Romeo 5025 – Sammy Sampson/Georgia Tom – 1930

Big Bill with his Gibson Style O guitar, as pictured in the 1941 Okeh race records catalog.

Previously on Old Time Blues, we took a look at one of the earliest records made by the illustrious Big Bill Broonzy, featuring the two rambunctious rags “Saturday Night Rub” and “Pig Meat Strut”.  Now that the time to pay birthday tributes to Mr. Broonzy has rolled around yet again, we turn our attention to another piece of work dating to one month earlier in Big Bill’s long and extensive career.

After his first 1927 and ’28 Paramount records brought little commercial success, Big Bill took a hiatus from recording.  Come 1930 however, he made his triumphant return, sitting in on an American Record Corporation session on April 8th, backing Frank Brasswell on two characteristic blues sides, then joining with the “Famous Hokum Boys”, under the auspices of founding member Georgia Tom Dorsey, to cut a re-do of the classic “Somebody’s Been Using That Thing” and three hot guitar rags.  The following day, Bill got his own time in the limelight—after a fashion—when he recorded three solo efforts of his own, “I Can’t Be Satisfied”, “Grandma’s Farm”, and “Skoodle Do Do”, all released under the pseudonym “Sammy Sampson”.  Bill continued to record under that name—excluding the results his three or four excursions to Richmond, and one to Grafton—until 1932, when the ARC (and Bluebird, for a time) finally decided to start putting out his records under his own name, albeit without his last name credited, which didn’t make it onto labels until he started recording for Mercury in 1949 (save for composer credits, which were often attributed to “Willie Broonzy” of “Williard Broonzy”).

Romeo 5025 was recorded on April 9 and 10, 1930 in New York City.  “Sammy Sampson” is, of course, a pseudonym for Big Bill Broonzy. It was also issued on Oriole 8025 and Jewel 20025, and side “A” also appeared on Perfect 157 backed with “Skoodle Do Do”.  The 78 Quarterly speculated “more than thirty [copies] on all labels,” making it perhaps not quite rare, but rather scarce nonetheless (if we’re going to split hairs), while the Perfect issue was estimated at “less than fifteen”.

On his outstanding “I Can’t Be Satisfied”, Big Bill is accompanied by his usual partner in his early days, the flatpicking Frank Brasswell, on second guitar.  To be frank, Big Bill’s earliest works were sometimes rather hit or miss; this one’s a hit—enough of one that it was covered by Bob Wills’ Texas Playboys about six years later.  It’s like rock ‘n’ roll twenty years early, only better—one of Bill’s best recordings, in my opinion.

I Can’t Be Satisfied, recorded April 9, 1930 bu Sammy Sampson.

On the flip-side, Georgia Tom Dorsey sings “Mama’s Leaving Town” in a characteristic style much in the same vein as his “Grievin’ Me Blues”—in fact, the two have very similar melodies.  He is accompanied by Broonzy on guitar.  If the song was a little peppier and hokumier, it probably would’ve been credited to the “Famous Hokum Boys”.

Mama’s Leaving Town, recorded April 10, 1930 by Georgia Tom.

Champion 16081 – Hokum Boys – 1930

This record is a surprisingly obscure one considering its excellence, even in light of its extraordinary scarcity.  A Google search will yield precious few results, and the upload of the only side that’s on YouTube has accrued only around five-hundred views in more than half a decade.  Its rarity earned it a spot on Document Records’ “Too Late, Too Late: Newly Discovered Titles and Alternate Takes” series rather than their Hokum Boys or Big Bill Broonzy series proper, and that may be the only commercial reissue it’s ever gotten (I’m not sure).  To the few who know of it (mostly a small cadre of record collectors and blues researchers), it is held in high regard as perhaps Big Bill Broonzy’s best record.  I had the fortune of being enlightened to its existence some years ago, and the even greater fortune of being able to acquire a copy.  I hope to shed a much needed ray of sunshine onto this gem of prewar blues guitar, and help get it some of the recognition it deserves.

