Okeh 8106 – Sippie Wallace – 1923

Posted on November 1, 2019 by R. Connor Montgomery

While Blind Lemon Jefferson is often identified as the Father of the Texas Blues for his pioneering recordings made in 1926, it is every bit as important to acknowledge the lady blues singers that blazed the trail before him, such as the “Texas Nightingale”, Houston’s own Sippie Wallace.

Sippie was born Beulah Bell Thomas on the Bell Bayou near Pine Bluff, Arkansas, on November 1, 1898, one of the thirteen children of the musical family of George and Fanny Thomas. The family moved to Houston, Texas, before the turn of the century (her birthplace is often cited as Houston, but the U.S. Census of 1900 suggests Arkansas). She acquired the nickname Sippie in school because her “teeth were so far apart [she] had to sip everything.” Her father was a deacon in the Shiloh Baptist Church, where she sang and played the organ. On summer evenings, she would sneak away with some of her siblings to the tent shows, where she first met the blues, and where she first began singing it when one of the stars asked her to join the chorus. Soon, she was traveling with the shows across the state. Her older brother George W. Thomas gained note as a ragtime musician and composer in New Orleans (and whose daughter Hociel also sang the blues), and she moved there with her younger brother Hersal—also a pianist—to live with him in 1915. There, in 1917, she met and later married Matt Wallace. Like her contemporaries “Ma” Rainey and Bessie Smith, she toured on the T.O.B.A. vaudeville circuit in the early 1920s, during which time she earned the sobriquet “The Texas Nightingale”. She moved with her brothers to Chicago in 1923, and not long after made her recording debut for the Okeh record company. That arrangement proved quite lucrative, and she recorded forty-four sides for the company between October of 1923 and May of 1927, some featuring star-studded accompaniments by the likes of King Oliver, Louis Armstrong, and Clarence Williams, and many others backed by brother Hersal. Subsequently, she recorded four sides for Victor in 1929, backed by some members of the Dixieland Jug Blowers and her own piano, of which only two made the cut. She moved to Detroit in 1929, and following the deaths of both her husband and brother George in 1936, she turned from the blues to religion, becoming organist and choir director at the Leland Baptist Church. She made one record with Albert Ammons’ Rhythm Kings for Mercury in 1945, reviving her old “Bedroom Blues”, but kept her back mostly to the blues until 1966, when her friend and fellow Texas blues singer Victoria Spivey convinced her to make a comeback. Her return was met with success, and she toured the United States and Europe and recorded several albums, particularly influencing young musician Bonnie Raitt. She was one of the last surviving classic female blues singers of the 1920s when she was incapacitated by a stroke in March of 1986. Sippie Wallace died eight months later on her eighty-eighth birthday.

Okeh 8106 was recorded in October of 1923 in Chicago, Illinois. It is Sippie Wallace’s first record and accounts for the entirety of her first recording session. Wallace is accompanied on piano by Eddie Heywood, Sr.

“Shorty George Blues” was composed by Sippie’s brother George and niece Hociel. Fellow Texans Lead Belly and James “Iron Head” Baker later recorded largely unrelelated folk songs under the same title, but the echoes of Wallace’s song can be heard throughout the country blues; the opening verse alone recycled in numerous other blues songs, such as Bo Weavil Jackson’s “You Can’t Keep No Brown”.

Shorty George Blues, recorded October 1923 by Sippie Wallace.

Another family affair, Wallace shares the composer’s credit with her brother George W. Thomas for her “Up the Country Blues”, drawing both lyrics and style from the country blues tradition not yet recorded at the time.

Up the Country Blues, recorded October 1923 by Sippie Wallace.

Victor V-40008 – “Peg” Moreland – 1928

Posted on October 29, 2019 by R. Connor Montgomery

Known to radio listeners across the Southwest from the 1920s to the 1940s as the “King of the Ditty Singers”, Dallas’ own “Peg” Moreland was surely among the most prolific pre-war folksingers from the State of Texas, yet most unfortunately he has since fallen behind that so-common veil of obscurity.

