For nearly a quarter of a century the question "Who Was Kid Bailey?" regularly cropped up in the correspondence pages of Blues World and Blues Unlimited. In 1988, whilst researching a possible book about State Street Music, John Cowley came upon a stash of music registration forms. Five of these prompted Cowley to revisit the Kid Bailey "mystery" for Blues & Rhythm (issue 41 Xmas 1988).
Kid Bailey and Copyright
John Cowley
THE inclusion of Kid Bailey's superlative coupling from Bnunswick 7114 in Document's second volume of Delta Blues (DLP 533) affords an opportunity to examine these two classic Drew, Mississippi style vocal/guitar performances anew in light of State Street Music copyright information.
Five unpublished music registrations from Brunswick's famous September 1929 recordings, involving eleven performers, at the Peabody Hotel, Memphis, are relevant to this discussion:
E unpub 16107, (23 January 1930),
Rowdy Blues : words & music Bob Jones
(Br 7114) (issued as by Kid Bailey).
E unpub 16109, (23 January 1930),
Mississippi Bottom Blues : words & music Kid McCoy
(Br 7114) (issued as by Kid Bailey)
E unpub 16122, (23 January 1930)
It Ain't No Good : words & music Kid McCoy
(Br 7118) (issued as by Charlie McCoy)
E unpub 21934, (17 May 1930)
Overtime Blues : words & music Vincent McCoy
(Br 7141) (issued as by Walter Vincent)
E unpub 24473, (3 July 1930)
LongTrain : words & music Kid Bailey
(Br 7205) (issued as by Robert Wilkins)
The pattern of registration appears to relate to release dates although this requires further investigation.
Each of these titles was made during the course of sessions held at this time and, with the exception of Bob Jones (assuming as the evidence suggests Kid McCoy was Charlie McCoy), all the performers had recordings issued in their own names. On the identity of Kid McCoy, however, it may be relevant that Charlie McCoy (sic), Joe McCoy, and Minnie McCoy (Memphis Minnie) were used as names by State Street Music for individual unpublished copyright registrations associated with the Vocalion/Brunswick recording expedition to Memphis in 1930.
All this is relevant because of the continuing mystery surrounding the identity of Kid Bailey and his accompanist on these two recordings. David Evans notes that although Bailey's name was recognised by several Drew musicians, they were reluctant to talk about him ? Mott Willis calling him 'Killer' Bailey (Evans, Big Road Blues, 1982, p.194). Gayle Wardlow presents information that one 'Kid' made records with a Willie Brown (associated with Charlie Patton and Son House) when House was living in Robinsonville, Mississippi (Blues Unlimited, No. 147, p.8 ), and a description by Joe Callicot, of 'two little guys' making records in Memphis in 1929 (Living Blues No. 50).
Neither of these commentaries, however, add much to the information available on Bailey. Unfortunately, Wardlow's suggestion that there were two Willie Browns and his reference to the second's role as an accompanist on Bailey's record appears to be assumed hearsay rather than confirmed evidence. Son House, for example, remembered only one Willie Brown, he learnt Pony Blues from him - (interview following the performance for the Library of Congress, AFS 6608 A 2.)
The copyright registrations in themselves do not add much more light on the subject of Kid Bailey, but they do serve to introduce further lines of enquiry. These are raised on the basis that paperwork for the 'compositions' was not confused at the time of registration, a factor that should not be assumed, although most registrations by State Street Music appear accurate. The lines of enquiry are:
(i) A new name, possibly that of the accompanist, is introduced- Bob Jones. He could be a recording/publishing executive, but he might just be another Drew, Mississippi-style guitarist.
(ii) Bailey's association, via 'Kid' McCoy - if he is Charlie McCoy - with Jackson, Mississippi blues musicians from the period (although the link may be that the talent scout H. C. Spier, who was employed by Brunswick at these sessions). If Kid McCoy is Charlie McCoy he might be the accompanying guitarist. Charlie performed this role for Tommy Johnson - the Jackson-based bluesman who learnt his style direct from Drew guitarists-at Johnson's 1928 recording session for Victor, also held in Memphis.
(iii) A possibility (unlikely on aural evidence) that Charlie McCoy and Kid Bailey are the same person.
(iv) A possibility that if Kid McCoy is not Charlie McCoy, he might still be the same person as Kid Bailey.
(v) Kid McCoy may be Joe McCoy ('Kansas' Joe), married to Minnie McCoy - Memphis Minnie. In this guise he might also be Bailey's accompanying guitarist. These suggestions, however, seem unlikely, as Joe was Charlie McCoy's elder brother, adding to the evidence that 'Kid' was Charlie's nickname (Sheldon Harris, Blues Who's Who, 1979, pp.354-6).
(vi) Bailey's possible association with Robert Wilkins - the latter certainly performs Long Train Blues.
