Too Late, Too Late Blues Vol 1
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Too Late, Too Late Blues
Recently Discovered Recordings and Alternative Takes
Featuring the recordings of:
Blind Blake, vocal / guitar. Blind Lemon Jefferson, vocal / guitar. George “Bullet” Williams, harmonica solo / speech. Bessie Tucker, vocal; accompanied by K. D. Johnson, piano. Memphis Jug Band: Will Shade, harmonica; Ben Ramey, kazoo; Charlie Burse, guitar; Vol Stevens, guitar; Jab Jones, jug / lead vocal; group vocal. Willie Baker, vocal / guitar. Rev. D. C. Rice And His Sanctified Congregation: Sermons with singing; accompanied by unknown, trumpet / trombone / piano / mandolin / tambourine / triangle. Charlie Spand, vocal / piano. Robert Peeples, vocal; acc. prob. own guitar. Charley Patton, vocal / guitar. Big Bill Broonzy, vocal / guitar; probably Georgia Tom, piano. Western Kid: Frank Brasswell, vocal / guitar; unknown, piano. Memphis Minnie, vocal / guitar; Kansas Joe McCoy, guitar. Kansas City Kitty, vocal; Georgia Tom, vocal / piano. Bo Carter, vocal / guitar. Big Bill Broonzy (as Big Bill Johnson), vocal / guitar. Joe McCoy (as The Mississippi Mudder-Mud Dauber Joe), vocal / guitar; possibly Charlie McCoy, guitar. Joe McCoy (as Georgia Pine Boy), vocal / guitar; Jimmie Gordon, piano. Memphis Minnie, vocal / guitar. Kokomo Arnold, vocal / guitar. Memphis Minnie, vocal / guitar; Arnett Nelson, clarinet Blind John Davis, piano; probably Ransom Knowling, stand-up bass. Little Buddy Doyle, vocal / guitar; probably Walter Horton, harmonica. Lonnie Johnson, vocal / guitar; Blind John Davis, piano; Ransom Knowling, stand-up bass.
Genres: Blues, Country Blues, Gospel, Country Blues Guitar, Blues Piano, Blues Harmonica, bottleneck-slide Guitar, Jug Band, Mississippi Blues, Memphis Blues, Georgia Blues, Early Chicago Blues, Louisiana Blues, New Orleans Blues, Alabama Blues, Texas Blues, Female Blues, Kansas Blues,
Abridged from this albums original booklet notes. Document strives to preserve and present each artist’s oeuvre in a concise, logical format that will make it available for further enjoyment and study for many years to come. Inevitably, however, some items do turn up and become available to Document after (or perhaps even because) the major alcum issue is released. It is only then that some collectors realize what rare and unusual items they already have in their collections, and they make them available for Document to share with the larger community. This issue, then, acts as a clearing house to preserve and expand on what has previously been available, and also can serve as a sampler of artists that have been featured. These additional items fall into several main categories. The Rev. D. C. Rice test pressing was one I had a dub of for some ten years, but I realized only in hindsight that it was not generally known to exist. When I sent it to Document, it turned out that technical limitations (absolute album playing time) precluded its earlier use in any case, but this is a case of better late than never. I think it was Bob Dixon who pointed out this fact of life for the compiler; as soon as the work is completed as much and as well as possible, in come the corrections and additions to keep him humble and constantly on the lookout for more. Some of these are items that have only been found in the last year or so. One of these Big Bill’s is a case in point, having been picked up in a lot that was brought in “off the street” for disposal. Richard Hite sold the 78 to Pete Wielan who made it available. Mike Kirsling has made available items that he found in the great Paramount test lot of several years ago, but which he retained. Now they will be available. Several items have been tracked down via the Rarest 78’s column in 78 Quarterly. Those we’ve been able to contact have been most generous and forthcoming to help make this (and, indeed, the whole series in general) as complete and good sounding as it is. As for the question of alternate takes, Document has been including them when they are aurally different. The Charley Patton -2 included here is an exception – not noticeably different to our ears, but a better copy in any case. Some of these alternates come to our attention aurally, as in the case of Memphis Minnie‘s Reachin’ Pete, of which only one take was thought to exist. So we know for sure that some people at least listen to these issues with intense concentration. No doubt there are interesting stories behind each item presented here, but here are included the newly found, newly recognized, and newly offered items and the background of only a few of them. In conclusion, we dedicate this issue to you, the listener, who makes this task of retrieval, preservation and presentation such a labor of love for us all.Roger Misiewicz, December, 1992 Copyright 1993 Document Records