“Peg” Moreland, from 1930 Victor supplemental.

“Peg” was born Arnot Jackson Moreland (though he switched his first and middle names later in life) on October 29, 1892, on a farm in Rienzi, Texas, a no-longer-extant community in Hill County, one of at least eight children of Samuel Jackson and Mollie (née Arnot) Moreland. From a young age, Moreland memorized folk songs he picked up from his southwestern environment. Not long after 1900, the family moved west to Canyon, Texas, where Pa Moreland operated a grocery store until his untimely death in 1908. There, the young Moreland played piano, clarinet and saxophone in the Canyon Municipal Band. Jackson served in the National Guard for three years prior to the First World War, attaining the rank of corporal, and was later justice of the peace in Randall County for three years beginning in 1921. At some point between 1917 and 1925, Moreland lost his right leg in a railroad accident, presumably during his work as a brakeman on the Santa Fe, the replacement for which gained him the nickname “Peg”. He moved to Dallas with his family in 1924. With guitar in hand and a head full of folk ditties, Moreland began singing on Dallas’ venerable radio station WFAA in 1925. Moreland sang in a light and pleasant tenor croon—akin to other popular radio folksingers like Bradley Kincaid—and played guitar in a snappy, syncopated, ragtime-esque flatpicked style. His repertoire—said to consist of over two-thousand “ditties”—was not too dissimilar from that of Georgia’s Riley Puckett, with material ranging from cowboy ballads, to old minstrel and parlor songs.

For a short time, Moreland went west to work as a railroad mail clerk on the Arizona run before returning to WFAA in 1927. In July of 1928, Moreland traveled to Chicago, Illinois, to record for the Victor Talking Machine Company; in his first session, he cut five sides, followed by three more two days later. While he was there, he spent a brief time performing on the WLS National Barn Dance as “Tex” Moreland before returning home to Texas. The next year, Victor came to him, conducting a field trip to Dallas, during which he recorded another three sides. He later attended Victor field trips to Memphis and Atlanta, in 1929 and ’30, respectively, resulting in a further eight sides. All of the sides he recorded, nineteen in total, were released, some on split releases shared with the likes of Harry “Mac” McClintock and Blind Jack Mathis. After 1930, Peg Moreland made no further commercial recordings, but his radio career was far from over, and he also performed frequently in local vaudeville and functions. He remained a fixture on WFAA, its associate station KGKO, and other stations around Texas and Oklahoma, at least as late as the Second World War. Moreland never married and lived with his mother and brothers until her death in 1943. Late in his life, Moreland lived in hotels around the city of Dallas, including the New Oxford and Lawrence. “Peg” Moreland died on January 11, 1973 in Dallas, Texas, of a coronary. His death certificate still listed his occupation as “entertainer” and WFAA as his employer.

Victor V-40008 was recorded on July 5 and 3, 1928, respectively, at 952 North Michigan Avenue in Chicago, Illinois—Moreland’s first session. “Peg” Moreland sings and accompanies himself on the guitar.

Peg first sings one of my favorite home-spun ditties: “Stay in the Wagon Yard”. The song tells the humorous tale of a farmer who comes to town to bring his crop to market. He leaves the wagon yard to “see the ‘lectric lights and watch the cars come in,” only to be taken on a drunken spree by some city dudes. He warns his fellow farmers to “buy a half-pint and stay in the wagon yard.” Probably best known by Grandpa Jones’s rendition, Moreland’s recording was the first of several contemporaneous versions, including ones by Georgia fiddlers Lowe Stokes and Earl Johnson, as well as Alabama folkster Lew Childre. The Fresno State Traditional Ballad Index lists Arthur Tanner—who sang on the Stokes recording—as the probable writer, though this seems unlikely, seeing as Moreland, from Texas, made his recording of the song more than a year prior. It seems more likely that Stokes and the gang, who followed Moreland’s verse almost to the letter with the exception of omitting the last stanza, heard it from Moreland’s record, though where Moreland learned the song I couldn’t say; he was not a songwriter himself and denied ever producing any original songs, instead drawing fully on traditional material. In addition to Moreland’s Texan heritage, the line “I’m a deacon in a hard-shell church down near Possum Trot” could suggest a Texas origin, assuming it refers to the predominately black farming community near the Louisiana border, though there are places by that name in several other states. It is worth noting that Earl Johnson’s 1930 recording adds several verses not heard in Moreland’s or Stokes’s records. Quite a few recordings have been made since, and the song’s popularity with old-time string bands endures to this day.

