Justice For All

A native of West Virginia, folksinger Dick Justice blended both blues and folk patterns on his recordings of the late '20s.
Born Richard Justice in 1906, he played with many black musicians as a youth and listened to blues records as well.
Justice recorded a total of ten sides for Brunswick during 1929 (some as a duo with Reese Jarvis), including a version of "Henry Lee" that later gained inclusion on Harry Smith's 1952 folksong collection Anthology of American Folk Music.
Little is known about the rest of Justice's life, though he often worked in the coal mines.
Many of his sides were compiled on the Document collection Old-Time Music from West Virginia (1927-1929).



1.) Brown Skin Blues; 2.) Cocaine; 3.) Henry Lee; 4.) Little Lulie; 5.) Old Black Dog; 6.) One Cold December Day; 7.) Guian Valley Waltz; 8.) Muskrat Rag; 9.) Poca River Blues; 10.) Poor Girl's Waltz

Edward Meeker - The Argentines, the Portuguese & the Greeks 1922 Edison 78rpm

~LYRICS~

Columbus discovered America
in Fourteen Ninety-Two.
Then came the English and the Dutch,
The Frenchman and the Jew.
Then came the Swede and the Irish-man,
To help our country grow;
Still they keep on comin'
And now everywhere you go!

There's the Argentines
And the Portuguese;
The Armenians,
And the Greeks!
One sells you paper,
One shines your shoes;
The other shaves the whiskers off your cheek.
When you ride again,
In a subway train,
Notice who has all the seats!
And you'll find that they're held
By the Argentines,
And the Portuguese
And the Greeks!

I am in love
With the sweetest girl;
The sweetest girl
Loves me!
Though she's sweet
And hard-to-beat,
Our ideas don't agree.
I love to dine in the swell cafe;
Terrapin and wine
My girl has a different craze,
And she just loves to dine

With the Argentines,
And the Portuguese;
The Armenians,
And the Greeks.
She loves to rally,
Down among the garlic
And her breath will knock you over
When she speaks!

But the fate I dread,
Is the year we're wed,
And our child has aged three weeks!
It will look just like
All the Argentines,
And the Portuguese
And the Greeks!

There's the Hupmobile,
And the Oldsmobile;
The Ca-dill-ac and Ford.
They are the mo-tors
You and I can own;
The kind that everybody
Can afford.

But the Cunningham,
And the Mersideez [Mercedes]
And the Rolls-Royce Racing Prix
Ah, they are owned
By the Argentines,
And the Portuguese
And the Greeks!

They don't know the language,
They don't know the law
But they vote in the country of the free!
But the funny thing
When we start to sing
"My Country 'Tis of Thee"
None of us know the words
But the Argentines,
And the Portuguese
And the Greeks!

They all love their liquor,
They don't give a nickel for
The stuff that runs in rivers
Brooks and creeks!
But there'll come a day
When they sail away
From this land where laws are freaks
And we'll all be aboard with
The Argentines,
And the Portuguese
And the Greeks!

There's a little flat
Where you hang your hat
As myst'try I'll explain:
The janitor is Irish,
The hall-boy is a Pole
And the other lazy fellow is a Dane.
But who is the gent?
Who collects the rent?
At the end of each four weeks?
Ah, that is all done
By the Argentines,
And the Portuguese
And the Greeks!

Helen Kane the Original Boop Oop a Doop Girl

Helen Kane (August 4, 1904 – September 26, 1966) was an American popular singer, her signature song, "I Wanna Be Loved By You".
Fleischer Studios animator Grim Natwick used Kane—along with Clara Bow—as the model for his studio's most famous creation, Betty Boop.
Kane had excellent diction, intonation and timing, learned during her apprenticeship in vaudeville. Her songs have a strong word focus, and capitalize on her coquettish voice. She blended several fashionable styles of the late 1920s. These included scat singing, a kind of vocal improvisation, and also blending singing and speech. Sprechgesang ("speech-song") was fashionable at this time in Germany's Weimar Republic in both nightclubs and in serious music.

Kane recorded 22 songs between 1928 and 1930.As she took on the status of a singing sensation, there were Helen Kane dolls and Helen Kane look-alike contests, appearances on radio and in nightclubs. In late 1928 and early 1929 this cult following had reached its peak.

