Robert Johnson
“Sweet Home Chicago” (Vocalion 03601, 1937)
Considering the tremendous variety of tones and styles that Robert Johnson was known to perform live, it’s a pity that we get to hear such a limited part of his range on record. “Sweet Home Chicago
Indeed, “Sweet Home Chicago” is Johnson’s least complex recording, following a simple, repeated rhythmic pattern without the usual flair on guitar. Because of that it is one of the few records of his where you can actually tell that he is playing unaccompanied, making the record sound much more intimate and relaxed than any of his other work. Compared to the intensity of records like “Cross Road Blues,” it is refreshing to hear Johnson so loose. The performance sounds unrehearsed, as if Johnson was playing for no one but himself. The lyrics, sung with carefree abandon, only add to that sense. They come across simultaneously spontaneous and clever, like the best freestyle rap from half a century later: “Now six and two is eight / Eight and two is ten / Friend, boy, she trick you one time / She sure gonna do it again.” It has to be said, though, that the spontaneity of the lyrics does cause a little confusion, as it’s not sure what Johnson means when he seems to repeatedly place Chicago in California. Later cover versions would remove the references to California, but a little geographical ambiguity doesn’t diminish the genius of the original.
~ You may also like: Robert Johnson, “Rambling on My Mind
Bukka White
“Shake ‘Em On Down” (Vocalion 03711, 1937)
Booker T. Washington White (Vocalion misspelled his name “Bukka” on this record, and it ended up sticking) is a seminal figure in the blues who was underappreciated in his time and to this day probably does not get as much credit as he deserves. White is often noted for giving his cousin, the legendary B.B. King, his first guitar and thereby jumpstarting the career of arguably the most famous modern bluesman. But he also created a body of work that stands toe-to-toe with any of his more famous Delta neighbors, while forging a unique style that sounded completely unlike anything else from the region.
White recorded a number of sides for Victor in Memphis in 1930, but his breakthrough came seven years later in Chicago when he recorded two songs with a second, unknown guitarist. “Shake ‘Em On Down
“Shake ‘Em On Down” would go on to become a blues standard, but the one-two punch of that rhythm and that voice is hard to beat. Put this on your alarm clock and you’ll never hit “snooze’ again.
~ You may also like: Bukka White, “Po’ Boy
Sonny Boy Williamson
“Good Morning, School Girl” (Bluebird B-7059, 1937)
Sonny Boy Williamson
“Sugar Mama Blues” (Bluebird B-7059, 1937)
It is because of John Lee “Sonny Boy” Williamson that today the harmonica is thought of first and foremost as a blues instrument. There were others who played harmonica blues, but before Williamson it seemed like a novelty. When Williamson played, though, the harmonica was the blues, and all of those guitar players seemed secondary.
“Good Morning, School Girl
~ You may also like: Sonny Boy Williamson, “Sloppy Drunk Blues
“Sugar Mama Blues
~ You may also like: Sonny Boy Williamson, “Early in the Morning
Peetie Wheatstraw
“Peetie Wheatstraw Stomp” (Decca 7292, 1937)
Peetie Wheatstraw was a one of the most recorded blues artists of the pre-war era, benefiting from a larger-than-life personality and a distinctive performing style. Wheatstraw was born William Bunch, but changed his name before moving to St. Louis in the late 1920s. He gave himself even more colorful nicknames, like the “High Sheriff from Hell” and the “Devil’s Son-in-Law,” and spun wild, boastful tales about his invented persona in the lyrics of many of his songs, including the boisterous “Peetie Wheatstraw Stomp
Wheatstraw is in top form on this record, showing why he was so entertaining to the St. Louis working-class with a performance that is rough around the edges yet highly entertaining. While banging out a sloppy, bouncing boogie rhythm on the piano, he slurs his way marble-mouthed through lyrics that brag about his abilities with women and music: “Women all ravin’ about Peetie Wheatstraw in this land / He got so many women they’re goin’ from hand to hand.” The best bit – and also the most ridiculous – may be at the end when he tells himself, “Now do your stuff, Peetie!” and closes out the song with a brief, madcap piano solo.
~ You may also like a slower, but no less boastful, number from Peetie Wheatstraw: “King of Spades” (Vocalion 3066, 1935)