The Complete Blues Recordings of Eddie Lang
At the dawn of the nineteen twenties Eddie Lang went about developing a guitar style by piecing together music concepts, technique, and methodology (a musical brew of formal training, the vernacular, pop music, blues, ragtime, and early jazz, mixed with original ideas and inventions of his own). The results, unheard of at the time, gave the guitar a distinctive voice as a solo instrument in popular music and jazz. What became known as the modern guitar method is in fact a system of playing the instrument devised in the early/mid-nineteen twenties by Eddie Lang.
Lang developed highly advanced technical, rhythmic, and harmonic skills, but the soul of his art was the blues. His first exposure to the blues may well have come as a result of hearing one of the early OKeh “Race Records” in Philadelphia around 1920-1921. This musical encounter was a life altering experience. In the blues, Lang found a voice that sang to him much the same way opera spoke to Venuti. The guitarist heard its purity, and he adapted the essence of the “blues moan” to his own single-string improvisations.
Lang’s first recording session on guitar took place in December 1924 and featured a slow, moanful blues (Deep Second Street Blues; Mound City Blue Blowers). The guitarist would go on to record a number of blues and blues-related titles. On the last day of August 1928 Eddie Lang began a series of recordings for OKeh records that would place him in the company of King Oliver, Bessie Smith, Lonnie Johnson, and Louis Armstrong. These records, along with the Venuti sides, are believed to have been among his favorites.
When OKeh studio manager Tommy Rockwell began using Lang on blues dates, Rockwell became the first person to consistently integrate New York’s recording studios. Lang who just loved to play (and had no racial prejudice) ended up recording more sessions with black artists than any other white musician of the era.
GLADYS BENTLEY
Friday, August 31, 1928
OKeh Record Co., New York City
Gladys Bentley (vocal), J.C. Johnson (piano), Eddie Lang (guitar).
401092-A How Long, How Long Blues - OKeh 8612
401092-B How Long, How Long Blues - OKeh rejected
401093-A Moanful Wailin’ Blues - OKeh rejected
401093-B Moanful Wailin’ Blues - OKeh 8612
Born and raised in Lang’s hometown of Philadelphia, Gladys Bentley moved to NYC while in her teens and was working in uptown New York clubs by 1925. Bentley, a big woman with a powerful voice, was soon a fixture of “1920’s Hot Harlem,” where she openly flaunted her lesbianism. She recorded eight sides for OKeh, four of them with Eddie Lang. Her presence in the recording studio must have been a side splitter for the South Philadelphian, as Lang is obviously enjoying himself being both aggressive and playful on HOW LONG, HOW LONG BLUES. Bentley dominates MOANFUL WAILIN’ BLUES with growls and gutsy scats leaving Eddie to concentrate on playing a variety of rhythms; a steady four to the bar, shuffle, and heavy bass note to chords, all of which he intersperses with single note fills.
Notes by Mike Peters from the Classic Columbia and OKeh Joe Venuti and Eddie Lang Sessions, Mosaic MD8-213 (2002, revised 2010).www.mosaicrecords.com
How Long How Blues | mp3 | 672KB
VICTORIA SPIVEY ACCOMPANIED BY CLARENCE WILLIAMS BLUE FIVE
Wednesday, September 12, 1928
OKeh Record Co., New York City
Victoria Spivey (vocal), Joe “King” Oliver (trumpet), poss. Ed Cuffe (trombone), Omer Simeon (clarinet), Clarence Williams (piano), Eddie Lang (guitar).
401114-A My Handy Man - OKeh rejected
401114-B My Handy Man - OKeh 8615
401114-C My Handy Man - OKeh rejected
401115-A Organ Grinder Blues - OKeh test
401115-B Organ Grinder Blues - OKeh rejected
401115-C Organ Grinder Blues - OKeh 8615
Note: On matrix 401115, the OKeh files show that take “B” was selected for the initial commercial release. However, “C” is the only take that has surfaced on OKeh 8615.
