Topic: Shirley Griffith

[btasoundsradio]

I read he was mentored by Tommy Johnson, he plays Big Road Blues exactly like Tommy. Does anyone know anything else about this guy??

[Johnm]

Hi powerlinehorizon,
Shirley was raised in central Mississippi, but lived most of his adult life in Indianapolis.  I don't believe he was ever a full-time musician, but he was a great player and singer.  In addition to playing a variety of Tommy Johnson songs, such as "Big Road Blues", "Maggie Campbell Blues", and "Bye Bye Blues", Shirley also did a great version of Ishmon Bracey's "Saturday Blues", some songs influenced by his Naptown neighbor, Scrapper Blackwell, and at least two sensational tunes that were all his own:  "River Line Blues" and "Shaggy Hound Blues".  I was fortunate to see him twice in performance, once at the Philadelphia Folk Festival and once at the Ann Arbor Blues Festival.  Shirley was missing the index finger on his left hand, after having had it chopped off by his older sister during an ill-conceived game played with a hatchet when they were both kids.  In performance he had a restraint that drew me in, but he was not what you would call an entertainer--rather a wonderful singer and player and musician.  He recorded solo albums for Prestige Bluesville ("Saturday Blues") and Blue Goose Records and a duo album with his friend J. T. Adams for Prestige Bluesville.  I sure wish he had recorded more, he was great.
All best,
Johnm

[Bunker Hill]

Here's a report from Len Kunstadt in Record Research 91, July 1968 of a concert he gave with Yank Rachell.

YANK RACHEL and SHIRLEY GRIFFITH came from Indianapolis, thanks to blues aficionado, Artie Rosenbaum (the artist of the cover poster**), to play engagements for folk club-sponsored events in Washington, D C and Philadelphia - and here in New York City at the Washington Square Methodist Church on West 4th Street on May 13, 1968 with Iz Young of the Folk Lore Centre as the spearheading force. Their brand of string band blues echoing the era of the late 20s/early 30s high lighted by the facile Rachel mandolin is indeed unique in this miasma of amplified histrionic guitar groups who roam the earth at will in this day. At times there was a bit of musical conflict between Rachel's lead and Griffith's accompaniment but on the average they succeeded in presenting string band blues seldom heard in our sophisticated New York City locale. Yesterday they were commercial. Today they are art for folk sake.
 
Yank's sound comes from the period of Tampa Red Bumble Bee Slim, Bo Carter and the Mississippi Sheiks Memphis Jug Band and countless blues singers who once proliferated the musical scene, Yank's extrovert vocals, ragging mandolin, blues-guitar, and rural humor typify a fine brand of Negro vaudeville. Shirley Griffith on the other hand, is more introspective in his vocal approach. He does not heed to meter and bar structure religiously His prototype is Big Joe Williams, Tommy Johnson and Sleepy John Estes among others. He uses a walking bass figure on his guitar ably to protect his run on phrasing and drops thereby balancing into rural blues in its most simple presentation.

The evening was full, fascinating and historic as the Rachel-Griffith team carried through 28 selections of vocals and instrumentals. Griffith's repertoire was a showcase of Shirley Griffith with highlights of Tommy Johnson's derived "Big Road Blues" 'I Ain't goin' down this big road by myself' complete with yodel, being performed in both halves with accompanying Rachel ,on mandolin in the former and guitar in the latter; "Maggie Campbell Blues" introducing "C, C. Rider;" "Meet Me In The Bottom" with its classic Hey Lawdy Mama refrain; the many variation canine blues, "Please Throw A Poor Dog A Bone" also "Hard Pill To Swallow"; "River Line Blues" and "Bye, Bye Blues" among others. Yank Rachel, on the other hand, did less vocals than Griffith - but his was in a more carefree vein. Perhaps the efficacy of his spirited mandolin (when he played same) carried over into his lyrics making them jump and soar. Yank's esprit de blues was an extemporaneous "Blues" drawn from many quarters with closing lyrics of 'Baby quit me, she done thrown my clothes out doors - Poor Yank hasn't got change in drawers' which received many chuckles from the amused audience. Then Yank got himself a 'mule to ride' as he was 'Going to Chicago' in a real happy stomp-down blues pleaser as his mandolin sounded like a guitar string section with Shirley walking the bass and the audience providing the percussion. But those in attendance did not get off stock free as Yank changed his pace to country humorist with an aging wives tale. The closest that Yank got to somber blues was his crying vocal on 'How Long' but even this had a bubbling over quality.

Instrumentals were interspersed throughout with string band hoe downs, stomps, slow drags paying tribute to the strain of "Baby Please Don't Go" in some of the selections.