Stay in the Wagon Yard, recorded July 5, 1928 by “Peg” Moreland.

Moreland’s rendition of the popular folk song “The Old Step Stone”—commonly known by the title “Goodbye to My Stepstone” or some variation on that—was his first recorded side. The song in its original form is believed to date back to 1880, when it was published as “Old Doorstep” by one J.O. Webster.

The Old Step Stone, recorded July 3, 1928 by “Peg” Moreland.

Bluebird B-8899 – Ernest Tubb – 1936

Posted on October 27, 2019 by R. Connor Montgomery

Ernest Tubb at about twenty-two years old, pictured in the 1937 Bluebird Records catalog.

That time has rolled around once again to fondly remember my dear cousin, Ernest Tubb. The last time we heard from E.T., he was performing his biggest hit: “Walking the Floor Over You”. Now let us turn back the clock a few years to his earliest recording sessions, long before he had the fame and acclaim that, once found, would last him the rest of his career.

Ernest Tubb made his recording debut in a room at the Texas Hotel in San Antonio on the twenty-sixth of October, 1936, accompanying the widow of his idol Jimmie Rodgers on a song she wrote in a tribute to her late husband. He received no credit for his role in the production on the record’s label, which simply read “with accompaniment played on Jimmie Rodgers’ own guitar.” Mrs. Rodgers had loaned Tubb Jimmie’s instrument—as well as the Blue Yodeler’s tuxedo to wear in publicity shots—and helped him secure a contract with the RCA Victor Company, for whom her husband had recorded for the entirety of his six year career to help him get started in his musical career, after he had contacted her and the two became friendly. Tubb began his recording career in earnest the following day, waxing six sides, all in the style of his hero, complete with yodeling and guitar work lifted straight from Rodgers’ records.. He began with his own tribute to the Singing Brakeman he so adored: “The Passing of Jimmie Rodgers” and “The Last Thoughts of Jimmie Rodgers”—both penned by Rodgers’ songwriting partner and sister-in-law Elsie McWilliams—which constituted the first record issued to his name. He followed up with four more sides, which did not see release until six years later. Despite the lack of success brought by his first disc, Tubb was behind the Victor mike again less than half a year later to cut another two sides, this time with his friend Merwyn J. Buffington joining him on second guitar. The resulting disc, without the words “Jimmie Rodgers” on the label to ensure its success, sold even more poorly than the first, and Tubb did not return to record for RCA Victor again. For the remainder of the 1930s, Tubb continued to struggle as an artist, frequently working day jobs to support himself as gigs on Texas radio stations and honky-tonks failed to pay the bills. In 1939, a tonsillectomy damaged his yodeling ability (though he did yodel on rare occasions in subsequent years), forcing him first to shift his focus to songwriting before returning to singing with a new, less blue yodeling style all his own which ultimately found him immense, lifelong success and a longstanding contract with Decca Records to go with it, but he never forsook his adoration for his hero Jimmie Rodgers.

Bluebird B-8899 was recorded between 1:00 and 2:15 in the afternoon of October 27, 1936 at the Texas Hotel in San Antonio, Texas. It was released on January 9, 1942, after he had started making hits for Decca. Ernest Tubb sings his own compositions, accompanying himself on the late Jimmie Rodgers’ custom Martin 000-45 guitar.

First, Tubb borrows heavily from the Blue Yodeler on “Married Man Blues”, with a guitar introduction lifted from Rodgers’ “Blue Yodel No. 5” and an opening verse directly from his “Whippin’ That Old T.B.”.