Although, at this distance from the events, these trails are very cold indeed, they are presented just in case they might spark further evidence and/or investigation into this enigma. [BH note: David Evans took up the trail in Blues Revue Quarterly four years later]
Kid Bailey and Copyright
John Cowley
THE inclusion of Kid Bailey's superlative coupling from Bnunswick 7114 in Document's second volume of Delta Blues (DLP 533) affords an opportunity to examine these two classic Drew, Mississippi style vocal/guitar performances anew in light of State Street Music copyright information.
Five unpublished music registrations from Brunswick's famous September 1929 recordings, involving eleven performers, at the Peabody Hotel, Memphis, are relevant to this discussion:
E unpub 16107, (23 January 1930),
Rowdy Blues : words & music Bob Jones
(Br 7114) (issued as by Kid Bailey).
E unpub 16109, (23 January 1930),
Mississippi Bottom Blues : words & music Kid McCoy
(Br 7114) (issued as by Kid Bailey)
E unpub 16122, (23 January 1930)
It Ain't No Good : words & music Kid McCoy
(Br 7118) (issued as by Charlie McCoy)
E unpub 21934, (17 May 1930)
Overtime Blues : words & music Vincent McCoy
(Br 7141) (issued as by Walter Vincent)
E unpub 24473, (3 July 1930)
LongTrain : words & music Kid Bailey
(Br 7205) (issued as by Robert Wilkins)
The pattern of registration appears to relate to release dates although this requires further investigation.
Each of these titles was made during the course of sessions held at this time and, with the exception of Bob Jones (assuming as the evidence suggests Kid McCoy was Charlie McCoy), all the performers had recordings issued in their own names. On the identity of Kid McCoy, however, it may be relevant that Charlie McCoy (sic), Joe McCoy, and Minnie McCoy (Memphis Minnie) were used as names by State Street Music for individual unpublished copyright registrations associated with the Vocalion/Brunswick recording expedition to Memphis in 1930.
All this is relevant because of the continuing mystery surrounding the identity of Kid Bailey and his accompanist on these two recordings. David Evans notes that although Bailey's name was recognised by several Drew musicians, they were reluctant to talk about him ? Mott Willis calling him 'Killer' Bailey (Evans, Big Road Blues, 1982, p.194). Gayle Wardlow presents information that one 'Kid' made records with a Willie Brown (associated with Charlie Patton and Son House) when House was living in Robinsonville, Mississippi (Blues Unlimited, No. 147, p.8 ), and a description by Joe Callicot, of 'two little guys' making records in Memphis in 1929 (Living Blues No. 50).
Neither of these commentaries, however, add much to the information available on Bailey. Unfortunately, Wardlow's suggestion that there were two Willie Browns and his reference to the second's role as an accompanist on Bailey's record appears to be assumed hearsay rather than confirmed evidence. Son House, for example, remembered only one Willie Brown, he learnt Pony Blues from him - (interview following the performance for the Library of Congress, AFS 6608 A 2.)
The copyright registrations in themselves do not add much more light on the subject of Kid Bailey, but they do serve to introduce further lines of enquiry. These are raised on the basis that paperwork for the 'compositions' was not confused at the time of registration, a factor that should not be assumed, although most registrations by State Street Music appear accurate. The lines of enquiry are:
(i) A new name, possibly that of the accompanist, is introduced- Bob Jones. He could be a recording/publishing executive, but he might just be another Drew, Mississippi-style guitarist.
(ii) Bailey's association, via 'Kid' McCoy - if he is Charlie McCoy - with Jackson, Mississippi blues musicians from the period (although the link may be that the talent scout H. C. Spier, who was employed by Brunswick at these sessions). If Kid McCoy is Charlie McCoy he might be the accompanying guitarist. Charlie performed this role for Tommy Johnson - the Jackson-based bluesman who learnt his style direct from Drew guitarists-at Johnson's 1928 recording session for Victor, also held in Memphis.
(iii) A possibility (unlikely on aural evidence) that Charlie McCoy and Kid Bailey are the same person.
(iv) A possibility that if Kid McCoy is not Charlie McCoy, he might still be the same person as Kid Bailey.
(v) Kid McCoy may be Joe McCoy ('Kansas' Joe), married to Minnie McCoy - Memphis Minnie. In this guise he might also be Bailey's accompanying guitarist. These suggestions, however, seem unlikely, as Joe was Charlie McCoy's elder brother, adding to the evidence that 'Kid' was Charlie's nickname (Sheldon Harris, Blues Who's Who, 1979, pp.354-6).
(vi) Bailey's possible association with Robert Wilkins - the latter certainly performs Long Train Blues.
Although, at this distance from the events, these trails are very cold indeed, they are presented just in case they might spark further evidence and/or investigation into this enigma. [BH note: David Evans took up the trail in Blues Revue Quarterly four years later]