On a number of performances this elite blues two-some became wired for sound as they plugged their guitars into a capricious amplifier - however results were negligible as their strings overpowered their vocals. What a 'charge' it would have been if Yank could have plugged in his mandolin!

(** The cover of the magazine reproduces (poorly) the poster for the event - BH)

[Johnm]

Hi all,
I"ve been listening a lot to "Indiana Avenue Blues", the Prestige Bluesville album that Shirley made in the '60s with his pal J. T. Adams, courtesy of of Joe Wilkie (thanks, Joe), and I don't think I had fully appreciated before the extent to which Shirley compartmentalized his influences.  On this album, there's very little of his early life Mississippi blues, via Tommy Johnson, Ishmon Bracey, and others, and a great deal of Naptown blues, from Scrapper Blackwell, perhaps the mysterious Jesse Ellery, and others from Indianapolis.  Shirley's house had many rooms.
All best,
Johnm 

[doctorpep]

I'm unable to find that disc on Amazon. By any chance, is Mr. Wilkie a member of this board? Please excuse my being so forward.

More biographical information on Shirley is available at Sundayblues.org, I do believe. I think there's a picture or two, too.

[Johnm]

Hi doctorpep,
Joe is a friend of mine.  The record is not available at Amazon because it's been out of print for years.
All best,
Johnm

[Bunker Hill]

The record is not available at Amazon because it's been out of print for years.
All best,
Johnm

As would seem to be the case for nearly all of his recorded output see http://www.wirz.de/music/grifffrm.htm

[Johnm]

Right you are, Bunker Hill.  I think the only stuff of Shirley's that is currently commercially available would be a few cuts on the Art Rosenbaum Dust-to-Digital recordings.
All best,
Johnm

[uncle bud]

I don't know that it's still in print, but the Bluesville Vol 9: Down the Country Way compilation  is easy enough to find and also has two cuts from Shirley Griffith and J.T. Adams, Matchbox Blues and O Mama How I Love You.

[Johnm]

Hi all,
I had occasion today to transcribe Shirley's version of "Maggie Campbell Blues" (from his Blue Goose album) for a lesson, and found out some really interesting things.  
   * I know it has been discussed in another thread, but on the original recording of "Maggie Campbell", Tommy Johnson and his seconding guitarist, Charlie McCoy, start out with some extreme rhythmic tension because Charlie McCoy is swinging his eighth notes as though Tommy Johnson were playing a shuffle, which he definitely was not--playing straight eighth notes all the way.  In addition, Charlie and Tommy had their sense of downbeat/upbeat reversed, not really getting in sync until they hit the IV chord.  The effect is somewhat exacerbated by Tommy going long in the opening I chord.  Tommy was also long on his I chord response to the IV chord.
   In any event, Shirley starts the song with an underlying triple feel, goes long on the opening I chord, as did Tommy, and ditches the broken triplet feel when he hits the IV chord, and from there on out through the remainder of his rendition.  He also matches Tommy by going long in his I chord response following the IV chord.  This is not the only instance of Shirley coming up with a solo version of a song that was originally recorded as a duet and managing to keep much of the contour and feel of the original rendition. He did a similarly stellar solo guitar rendition of Ishmon Bracey and Charlie McCoy's duet on "Saturday Blues".  It's such a shame that Fantasy was bought out by Concord  before Shirley's Prestige albums could be released on CD, or for that matter, that Shanachie is very unlikely to reissue Shirley's Blue Goose album on CD.
All best,
Johnm

[LD50]

Mention should also be made here of the liner notes of the Shirley Griffith Blue Goose LP, which were probably the most appalling liner notes that Nick Perls ever allowed, if not the most appalling liner notes on any country blues LP, period. 

[Tom Rushen]

Mention should also be made here of the liner notes of the Shirley Griffith Blue Goose LP, which were probably the most appalling liner notes that Nick Perls ever allowed, if not the most appalling liner notes on any country blues LP, period. 

I bought this album when it came out in the early 70s, but I don't think it survives in my collection. Refresh my memory of the liner notes...though I'll admit, knowing Perls' liner notes history, I'm almost afraid to ask...

[Bunker Hill]

Courtesy of Stefan Wirz they can be read here http://www.wirz.de/music/grifffrm.htm along with a couple of other LP notes. Excellent photos too.

