Show Me the Way Home, Honey

Sonny Terry, Brownie McGhee & Big Bill Broonzy - The Bluesmen

Styles: Chicago Blues, Country Blues, Piedmont Blues, Acoustic Blues
Label: Castle
Released: 1992
File: mp3 @320K/s
Size: 179,1 MB
Time: 78:15
Art: front + back

1. I Love You Baby - 2:00
2. Cornbread, Peas And Black Molasses - 2:30
3. That's How I Feel - 3:52
4. Gone But Not Forgotten - 2:30
5. Treated Wrong - 3:26
6. Brownie's Blues - 5:24
7. Southern Train - 2:43
8. Just A Dream - 4:42
9. Sonny's Blues - 3:19
10. You'd Better Mind - 2:09
11. Change The Lock On My Door - 3:23
12. Climbing On The Top Of The Hill - 3:01
13. When Do I Get To Be Called A Man - 3:18
14. Mindin' My Own Business - 2:51
15. Partnership Woman - 2:44
16. St. Louis Blues - 2:35
17. Southern Saga (Inc. Joe Turner Blues) - 8:09
18. Southbound Train - 3:15
19. Saturday Evening - 3:26
20. Glory Of Love - 2:39
21. It Feels So Good - 2:42
22. When The Sun Goes Down/Going Down This Road Feeling Bad - 7:28


Personnel:
Sonny Terry & Brownie McGhee tracks 1-12
Big Bill Broonzy tracks 13-22

Notes: The joyous whoop that Sonny Terry naturally emitted between raucous harp blasts was as distinctive a signature sound as can possibly be imagined. Only a handful of blues harmonica players wielded as much of a lasting influence on the genre as did the sightless Terry (Buster Brown, for one, copied the whoop and all), who recorded some fine urban blues as a bandleader in addition to serving as guitarist Brownie McGhee's longtime duet partner.
Saunders Terrell's father was a folk-styled harmonica player who performed locally at dances, but blues wasn't part of his repertoire (he blew reels and jigs). Terry wasn't born blind, he lost sight in one eye when he was five, the other at age 18. That left him with extremely limited options for making any sort of feasible living, so he took to the streets armed with his trusty harmonicas. Terry soon joined forces with Piedmont pioneer Blind Boy Fuller, first recording with the guitarist in 1937 for Vocalion.
Terry's unique talents were given an extremely classy airing in 1938 when he was invited to perform at New York's Carnegie Hall at the fabled From Spirituals to Swing concert. He recorded for the Library of Congress that same year and cut his first commercial sides in 1940. Terry had met McGhee in 1939, and upon the death of Fuller, they joined forces, playing together on a 1941 McGhee date for OKeh and settling in New York as a duo in 1942. There they broke into the folk scene, working alongside Leadbelly, Josh White, and Woody Guthrie.

Big Bill Broonzy was born William Lee Conley Broonzy in the tiny town of Scott, Mississippi, just across the river from Arkansas. During his childhood, Broonzy's family -- itinerant sharecroppers and the descendants of ex-slaves -- moved to Pine Bluff to work the fields there. Broonzy learned to play a cigar box fiddle from his uncle, and as a teenager, he played violin in local churches, at community dances, and in a country string band. During World War I, Broonzy enlisted in the U.S. Army, and in 1920 he moved to Chicago and worked in the factories for several years. In 1924 he met Papa Charlie Jackson, a New Orleans native and pioneer blues recording artist for Paramount. Jackson took Broonzy under his wing, taught him guitar, and used him as an accompanist. Broonzy's entire first session at Paramount in 1926 was rejected, but he returned in November 1927 and succeeded in getting his first record, House Rent Stomp, onto Paramount wax. As one of his early records came out with the garbled moniker of Big Bill Broomsley, he decided to shorten his recording name to Big Bill, and this served as his handle on records until after the second World War. Among aliases used for Big Bill on his early releases were Big Bill Johnson, Sammy Sampson, and Slim Hunter.

The Bluesmen



• Dan Pickett - His Chicago Blues •
• John Lee Granderson - Hard Luck John •

Oznake: Sonny Terry, Brownie McGhee, Big Bill Broonzy, Chicago Blues, Country Blues, Piedmont Blues, Acoustic Blues