The legendary Blind Lemon Jefferson was renowned for traveling far and wide all across the United States, ranging territories far exceeding that traversed by many of his contemporaries. His journeys broadened his musical horizons considerably wider than most home-bound musicians and brought him into contact with numerous other blues people, whom he seldom failed to impress. While many of his contemporaries were confined to their region or state, Lemon achieved national fame through his successful recording contract, and toured all around the country. As such, he impressed his music on a broad variety of different audiences, and conversely incorporated a broad variety of different musical influences into his own style of playing.
While he may not have “walked from Dallas to Wichita Falls,” Lemon was an institution in his native Texas around his local haunts like Central Track (a.k.a. Deep Ellum) in Dallas, and was said to have taken the interurban train from Denison down to Waco, entertaining passengers along the way, sometimes joined by his friend Huddie Ledbetter. Lemon was well known around such small towns as Mart, Texas—eighteen miles east of Waco—where he would sit on Main Street for hours on end playing his music for passers-by. He was a staple at country barbecues and picnics, one of which brought him into contact with the eight-year-old Sam Hopkins, who helped guide him around, and it’s said that he became one of the only people Lemon would allow to play with him. A similar privilege was afforded to young Dallas-native Aaron “Oak Cliff T-Bone” Walker—purportedly the stepson of Dallas String Band bassist Marco Washington, an associate of Jefferson’s—who was indelibly impressed with the elder bluesman’s style of playing. Josh White, too, claimed to have spent some time as Jefferson’s lead boy for a brief period in his youth. In Johnson City, Tennessee, Lemon’s playing attracted the interest of white musician Clarence Greene, who was inspired by Jefferson’s virtuoso blues guitar-picking, showing it particularly in his song “Johnson City Blues”. Probably through his records, Lemon also impressed his style on white musicians Larry Hensley and Debs Mays, who recorded versions of his “Match Box Blues” and “Rabbit Foot Blues”, respectively, in the middle of the 1930s, following Jefferson’s own demise; both imitated Lemon’s style of playing closely. Travels in Virginia brought Lemon in contact with ragtime guitarists Stephen Tarter and Harry Gay, who introduced young musician Lesley Riddle to him. Riddle soon after befriended A.P. Carter, and impressed his blues knowledge on the Carter Family in the next decade. In 1928, while passing through Minden, Louisiana, Jefferson picked up fellow musician Joe Holmes, traveling with him in Texas for a short period. Holmes eventually traveled to Wisconsin to record for Paramount as King Solomon Hill, and posthumously eulogized his friendship with Jefferson in the song “My Buddy Blind Papa Lemon”. He was also eulogized by his old friend Lead Belly in at least four different songs, including his 1935 ARC recording of “My Friend Blind Lemon”, and the eponymous “Blind Lemon”, memorably recounted in the 1976 movie about Ledbetter’s life: “Blind Lemon—oh baby—he’s a blind man! He doin’ all he can—oh baby—’till he’s travelin’ through the land.”
Paramount 12354 was released with two different sets of masters; original pressings use 2472 and 2471, respectively, recorded at Paramount’s studio in March of 1926, this one uses the later takes—1054 and 1053, though the labels were not altered to reflect it—which were electrically recorded at Marsh Laboratories in Chicago, Illinois around May of the same year. You may note that both labels erroneously give composer’s credit to “Lemons” Jefferson.
Firstly Lemon delivers one of his most successful numbers: “Long Lonesome Blues”, with that hot bit in the middle in which he busts out the lyrics: “hey, mama mama, papa papa ’deed double do love you doggone it, somebody’s talking to you mama papa ’deed double do love you” (or something to that effect) in double time. Beginning with the lyrics, “I walked from Dallas, I walked to Wichita Falls” (which were later copped by Bob Wills), this song stood alongside “Match Box Blues”—with which it shares many melodic similarities—as one of Lemon’s best known numbers to his audiences back home in Texas.
“The blues come to Texas, lopin’ like a mule,” Lemon opens his “Got the Blues”, which in later years lent the verse to title Mack McCormick and Paul Oliver’s magnum opus book on the Texas blues. Echoes of the song can be heard in subsequent Texas blues songs from Texas Alexander’s “Texas Special” to Lightnin’ Hopkins’ “Mojo Hand”.