[Johnm]

Hi all,
The liner notes were certainly sophomoric, and amounted to an in-joke which had nothing to do with Shirley and his music, depriving him of a much-deserved opportunity for some recognition and depriving his fans of a perfect opportunity to learn more about him.  I'm assuming that everyone who reads the notes understands that Shirley never made any of the comments attributed to him.  I don't know if I'd use the word "appalling" to describe the notes, that seems more suitable for war crimes or the Gulf oil spill and events of that ilk, but certainly the notes were immature and insensitive and never should have made it onto an album cover.
All best,
Johnm

[eagle rockin daddy]

wow.  those are some liner notes.  I would have loved to meet Mr. Griffith.

Mike

[Mr.OMuck]

Yikes! Anyone know what Mr. Griffith's reaction to this was?

[eagle rockin daddy]

I'll bet he laughed and laughed and laughed.  If that transcript is the real deal, he really ran rings around Nick Perls.  the stuff about 'Uncle Tom' reminded me a bit of the LOC interview of Willie Mctell and Lomax.

Mike

[Bunker Hill]

Yikes! Anyone know what Mr. Griffith's reaction to this was?

I seem to recall the two UK blues magazines of the time had a few choice words on the subject of the notes in their reviews.

[Johnm]

Hi all,
The transcription was a creation of Stephen Calt--Shirley never said any of that stuff.  It is a fiction piece.  Unfortunately, it apparently maintains the capacity to draw attention away from Shirley himself and what he did musically.
All best,
Johnm

[eagle rockin daddy]

This gets worse and worse, if that was a piece of fiction, it is certainly awful, unless Shirley was in on it.  I mean, the album is supposed to represent Shirley as an ARTIST, not a curiosity, or a chance for Perls to express himself.  If Perls wanted to get drivel like that out, he should have recorded an album himself and put the liner notes on that. 

Just unbelievable.  No respect at all.

Mike

[Johnm]

Just in the interest of accuracy, Nick Perls played no part in the writing of the piece, I'm sure, though the choice to include the notes on the album was his.  It's no defense of the choice, but I can't imagine that Stephen or Nick thought that anyone would take the notes at face value.  Perhaps it's an indication of how far inside your own world you can be at times.
All best,
Johnm

[jopoke]

Today, I received this lame response when I inquired about prestige/bluesville albums that were never reissued: (It's a shame, because Shirley had one of the best albums in the series)

Take it easy, Joe


Recently you requested personal assistance from our on-line support center. Below is a summary of your request and our response.

If this issue is not resolved to your satisfaction, you may reopen it within the next 7 days.

Thank you for allowing us to be of service to you.

Subject
---------------------------------------------------------------
Prestige-bluesville reissues


Discussion Thread
---------------------------------------------------------------
Response (Nichole M) - 04/21/2011 09:45 AM Thank you for contacting Concord Music Group!

We currently have no information on when that item may be re released at this time. We apologize for any inconvenience this may cause.

Please contact us if you have any questions.

Best regards,

Concord Music Group
Sales Support
www.concordmusicgroup.com

[Johnm]

Thanks for taking that action, Joe, and keeping an eye on the prize.  Who knows?  Maybe Concord or Shanachie might be open to licensing agreements on the albums.  I can't believe they intend to re-issue them, and as things currently stand they generate no income at all.
All best,
Johnm

[LD50]

Just in the interest of accuracy, Nick Perls played no part in the writing of the piece, I'm sure, though the choice to include the notes on the album was his.  It's no defense of the choice, but I can't imagine that Stephen or Nick thought that anyone would take the notes at face value.  Perhaps it's an indication of how far inside your own world you can be at times.
All best,
Johnm

The liner notes positively SCREAM Steve Calt. And Perls must have included them because he thought they were funny, and so yes, the responsibility for them appearing on the album is Perls'. It's mostly just amazing that Perls thought it was appropriate.

[Mr.OMuck]

This is not meant in anyway as a defense of these liner notes, but it is important to remember that there was a , tradition is too strong a word, but at least a period in which absurd liner notes were a cool thing to have or do. Dylan's rambling ravings on his own and on Eric Von Schmidt's records may have started it but it was something that was around at the time. Absurdity in daily life among the young of the time was cultivated. This is a good case in point of keeping a weather eye out for how things will age into the future.

[oddenda]

Steve Calt at his typically worst. He and Nick Tosches would have made a lovely couple... of prats! They define the word "smarmy".

pbl

[eagle rockin daddy]

Perhaps it's an indication of how far inside your own world you can be at times.
All best,
Johnm

Well put John, would love to see the album re-released though, perhaps with different liner notes though.

Mike

[jopoke]

Folks, just spin the album and you will forget all about the liner notes....

Take it easy, Joe

[LD50]

Folks, just spin the album and you will forget all about the liner notes....

That's the whole problem: none of his albums are in print, so we can't spin them.

