Victor 21549 & V-40017 – “Buddy” Baker – 1928

Posted on May 17, 2019 by R. Connor Montgomery

There are fair number of artists who might have achieved the success of Jimmie Rodgers, but, for whatever reason, did not. Some, like Atlanta’s Ernest Rogers, were not musicians by profession, and only recorded a few songs on the side. Others perhaps lacked something that Rodgers had, be it talent, charisma, ambition, or maybe simply luck. Regardless of the circumstances, in the wake of the Singing Brakeman’s monumental success were a drove of excellent-yet-underappreciated artists who left behind recorded legacies ranging from one song to dozens. One such artist is “Buddy” Baker, a vaudevillian performer who made only two records for Victor in 1928, about whom there have previously existed nary any publicized biographical details, and about the same number of decent sounding recordings of his work.

Baker pictured in the 1930 Victor “Old Familiar Tunes” catalog.

Research reveals that “Buddy” was in fact Ernest H. Baker, and was born on May 17, 1902, in Escambia County, Alabama, the son of John and Rebecca Baker. In his teenage years he worked in a mill, but he pursued a career in music when he came of age. He traveled to Chicago in June of 1928 to record for the Victor Talking Machine Company, and cut six sides on the twenty-first and two more the following day. Of those eight, only four were released: “Penitentiary Blues” and “Box Car Blues” on Victor 21549, and “Matrimonial Intentions” and “Alimony Blues” on Victor V-40017. Of the four unissued sides were “I Want My Mammy”, “Nobody Knows What’s On My Mind Blues”, and “Razor Jim”. Baker returned to the Victor studio one year later in Camden, New Jersey to wax four more, including “It’s Tough on Everybody” and “The Rambling Cowboy”, but this time, none were released. His four surviving recordings depict an artist with a clever sense of diction and a penchant for simplistic scat singing, and a unique approach to a guitar method typical of his time. At the time of his recording career, he was living with his family in Mobile, Alabama, and began performing on radio station WODX around the time of its inauguration in 1930. Later, he seems to have taken up in Ohio, where he found work as a welder for Babcock and Wilcox. Probably in 1932, he married a woman named Jessie. Baker died from peritonitis, resulting from a perforated ulcer, in Barberton, Ohio, on May 24, 1937, and his body was shipped back home to Alabama to be buried in his family’s plot in Mobile’s Magnolia Cemetery. Like Jimmie Rodgers, Buddy Baker was gone from the world at only thirty-five.

Victor 21549 and V-40017 were recorded on June 21, 1928 at 952 North Michigan Avenue in Chicago, Illinois. On both, Ernest “Buddy” Baker sings and accompanies himself on guitar. 21549 purportedly sold a total of about 9,400 copies, while sales figures for V-40017 are not available.

Baker’s “Penitentiary Blues” is one of many renditions of the old folk ballad “Little Sadie”—also known as “Bad Lee Brown”—which was later adapted into the western swing repertoire as “Cocaine Blues” (not to be confused with the unrelated Luke Jordan and Dick Justice song of the 1920s). Preceding Clarence Ashley’s “Little Sadie” (which used a different melody) by more than a year, this version is likely the earliest recording of the classic folk song, though the song itself existed for at least several decades prior to first being recorded. Other early (pre-“Cocaine”) recordings of the song include “Seven Foot Dilly” John Dilleshaw’s unissued “Bad Lee Brown” for Okeh in 1929 and Riley Puckett’s “Chain Gang Blues” for Bluebird in 1934. Woody Guthrie must have had a copy of Baker’s record, because he recorded a nearly identical version under the title “Bad Lee Brown” in 1944. As “Cocaine Blues”, it was introduced in 1947 by T.J. “Red” Arnall as a member of W.A. Nichol’s Western Aces on the S & G label. It inspired contemporary covers by Roy Hogsed on both Coast and Capitol and Billy Hughes on King, and was famously revived by Johnny Cash in his 1968 Folsom Prison concert.

Penitentiary Blues, recorded June 21, 1928 by “Buddy” Baker.

On the reverse, Baker sings a real blues number, “Box Car Blues”, with some clever songwriting and a little Emmett Miller style yodeling added in for flavor.

Box Car Blues, recorded June 21, 1928 by “Buddy” Baker.

On the first side of his second (and final) record, Baker sings “Matrimonial Intentions”, showcasing more of his guitar playing. This song was covered by Jack White in the 2017 American Epic Sessions, which saw modern artists recording covers of 1920s and ’30s songs on 78 RPM with acoustic instrumentation. White put together a fine performance of it, and he’ll always have my respect for digging up such an obscure old title.