Kane's height (only 5 feet tall) and slightly plump figure attracted attention and fans. Her round face with big brown eyes was topped by black, curly hair; her voice was a baby squeak with a distinct Bronx dialect.

• You Wouldn't Fool Me, Would You (1929)

• Aba Daba Honeymoon

• Ain't Cha (1929)

• Ain't cha Kind-a glad

• Betty Boop Theme Song (1932)

• Button Up Your Overcoat

• Dangerous Nan McGrew

• Do Something (1929)

"I just put it in at one of the rehearsals, a sort of interlude. It's hard to explain - I haven't explained it to myself yet. It's like vo-de-o-do, Crosby with boo-boo-boo, and Durante with cha-cha-cha." -Helen Kane, on the creation of her "boop-boop-a-doop"

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The Houston Hipster: Smokey Wood

"Smokey was shouting blues vocals, pumping kick-ass swing piano, and puffing all the weed that the Lone Star State could supply. He lived the life he sang about - lived it in dingy beer joints and one-lung radio stations far from the networks and international promoters. While a later breed of urban cowboy would make it big in the media, Wood, under a cloud of friendly, fragrant smoke, just faded away into obscurity".

Western swing pianist Smokey Wood was born John Bryce Wood in September 1918 in Harrison, Arkansas, where his father was a railroad engineer and his mother a piano player.
He spent the majority of his childhood in Oklahoma before moving to Houston in 1935 at the age of 17.
Wood set out from Muskogee, OK, bringing his band the Oklahoma Playboys with him. Proudly wearing their jazz influences in a country guise, Wood and his early musical cohorts found it hard to break into Houston's music scene; with influences like Fats Waller (also a favorite of Bob Wills), Benny Goodman, Billie Holiday, and Stephen Foster, Houston's musical powers didn't quite know what to do with the group and generally ignored them.
Times were tough due to the depression and they started to make music in the beer joints out of Houston, earning one dollar a night with some tips extra.

Aside from music, Smokey Wood's greatest love was for the "wacky tobacky", or as it's better known: marijuana.
According to some accounts, Wood was high most of the time and would even smoke on the bandstand when the notion grabbed him.
To further put things in perspective, Wood's love was so big, he usually kept at least a pound or two around for safe keeping and would spare his lean budget by growing some plants of his own.
Smokey was also known as "The Houston Hipster" and his reputation was that of "a pot-smoking, whiskey-drinking, womanizing, fun-loving Western swing guy."
Wood played in a series of bands near the end of the Thirties– most notably the Modern Mountaineers with fellow pothead and ace fiddler J.R. Chatwell.
Smokey Wood would also work part time in a Houston gas station, where the job consisted of filling tanks, wiping windshields, and selling pot in quantity.
He continued performing, but he and Chatwell were booted out of a Bob Wills side project for living the nightlife instead of playing it.
Wood played and recorded sporadically until the end of his life. He moved around a lot, played the carnival circuit, ran a flea market, and mostly raised fighting cocks and grew marijuana until his death in 1975.

Smokey Wood & His Woodchips (1937):
Carry Me Back To Virginny; I'm Sorry; Keep On Truckin'; Lonely Heart Of Mine; Moonlight In Oklahoma; Riding To Glory; Woodchip Blues; Wood's Traveling Blues

"Blues In The Bottle"

Prince Albert Hunt's Texas Ramblers' "Blues In The Bottle" was recorded on March 28, 1928 in San Antonio, Texas. This recording is considered one of the first of what would be later categorized as "Western" or "Texas" Swing, popularized later by Bob Wills & His Texas Playboys. The style is a unique amalgam of blues, ragtime, jazz and old time fiddle music.



Prince Albert Hunt chose to live "on the wrong side of the tracks." He was shot to death outside of a Dallas bar in March of 1931.

Artie Shaw

Born Arthur Arshawsky (May 23, 1910), Artie Shaw helped define the big band and swing music eras. Shaw was a clarinetist considered on par with the great Benny Goodman. He was also famous for his many marriages, including marriages to actresses Lana Turner, Ava Gardner, and Evelyn Keyes, as well as "Forever Amber" author Kathleen Winsor.
In the 1950's, Artie left music behind to concentrate on literature, authoring two collections of short fictions. He died at his Thousand Oaks, California home at the age of 94.

