noise of motor scooter engines. I opened the front door and to my astonishment watched a small armada of Vespas, liberally adorned with mirrors and headlights, pull into the drive of the house where I then lived with my parents, in the village of South Cave, twenty miles west of Hull. Sat as a passenger on the leading scooter was Dave, holding tightly onto a bunch of LPs. Each scooter had a driver with a passenger holding their own bundle of albums. Dave apologised for the intrusion but said that it was important. Apparently, he had been bothered by our discussion regarding Rory Gallagher or, more to the point, the lack of it. It had played on his mind for the rest of the week as to how intransigent I was about music and had decided to take matters into his own hands and demonstrate the error of my record-buying ways with a damn good record-playing session.

Scooter riders on their relentless search for lost souls, succumbed to music elitism.

I had little option other than make several cups of coffee, provide a dish of Rich Tea biscuits and invite them to the usually prohibited area of my room. I was then subjected to a crash course in what one would miss out on if one bloody-mindedly stuck to one thing only in one’s life. The first thing they played me was Free Live by Free. As the record turned, Dave pointed out the intricate, relationship between the guitar playing of Paul Kossoff and the bass playing of Andy Fraser. I was a little taken aback that such things could be discussed about a rock record. Surely, this was the preserve of the blues, jazz or classical connoisseur . . . wasn’t it? Next came the Rolling Stones, Rory Gallagher, Santana and Pink Floyd. The whole afternoon was like a week in rehab. I struggled and sweated my way through, trying to resist the demons. The gathering of people in my room, with their knowing looks and appearing as if they were in some kind of trance, all focused on the sounds of Hell emanating from the sacrificial turntable, made me want to resist. A voice in my head murmured, ‘Get thee behind me Satan and be gone with your vile, rock albums.’ The whole scene was like the final chapters of a Dennis Wheatley novel. But I began to get drawn in and I found myself going with the sounds filling the room. Oh god, I was becoming enchanted. It was like two-timing. After my friends left, with their faces saying, ‘Our work is done, we must go now’, I could hardly look my blues albums in the face. What would my heroes think? What if I ended up liking this music more than I liked the blues? Could I really end up dumping my blues records; the best friends that I had?



Standing in its own grounds, the windows of the Atkinson family home were flung wide open, during warm summers of the 1970s, and from them could be heard the music of blues concerts and festivals.

It would not be too long before the answer came. I bought records by everyone, from Son House Mississippi John Hurt and Kokomo Arnold to Jimi Hendrix, David Bowie, Bob Marley and The Stranglers. My head had been turned. Everything was up for grabs. The music was played loud, particularly when everyone was out and it was just up to me and my records to entertain ourselves. When summer arrived, the windows were thrown open wide and with the help of my collection, South Cave became the Newport Blues Festival, the Newport Folk Festival and the Newport Jazz Festival. Concerts by Free, Taj Mahal, Muddy Waters, Reverend Gary Davis, Mississippi John Hurt and others blasted out.

My record collecting carried on, unhindered and unabated, for the next couple of years or so. Sheridan started up another shop on Anlaby Road, Hull. Although one of the early Virgin Record stores had opened in Hull around the same time, for me, Sheridan had become the Richard Branson of second-hand vinyl-record shop owners. I was already eternally grateful to him. Would he go on to create an empire of Sheridan Second-Hand Railway, Second-Hand Airline Exchanges, and Sheridan Second Hand Banking Exchanges? Only time would tell.

This was still in the era where the working-class calendar of life was already marked off for you when you were born; ‘Go to school, leave school, get job (factory or office may be optional), get married, have kids, retire, die’. All of it being the earlier the better. By the age of nineteen I was on my way. Got job, found the girl. A year later, got married, got a mortgage, had our own bungalow and dog. We were married for fourteen years, much of it very happy but for reasons that I still cannot fathom, the records slowly began to remain in their sleeves. By the age of twenty-five we had moved over to Lancashire, set up a business, and brought our second child into the world. Within another five years the business had gone bankrupt and we had lost everything. We were left with nothing more than a few sticks of furniture and some clothes. I had a Dobro guitar and the record collection, both of which I held onto dearly to retain my sanity.

Eventually, we were both back in work. Good jobs, well paid, all expenses, the lot. I hardly noticed the transformation, as, in Thatcher’s Britain, we both, in our late twenties, began to metamorphose into a pair of grotesque, money-chasing yuppies. All artistic taste, creativity and cultural contemplation, along with the wisdom, consideration and empathy towards people that it comes with – things that we both had when we first began to go out with each other – left through the back door, helped on its way by an unceremonious kick up the arse by a £120 pair of Italian brogues. My record collecting, guitar playing and painting had stopped, replaced by an increasingly bland, mindless, status-symbol driven lifestyle. Finally, at around the age of thirty-two, I became the victim of our joint success. Like a mountain goat, grazing on grass growing by the quiet and tranquil railway line of life, I was suddenly hit by the huge, speeding locomotive of destiny, and on the front of it was written its unexpected destination: ‘Divorce Junction’.

At the same time, through my work, I had become friends with Gillian. I first met her when, late on a winter’s afternoon, I visited a small graphic-design business that she helped run from her home, a Victorian terraced house just to the north of Manchester. I looked around her office, as we spoke and noticed one or two things that made me suspect that she might be into music. I broached the subject and she replied by asking me what sort of music I was into. This question had always been an awkward one for me in the past. During the sixties and early seventies mentioning the word ‘blues’ in Hull usually drew a blank expression. At the most someone might have a stab at it. ‘Oh right, yeh. Me dad’s got some Acker Bilk records.’ Or ‘What, ya mean like Sarah Vaughan?’ And then there was the standard, ‘I ‘ate blues. It’s all the same and it’s so bloody miserable.’