In 1926 at the age of twenty, Victoria Spivey traveled to St. Louis where OKeh producer Ralph Peer was on a field trip looking for new acts to record. Her first sides for the company; BLACK SNAKE BLUES and DIRTY WOMAN BLUES, sold well and she continued to record for OKeh until 1929. Besides being a stage performer and recording artist, Spivey was a talented composer and a good businesswoman. Though she didn’t possess the pipes of a Bessie Smith or her mentor, Ida Cox, the Texas born Spivey used her limited, but penetrating range and a high pitched moan to convey the blues. This session (her first in almost a year) was a departure from previous recordings as the song lyrics were sexual blues. The change in tone finds her trying a little too hard to sell the smut in the lyrics. Also, her accompaniment was expanded from the usual one or two musicians to a quintet with musician, publisher, and composer Clarence Williams (an OKeh records talent scout) bringing in the horn players and Rockwell adding Lang to the date. Eddie contributes throughout MY HANDY MAN with arpeggios and fills on the verse and first chorus.
His guitar is most prominent on the unissued take A of ORGAN GRINDER BLUES as he was positioned too close to the microphone and is out of balance with the rest of the band (the engineers fixed it by take C). It does give us the opportunity to sample the overall sound quality of his instrument as the close miking captures the full resonance of his Gibson L-5. Lang was not a particularly hard player, the hearty sound he drew from the instrument had as much to do with his amazing technique as with the manner in which he set up his instrument (heavy strings raised high, struck with a thick plectrum). All great musicians are capable of producing extraordinary music on any make or model instrument, Lang was no exception, but it was the Gibson L-5 archtop guitar on which he best expressed his art. ORGAN GRINDER BLUES has Eddie in the lead role as the guitarist uses the instruments harmonics to portray a rather (bluesy) organ grinder. The effect is most prominent on take A.
Notes by Mike Peters from the Classic Columbia and OKeh Joe Venuti and Eddie Lang Sessions, Mosaic MD8-213 (2002, revised 2010).www.mosaicrecords.com
Organ Grinder Blues | mp3 | 816KB
IRENE GIBBONS AND CLARENCE WILLIAMS JAZZ BAND
Tuesday, September 18, 1928
OKeh Record Co., New York City
Irene Gibbons (aka Eva Taylor) (vocal), Joe “King” Oliver (trumpet), Omer Simeon (clarinet), Clarence Williams (piano), Eddie Lang (guitar).
147012-1 I’m Busy And You Can’t Come In - Columbia rejected
147012-2 I’m Busy And You Can’t Come In - Columbia 14362-D
147012-3 I’m Busy And You Can’t Come In - Columbia rejected
147013-1 Jeannine I Dream Of Lilac Time - Columbia rejected
147013-2 Jeannine I Dream Of Lilac Time - Columbia 14362-D
147013-3 Jeannine I Dream Of Lilac Time - Columbia rejected
Born Irene Gibbons in St. Louis, Eva Taylor began touring vaudeville at the age of two and a half. In 1922, billed as “The Dixie Nightingale,” she made her first records for the Black Swan label. One of the better singers of the era, Taylor was a versatile singer and recorded both blues-based and popular songs. With her husband Clarence Williams hustling gigs for the both of them, Eva Taylor developed a successful career as a recording, radio and stage performer. Taylor’s clear diction made her an easy candidate to be marketed to both white and black audiences by OKeh and Columbia Records. Her pop repertoire often garnered a more classical accompaniment (strings and flute) than the jazz band backing on this September 1928 date. The guitarist is well recorded as usual and takes an eight bar single-string solo on “I’M BUSY AND YOU CAN’T COME IN.” Listen as he reaches for a harmonic during the verse when Taylor sings “don’t ring my bell no more,” he misses it and neither the harmonic nor the bell rings.