In the player below:
I Get A Kick Out Of You; Innuendo; Krazy Kay; Love Walked In; Moon Face; Mucho De Nada; Needle nose; No Name Jive; Octoron; Oh, Lady Be Good

His High-de-Highness of Ho-de-Ho

Cab Calloway was a legendary figure in American pop culture.An energetic showman, gifted singer and talented actor, Calloway also led one of the greatest bands of the Swing Era.
Through his "party" songs and Hepster's Dictionary, Calloway provided a vast lexicon for the youth subculture that surrounded the swing genre
Cabell "Cab" Calloway III was born on Christmas Day 1907 in Rochester (DRINK!), NY.--the family would later move to Baltimore, MD.His middle-class parents had hoped that Cabell would become a lawyer (as his father), but the young Calloway had dreams of being an entertainer,and despite his parents' disapproval of jazz, Calloway began frequenting and eventually performing in many of Baltimore's jazz clubs.It was in one of these clubs, that he met trumpeter Louis Armstrong, who taught him to sing in the scat style.


In 1930, the Cotton Club emerged as a hip new night spot in Harlem, known for its lavish stage shows and talented musicians — most notably Duke Ellington. Calloway's singing and showmanship captured the attention of the owner, and his band was hired to replace the Ellington band.
In 1931, Calloway and his manager, Irving Mills, put together a song that will forever be identified with Calloway: "Minnie the Moocher." That song and "St. James Infirmary Blues" and "The Old Man Of The Mountain" were performed for the Betty Boop animated shorts; Minnie the Moocher, Snow White and The Old Man of the Mountain, respectively. Through rotoscoping, Calloway not only gave his voice to these cartoons but his dance steps as well.

Betty Boop: The Old Man Of The Mountain (1933):

By the late 1930s, Calloway's band was one of the top-grossing acts in jazz, and had become a proving ground for young talents such as Dizzy Gillespie.By the late '40s, however, Calloway's financial mismanagement and gambling caught up with him, and the band broke up.

In his later career Calloway became a popular personality, appearing in a number of films (among them Hi De Ho, in which Cab Calloway plays himself in a plot about jealousy, night clubs, and gangsters) and stage productions that utilized both his acting and singing talents.Many of you may remember him best for his role in 1980's The Blues Brothers.


In May 1994, Calloway suffered a stroke then died six months later on November 18, 1994.

In the player below:
MINNIE THE MOOCHER; Moon at Sea; Old Yazoo; Peckin'; REEFER MAN; She's Tall, She's Tan, She's Terrific; SMOKIN REEFERS; THE BEST THINGS IN LIFE ARE FREE; The Scat Song



... and as an added bonus, here's Cab Calloway's "The Man From Harlem" recorded on November 30, 1932.



This track is eerily similar to Lou Reed's "I'm Waiting for the Man" from The Velvet Underground's 1967 debut album.

MEMPHIS MINNIE (1897 - 1973)

Guitar player and blues singer Memphis Minnie is considered by many to be the best female blues artist of all time.
Minnie (born Lizzie Douglas) was as tough a drinker and blues singer as any man. She not only ranks along with the blues' best female artists, but also along with the best male blues artists.
Lizzie received her first guitar in 1905 as a Christmas present. She was soon playing guitar and banjo, and sometime during her early teens began running away from home to play on Memphis' Beale Street.
Minnie would play anywhere she could- on the street, in juke jives, in dives, in the park, at house parties, anywhere they’d listen.
Memphis Minnie’s innovation and rhythm on guitar impressed her contemporaries and her teachers alike. She traveled all over the States, and she easily changed her sets or arrangements to suit the chemistry of her audience.
Minnie was married three times, and each husband was an accomplished blues guitarist: Kansas Joe McCoy later of the Harlem Hamfats, Casey Bill Weldon of the Memphis Jug Band, and Ernest "Little Son Joe" Lawlers.


"When The Levee Breaks" by Kansas Joe and Memphis Minnie



Memphis Minnie, Joe McCoy - "Pile Driver Blues"; Memphis Minnie, Ma Rainey - "Down By The Riverside"; Memphis Minnie, Memphis Jug Band - "Bumble Bee Blues"



In the mid 1950s, her health began to fail. Minnie returned to Memphis and retired from performing and recording. She spent her twilight years in a nursing home, where she died of a stroke in 1973. She is buried at the New Hope Baptist Church Cemetery in Walls, Mississippi.
A headstone paid for by Bonnie Raitt was erected by the Mt. Zion Memorial Fund on 13 October 1996.

