Another one of those hidden figures of the blues who made a few records at one session and promptly disappeared into obscurity, few details are concretely known about the life of Texas-Louisiana musician “Stick-Horse” Hammond, who made a small handful of records in 1950 demonstrating a gritty and rather archaic style of rural blues. As such, the facts presented within this article should to taken as tentative, at best.
One of at least five children of B.B. and Laura (spelling uncertain) Hammond, “Stick-Horse” was born Nathaniel Hammond in Palestine, Texas, on April 16, 1896, (according to public records), though a date in the preceding month has also been proffered, as well. According to a draft card presumably attributable to the same Hammond, he was of medium height with a heavy build as an adult. Per the same source, he worked on the Union Pacific Railroad around the time of the First World War, and was at the time living in Denver, Colorado. Perhaps resulting from that profession, he purportedly lost a leg (much like his white contemporary “Peg” Moreland), and ostensibly adopted the nickname ‘Stick-Horse” from the peg-leg he relied upon thereafter. Later in life, he reportedly turned to life as a traveling musician, playing around his home state before settling in Taylortown, Louisiana, in the vicinity of Shreveport, where he began farming on the share. Around 1950, Hammond was “discovered” by country singing star Zeke Clements—who was then appearing on the KWKH Louisiana Hayride—and brought to town to cut a record for former disc jockey Ray Bartlett. Clements later recalled that “they drove around for two or three days getting him drunk enough to record.” In all, Hammond produced six sides for Bartlett’s “Job” label, four of which were picked up by larger record companies (Royalty Records of Paris, Texas, and Gotham Records of Philadelphia, Pennsylvania, respectively). Sometime later, the plantation on which Hammond farmed was visited by record executives Stan Lewis and Leonard Chess in hopes of signing the bluesman to the fledgling Chess Records. Unfortunately for the songster, the big boss ran off the city slickers with a shotgun, swiftly snuffing out any hopes for the continuation of Hammond’s brief career as a record artist. Remaining in Taylortown for the rest of his life, “Stick-Horse” Hammond died in Shreveport on May 27, 1964.
Royalty RR-906 was recorded at the J&M Record Shop presumably at 728 Texas Street in Shreveport, Louisiana, sometime in the year of 1950. It was originally released on Job 105. “Stick-Horse” Hammond sings the blues and accompanies himself on electric guitar.
On the “A” side, “Stick-Horse” sings a low-down country blues rendition of fellow Texan Curtis Jones’s “Highway 51”.
Highway 51, recorded 1950 by “Stick-Horse” Hammond.
Few songs in the vast and diverse country blues tradition have had such an enduring impact, and few melodies known such ubiquity, as the Mississippi Sheiks’ legendary 1930 recording of “Sitting On Top of the World”. Yet in spite of its great import, the song’s origins are quite obscure. Thus, I endeavor herein to unravel the tangled roots of one of America’s greatest blues songs. I do ask that if you readers have any greater insight into the song’s history than I have to offer, please let me in on it by commenting on this post.
The Mississippi Sheiks—Bo Carter, Lonnie Chatmon, and Walter Vinson—pictured in the 1937 Bluebird catalog.
The Mississippi Sheiks were a versatile country string band with a repertoire consisting of everything from deep plantation blues melodies to the latest Tin Pan Alley pop hits. Though its personnel varied from session to session, core members were Lonnie Chatmon on fiddle and Walter Vinson on guitar. Sometimes, they were joined by other Chatmon brothers Sam and Armenter—better known as Bo Carter—or mandolin player Papa Charlie McCoy, brother of Kansas Joe McCoy. The Chatmon family of Bolton, Mississippi had a venerable musical history in the region. Patriarch Henderson Chatmon, born into slavery around 1850, was a fiddle player, and he passed his legacy of music on to his sons Lonnie, Bo, Sam, Harry, and reputedly Charley Patton by a different mother. Lonnie Chatmon was born either in June of 1888 or on November 8, 1890. He provided the heart of the Sheiks as their main fiddle player, remaining ever-present through all the Sheiks sessions and varying membership. Guitar picker Walter Vinson, sometimes called Vincent or Vincson, and credited pseudonymously as Walter Jacobs, was born on February 2, 1901, also in Bolton. Prior to becoming a Mississippi Sheik, he played alongside such noted talents as Charlie Spand, Rube Lacey, and the aforementioned Papa Charlie McCoy. He made his first records with Bo Carter for Brunswick in 1928, also Carter’s first.