In 1930, Big Bill Broonzy was under the management of Chicago “race music” impresario Lester Melrose, and playing good-time music with Georgia Tom and Frank Brasswell (or Braswell, a.k.a. “The Western Kid”) as the “Hokum Boys” (a mantle originally used by Georgia Tom and Tampa Red).  Broonzy hadn’t recorded since his earliest, somewhat poorly received “Big Bill and Thomps” Paramount sessions of 1927 and ’28.  Among the tunes recorded by Broonzy and the Hokum Boys were (fittingly) hokum titles like “Somebody’s Been Using that Thing” and “Eagle Riding Papa” (both of which were later covered by Milton Brown), urban blues novelties like “Mama’s Leavin’ Town”, and fast guitar rags like “Saturday Night Rub” and “Pig Meat Strut”.  On the rags, Frank Brasswell’s flatpicked rhythm combined with Bill’s adept fingerpicking to make musical magic. The trio, occasionally including Delta blues man Arthur Petties, first recorded in New York for the American Record Corporation in various configurations and under various names, including “Sammy Sampson” for Bill’s solo work.  Next they traveled to Richmond, Indiana to cut several sides for the Starr Piano Company’s Champion label, all ones they had made previously for the ARC, this time with Bill’s solo work credited to “Big Bill Johnson”.  Those Champions were the last sides to feature Brasswell, who proceeded to drop off the face of the earth.  Bill on the other hand would go on to great acclaim.

Champion 16081 was recorded on May 2, 1930 in Richmond, Indiana.  The Hokum Boys are Big Bill Broonzy (recording for the Starr Piano Co. as “Big Bill Johnson”) and Frank Brasswell on guitars.  It sold a total of 959 copies, of which only a handful are known to exist today.  As such, it is listed in the “Rarest 78s” section of 78 Quarterly (issue number six), and while the total number of existing copies was not estimated at the time, a current estimate places the number at “fewer than ten known copies.”  More popular versions of both tunes were recorded for the American Record Corporation the previous month (and both, in my opinion, are not near as good as these).  There is some debate as to the correct playback speed for these recordings, with suggestions from my esteemed colleagues Mr. Russ Shor of Vintage Jazz Mart and Mr. Pete Whelan of 78 Quarterly ranging from the standard 78.26 RPM to 83 RPM.  Based on an E chord on a guitar in standard tuning, my best estimate would be that they should play at approximately 80 RPM, to which I’ve set the transfers posted herein.

First up, Bill and Frank get hot on Broonzy’s classic rag composition “Saturday Night Rub” with a performance described by blues guitar teacher Woody Mann as “one of the most hard-driving rag tunes ever recorded.”  Midway through, Bill utters those immortal words, “I’m gonna play this guitar tonight from A to Z!”

Saturday Night Rub, recorded May 2, 1930 by the Hokum Boys.

“Pig Meat Strut” on the “B” side is perhaps my favorite guitar instrumental (though there’s some stiff competition from Blind Blake, William Moore, Bayless Rose, Frank Hutchison, and others).  Bill and Frank’s “Famous Hokum Boys” version of the rag for the ARC, recorded a little less than a month before this one, is often hailed as one of his best (I say phooey), but it sounds like a hot mess compared to this masterpiece!  The riff used in “Pig Meat Strut” was seemingly ubiquitous in hokum of this era—such that I’d dub it the “hokum riff”—and appeared in a number of Broonzy and Brasswell’s other recordings of this era, later serving as the basis for Big Bill’s popular “Hey Hey” in 1951.  Interestingly, a nearly identical melody was also used by Texas blues man Little Hat Jones in his “Kentucky Blues”, recorded only a month after this one, though any actual connection between the two is unknown to me.

Man, did they get in the groove and how!

Pig Meat Strut, recorded May 2, 1930 by the Hokum Boys.