There are some folks who say that seeing two “elevens” in a row holds some special or otherworldly significance. Well, I don’t claim to know a thing about that, but I would say that this record does little to refute that proposition, for it constitutes the earliest musical document of a man who would in later years become one of the most beloved ambassadors of the blues during the its latter-day revival: Furry Lewis.
Walter E. Lewis is said to have been born on the sixth of March, likely in 1899 (as suggested by the U.S. Census of 1900), though the man himself claimed to have been born in 1893, and many (older) sources agree with that date. He hailed originally from the Mississippi Delta town of Greenwood, but grew up in Memphis, Tennessee, where he was nicknamed “Furry” from a young age for reasons now lost to time. It was probably around the same time that he took up music, starting out on a homemade cigar box guitar. He claimed that his first “proper” instrument was given to him by the Father of the Blues himself: W.C. Handy. In his youth, Furry took to a life of hoboing, which cost him his left leg in 1917, after he got it caught in a coupling between train cars in an ill-fated attempt to ride the blinds. Thereafter, he returned home to Memphis and played around Beale Street. Sometime in the early 1920s, Furry encountered songster extraordinaire Jim Jackson, who hooked him up with a job performing in Dr. Willie Lewis’s traveling medicine show.
In April of 1927, Furry traveled to Chicago to cut his first two-and-a-half records (and one unissued side) for Vocalion, who promoted him as singing “blues in a real Southern style.” He returned there in October of the same year to make three more records, plus an unreleased recording of “Casey Jones Blues”. Finally, when the Victor Talking Machine Company made one of their excursions south, Furry cut eight more sides at the Memphis Auditorium on August 28, 1928, which included some of his finest and best known works. Though not the most sophisticated of guitar players, he was a master of his own style with relaxed competence, and his natural showmanship, combined with exceptional diction and an amiable personality, made him a magnetic performer. A career in music did not put food on Furry’s table however, and he spent most of his life in obscurity, working odd jobs for the city of Memphis, primarily as a street sweeper. He still played music professionally—if only part time—at least as late as 1940, at which time he was enumerated by the U.S. Census in Missouri as a forty-four-year-old musician working for the “carnival”, and married to a blues singer by the name of Anny Mae Bell (though in later years he was quoted as saying “what do I need with a wife as long as the other man’s got one”).
In 1952, Harry Smith included Lewis’s two-part Victor recording of “Kassie Jones” in his influential Anthology of American Folk Music, and when the white folks at large finally came around to appreciating the musical merits of the Afro-American blues during the folk music revival of the late 1950s and early ’60s, Furry was among the first of the drove of still-living bluesmen of the genre’s first generation on records to be “rediscovered” (though really he was there all along). He was recorded in his Memphis home by Samuel B. Charters in 1959, resulting in a Folkways LP which bring him into a greater spotlight than he had ever known before. As his style of music enjoyed a surge of popularity the likes of which it had never known before, Furry rose to a position of stardom that exceeded that of his contemporaries; while most of the rediscovered blues greats mostly found their greatest success at folk music festivals and such affairs, Furry’s fame brought him a guest spot on The Tonight Show Starring Johnny Carson in 1974 and a small role in the 1975 Burt Reynolds movie W.W. and the Dixie Dancekings, and he opened for the Rolling Stones on two occasions. After enjoying his newfound fame for more than a decade, Furry Lewis died in Memphis of heart failure, complicated by pneumonia, on September 14, 1981.
Vocalion 1111 was recorded on April 20, 1927 in Chicago, Illinois. Furry Lewis accompanies himself on his own guitar on side “A”, but on “B” is instead accompanied by Landers Waller on guitar and Charles Johnson on mandolin (one of whom can be heard in the background making comments).
Though some discographies suggest otherwise, the guitar playing on “Rock Island Blues” is unmistakably Furry’s own handiwork, and the melody closely mirrors that of his “Furry’s Blues” and “Good Looking Girl Blues”.
On the “B” side, Johnson’s mandolin and Waller’s guitar lend an entirely different atmosphere to “Everybody’s Blues”.