Some people cast aspersions on the quality of Bumble Bee Slim’s body of work, declaring it to be inferior, or “unbluesworthy”. I can’t speak for his entire body of work, because I’ve only listened to a fraction of it, but I think both these sides—particularly the latter—are quite excellent blues sides of the more urbane variety epitomized by Leroy Carr, which proved to be the most commercially profitable style in the Great Depression days than the country blues most coveted by collectors today (and I can’t claim to not be a part of that bunch).
Amos Easton was born in Brunswick, Georgia on May 7, 1905. He learned to play the guitar, and ran off to join the circus at the age of fifteen. Winding up in the Midwest in the early days of the Great Depression, Easton made his debut recordings under the name “Bumble Bee Slim” in Grafton, Wisconsin for the faltering Paramount Records in October of 1931, resulting in six sides backed backed by slide guitar, including an adaptation of Memphis Minnie’s “Bumble Bee”—from which he presumably derived his stage name—as “Honey Bee Blues”. Drawing a great deal of inspiration from popular blues duo Leroy Carr and Scrapper Blackwell, Easton recorded again half a year later, this time for Vocalion, producing the popular “B and O Blues” as well as another rendition of Minnie’s “Bumble Bee”, this time under the title “Queen Bee Blues”. From then on, Bumble Bee Slim recorded in earnest with Vocalion from 1932 to ’37, Decca and its subsidiary Champion from 1934 to 1936, and Bluebird in 1935 and ’36 (as “Amos”). Though able to play guitar himself, Easton did not play on many of his records, and was instead accompanied by a variety of guitarist and pianists, including at various times Big Bill Broonzy and Peetie Wheatstraw. After concluding his business with Vocalion, Easton went home to Georgia. A few years later, he relocated to California, a place in which he had expressed great interest in a number of his songs, and in the middle of the 1940s, Slim began recording again on burgeoning West Coast blues and jazz labels. In the 1950s and early 1960s, he recorded several albums, but could not achieve the success he had known in the 1930s. Amos Easton died in Los Angeles, California on June 8, 1968.
Decca 7126 was recorded on July 7 and 8, 1935 in Chicago, Illinois. Bumble Bee Slim’s outstanding accompaniment appears to consist of Dot Rice on piano and Scrapper Blackwell (recording for Decca as “Frankie Black”) on guitar.
On the “A” side, Bumble Bee Slim demonstrates an apparent lack of geographical knowledge with the opening verse “the Smoky Mountains is way out in the west.” He delivers “Smoky Mountain Blues” in a style very reminiscent of his inspiration and contemporary Leroy Carr.
Smoky Mountain Blues, recorded July 7, 1935 by Bumble Bee Slim.
On the “B” side Easton sings one of his most popular numbers, his first re-worked version of Buddy Moss’s “Oh Lordy Mama” as “Hey Lawdy Mama”. The song was later adapted as swing by Count Basie in 1938, and subsequently covered by Louis Armstrong, Andy Kirk’s Twelve Clouds of Joy, and others. Easton later recorded the song at least twice more with the titles “Meet Me in the Bottom”, accompanied by Peetie Wheatstraw, and “Meet Me at the Landing”, both in 1936. The guy just couldn’t stop singing it. I prefer this version myself. It is worth distinguishing this song from the earlier “Hey Lawdy Mama—The France Blues” recorded by Long “Cleve” Reed and Little Harvey Hull (The Down Home Boys) for Black Patti in 1927; the two songs share very little in common.
Hey Lawdy Mama, recorded July 8, 1935 by Bumble Bee Slim.