Surprised to hear such a question, having not been asked it for some years, I thought I would play it safe. I had learned to reply ‘jazz’, rather than ‘blues’. It was less complicated, and I usually didn’t have to explain myself any further. ‘I’m into Jazz,’ I remarked. Preparing myself for the inevitable, I was completely wrong-footed when she replied, ‘What kind?’ and then reeled off a small but very credible list of jazz musicians that she liked. A little stunned, I decided to let my guard down and venture a little more information. ‘Well, I do like jazz. In fact, I like all sorts of stuff, but my main love is the blues.’ There was an uncomfortable silence, and I thought to myself, ‘That’s torn it, this conversation will stop right here.’ As I began preparing my ’Lovely to meet you, I’ll be back in touch’ speech, Gillian stood up and said, ‘Follow me.’ We walked from her front room into the hallway and then into the dining room. ‘What the hell’s going on?’ I wondered. She went to the back of the room where there were two original built-in cupboards on either side of the chimney breast. First, she opened wide the two doors to the left cupboard followed by those to the one on the right. Whilst gazing ahead of me, I slowly stooped slightly and gently and quietly placed my briefcase on the floor. There in front of me was a huge LP collection. In it was nearly every Muddy Waters, Bo Diddley, John Lee Hooker and Jimmy Reed album produced. Eventually we became a couple and the record collecting kicked back in with a vengeance.






I stood, looking at the cupboard shelves, filled with hundreds of blues LPs. For the first time in years, I had found a kindred spirit. I felt a jolt of energy inside of me and I sensed a flicker of a flame coming form the ashes of my life. My record collection would also be introduced to another one and between them there would arrive more albums. I was in love.

By the mid-nineties we were living in Scotland. I had begun to write for various magazines, mainly as a reviewer. Having enthusiastically told one magazine’s review editor that I was interested in early blues and gospel music – ‘The earlier and more obscure, the better – I received a small package of Document CDs. The first I gave my attention to was a full album of very obscure 1920s by two Afro-American Preachers (sermons with Singing). Their complete recordings were laid out in chronological order. Outraged, I paced over to the computer and began to write my review. I strafed the page with such words as ‘ridiculous’, ‘appalling’ and ‘unlistenable’. Why would anyone in their right mind, I asked in disbelief, want to reissue the complete works of such a group, using recordings that were at best uncomfortable listening, partly because of the performances and original quality of the sound recordings, and at worse impossible listening because of the terrible condition of the original records used for transfers to produce the masters?

The remainder of the CDs in the package were part of a seemingly endless A to Z of obscure female blues singers who had made only two to perhaps half a dozen recordings, mainly during the 1920 and ‘30s. My review gave them little better treatment than the preachers and their congregations, now laying, verbally bullet riddled, in their Perspex CD case.

Who in their right mind would spend money producing albums like these!?

When the magazine arrived, I went straight to the review section, satisfied with my literary outburst and ready to bask in the glory of seeing my thoughts and comments in print. And there it was. But then I realised that a huge amount of other Document CD reviews was there, throughout several review pages. My eyes began to narrow as I tried to take it in and make sense of it all. As I read the other reviews, it became clear that this Document label was unlike anything else I had come across in all of my years of collecting. I spoke to the reviews editor, who told me that the owner of the label, Johnny Parth, was a mad Austrian who appeared to be on a mission from God to reissue every blues and gospel recording made, from the first, dating from the late nineteenth century, to at least 1943, following all that were in the appropriate discographies covering that period. After that it was difficult to listen to and understand what the editor was saying. The phone was held limply in my hand as I gazed into the far distance, my jaw having dropped slightly.

It became clear to me that at nearly seventy years old Johnny was a serious collector of the scariest kind. Indeed, one of his albums, produced on vinyl, prior to the CD era, had a plain white, card sleeve, and as part of the title on the LP label it simply said, ‘For Serious Collectors Only’. Worryingly, he meant it.

In the past, I noticed that record collectors (perhaps this is unique to blues collectors but I suspect not) had a natural urge to start amassing the tracks of particular artists, scattered throughout their collections, on records, spool tapes, cassettes etc., in a certain way. And this was it: the full recorded works in chronological order. This was what the Document label was doing, because Johnny was just doing what came naturally as a serious collector. As a result, the Document label was not trying to pander to anyone; it was not following the commercial norm. It was making available, in a natural and recognisable way, the complete history of early blues, gospel and spirituals recordings, from the very beginning through to World War 2 and beyond. With each and every CD booklet came informed notes by experts and a detailed discography. It didn’t cherry-pick. It wasn’t interested in “best-ofs”. This was an attempt to preserve, for as long as possible, an Afro-American musical heritage. The best, the good, the worst, everything. Realising this, I became hooked. Here was everything that I had been looking for from my first days of record collecting. Though my preference was still for vinyl and shellac, from then on my reviews of Document CDs became far more positive, little knowing what lay ahead.



Next week, the fourth and final posting of ‘Confessions of a Vinyl Addict’, in which my life in music and records is changed completely by two international phone calls.