The inscription on the back of her gravestone reads:

"The hundreds of sides Minnie recorded are the perfect material to teach us about the blues. For the blues are at once general, and particular, speaking for millions, but in a highly singular, individual voice. Listening to Minnie's songs we hear her fantasies, her dreams, her desires, but we will hear them as if they were our own."

That Cat Fats

Last weekend a film was posted over at Pass The Popcorn Please.That film, Tin Pan Alley Cats, -which depicts Fats Waller as a cartoon cat-got me to thinkin' that I should briefly resurrect my old series to pay homage to this great artist.

Fats Waller

Thomas Wright Waller (May 21, 1904 - December 15, 1943) was an American jazz pianist, organist, composer and comedic entertainer.
Waller was one of the most popular performers of his era. His songs have become standards of the jazz repertoire.
Fats wrote many songs, among them are "Squeeze Me" (1919), "Keepin' Out of Mischief Now", "Ain't Misbehavin'" (1929), "Blue Turning Grey Over You", "I've Got a Feeling I'm Falling" (1929), "Honeysuckle Rose" (1929), and "Jitterbug Waltz" (1942). He collaborated with the Tin Pan Alley lyricist Andy Razaf.
Waller also composed stride piano display pieces such as "Handful of Keys", "Valentine Stomp" and "Viper's Drag."
In addition to his virtuosic playing, Waller was known for his many quips during his performances, including:- "One never knows, do one?" ... "No lady, we can't haul your ashes for 25 cents, that's bad business" ... "Mercy!" ... "Well, all right then!" ... "I wonder what the poor people are doing - I'd love to be doing it with them!" ... "Run in and stab me, but don't bruise me!" ... "Wot's da matta wit DAT?!" ... and - of a large lady vocalist - "All that meat and no potatoes!"


The last few years of Waller's life involved frequent recordings and extensive tours of the USA. In early 1943, he returned to Hollywood to make the film Stormy Weather with Lena Horne and Bill Robinson, in which he led an all-star band including Benny Carter and Zutty Singleton.
Fats contracted pneumonia and died on a cross-country train trip near Kansas City, Missouri on December 15, 1943. His ashes were flown and spread over Harlem by the famous World War I aviator known as "The Black Ace".


In the player below; 18th Street Stomp (1926), Baby, Oh Where Can You Be (1929), Blue Black Bottom (1926), Loveless Love (1926), Numb fumbling (1929), Savannah Blues (1926), The Digah's Stomp (Pipe Organ Solo) (1927), Valentine stomp (1929), You Rascal, You! (1929)

"... he led a Big Band just like Tommy Dorsey, in a presentation that was downright orchestral - except Bob conducted with a fiddle bow."

Texas Playboy, and western swing legend Bob Wills was born 104 years ago today.
"Bob's own personality was a musical instrument. It was the hook, the thing that put a smile on any listener's face. It was Bob's magnetic stage presence, with his constant Cheshire grin and rhythmic regal bearing, that brought the most basic element out of the music. It may have had roots in blues, jazz, and working man's folk music, but it was always happy. A sense of joy could even be found in sad songs like Wills classics, 'Yearning,' 'Bubbles In My Beer,' and 'Lily Dale.' It had to be happy, it was for dancing!"~Ray Benson

(click photos for sample)

Although he passed on May 13, 1975, Wills' musical legacy has endured. His style influenced performers Buck Owens and Merle Haggard and helped to spawn a style of music now known as the Bakersfield Sound (Bakersfield, California was one of Wills' regular stops in his heyday).

In addition to being inducted into the Country Music Hall of Fame in 1968, Bob Wills was inducted into the Nashville Songwriters Hall of Fame in 1970, the Rock and Roll Hall of Fame in the Early Influence category along with the Texas Playboys in 1999, and received the Grammy Lifetime Achievement Award in 2007.

hear (another) sample:

Plenty more where that came from.

A Month Of Sundays

Today, we reach a milestone.
This is the 30th post in my "Sunday Morning 78's and Such" series.

I will mark this occasion with Chris Barber's Jazz Band and their rendition of "Wild Cat Blues" from 1955.