Matrimonial Intentions, recorded June 21, 1928 by Buddy Baker.

Finally, Baker concludes his brief career on records with “Alimony Blues”, bemoaning divorce with some fairly inventive guitar work.

Alimony Blues, recorded June 21, 1928 by Buddy Baker.

Gold Star 662 – Lightnin’ Hopkins – 1949

Posted on March 15, 2019 by R. Connor Montgomery

Dating to four years after the close of the second World War, these two sides are a little past the typical era of material presented on Old Time Blues, but their excellence earns them a position among the ancients. They are the work of the artist who succeeded Blind Lemon Jefferson as “King of the Texas Blues”—and perhaps the coolest man to ever walk the earth—the legendary Lightnin’ Hopkins.

The man who would become “Lightnin'” was born Sam John Hopkins on the fifteenth of March in either 1911 or 1912, in Centerville, Texas, located halfway between Dallas and Houston. He moved with his mother to neighboring Leona after the death of his father in 1915. While attending a church picnic in nearby Buffalo, Texas, around the year 1920, the eight-year-old Hopkins encountered Blind Lemon Jefferson, who was providing music for the function. Jefferson instilled the blues in Hopkins, and the young boy was inspired to build a cigar box guitar for himself and start down the path of a musician. He began his musical career with Jefferson—who purportedly scolded the young musician for joining in his music-making, but allowed him the rare privilege of playing alongside him once he became aware of Hopkins’ age—and his cousin “Texas” Alexander.

By the middle of the 1920s, Hopkins was living as an itinerant musician, a streak which was cut short by a stretch spent in the Houston County Prison Farm, on charges unknown. After his release, Hopkins returned to his hometown and found work as a farmhand, giving up music for a short time. By the end of the Second World War, Hopkins had picked up his guitar once again and went back to Houston to sing on street corners. There, in 1946, he was discovered by Lola Anne Cullum, a talent scout for the Los Angeles, California-based Aladdin Records. Hopkins traveled to California, and made his first records accompanying Texas piano man Wilson “Thunder” Smith, which gained him his nickname “Lightnin'”. Recording a total of forty-three sides for Aladdin between 1946 and ’48, Hopkins went on to make discs for numerous other labels over the course of his long career. He settled in Houston by the beginning of the 1950s, and began recording for Bill Quinn’s Gold Star label, producing some hit records such as “‘T’ Model Blues” and “Tim Moore’s Farm”.

Already popular with southern black audiences, Lightnin’ became endeared to the folk and blues revivalists thanks to the promotion of Texas musicologist Mack McCormick in 1959, and he appeared at Carnegie Hall on October 14, 1960. In 1962 he made the album Mojo Hand, introducing the titular song, which was to become a standard of his repertoire. In 1967, he was the star of Les Blank’s documentary The Blues Accordin’ to Lightnin’ Hopkins. He toured around the world, and made appearances on Austin City Limits in the 1970s, establishing himself as one of the leading country blues figures of his day. After performing professionally to great acclaim in five consecutive decades, Lightnin’ Hopkins died of esophageal cancer on January 30, 1982.

Gold Star 662 was recorded around July of 1949 at 3104 Telephone Road in Houston, Texas. Lightnin’ Hopkins sings and accompanies himself on guitar; on side “A”, he is backed on slide guitar by Harding “Hop” Wilson.

Firstly, Hopkins sings “Jail House Blues”, a quintessential country blues song drawing inspiration from the “floating verses” endemic of the blues, and with the slide guitar accompaniment adding a bit of extra zest to Lightnin’s own playing.

Jail House Blues, recorded c. July 1949 by Lightnin’ Hopkins.

One of Lightnin’s bigger hits of his early career, he sings and plays solo on “‘T’ Model Blues” (“Lord, my starter won’t start this mornin'”)—a masterful blues that sends a shiver right down my spine.

‘T’ Model Blues, recorded c. July 1949 by Lightnin’ Hopkins.

Decca 7340 – Black Ace (B. K. Turner) – 1937

Posted on February 15, 2019 by R. Connor Montgomery

Of all the countless musical artists active before the Second World War, only a fraction were fortunate enough to have their art preserved on records, and an even smaller fraction recorded prolifically, leaving magical whatever music they produced mostly unheard. That however, does not necessarily imply that those artists who left behind few, if any, recordings were not popular within their own domain. One such artist who achieved considerable note with audiences in his homeland of Texas, but only left behind a precious few recordings was a peculiar, but quite remarkable, bluesman (and my own fourth personal favorite Texas blues musician) known as the Black Ace.