When still a kid in South Philadelphia, Sal Massaro grew up playing waltzes and he continued to play and even compose them throughout his professional career. JEANNINE I DREAM OF LILC TIME was one of Eddie’s favorites and he recorded it nine days later as a guitar solo. With Taylor he shows a deep understanding of playing in three-quarter time by offering a sensitive accompaniment that incorporates arpeggios and graceful harmonized lines.
Notes by Mike Peters from the Classic Columbia and OKeh Joe Venuti and Eddie Lang Sessions, Mosaic MD8-213 (2002, revised 2010).www.mosaicrecords.com
I'm Busy and You Can't Come In | mp3 | 668KB
SONNY PORTER (NEW ORLEANS WILLIE JACKSON)
Friday, October 5, 1928
Columbia Record Co., New York City
Sonny Porter (vocal), J.C. Johnson (piano), Eddie Lang (guitar).
147107-1 How Long, How Long Blues - Columbia rejected
147107-2 How Long, How Long Blues - Columbia rejected
147107-3 How Long, How Long Blues - Columbia 14366-D
147108-1 Deck Hand Blues - Columbia rejected
147108-2 Deck Hand Blues - Columbia rejected
147108-3 Deck Hand Blues - Columbia 14366-D
New Orleans singer, dancer, and reputed ladies man Willie Jackson (aka Sonny Porter) recorded sixteen titles for Columbia between April 1926 and October 1928. He, along with a handful of artists from around the country, was transported at various times to New York City to record. Jackson made three such trips himself after his first recording session in New Orleans. Entrepreneur Clarence Williams may have had some influence in bringing the fellow Louisianan east as Williams had a very productive relationship with both Columbia and OKeh executives. It also secured the pianist a spot on Jackson’s first record date in the big city. Jackson’s robust voice would have clearly made him a hit in tent and stage shows. In the recording studio it more than amply cut across the grooves as he covers a variety of woes; tuberculosis (T.B. Blues), prison (Long Time Men), foot problems (Corn and Bunion Blues), and gambling (Numbers On The Brain). The two sides recorded on October 5th appear to be Jackson’s last. For Lang, this was his third straight day in the studio having begun his week of recording sessions on Wednesday with Cliff Edwards, followed by a Venuti big band date the next day.
Lang introduces, plays fills and gets into an eight bar call and response with “Willie” on HOW LONG, HOW LONG BLUES (the guitarist having recorded it a month earlier with Gladys Bentley). Eddie does much the same on DECK HAND BLUES which they interpret more like a bluesy song. This may explain why Lang begins his solo chorus in the upper register with some non-bluesy phrasing, and then slips his way into a more blues bag for the remainder of the solo.
Notes by Mike Peters from the Classic Columbia and OKeh Joe Venuti and Eddie Lang Sessions, Mosaic MD8-213 (2002, revised 2010).www.mosaicrecords.com
Deck Hand Blues | mp3 | 668KB
ROY EVANS
Tuesday, October 23, 1928
Columbia Record Co., New York City
Roy Evans (vocal, piano), Eddie Lang (guitar).
147121-5 Lonesome Yodelin’ Blues Part 1 - Columbia 1934-D (remake)
147121-6 Lonesome Yodelin’ Blues Part 1 - Columbia rejected
147121-7 Lonesome Yodelin’ Blues Part 1 - Columbia rejected
147122-4 Lonesome Yodelin’ Blues Part 2 - Columbia rejected
147122-5 Lonesome Yodelin’ Blues Part 2 - Columbia rejected
147122-6 Lonesome Yodelin’ Blues Part 2 - Columbia 1934-D (remake)
Note: Remake session from Oct 16, 1928
GLADYS BENTLEY
Thursday, November 15, 1928
OKeh Record Co., New York City
Gladys Bentley (vocal), Eddie Lang (guitar).