Following in the footsteps of similar Bo Carter and Walter Vinson groups of 1928 and ’29, the Mississippi Sheiks had their first recording session in Shreveport, Louisiana in February of 1930 for Okeh, and continued to record exclusively for them through 1931, with several of their records released in the 45000 “hillbilly” series rather than the 8000 “race” series, and their two final discs appearing on the parent label Columbia. While at Okeh, the Sheiks accompanied “Texas” Alexander in a single San Antonio session. Meanwhile, offshoot groups such as the Mississippi Mud Steppers and Mississippi Blacksnakes, both featuring Charlie McCoy, cut several records for Okeh and Brunswick. Thereafter, they traveled to Grafton, Wisconsin to make a series of records for the faltering Paramount label in July of ’32 before returning to Okeh in ’33 for a single session while the record industry was in dire straits. The following year, they signed with RCA Victor’s new up-and-comer Bluebird, with whom they remained until their final session in 1935. Lonnie cut several more records for Bluebird late in 1936 with brother Sam Chatmon, who had participated in a handful of earlier Sheiks sessions, before calling it quits.
After the days of the Mississippi Sheiks had drawn to a close in the middle of the 1930s, the Chatmons, excepting Bo, quit music and returned to a life as farmers. Lonnie Chatmon died around 1942 of ’43. Walter Vinson and Bo Carter continued to enjoy solo recording careers into the 1940s. Bo Carter made some (as yet unreleased) final recordings for Paul Oliver in 1960 with Will Shade and Dewey Corley of the Memphis Jug Band, and died four years later at the age of seventy-one. Walter Vinson too returned to music in 1960, making a rather more successful comeback than Carter, before retiring for the last time in 1972, owing to atherosclerosis, three years before his death. Sam Chatmon spent many years working on plantations in Mississippi before the folk revival of the 1960s brought him back to the spotlight with great success, dying at the age of 86 in 1983.
Okeh 8784 was recorded at the Mississippi Sheiks’ first session on February 17, 1930 in Shreveport, Louisiana. The Sheiks are Walter Vinson (a.k.a. Walter Jacobs) on guitar and vocal, Lonnie Chatmon on fiddle, and on the second side, Bo Carter on second guitar. It is the Sheiks’ second issued record.
Without a doubt the Sheiks’ greatest success—then as now—is “Sitting on Top of the World”. The Walter Vinson and Lonnie Chatmon accredited composition has subsequently been covered by dozens, if not hundreds of artists, and was inducted into the Grammy Hall of Fame in 2008. After proving to be one of the biggest “race” hits of 1930, the Sheiks followed up with “Sitting on Top of the World No. 2” (Okeh 8854) in 1931 and “The New Sittin’ on Top of the World” (Paramount 13134) in ’32. Bearing no resemblance to the 1926 popular song “I’m Sitting on Top of the World” besides its title, the unmistakable melody of “Sitting on Top of the World”, or a very similar one, was used by quite a number of recordings prior to the Sheiks’ 1930 waxing.
Where exactly and from whom the melody originated is considerably more difficult to pin down than simply citing some of the many songs to use it. Walter Vinson claimed to have written the song after playing for a white dance. Ida Cox recorded “How Long, Daddy, How Long” in 1925 with a like melody, accompanied by Papa Charlie Jackson, the composer credited as “W.H. Jackson”. Leroy Carr made that song famous three years later with his influential “How Long – How Long Blues”, and reused the melody in his “You Got to Reap What You Sow” only two months later. Some have suggested that the Sheiks were introduced to the melody by way of Tampa Red and a song he recorded several times called “Things ‘Bout Coming My Way”, however I am dubious of that prospect; the earliest recording of “Things ‘Bout Coming My Way” was cut on January 17, 1931 by one “Sam Hill” from Louisville—apparently a pseudonym for Walter Vinson—for Brunswick records, at the same session as the Sheiks’ offshoot the Mississippi Blacksnakes. Tampa Red made his first recording of the song the following month, with the composer credited as “Sam Hill”. The Sheiks themselves recorded the song later in that year. However, prior to every recording of “Things ‘Bout Coming My Way”, the Atlanta-based fiddler Eddie Anthony recorded the very similar “Everything’s Coming My Way” in December of 1930, with the same melody, borrowing some lyrics from “Sitting on Top of the World”. To complicate matters further, the 1941 Sam Price and his Texas Bluesiscians recording of “Things ‘Bout Coming My Way” perplexingly credits Bert Johnson and Spencer Williams as composers.
