Bo Carter - "Complete Recorded Works In Chronological Order" 3xCD Lot:

Bo Carter – Complete Recorded Works 1928-1940 Vol. 2 (1931-1934)

Bo Carter – Complete Recorded Works 1928-1940 Vol. 4 (1936-1938)

Bo Carter – Complete Recorded Works 1928-1940 Vol. 5 (1938-1940)

Condition: Used, some marks/wear may be present but are only cosmetic and do not affect functionality. PLEASE NOTE: these appear to be pro CD-Rs to me (SEE PHOTOS)

Vol. 2: 5th June 1931 to 26th March 1934

Featuring the recordings of:

Bo Carter, vocal / guitar. Bo Carter, vocal / guitar; prob. Lonnie Chatmon, violin.

Genres: Blues, Country Blues, Mississippi Blues, Country Blues Guitar, Blues Violin.

Abridged from this album's original booklet notes. In the time between his December 1928 New Orleans session and his next solo recording date at the King Edward Hotel in Jackson, Mississippi on December 15, 1930, Bo Carter had participated in numerous sessions in the role of accompanist. There were two sessions in Memphis in late September 1929 and February 1930 where Chatmans Mississippi Hotfooters (with Carter probably on violin) backed both Walter Vincent (Vincson) and Charlie McCoy on several tracks apiece. On these occasions he most likely had contact with some of the other artists who recorded there. Included among their number were some of the more popular and influential Race artists of the period: Jim Jackson, Tampa Red, Georgia Tom, Speckled Red, Furry Lewis, Memphis Minnie, Kansas Joe, Robert Wilkins, Jed Davenport, and Garfield Akers. An extended session with the Mississippi Sheiks in San Antonio in June 1930 was the occasion to record not only with the family group and to support Texas Alexander with them, but to record with Walter Jacobs (Vincson) and the Carter Brothers as well. The point of all this is that Bo Carter went from being a versatile performing musician to being an experienced recording musician in a relatively short time period. He had ample opportunity to witness first-hand what other artists were recording, how they met the very different demands of the new medium, what the companies themselves were likely to want, and ultimately, what it took to produce a best-selling blues record.

Vol. 4: 20th February 1936 to 22nd October 1938

Bo Carter, vocal guitar.

Genres: Country Blues, Mississippi Blues, Country Blues Guitar, National Guitar

Abridged from this album's original booklet notes. It has taken quite some time for Bo Carter‘s rightful place in blues history to be established. His music was complicated and multifaceted. The question of whether his lyrics are “pornographic” or merely an uninhibited and even healthy view of sexuality is really a relative one. There is certainly enough “raw” data contained in Bo Carter – Vol. 4 for the listener to come to his own conclusion. All Around Man, It’s Too Wet, Cigarette Blues, Your Biscuits Are Big Enough For Me, and Don’t Mash My Digger So Deep are classics of their type and the gorgeous guitar work on Cigarette Blues alone should be enough to persuade even the casual listener that there is more here than suggestive wordplay. Beginning with the February 1936 session all of the remaining titles Bo Carter was to record were finger picked on his National resonator guitar. He sometimes returned to earlier material that he would previously have played with a plectrum, but now it was played with a steady thumb or alternating bass pattern. He remade “Ants In My Pants” (itself a version of “Sitting On Top Of The World”) as Flea On Me, and the standards “Trouble In Mind” (as Trouble In Blues) and “My Monday Woman” (as A Girl For Every Day Of The Week). The session in San Antonio in October 1938 produced more songs than he had ever recorded at one sitting, including some of his most interesting pieces. Without a doubt, Bo Carter was at his peak.

Vol. 5: 22nd October 1938 to 12th February 1940

Featuring the recordings of:

Bo Carter, vocal, guitar.

Genres: Country Blues, Mississipi Blues, Country Blues Guitar, National Guitar

Abridged from this albums original booklet notes Bo Carter was still touring the South with the Mississippi Sheiks in the years 1930 through 1935. This activity took the band through Mississippi, Tennessee, Georgia, Louisiana, and as far north as Illinois and New York. During this period Bo’s eyesight got progressively worse and he eventually went blind sometime in the 1930s. This ensuing blindness and the disbanding of the Sheiks led Carter to concentrate on his solo recordings. On October 22, 1938 he had his longest session ever, recording eighteen titles in one day, all but one of them issued. This session produced some of his most advanced music from a structural and harmonic standpoint. Let’s Get Drunk Again and Some Day contained some ordinary blues and rag chord progressions structurally utilized in a manner suggesting pop music, and yet the finger picking approach was firmly in the blues mode with some stunning blues riffing in between verses. Both songs also had interesting harmonic bridges that further removed them from mainstream blues. There are also delightfully archaic pieces like Old Devil, taken at a manic pace, and Be My Salty Dog with its suggestion of John Hurt‘s “Candy Man Blues” and Willie Brown‘s “Future Blues” in the figure played in between verses on the bass strings of the guitar. Bo Carter was a veritable encyclopedia of Mississippi blues styles, and then some. At his last session cut in Atlanta on February 12, 1940 he recorded fourteen tracks with twelve being issued. There was less of a divergence from straight blues at this session, but Bo Carter still knew how to put an original stamp on any blues he recorded. Border Of New Mexico Blues is a version of “Kokomo Blues” first recorded by Madlyn Davis as “Kokola Blues” (a mistitling by Paramount) in 1927, and popularized by Kokomo Arnold as “Old Original Kokomo Blues”, and Robert Johnson as “Sweet Home Chicago”. He finished the date with Honey and What You Want Your Daddy To Do?, two eccentric tracks somewhat similar to Some Day (recorded at the previous session).

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