401284-C Wild Geese Blues - OKeh 8643
401285-C How Much Can I Stand? - OKeh 8643
Lang was booked by OKeh on this Thursday for two blues sessions; a morning date with Gladys Bentley, and an afternoon session with Texas Alexander and Lonnie Johnson. Eddie (along with pianist J.C. Johnson) had already recorded with Bentley in August. For this date Rockwell chose Lang to be the sole accompanist, which if anything was the guitarists’ element. Eddie plays well, but restricts his accompaniment almost exclusively to chords letting Bentley fill the gaps by growling through her hands trumpet-style. Bentley was known to have specialized in improvising indecent lyrics to pop tunes of the day. For someone as forthcoming, she surprisingly avoids lyrics with innuendo, preferring to lament such things as bad luck and trouble.
Notes by Mike Peters from the Classic Columbia and OKeh Joe Venuti and Eddie Lang Sessions, Mosaic MD8-213 (2002, revised 2010).www.mosaicrecords.com
Wild Geese Blues | mp3 | 732KB
TEXAS ALEXANDER
Thursday, November 15, 1928
OKeh Record Co., New York City
Alger (Texas) Alexander (vocal), Lonnie Johnson (guitar), Eddie Lang (aka Blind Willie Dunn) (guitar).
401330-A Work Ox Blues - OKeh 8658
401330-B Work Ox Blues - OKeh rejected
401331-A The Risin’ Sun - OKeh 8673
401331-B The Risin’ Sun - OKeh rejected
Over nine days Eddie participated in six blues sessions for OKeh: Gladys Bentley-1, Johnson & Lang-1, Clarence Williams-1, Texas Alexander-3. The sessions with Alger “Texas” Alexander placed Eddie, for the first and last time in his recording career, in the company of a rural blues singer. Alexander came from a family of Texas sharecroppers. First a field hand, then a Dallas warehouse worker, he’d sing on street corners during the day and in bars and dives at night. It was said he carried a guitar with him in the hope of running into someone who’d be able to provide accompaniment, unable to play himself. Word of his slow moaning blues style traveled from Dallas to New York, and OKeh Records sent for him in August 1927, and again in November 1928. Lonnie Johnson was the first to be given the task of accompanying the singer as “Texas” tended to skip bars (an attribute of the work-song) potentially leaving accompanists in his dust.
For the November session, Rockwell added Eddie to the date, making it the first recording featuring Johnson and Lang performing together. (The two guitarists got together a few days later for an official guitar duet session). The arrangements of both selections are nearly identical with the guitarist’s effectively alternating accompaniment, solo, and obligato roles, this greatly enhances the texture of the recordings (Johnson has a prominent solo role on The Risin’ Sun). In the second to last chorus of WORK OX BLUES, just after Lang takes over the obligato duties from Johnson, the singer skips measures not once but twice leaving Eddie with little choice but to return to his chair and continue playing chords.
Notes by Mike Peters from the Classic Columbia and OKeh Joe Venuti and Eddie Lang Sessions, Mosaic MD8-213 (2002, revised 2010).www.mosaicrecords.com
Work Ox Blues | mp3 | 792KB
TEXAS ALEXANDER
Friday, November 16, 1928
Note: This session incorrectly lists Eddie Lang as guitarist (along with Lonnie Johnson). Only one guitar is present and it is played by Lonnie Johnson. Johnson also recorded for OKeh on this day (When You Fall For Some One That’s Not Your Own 401336 & Careless Love 401337).
LONNIE JOHNSON AND BLIND WILLIE DUNN
Saturday, November 17, 1928
OKeh Record Co., New York City
Lonnie Johnson (guitar), Eddie Lang (aka Blind Willie Dunn) (guitar).
