Going Away Blues 1926-1935 (Yazoo, 1969)

Unlike other Yazoo compilations, which generally tend to focus on particular regional styles (e.g. Mississippi Delta blues, Memphis blues, etc.), the material on Going Away Blues 1926-1935 does not have any definitive characteristics in common other than a recurring theme of departure that appears in some of the pieces. Even so, this is one mighty fine collection of prewar blues songs that puts the spotlight on some of the lesser-known and underappreciated artists of the genre.

The two tracks by powerful vocalist Lottie Beaman are among the few recorded examples of the 1920s Kansas City blues scene, which was unfortunately ignored by most labels of the day. "Rolling Log Blues" and "Going Away Blues" also both feature the extraordinary guitar of Miles Pruett, and it's a pity that such an accomplished musician left us with such a small legacy. Uncle Bud Walker, Charlie Kyle, and George "Big Boy" Owens are all biographical non-entities whose guitar-playing styles suggest that they were songsters, a term given to proto-blues musicians born in the 1870s and 1880s. The standout among these three sides is Owens' bizarre "Kentucky Blues," notable for its banjo-like fingerpicking and oddly incomplete verses. Another songster, Henry "Ragtime Texas" Thomas provides the fascinating "Railroadin' Some," which is essentially a musical travelogue of his hobo journeys. This is one of the most atmospheric of all blues-related compositions with his guitar strums simulating the sound of a chugging locomotive engine, pan pipes imitating the train's whistle, and vocal interjections calling out the names of the towns along the tracks. "Right Now Blues" finds Beale Street blues king Frank Stokes teamed up with fiddler Will Batts of Jack Kelly's South Memphis Jug Band instead of his usual partner, guitarist Dan Sain. It's a nice change of pace from his usual sound if just a little bit maudlin. St. Louis is ably represented by J.D. "Jelly Jaw" Short's "Grand Daddy Blues" and Charley Jordan's "Stack O'Dollars," which would later be covered by the legendary Big Joe Williams. Although blues harmonicists didn't really become prominent until Sonny Boy Williamson #1 became a best-seller for Bluebird, Texan William McCoy and Alabamian George "Bullet" Williams respectively show off their mouth harp virtuosity on "Central Tracks Blues" and "Frisco Leaving Birmingham." If there is one prewar blues legend who has never really gotten his just due, that would have to be Robert Wilkins, who was characterized by his excellent but never flashy guitar playing and original lyrics. "New Stockyard Blues," a tribute to a former place of employment, and "Old Jim Canaan," a celebration of a notorious Memphis sporting house, both feature Little Son Joe on second guitar and an unknown percussionist on spoons. The closing track, "Over to My House" (the best-known version belongs to Blind Willie McTell), is a somewhat brooding-sounding duet between Mississippi's Elvie Thomas and Geeshie Wiley, the latter being (with apologies to Memphis Minnie) the greatest of all female prewar blues guitarists.

1. Rolling Log Blues - Lottie Beaman
2. Kyle's Worried Blues - Charlie Kyle
3. Look Here Mama Blues - Uncle Bud Walker
4. Right Now Blues - Frank Stokes
5. Stack O'Dollars Blues - Charlie Jordan
6. Grand Daddy Blues - J.D. Short
7. Railroadin' Some - Henry Thomas
8. Going Away Blues - Lottie Beaman
9. Old Jim Canaan - Robert Wilkins
10. Central Tracks Blues - William McCoy
11. Kentucky Blues - George "Big Boy" Owens
12. New Stockyard Blues - Robert Wilkins
13. Frisco Leaving Birmingham (Take 2) - George "Bullet" Williams
14. Over to My House - Elvie Thomas & Geeshie Wiley