Married Man Blues, recorded October 27, 1936 by Ernest Tubb.

Next, he does “Mean Old Bed Bug Blues”, an original composition distinct from the song of the same name sung by the likes of Bessie Smith and Furry Lewis. In my opinion, this is perhaps Tubb’s best Bluebird side—though “Since That Black Cat Crossed My Path” is another top contender. Though Tubb very seldom recorded with only his own guitar as accompaniment, he proves on these sides to have been nearly as proficient on the instrument as his idol, Jimmie Rodgers. Though far from a hit record, the song was later covered by Hawshaw Hawkins in 1946.

Mean Old Bed Bug Blues, recorded October 27, 1936 by Ernest Tubb.

Victor 23696 – Jimmie Rodgers – 1932

Posted on September 8, 2019 by R. Connor Montgomery

A rare snapshot of Jimmie Rodgers in the early 1930s, atop a ’31 Chrysler and holding a puppy.

As Jimmie Rodgers’ successful recording career entered its fifth year, he was at the height of his fame, and times had never been better—or worse—for the Blue Yodeler.

In 1932, Jimmie Rodgers was living in Texas, “a state he dearly loved.” He had moved into his custom built brick manor in Kerrville in 1929 to help ease his tuberculosis with the fresh hill country air, but left for a modest home at 142 Montclair Avenue in San Antonio only three years later, where he hosted a weekly radio program on KMAC. Progressively declining health had forced him to curtail his touring schedule, but staying put just wasn’t in his nature, and he continued to motor around the region in his blue Cadillac. At the same time, the record industry—which had made Rodgers a star five years earlier—was too in ill health; the Great Depression, combined with the emerging medium of radio, had record sales dropping fast. By the time the industry hit bottom, Jimmie Rodgers was Victor’s best-selling record artist, hence the Depression-era adage that a typical Southerner’s shopping list was “pound of butter, a slab of bacon, a sack of flour, and the new Jimmie Rodgers record.” In spite of the circumstances against his favor, Rodgers kept up his recording schedule during 1932, producing a total of twenty-one sides over course of the year. In February, he was in Dallas to cut seven sides at the Jefferson Hotel, accompanied first by a hillbilly band including future western swinger Bill Boyd on such tracks as “Hobo’s Meditation”, and then by a Hawaiian quartet with his longtime collaborators Billy and Weldon Burkes. On the thirty-first of July, he departed for Camden, New Jersey for a productive session with Clayton McMichen, Slim Bryant, and Oddie McWinders, that resulted in such memorable numbers as “Peach Pickin’ Time Down in Georgia” and “Whippin’ That Old T. B.”. Afterward, he traveled on to New York for an audition with NBC, which resulted in a pilot on WEAF but did not materialize further, and another session that produced four sides, including “Miss the Mississippi and You”. With talks of a tour of England with McMichen—as Carson Robison had done earlier the same year—Jimmie had big plans, and didn’t intend on stopping, but the dire state of the economy and direr yet state of his health put a damper on such lofty ambitions.

Victor 23696 was recorded on February 6 and 4, 1932, respectively, at the Jefferson Hotel in Dallas, Texas. It was issued on August 12 of that year, and sold only 7,746 copies—not bad for Depression-era sales, but still, not too many for their best-selling artist.

First, Jimmie sings another installment in his famous series, “Blue Yodel No. 10 (Ground Hog Rootin’ in My Back Yard)”, and a blues song it truly is. Previously on Old Time Blues, we’ve heard Jimmie’s first, second, eighth, ninth, and last Blue Yodels. Maybe we’ll eventually get them all on here.

Blue Yodel No. 10 (Ground Hog Rootin’ In My Back Yard), recorded February 6, 1932 by Jimmie Rodgers.

On the flip, Jimmie croons a tune about the moon in June predicting the country music styles yet to come in the decade, such as might have appealed to a common Depression-era record buyer’s sensibilities—and it does appeal to my own Depression-era sensibilities—”Mississippi Moon”. He is accompanied by a Hawaiian style string band made up of Billy Burkes on steel guitar, and Weldon Burkes and Fred Koone on guitars.