401338-A Two Tone Stomp (Johnson-Lang) - OKeh rejected
401338-B Two Tone Stomp (Johnson-Lang) - OKeh 8637
401339-A Have To Change Keys To Play These Blues (Johnson-Lang) - OKeh rejected
401339-B Have To Change Keys To Play These Blues (Johnson-Lang) - OKeh 8637
Have To Change Keys To Play These Blues | mp3 | 744KB
TEXAS ALEXANDER
Tuesday, November 20, 1928
OKeh Record Co., New York City
Alger (Texas) Alexander (vocal), Joe “King” Oliver (trumpet), Clarence Williams (piano), Eddie Lang (guitar).
401346-A Tell Me Woman Blues - OKeh 8673
401346-B Tell Me Woman Blues - OKeh rejected
401347-A ‘Frisco Bound Blues - OKeh rejected
401347-B ‘Frisco Bound Blues - OKeh 8658
Texas Alexander’s New York sessions were intimate affairs restricted to a guitar(s) or piano accompaniment, save this one. On this split session (Lang is the only accompanist on the two following selections) “Texas” finds himself in the company of a small jazz band featuring Joe “King” Oliver. Presumably with the intent of keeping him true to the twelve-bar format, the singer is provided the same arrangement, routine, and key. A creature of habit, Alexander is un-phased by the new instrumentation and the score (as such). As soon as the recording light went on, he begins dropping measures in the first (and last) chorus of TELL ME WOMAN BLUES. It’s Lang, seated close to the singer, who reacts accordingly and gives everyone the nod to “follow me”! Oliver, standing in the background is caught off guard in the first chorus (he doesn’t let the same thing happen in the last). Considering “The Kings” state of health at the time (not good), he plays well but his best days were behind him.
Notes by Mike Peters from the Classic Columbia and OKeh Joe Venuti and Eddie Lang Sessions, Mosaic MD8-213 (2002, revised 2010).www.mosaicrecords.com
Tell Me Woman Blues | mp3 | 704KB
TEXAS ALEXANDER
Tuesday, November 20, 1928
OKeh Record Co., New York City
Alger (Texas) Alexander (vocal), Eddie Lang (guitar).
401348-A St. Louis Fair Blues - OKeh rejected
401348-B St. Louis Fair Blues - OKeh 8688
401349-A I Am Calling Blues - OKeh 8801
401349-B I Am Calling Blues - OKeh rejected
OKeh recording manager Tommy Rockwell continued the November 20th session, but retained only Lang for the next two sides; ST. LOUIS FAIR BLUES and I AM CALLING BLUES. Recordings featuring only Eddie’s guitar in the company of a singer are rare. Away from the recording studio, Lang spent a good portion of his time working with singers. He’d rehearse them and provide accompaniment on live dates and at private affairs. The very nature of a strummed or plucked string instrument is to provide accompaniment, Lang made it an art form in popular music and it is one of the great elements of his playing style. Working with Alexander forces Eddie to be cautious. He provides the identical introduction and pretty much the same chord changes on both selections. At what was supposed to be the close of I AM CALLING BLUES, Eddie begins to take another chorus, had he looked up from his guitar sooner, he would have probably witnessed Rockwell frantically giving him the signal to end the song.
Notes by Mike Peters from the Classic Columbia and OKeh Joe Venuti and Eddie Lang Sessions, Mosaic MD8-213 (2002, revised 2010).www.mosaicrecords.com
St. Louis Fair Blues | mp3 | 712KB
CLARENCE WILLIAMS AND HIS NOVELTY FOUR
Friday, November 23, 1928
OKeh Record Co., New York City
Joe “King” Oliver (trumpet), Clarence Williams (vocal, piano, celeste), Eddie Lang (guitar, viola), Justin Ring (percussion).
401390-A In The Bottle Blues (Williams-Lang) - OKeh rejected
401390-B In The Bottle Blues (Williams-Lang) - OKeh 8645
401391-A What Ya Want Me To Do? - OKeh 8645
401391-B What Ya Want Me To Do? - OKeh rejected
401391-C What Ya Want Me To Do? - OKeh rejected
Note: Lang plays viola on “What Ya Want Me To Do?”
