| | Too Late, Too Late Blues, Vol. 3 CD
The third volume in this rewarding series has 26 isolated recordings that for one reason or another were left out of Document's "complete" collections of early blues. Three songs were previously unreleased while quite a few others are alternate takes or new discoveries. Although not for the general collector, early blues fanatics and completists will find much to enjoy here. Featured on Vol. 3 are Buddy Boy Hawkins, Side Wheel Sally Duffie, the Memphis Jug Band, Lottie Kimbrough, Jim Jackson, William Harris, Blind Lemon Jefferson ("Big Night Blues"), Charley Patton ("I Shall Not Be Moved"), the Mississippi Sheiks, Memphis Minnie, Curly Weaver, Tampa Red, Josh White, Leadbelly ("My Baby Quit Me"), Casey Bill Weldon, Ida Parham, the Two Gospel Keys, and a privately recorded 45 by Jesse Thomas that was cut sometime in the mid-'60s; most of the other music on this CD dates from 1927-1940. ~ Scott Yanow
Personnel: Tampa Red (vocals, guitar, kazoo); Curley Weaver, Walter Vincson, Emma Daniels, Jesse Thomas, Leadbelly, Memphis Minnie, William Harris, Blind Lemon Jefferson, Buddy Boy Hawkins, Casey Bill Weldon, Charley Patton (vocals, guitar); Mother Sally Jones, Winston Holmes, Lottie Kimbrough (vocals); Kansas Joe McCoy, Will Weldon, Big Bill Broonzy, Miles Pruitt, Buddy Moss (guitar); Vol Stevens (banjo, mandolin); Lonnie Chatmon (violin); Ben Ramey (kazoo); Walter Roland, William Ezell (piano).
Recording information: 04/1927-??/1965.
Too Late, Too Late Blues, Vol. 3 Music Too Late, Too Late Blues, Vol. 3 Songs | 1. | Number Three Blues - Buddy Boy Hawkins (take 1) |
| 2. | Bunker Hill Blues - Side Wheel Sallie Duffie |
| 3. | Plantation Blues - Side Wheel Sallie Duffie |
| 4. | She Stays Out All Night Long - Memphis Jug Band (Take 1) |
| 5. | Don't Speak to Me - Winston Holmes/Lottie Kimbrough |
| 6. | I'm Wild About My Lovin' - Jim Jackson (Take 1) |
| 7. | Electric Chair Blues (Jefferson Country Blues) - William Harris |
| 8. | Bad Treated Blues - William Harris |
| 9. | Big Night Blues - Blind Lemon Jefferson |
| 10. | I Shall Not Be Moved - Charley Patton (alternate take) |
| 11. | Jazz Fiddler, The - Mississippi Sheiks (take A) |
| 12. | Dirt Dauber Blues - Memphis Minnie |
| 13. | You Dirty Mistreater - Memphis Minnie |
| 14. | No No Blues - Curley Weaver |
| 15. | Early Morning Blues - Curley Weaver |
| 16. | I'll Get a Break Someday - Tampa Red |
| 17. | Cherry Picker - Joshua White |
| 18. | Tweet Tweet Mama Blues - Joshua White |
| 19. | My Baby Quit Me - Leadbelly |
| 20. | We Gonna Move (To the Outskirts of Town) - Casey Bill Weldon (Take 2) |
| 21. | This Ain't No Place for Me - Tampa Red |
| 22. | Untitled Blues - Ida Parham |
| 23. | If I Never See You Anymore - Two Gospel Keys |
| 24. | Stranger, Don't Drive Me Away - Two Gospel Keys |
| 25. | Your Love Is Automatic - Jesse Thomas |
| 26. | Rain Sleet or Snow - Jesse Thomas |
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Too Late, Too Late Blues, Vol. 3 Review
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Known as Cash Money before legal trouble prompted a moniker switch, Cash Audio's Orange Records debut sticks with the band's tried and true noisy blues-rock formula. A stripped-down duo consisting of vocals, guitar, and drums, Cash Audio is working with a limited palette, to say the least. While Cash Audio is very much in the vein of acts like the Immortal Lee County Killers, Bantam Rooster, and the Jon Spencer Blues Explosion (all of which have to some degree influenced the new wave of minimalist blues bands of the moment like the White Stripes and Blackeyed Snakes), the band seems to lack the fire and personality of those acts. Spencer and Rooster rely, to varying degrees, on raw sexuality as their music's source of passion, and while rock & roll doesn't always have to be about sex and drugs, it can sure spice things up in the right measure. The Orange Sessions finds the formerly combustible Cash Audio sleepwalking through soggy numbers that lack any trace of the band's former spark. When there are only three elements to the band, taking one away is a bad idea; thus, the outfit's decision to record most of the tracks sans vocals seems like a bad one. (In the exceedingly long and equally boring interview that wraps up the disc, they explain that instrumentals are "more expressive." Whatever.) In all, those already in the Cash Audio fan club will more than likely really enjoy The Orange Sessions, and those who are introduced to the band through this record will like it, too. However, those expecting anything new or exciting from the band will be disappointed to find that it's just more of the same old ...
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