Contemporaneous to the Sheik’s “Stitting On Top of the World”, a version was cut by Charley Patton, an associate of the Sheiks, only a few months after theirs under the title “Some Summer Day”. Big Bill Broonzy used the popular melody in his two-parter “Worrying You Off My Mind” in 1932, and Robert Johnson too echoed it in his 1936 “Come On in My Kitchen”. Milton Brown introduced the tune into the western swing repertoire with his 1934 recording titled “Just Sitting on Top of the World”, which was in turn covered by Bob Wills and others.
Sitting on Top of the World, recorded February 17, 1930 by the Mississippi Sheiks.
Though a little worse for wear, owing to a touch of groove stripping, the Sheiks give us some more of their good stuff, with Bo Carter sitting in, on the less well-remembered, but nonetheless excellent “Lonely One In this Town”.
Lonely One In this Town, recorded February 17, 1930 by the Mississippi Sheiks.
WordPress automatically creates this “Hello World” post, I suppose I could delete it, but I’d rather use the opportunity to introduce the material I intend to post on this new website, and introduce a marvelous piece of recorded history from my collection…
This Okeh custom pressing, titled Hello World 001, was made in 1930 for the owner of KWKH radio in Shreveport, Louisiana, one W.K. Henderson. The first side, by Henderson himself, was recorded on February 18, 1930 in Shreveport, Louisiana, and the second, by country artist Blind Andy, was recorded March 5, 1930 in New York. Henderson recorded three other talks that day, but none were released.
William Kennon Henderson, Jr., was born in Bastrop, Louisiana in 1880 and made his fortune as owner and president of the Henderson Iron Works and Supply Company. Henderson became interested in radio in 1923, when he was requested by Shreveport radio station WGAQ to help fund a replacement of their low-powered transmitter. In 1925, he bought the station and renamed it KWKH, the callsign representing his initials. Broadcasting across many states with his 50,000 watt station, Henderson made a name for himself with his rural brand of humor and his heated, profanity-laced political rants against chain stores, large corporations, the Federal Radio Commision, and the establishment in general. Henderson was a long time friend and associate of governor Huey Long, who appeared as a guest on the station occasionally, along with some of his allies. Long also aided Henderson in keeping government regulation away from his controversial broadcasts. Henderson also founded an alliance of small business owners dubbed the Modern Minute Men (MMM), which at one point claimed around 32,000 members nationally and raised almost $375,000 for Henderson.
Despite his attempts to exploit loopholes, Henderson was an enemy of the fledgling Federal Radio Commission for his repeated and numerous violations of their policies, including his obscenity laced monologues and his reliance on “canned music”. In 1931, Governor Long had a falling out with Henderson, and the Federal Radio Commission ordered an inquiry into the affairs of KWKH. That combined with hard times brought on by the Great Depression saw him to declare bankruptcy and sell the station in 1932. On his death bed in 1945, Henderson said, “I was right, you know… I guess I was fighting for free speech and free enterprise.” KWKH would later gain new fame for their “Louisiana Hayride” program beginning in 1948, which eventually featured a young singer by the name of Elvis Presley in the 1950s.
Recorded by Okeh in Shreveport, Louisiana, W.K. Henderson tones down his act considerably for the record’s first side, “Hello World”, a diatribe from Henderson about other stations interfering KWKH’s frequency of 850 kilocycles by WABC in New York, a “chain outfit,” WLS in Chicago, that “Sears-Rareback outfit,” and WENR, and the entity responsible for the interference, the Federal Radio Commission.
Hello World, recorded February 18, 1930 by W.K. (Old Man) Henderson.
On the flip-side, recorded March 5, 1930 in New York City, noted country and gospel artist Andrew Jenkins performs “Hello World Song (Don’t You Go ‘Way)”, a well-done country song set to the tune of his older composition, “The Death of Floyd Collins”. Blind Andy warns listeners not to invest their money in the stock market and offers other bits of timely advice from the agenda of W.K. Henderson.
Hello World Song (Don’t You Go ‘Way), recorded March 5, 1930 by Blind Andy.
Having shared that piece of history, I leave you with a final word…