I will now take a brief hiatus from this endeavor.
I will continue to post, but with a less strict regularity.
I hope you've enjoyed this series of posts, and will continue to do so as they appear.

Who knows?
The posts may continue with a similar frequency.
Old habits die hard.

BONUS

This Public Service Announcement from an old radio broadcast, urging us to protect our freedom, is a must listen for our current political situation.

More old PSA's here.

Cookin' With Doc

Doc Cook (1891-1958), born Charles L. Cooke, was an American jazz bandleader.
While many early jazz musicians used such titles denoting advanced degrees, Doc actually held a Ph.D, from the Chicago College of Music.



In the player below, "Sidewalk Blues" (1926) featuring the great New Orleans
cornet player Freddie Keppard.



The group broke up after having all their instruments stolen from the bandstand during a break at a marathon dance contest.

The Mckinney Cotton Pickers

McKinney's Cotton Pickers were a jazz band founded in Detroit in 1926 by William McKinney.Between 1927 and 1931, they were one of the most popular African-American bands. Many of their records for Victor were best sellers.


The Cotton Pickers disbanded in 1934, unable to make money during the Depression.

"Selling That Stuff" by The Mckinney Cotton Pickers

Gid Tanner & His Skillet Lickers

The Skillet Lickers were one of the most influential string bands of the '20s and '30s.
Led by fiddler Gid Tanner, the band which combined old-timey country music with humor and showmanship, were known for their off-the-wall arrangements of old-time fiddle tunes.

The original lineup of the band featured Tanner, guitarist Riley Puckett, fiddler Clayton McMichen, and banjoist Fate Norris.

The lyrics of the Skillet Lickers' music used language common among rural white Americans at the time, but today is considered offensive and racist, including song titles like "Nigger in the Woodpile" and "Run Nigger Run".
Following the original band's dissolution, Puckett and latter-day fiddler Bert Layne led various bands called the Skillet Lickers, but the group wasn't relaunched until 1934, when Tanner formed a new lineup that recorded one final session that yielded their biggest hit, "Down Yonder".

"Soldier's Joy" (October 29, 1929)

The title could refer to payday for soldiers or even opiates in light of the verse: "Well twenty-five cents for the morphine, and fifteen cents for the beer. Twenty-five cents for the old morphine, now carry me away from here." It appears that the extra ten cents for the morphine could have been well worth it.



"Pass Around The Bottle And We'll All Take A Drink" (April 17, 1926)



Each of the above photos is a link to more music (25 tracks in all!).

"only a handful of guitar duets in all blues match the incredible drive, intricate rhythms and ferocious intensity"

Garfield Akers (born 1901 in Mississippi, died between 1953 and 1959, in Memphis) was a blues singer and guitarist, sometimes acting as Garfield Partee.

His output was extremely small, consisting of only four sides. His most well-known song is his debut, the "Cottonfield Blues" .

Because of the limited capacity of the discs which were used for recording in this era, tunes that exceeded a little over three minutes often were continued on the flip side of a 78rpm record.

Garfield Akers (& Joe Calicott) -"Cottonfield Blues" (September 29, 1923)

Part 1:




Part 2:

Voices of Christmas Past - 1898 to 1922

Of all things Christmas, nothing is more traditional than the singing of carols and songs, songs that capture in lyrics and in music the many traditions that we have at Christmas.



The artists featured here were pioneer recording artists who's names were well known in their era. They helped start what is known today as the record industry. They were popular artist in their time and their records sold well in an era when movies were silent and radio and television did not yet exist.

