| | Female Blues: Remaining Titles 1921 - 1928 CD
In 1997 Document released a 24 track grab bag of rare female blues recordings from the 1920s, presented as a coda to the label's expansive series of "Female Blues Singers" compilations containing material dating exclusively from the years 1920 to 1930. In 1998 Document followed suit with a second volume of "Female Blues: the Remaining Titles," this time focusing on the years 1938-1949 to top off some of the company's blues, barrelhouse, swing, and early R&B collections. Document 1528 is a decidedly pungent sampler that combines the works of seven powerfully expressive women. Bea Foote, best known for her ostentatiously marijuana induced "Weed"; Lil Green, still one of the world's great overlooked heroines of the blues; Ruby Walker Smith, Bessie Smith's niece and traveling companion; Perline Ellison, Lillie Mae Kirkman, Muriel Nichols, and Monette Moore. In addition to those already mentioned, the instrumentalists heard on this excellent album include seasoned jazzmen like trumpeter Henry Red Allen, trombonist J. C. Higginbotham, pianist James P. Johnson, guitarists Big Bill Broonzy and Teddy Bunn, and drummer Big Sid Catlett.
1921-1928-Lavinia Turner,Josie Miles,Sister Harris
Female Blues: Remaining Titles 1921 - 1928 Music Female Blues: Remaining Titles 1921 - 1928 Songs | 1. | Sweet Man Blues - Viola Baker (1924) |
| 2. | Go Back Where You Stayed Last Night - Viola Bartlette (1925-1926) |
| 3. | Tennessee Blues |
| 4. | You Never Can Tell What Your Perfectly Good Man Will Do |
| 5. | She Walked Right up and Took My Man Away - Helen Baxter (1926) |
| 6. | If You Can't Hold the Man You Love (Don't Cry When He's Gone) - Alberta Hunter (1926) |
| 7. | 31st Street Blues - Josie Miles (1924) |
| 8. | Cootie For Your Tootie - Etta Mooney (1922) |
| 9. | Harmony Blues |
| 10. | Alabama Bound Blues - Ethel Ridley (1923-1925) |
| 11. | I Don't Let No One Man Worry Me |
| 12. | Get It Fixed |
| 13. | Low Down Daddy Blues |
| 14. | I'll Get Even With You (Revengeful Blues) - Mae Scott (1923) |
| 15. | No Sooner - Elizabeth Smith (1926-1927) |
| 16. | Gwine to Have Bad Luck For Seven Years |
| 17. | Police Done Tore My Playhouse Down |
| 18. | Show Me the Way to Go Home - Louise Vant |
| 19. | Save Your Sorrow |
| 20. | Man I Love Is Oh! So Good to Me, The |
| 21. | Daddy, Don't You Try to Pull That Two-Time Thing on Me |
| 22. | Sunset Blues |
| 23. | Texas Mule Stomp |
|
Female Blues: Remaining Titles 1921 - 1928 Review
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Purchase Female Blues: Remaining Titles 1921 - 1928 CD To buy, Click on price to add to cart | Clarence Williams & The Blues Singers Clarence Williams & The Blues Singers, Vol. 1 (1923-1928) CD (1995) Import
Female Blues: Remaining Titles 1921 - 1928 album
 $13.25 
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Closing in on the end of their fourth decade as a Toronto jump-blues institution, and consisting entirely of men who are at or beyond retirement age, Downchild continue to make music that crackles with energy and joy. Founding member and guitarist Donnie Walsh wrote most of the songs on this powerful 11-track live set, which includes such fan favorites as "(I Got Everything I Need) Almost" (which features a particularly impressive guitar solo from Walsh and a great, swinging horn chart) and the rollicking "It's Been So Long," along with the slightly less compelling spoken word excursion "I've Been a Fool" and a fine slide guitar showcase titled "It's a Matter of Time." The album closes with a brilliant instrumental, a Walsh original titled "Soaring," on which Walsh and Chuck Jackson duel on harmonica and which also features pianist and organist Michael Fonfara. When it's running at full tilt, it becomes clear what makes Downchild such an impressive band: it's the lack of any weak spot in the lineup. Jackson has a rich, chesty voice and a jubilant delivery that belies his careful attention to pitch and phrasing; the horn section is sharp and punchy (and often joined on its melodic passages by Walsh's guitar); and the rhythm section drives everything from below with solidity and power. None of this would matter if the songs ...
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