The man later called the “Black Ace” was born Babe Kyro Lemon Turner on the twenty-first of December, 1907 (some sources state 1905), on his family’s farm in the small settlement of Hughes Springs, deep in the farthest northeast reach of the state of Texas—the same region that brought up the likes of Little Hat Jones and Lead Belly. He took up playing the guitar sometime in his youth and began playing the blues by the end of the 1920s in the vicinity of his hometown, and teamed up with the younger Andrew “Smokey” Hogg in the decade that followed. Evidently inspired by Hawaiian-styled blues player Oscar “Buddy” Woods, Turner bought a square-necked National tricone resonator guitar and learned to play steel guitar, using an old medicine bottle as a slide. In the 1930s, he relocated to Fort Worth and began performing on the radio. There, he made his first recordings on April 5, 1936: two sides for the American Record Corporation including his eponymous theme song “Black Ace Blues”, from which he adopted the nickname, but both were unissued and are considered lost. When the Decca record company made a field trip to Dallas early in 1937, Turner recorded again, cutting six sides, all of which were issued this time around (some sources suggest that he traveled to Chicago with Smokey Hogg and Whistling Alex Moore for the session, but they are erroneous). The resulting three records proved to be the entirety of Black Ace’s pre-war recording career, and he would not record again for twenty-three years. In spite of his scant recorded legacy, Turner seems to have enjoyed considerable regional popularity; his radio program lasted into up until the outbreak of World War II, and, remarkably for an early blues musician, he boasted a (very brief) motion picture career. In 1941, Turner had a bit part in Spencer Williams’ race movie The Blood of Jesus, ostensibly portraying himself, first being heard-and-not-seen playing “Golden Slippers Blues”, then appearing as a member of a band performing on the back of a flatbed truck with the devil at the wheel. He was drafted into the Army in 1943, and continued to play music while in the service, but retired from professional musicianship after returning from the war. He was coaxed back in front of the microphone in 1960 by Chris Strachwitz and Paul Oliver to record an album for Strachwitz’s Arhoolie Records, thus preserving a further seventeen pieces of his repertoire for posterity. Two years later, he made his second filmed appearance in Samuel Charters’ 1962 documentary The Blues, in which he reprised his theme song “The Black Ace” for the last time. After suffering from cancer, B.K. Turner died in Fort Worth on November 7, 1972.

Decca 7340 was recorded on February 15, 1937 in Dallas, Texas. It is the second released of Black Ace’s three records. B.K. Turner sings and plays his own Hawaiian guitar; he is accompanied by an unidentified rhythm guitar player (possibly Andrew “Smokey” Hogg).

Firstly, the Black Ace plays and sings “You Gonna Need My Help Some Day”, loosely covering Big Bill Broonzy’s “You May Need My Help Some Day” from a year prior—which in turn echoes some elements from Kokomo Arnold’s “Milk Cow Blues” of 1935.

You Gonna Need My Help Some Day, recorded February 15, 1937 by the Black Ace (B.K. Turner).

On the reverse, he does “Whiskey and Women”, showcasing a bit more of the Black Ace’s Hawaiian-styled blues playing.

Whiskey and Women, recorded February 15, 1937 by the Black Ace (B.K. Turner).

Conqueror 8274 – Callahan Brothers – 1934

Posted on January 2, 2019 by R. Connor Montgomery

Following in the same vein as popular sibling acts such as the Delmore Brothers, the, Callahan Brothers—consisting of the duo of Homer and Walter (who later adopted the sobriquets Bill and Joe for the sake of brevity)—made a name for themselves in the budding country music industry of the Great Depression-era.

Hailing from the Blue Ridge Mountains of western North Carolina, in the county of Madison, Walter Callahan, born January 27, 1910, and his brother Homer, born March 27, 1912, grew up surrounded by the rich musical culture of the mountain folks. As they were in adolescence, the soon-to-be-famous Jimmie Rodgers was getting his start singing on the radio in nearby Asheville, and in the year of the Singing Brakeman’s demise, 1933, the Callahans got their own big break in the very same town. While singing and yodeling at an Asheville music festival, the brothers were discovered by a talent scout for the American Record Corporation, who invited them to New York for a session. They obliged, and had their first record date on January 2, 1934, a session which produced a hit with “She’s My Curly Headed Baby”. With a two-guitar accompaniment and a repertoire consisting of old sentimental songs such as “Maple On the Hill” to hokums like “Somebody’s Been Using That Thing” to straight blues like “St. Louis Blues”, they were able to produce a string of decently selling records during the times of economic depression. In addition to their work as a duet, the brothers also each recorded solo. Around the time of their recording debut, the duo also began appearing on Asheville’s WWNC, soon moving to WHAS in Louisville, and then to WWVA in Wheeling, West Virginia. Walter retired back home for a brief period in the late 1930s, leaving brother Homer to continue solo for a time.