What Ya Want Me To Do | mp3 | 696KB
LOUIS ARMSTRONG AND HIS ORCHESTRA
Tuesday, March 5, 1929
OKeh Record Co., New York City
Louis Armstrong (trumpet), Jack Teagarden (trombone), Happy Caldwell (tenor sax), Joe Sullivan (piano), Eddie Lang (guitar), Kaiser Marshall (drums).
401688-A I’m Gonna Stomp, Mr. Henry Lee - OKeh rejected
401688-B I’m Gonna Stomp, Mr. Henry Lee - OKeh rejected
401689-B Knockin’ A Jug - OKeh 8703
401689-C Knockin’ A Jug - OKeh rejected
Note: Lang plays the guitar solo with his thumb.
Knockin' A Jug | mp3 | 780KB
BLIND WILLIE DUNN’S GIN BOTTLE FOUR
Wednesday, May 1, 1929
OKeh Record Co., New York City
Tommy Dorsey (trumpet), poss. J.C. Johnson (piano, orchestra bells), Eddie Lang (aka Blind Willie Dunn) (guitar), Lonnie Johnson (guitar), unknown (percussion), unknown (vocal “mouth percussion” on 401843).
401842-A Jet Black Blues - OKeh rejected
401842-B Jet Black Blues - OKeh 8689
401843-A Blue Blood Blues - OKeh rejected
401843-B Blue Blood Blues - OKeh 8689
401843-C Blue Blood Blues - OKeh rejected
Note: Discographies incorrectly list this session as April 30. Hoagy Carmichael has been suggested as the pianist, percussionist and scat vocalist on this session, but he was en route from Indianapolis to Hollywood during this time.
Blue Blood Blues | mp3 | 724KB
BLIND WILLIE DUNN’S GIN BOTTLE FOUR
Tuesday, May 7, 1929
OKeh Record Co., New York City
Lonnie Johnson (guitar), Eddie Lang (aka Blind Willie Dunn) (guitar).
401865-A Guitar Blues (Johnson-Lang) - OKeh 8711
401865-B Guitar Blues (Johnson-Lang) - OKeh rejected
Note: Discographies list matrix 401866 as from this session. However, the OKeh file card dates it as May 15, 1929.
Guitar Blues | mp3 | 768KB
BESSIE SMITH
Wednesday, May 8, 1929
Columbia Record Co., New York City
Bessie Smith (vocal), Clarence Williams (piano), Eddie Lang (guitar).
148485-1 I’m Wild About That Thing - Columbia rejected
148485-2 I’m Wild About That Thing - Columbia rejected
148485-3 I’m Wild About That Thing - Columbia 14427-D
148486-1 You’ve Gotta Give Me Some - Columbia rejected
148486-2 You’ve Gotta Give Me Some - Columbia 14427-D
148487-1 Kitchen Man - Columbia rejected
148487-2 Kitchen Man - Columbia rejected
148487-3 Kitchen Man - Columbia rejected
148487-4 Kitchen Man - Columbia 14435-D
When she returned to Columbia records in May 1929, “The Empress Of The Blues” hadn’t been in a recording studio for nine months. Bessie had just finished a week’s run at Harlem’s Lincoln Theater and was preparing for her Broadway debut (“Pansy,” a flop, but she received great reviews) when she reunited with pianist Clarence Williams and chose three of the bawdiest tunes she was ever to record. The lyrics to KITCHEN MAN contain references to frankfurters, sausages, snakes and baloney. The titles of the other two songs (I’M WILD ABOUT THAT THING & YOU GOTTA GIVE ME SOME) speak for themselves. Lang has obviously prepared himself for the encounter with “The Empress,” and having no intention of disappointing, the guitarist appears in “blues mode.” Lang’s posture is that of a muted trumpet and he offers tight and well defined phrases that are busy, but not distracting. Bessie of course, is the star. What more can be said about one of the great voices of the twentieth century. Worth noting: The octaves when she sings the line “I can’t (do without my kitchen man),” … chilling!