[Stefan Wirz]

... so we can't spin them.

Just try my Blue Goose discography ...
... and you'll find at the top right there's even a label spinning (bright grin ;-)

[jopoke]

 That's definitely one way to do it! 

[uncle bud]

Jeff Harris has a post about Shirley Griffith on his site http://sundayblues.org/archives/78 with some samples. There are a few audio tracks on YouTube as well.

As for Concord, ptooie. Thanks fer nothin'.

With a little googling, you can satisfy SG urges.

[lindy]

I'm into writing letters in these kinds of situations. Not emails, but letters, with envelopes and stamps. I wrote a letter to Norman Lear (yep, the guy who gave the world Archie Bunker), who is now on the board of directors for the Concord group (Fantasy/Good Time Jazz/Monterey Jazz Festival Records/Milestone/Prestige/blah/blah/blah), or at least he was a couple of years ago, he's in his 80s now. I made my case for releasing some of the old Presitge/Fantasy catalog. I figured he's an old lib, maybe he would listen to an argument for preserving culture.

Never got a response, but I still encourage others to do the same, otherwise he/they really won't have any idea that there's a small but fanatical audience for this music.

There's no logical financial incentive for Concord to release these CDs. But every once in a while you find someone who can wind his/her way through the corporate barriers to work on a "pet project" such as re-releasing Blue Goose recordings. Worth the effort to write.

Lindy

[LD50]

Jeff Harris has a post about Shirley Griffith on his site http://sundayblues.org/archives/78 with some samples.

The links on those samples appear to be broken.

I just realized, I actually own this LP, which has some SG tracks on it:
http://www.amazon.com/Indianapolis-recorded-Rosenbaum-Scrapper-Blackwell/dp/B003DVI77Q

I haven't listened to that LP in years, I should check it out again.

[Mr.OMuck]

A friend of mine who used to work for RCA came up with a proposal for I think EMI? to release alternate versions of great classical recordings (out takes, live performances..hitherto unreleased stuff) He offered to foot the bill for the whole remastering, packaging deal and the company stood to make around a Million bucks according to his projections. Evidently this amount wasn't large enough to spark their interest in a project where they risked nothing. It is a good example of the thinking that's brought this business to the verge of extinction.
The financial logic behind re releasing the Prestige stuff is that if its not out there, no one can't create any kind of demand for it, therefore it essentially ceases to be an asset....stupid, in other words.

Perhaps We should organize to license and distribute the catalogue as a non profit to help offset Weenie expenses and organize concerts and such?

[uncle bud]

Jeff Harris has a post about Shirley Griffith on his site http://sundayblues.org/archives/78 with some samples.

The links on those samples appear to be broken.

Oops, oh well.

[Bunker Hill]

I just realized, I actually own this LP, which has some SG tracks on it:
http://www.amazon.com/Indianapolis-recorded-Rosenbaum-Scrapper-Blackwell/dp/B003DVI77Q

I haven't listened to that LP in years, I should check it out again.

Stefan very thoughtfully provides the back liner notes for us to read at his discography. Inside the LP sleeve is an A5 eight page booklet by Bruce Bastin dated December 1976.

[jopoke]

Perhaps We should organize to license and distribute the catalogue as a non profit to help offset Weenie expenses and organize concerts and such?

Great idea!  Does anyone know how the Baltimore Blues Society was able to release Larry Johnson's "Fast and Funky" a while back?

Joe

[Tom Rushen]

Perhaps We should organize to license and distribute the catalogue as a non profit to help offset Weenie expenses and organize concerts and such?

Great idea!  Does anyone know how the Baltimore Blues Society was able to release Larry Johnson's "Fast and Funky" a while back?

Joe

I don't know, but this week I *finally* snagged a used copy of their reissue of "Fast and Funky", after searching for 10 years for one. There is one possible clue on the liners: The Baltimore Blues Society in cooperation with Larry Johnson is proud to reissue the 1971 Blue Goose album "Fast and Funky".

And the CD is apparently from a decent tape source, it is not a needledrop. As best I can guess, Larry Johnson likely has a copy of the tape, or has the master tape, and either has the rights to the recordings....or he doesn't have the rights but figures Nick Perls can't touch him legally....and whoever does have Blue Goose rights (if it's not Larry himself) is okay with the reissue. The liner notes also reference  "Legal Counsel: Jay Grubb, Esq.", so I'd guess they did their homework. Mr. Grubb is a Baltimore attorney who specializes in entertainment law, and has his own blog at http://entertainmentanswers.blogspot.com/. However, the blog contains exactly *one* post from him, from 2009, so it isn't exactly a hotspot of discussion and dialogue.