Reunited at the end of the 1930s, Walter and Homer changed their names to Joe and Bill, respectively, and went to Texas to begin performing on KRLD in Dallas. There, they became early members of the station’s Big D Jamboree when it debuted in the late 1940s. They also recorded transcriptions to be played on the Mexican border blaster stations, bringing their music to an even wider audience. In 1945, they made an appearance with Jimmy Wakely in the Western movie Springtime in Texas. They continued singing on the radio and on records into the 1950s. Also in the 1950s, Homer/Bill worked as manager to Lefty Frizzell. Walter/Joe retired back home once again by the end of that decade, this time for keeps, and became a grocer. He died in North Carolina on September 10, 1971. Homer stayed in Texas and in music for the rest of his long life, which came to an end on September 12, 2002.

Conqueror 8274 was recorded In New York City on January 3 and 2, 1934, respectively, the Callahans’ first sessions. Homer and Walter Callahan sing and yodel, accompanied by their own two guitars.

From the second day of the Callahan Brothers’ first sessions, the duo sings and yodels the lonesome song “I Don’t Want to Hear Your Name”.

I Don’t Want to Hear Your Name, recorded January 3, 1934 by the Callahan Brothers.

On the reverse, the brothers sing a hot hillbilly take on W.C. Handy’s famous “St. Louis Blues”, cut on their first record date.

St. Louis Blues, recorded January 2, 1934 by the Callahan Brothers.

Vocalion 1727 – Peetie Wheatstraw (The Devil’s Son-in-Law) – 1932

Posted on December 21, 2018 by R. Connor Montgomery

The last thing we heard from the East St. Louis blues king Peetie Wheatstraw was a couple of swing-blues sides from the tail end of his career. Now, let us direct our attentions eight years earlier toward the beginning of his recorded legacy.

A cropped version of the only known photograph of Wheatstraw, pictured in Decca catalog.

Though the only known photograph of William Bunch—better known as Peetie Wheatstraw—depicts him holding a National metal-bodied resonator guitar, the artist played piano on the overwhelming majority of his recordings, while guitar was provided by the likes of Charley Jordan, Kokomo Arnold, or Lonnie Johnson. Other times he played nothing at all, only singing and leaving his accompaniment solely to other musicians. But that depiction of Peetie was not entirely inaccurate; it is said that he started out his musical career on the guitar and learned to handle the instrument with proficiency, before switching to piano later on. By the time he made his first records in 1930, he was primarily playing piano, developing a signature formula which he continued to use for the majority of his more than one-hundred-fifty sides. In 1932 however, Wheatstraw had a pair of stand-out sessions which departed from his standard formula. On a recording trip to New York City in March of 1932, Wheatstraw first played piano for Charley Jordan on a series of sides, then Peetie picked up the guitar himself, and, on March fifteenth and seventeenth, he laid down four blues songs unlike any other that he recorded: “Police Station Blues”—later echoed by Robert Johnson in his “Terraplane Blues”—and “All Alone Blues” on the former day, and “Can’t See Blues” and “Sleepless Nights’ Blues” on the latter. Afterward, he returned home to East St. Louis, and didn’t cut another record for two years, by which time he had settled into his formula, and never touched a guitar again, at least on records.

Vocalion 1727 was recorded on March 15, 1932 in New York City. Peetie Wheatstraw sings and plays guitar on both sides. Both sides were also reissued around 1938 to ’39, each on separate records, with the first side appearing on Vocalion 04592 and the second on Vocalion 04912.

First, despite whatever technical limitations Peetie may have had, he dishes out a wonderful performance on “Sleepless Nights’ Blues”, a great classic of equal or perhaps greater merit than his more popular “Police Station”, earning its way into the Yazoo compilation St. Louis Blues 1929-1935, The Depression.

Sleepless Nights’ Blues, recorded March 15, 1932 by Peetie Wheatstraw (The Devil’s Son-in-Law).

Reusing many of the licks heard on the previous side (though actually vice-versa, since this one was recorded earlier), Wheatstraw next sings “Can’t See Blues”. Like his piano playing, Wheatstraw had a very idiosyncratic style of playing guitar (which is to say, he typically followed a very similar pattern in all of the songs he played).

Can’t See Blues, recorded March 15, 1932 by Peetie Wheatstraw (The Devil’s Son-in-Law).