Notes by Mike Peters from the Classic Columbia and OKeh Joe Venuti and Eddie Lang Sessions, Mosaic MD8-213 (2002, revised 2010).www.mosaicrecords.com
Kitchen Man | mp3 | 724KB
LONNIE JOHNSON AND BLIND WILLIE DUNN
Wednesday, May 8, 1929
OKeh Record Co., New York City
Lonnie Johnson (guitar), Eddie Lang (aka Blind Willie Dunn) (guitar).
401869-A A Handful Of Riffs (Johnson-Dunn) - OKeh 8695
401869-B A Handful Of Riffs (Johnson-Dunn) - OKeh rejected
Note: Application for Copyright sent to Washington D.C. on Oct 5, 1929.
Filed at Copyright Office Of The United States Of America on Oct 14, 1929
Lonnie Johnson’s address listed as 5th floor 11 Union Sq. W. New York, N.Y. (OKeh records)
Eddie Lang’s address listed as 44th St. Hotel 120 W. 44th St, New York, N.Y.
A Handful Of Riffs | mp3 | 736KB
BLIND WILLIE DUNN’S GIN BOTTLE FOUR
Wednesday, May 8, 1929
OKeh Record Co., New York City
Eddie Lang (aka Blind Willie Dunn) (guitar), Lonnie Johnson (guitar).
401870-A Blue Guitars (Johnson-Lang) - OKeh 8711
401870-B Blue Guitars (Johnson-Lang) - OKeh rejected
Blue Guitars | mp3 | 740KB
LONNIE JOHNSON AND BLIND WILLIE DUNN
Wednesday, May 15, 1929
OKeh Record Co., New York City
Lonnie Johnson (guitar), Eddie Lang (aka Blind Willie Dunn) (guitar).
401866-A Bull Frog Moan (Johnson-Dunn) - OKeh rejected
401866-B Bull Frog Moan (Johnson-Dunn) - OKeh rejected
401866-C Bull Frog Moan (Johnson-Dunn) - OKeh rejected
401866-D Bull Frog Moan (Johnson-Dunn) - OKeh 6895
Note: Discographies list matrix 401866 as from May 7, 1929. However, the OKeh file card dates it as May 15, 1929.
Application for Copyright sent to Washington D.C. on Oct 5, 1929.
Filed at Copyright Office Of The United States Of America on Oct 14, 1929
Lonnie Johnson’s address listed as 5th floor 11 Union Sq. W. New York, N.Y. (OKeh records)
Eddie Lang’s address listed as 44th St. Hotel 120 W. 44th St, New York, N.Y.
Bull Frog Moan | mp3 | 756KB
BLIND WILLIE DUNN AND LONNIE JOHNSON
Wednesday, October 9, 1929
OKeh Record Co., New York City
Eddie Lang (aka Blind Willie Dunn) (guitar), Lonnie Johnson (guitar).
403039-A Deep Minor Rhythm (Dunn-Johnson) - OKeh 8743
403039-B Deep Minor Rhythm (Dunn-Johnson) - OKeh rejected
403042-A Midnight Call (Blues) (Johnson-Dunn) - OKeh 8818
403042-B Midnight Call (Blues) (Johnson-Dunn) - OKeh rejected
403043-A Hot Fingers (Dunn-Johnson) - OKeh 8743
403043-B Hot Fingers (Dunn-Johnson) - OKeh rejected
403044-A Blue Room (Blues) (Johnson-Dunn) - OKeh rejected
403044-B Blue Room (Blues) (Johnson-Dunn) - OKeh 8818
403044-C Blue Room (Blues) (Johnson-Dunn) - OKeh rejected
Blue Room Blues | mp3 | 744KB