Mississippi Moon, recorded February 4, 1932 by Jimmie Rodgers.

Brunswick 7184 – Gene Campbell – 1930

Posted on June 29, 2019 by R. Connor Montgomery

The enigmatic Gene Campbell was among the most exemplary of the Texas blues musicians to record in the beginning of the Great Depression, yet nothing much is known of the elusive guitarist and singer; he had a more prolific recording career than most of his contemporaries, and in fact bears the distinction of being the only guitar-playing country blues singer recorded by Brunswick in Texas (all others were backed by jazz bands), yet all but very few substantial details surrounding his life and times have been lost to time.

An account related in the early 1960s to the esteemed researcher Mack McCormick by fellow Texas blues musician James “Smokestack” Tisdom—a protégé of Campbell’s—suggests that the singer’s proper name was Willie Gene Campbell and that he hailed from San Antonio and was born around 1902. Lyrics such as “born in Texas, raised in Texas too” in his “Western Plain Blues” and mention of “Waco, Dallas, Fort Worth, or San Antonio” in his “Don’t Leave Me Here Blues”, further pointed to Campbell’s roots in the Lone Star State. Queries of public records have as yet yielded no conclusive information regarding Campbell. He seems to have spent at least a portion of his life drifting across the region of his origin, and it is possible that he at one time belonged, in some respect, to the loose group of songsters and blues moaners known to hang around the Deep Ellum neighborhood in Dallas that included the likes of Ramblin’ Thomas, Blind Lemon Jefferson, and Huddie Ledbetter. It was in Dallas that Gene Campbell made his first two recordings in November of 1929, beginning his rather brief recording career with commanding performances of “Mama, You Don’t Mean Me No Good No How” and “Bended Knee Blues” (Brunswick 7139). In his work, he demonstrated a strong and smooth singing voice somewhat reminiscent of his contemporary “Texas” Alexander and an idiosyncratic but deft guitar style echoing that of the influential Lonnie Johnson, that may have employed a flatpick. Many of his songs dealt with the familiar subject matter of woman troubles, and most shared a similar melody and structure, spiced up with a variety of embellishments. His first record must have impressed the Brunswick people, because the following year, he traveled to their headquarters in Chicago to cut a further ten sides. Among those ten recorded at his second session was the two-part “Freight Train Yodeling Blues” (Brunswick 7161), which echoed both the themes and melodies popularized by “Singing Brakeman” Jimmie Rodgers, and illustrated Campbell’s variegated repertoire. When Brunswick returned to Dallas that November, Campbell recorded another four songs. He returned to Chicago one final time for two days in January of 1931 to make his last eight, resulting in a grand total of twenty-four sides as his recorded legacy, and making him the most prolific of the handful of country blues players to be recorded by Brunswick, and the second most prolific artist in their 7000-series of “race” records, behind only calypsonian Lionel Belasco. James Tisdom reported that Campbell was still living in the early 1960s and working as a rice farmer in Bay City, but was no longer active as a musician. Unfortunately, McCormick was not able to locate Campbell if he was indeed still living at that time, and his fate remains undetermined.

Brunswick 7184 was recorded around May of 1930 in Chicago, Illinois, at Campbell’s second session. Gene Campbell sings the blues, accompanying himself on the guitar.

Though you may not be able to read the label, Campbell first sings “Lazy Woman Blues”, imploring his girl that she “must get a job, or [she] must leave.” The lyrics of this song were closely mirrored seven years later in a song called “Trifling Woman” by Fort Worth blues musician Black Ace (B.K. Turner), further suggesting Campbell’s Texas roots, as well as his influence on fellow artists in the region.

Lazy Woman Blues, recorded c. May 1930 by Gene Campbell.

On the reverse, he moans another verse of romantic discontent on the rather morose sounding “Wish I Could Die”.

Wish I Could Die, recorded c. May 1930 by Gene Campbell.