1. Santa Claus Hides in the Phonograph (Ernest Hare, recorded 1922)
2. On A Christmas Morning (Prince's Orchestra, recorded 1911)
3. Sleigh Ride Party / Jingle Bells (Edison Male Quartette, recorded 1898)
4. Messiah - And the Glory of the Lord (Victor Mixed Chorus, recorded 1915)
5. Hark the Herald Angels Sing (Henry Burr, recorded 1907)
6. Silent Night, Hallowed Night (Haydn Quartet, recorded 1905)
7. Christmas Time at Pumpkin' Center (Cal Stewart, recorded 1905)
8. Christmas Hymns (Francis J. Lapitino, recorded 1917)
9. When the Christmas Chimes Are Ringing (Lewis James, recorded 1922)
10. The Star of Bethlehem (Harry MacDonough, recorded 1909)
11. Come and Spend Christmas With Me (Byron G. Harlan, recorded 1909)
12. Christmas Morning at Clancey's (Steve Porter, recorded 1922)
13. Oh, Little Town of Bethlehem (Trinity Choir, Recorded 1916)
14. Adeste Fideles (John McCormack and William Reitz, recorded 1915)
15. Night Before Christmas (Ernest Hare, recorded 1920)
16. Nutcracker Ballet: Chinese Dance/Dance of the Mirilitons (Victor Herbert's Orchestra, recorded 1913)
17. On A Good Old Time Sleigh Ride (Peerless Quartet, recorded 1913)
18. Angels from the Realms of Glory (Trinity Choir, recorded 1916)
19. While Shepherds Watched their Flocks by Night / Christians Awake (Trinity Quartet, recorded 1921)
20. Uncle Josh Plays Santa Claus (Cal Stewart, recorded 1907)
21. Christmas in Camp (Anonymous, recorded ca. 1917)
22. Noel (Holy Night) (Venetian Trio, recorded 1916)
23. Auld Lang Syne (Navada Van der Veer, recorded 1921)

Blind Blake

Blind Blake was an influential blues singer and guitarist.
He is often called "The King Of Ragtime Guitar".He was one of the most accomplished guitarists of this genre with a diverse range of material.


Little is known about his life.Nothing is definitely known of his death and even his name is not certain. According to many sources, his real name was Arthur Phelps.
His complex and intricate finger picking has inspired Reverend Gary Davis, Jorma Kaukonen, Ry Cooder, and many others.

For your enjoyment;


Police Dog Blues (1929)

That'll Never Happen No More (1927)

West Coast Blues (1926)

"The String Quartet of Dance Bands"

Leo Reisman was a violinist and bandleader in the 1920s and 1930s.
He became famous for having over 80 hits on the popular charts during his career.
Reisman's orchestra was primarily a dance band; he was not a fan of jazz music, but some of his early 1930s 78 RPM recordings were a bit hot.Composer Jerome Kern called Reisman's orchestra "The String Quartet of Dance Bands."

Below, are nine tracks for your listening pleasure:

1.)Ain't Misbehavin (1929)
2.)Alabama Stomp (1926)
3.)Happy Days (1929-cut)
4.)Look What You've Done To Me (1929-cut)
5.)The Wedding Of The Painted Doll(1929)
6.)With A Song In My Heart (1929)
7.)Doin the boom boom (1929)
8.)It's been a long Long time (1929)
9.)My Electric Girl (1923)

St. Louis Blues

Hockey???

No, another "St. Louis Blues", recorded by Al Bernard and The Original Dixieland Jazz Band.

Al Bernard, "the boy from Dixie", was a recording artist from the vaudeville era. He was one of the most famous blackface performers in the days of minstrel shows, so was something of a pariah to the politically correct and those sensitive about racial issues.
His work has been reappraised by music historians who feel a link exists between the minstrel show styles and western swing music.

The Original Dixieland Jazz Band billed themselves as "The Creators of Jazz", but were often dismissed as "the White guys who copied African-American music, and called it their own" (sound familiar?).


"St. Louis Blues" (1921):

Charlie Poole & The North Carolina Ramblers

Charlie Poole & the North Carolina Ramblers were one of the most popular string bands of the 1920s.The band recorded prolifically from 1925-30 a variety of songs and tunes in various styles.
Charlie Poole was born in 1892 in Spray, North Carolina.
He learned to play the banjo at an early age and developed his own style of three fingerpicking which was instrumental in defining the sound of the North Carolina Ramblers. He was joined initially by guitarist Norman Woodlief and later by Roy Harvey from West Virginia. Posey Rorer fiddled in the earlier sessions, and Lonnie Austin or Odell Smith in the later sessions.

Charlie was a bit of a wild man. Like many country performers to follow, Poole lived a fast life. He was a hard-drinking man, rowdy and reckless. This ultimately resulted in a premature death following a three week binge in celebration of a bit part in a Hollywood movie.
He went on a bender and died of heart failure before he could get to Hollywood.


"White House Blues":Recorded on September 20, 1926 in New York City. Poole sings and plays the banjo with Posey Rorer on fiddle and Ron Harvey on guitar on this tune about the McKinley assassination.

Click for more Charlie Poole & The North Carolina Ramblers

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