Text "Marquee '62" (Walter Schäppi)

It's better to light up a small candle, tahn to complain about darkness. (Confucius)

It was 25 years ago that the Rolling Stones had their first legendary gig as The Rollin' Stones at the famous Marquee Club. This concert remained unrecorded, which is confirmed in F. Aeppli's trendsetting book Heart of stone. This album should at least give you an idea of the way the Stones played there.

To the Marquee songs I have added:

• One special song which needs no further explanation.
• The three songs of their first studio session. Those songs, as the following one, have never been released to date.
• As I didn't want to repeat the remarkable joke of leaving the 4th side without music, it includes a wide variety of blues songs which should encourage you to compare them to the covers.

Each album contains an 18 page booklet which I worked at from November 1986 to March 1987. Some parts were rewritten in June 1987; and 33 albums have a numbered tape with 35 more songs! First come, first served!

Why this album? Every song has been officially released, i. e. easy job to dub...

• Out of these 18 Marquee tunes, only four are known in at least one studio version, and recorded with a different line-up. I know from experience that there are a lot of Stones fans who don't know too many of the listed musicians, let alone the songs! I find that it's important for every real fan to be familiar with the roots of the Stones' music, or as Mick said in 1968: "What's the point in listening to us doing I'm a king bee when you can hear Slim Harpo do it?" Maybe you will not like some of these tunes, but then you shouldn't forget that the boys were crazy about them!
• Some of these tunes are by no means easy to obtain, and more easily available blues records are not always part of a collection.
• ...and this album makes more sense than to be forced to listen to the 47th version of "Brown sugar"!

Concerning song titles and composer credits, the existing information was not accurate enough, so I have collected the most important resp. interesting info from books, magazines, record sleeves and other sources, especially by listening to hundreds of records. In any case, it's work that repays the labour well!

Now listen to the songs and put together your own Marquee tape, and try to imagine how they played then. Fantasy is not a question of age...

I want to thank everyone, who, knowingly or unknowingly, helped me realise this project.

Dr. Blues jun. [= Walter Schäppi]

PS: The doctors Rock'n'Roll, Soul, Safe T. First and Country clearly say that they are not thinking of coming up with anything similar to this project!

Marquee International Jazz Club, 12th July 1962: Some personal remarks.

• R&B to the bone! In comparison to the Beatles (Star Club album from 1962!) and further bands from the Merseyside, the Stones were really different, despite Chuck Berry's heavy influence on all of these guys.
• The concert was organised very spontaneously. So they had to choose songs which they were very familiar with. As the group's member's showed different tastes, a variety of songs came together. Yet it's really to simple to say: Mick → Jimmy Reed, Keith → Chuck Berry, Brian → Elmore James and Stu → boogie woogie.
• As ist was a club performance this 18 song set was not too long, though it may be then seen so in retrospect. There was still a long way to the 8 song sets!
• They didn't play any Bo Diddley songs, and not more than two of Chuck Berry. Was there any fear of being considered a R&R band? On the other hand, there were ten songs by Jimmy Reed resp. Eddie Taylor and three by Elmore james! (There was only one Jimmy Reed song on an officially released record, but Jimmy Reed's and Elmore James's strong influences can hardly be overheard in the group later recordings.)
• In Britain the sources of black blues music were very limited. Records weren't easy to obtain, almost nothing could be heard on airwaves, with exception of the AFN and Radio Luxembourg, and the pop papers were stultifying garbage. So how did they come across these songs? Rare record shops which imported authentic blues records, art schools and clubs like Marquee and Ealing became meeting places and made discussions about musicians and songs, jams, rehearsals possible, and sometimes an effort to build up a band. (A remarkable number of black musicians had visited England before 1962. Big Bill Broonzy first, then J. White, Otis Spann, Muddy Waters, Sonny Terry, Brownie M. Gee, Sp. Red, Willie Dixon, Memphis Slim, J. J. Dupree, Jimmy Cotton, Roosevelt Sykes and L. B. Montgomery. But there is no hint, that a Stone saw one of these gigs!)
• What did it sound like? In comparison to Blues Incorporated, the regular Thursday band, the Stones' music was brasher, rawer, less jazzy (no horns!), and probably louder. And it was based on two electric guitars, "supported" by harp, piano, bass guitar and drums, like a blues band from Chicago! So it was totally new for the big part of the audience. With exception of a few notes in Stu's diary, there are no specific hints concerning arrangements. So it's not always clear which version of a song could have influenced them. (Only one record is mentioned: when Mick met Keith after several years of separation, he was carrying Berry's Rockin' at the hops with him - including "Confessin' the blues" and "Down the road apiece".) Generally they must must have been influenced by such a large number of musicians (blues, R&R, C&W) that the result would be a list too long to even begin to reproduce.
• No home game but a nervous debut of a new band. At that point of time there were no "screamies" around. The audience was not influenced by fame but could only be impressed by quality music. The audience's reaction was said to have been very mixed, but at the end of the gig, people felt more for the Stones than against.

Yeah, well, how can I tell you?

You've surely noticed that the sound of the LPs is really different to the description given on the front side: it sounds as if the songs were dubbed from old scratchy 78 rpm records. But most of the recordings are in reality excellent. (There's no doubt that thirty or forty years ago many sound engineers did a great job!)

It isn't my intention, as you may suggest, to force you to buy all the "original" records with their far better sound. (But the idea isn't that bad, could be mine!)

Hard luck that my tape deck ceased to work exactly one day before the deadline. Instead of postponing the project for some months, I recorded the whole lot with another (most probably faulty) deck. Sorry, hi-fi freaks!

Anything else? The "producer" has changed side C and D, and the somewhat strange labels were not my idea. (My agent told me that these people wouldn't think too much about their work. It seems he's right!)

What's that to me? I have a perfect tape (and all the LPs). Stones fans buy everything. OK, where's the problem?

Not that way!! As consolation, you get a tape with those songs I would have put on record in 1987. As you can see below, A 04.1, A 04.3, B 01.1 and C 08 would be replaced by the EP tracks on a further edition.

Since the discs have been delayed for about a year, I missed the 25th anniversary for the gig; but on the other hand, the initial 8-page booklet has grown in size, and quite a lot of mistakes have been erased.

I'm happy that I've got the records after all, and I think it's better than nothing.

Table 3 (part of table 1): The Marquee tape - part one
Track	Track see list bewlow	Interpreter	Title
A 01	A 02.3	Wilbert Harrison	Kansas City
A 02	A 03	Jimmy Reed	Baby what's wrong
A 03	A 04.2	Little Walter	Confessin' the blues
A 04	A 05	Jimmy Reed	Bright lights, big city
A 05	A 06	Elmore James	Dust my blues
A 06	A 07	Chuck Berry	Down the road apiece
A 07	B 02	Jimmy Reed	I'm a love you
A 08	B 03.a	Eddie Taylor	Bad boy
A 09	B 04.1	Jimmy Reed	I ain't got you
A 10	B 5	Jimmy Reed	Hush hush
A 11	B 06	Eddie Taylor	Ride 'em on down
A 12	B 07	Chuck Berry	Back in the USA
A 13	B 08	Jimmy Reed	Kind of lonesome
A 14	B 09.2	Elmore James	Blues before sunrise
A 15	D 01	Jimmy Reed	Big boss man
A 16	D 02	Billy Boy Arnold	Don't stay out all night
A 17	D 03	Jimmy Reed	Tell me you love me
A 18	--	Sonny Boy Williamson	Down child
B 01	D 04	Elmore James	Happy home
B 02	A 01.3	Muddy Waters	Rollin' stone
B 03	D 05.2	Muddy Waters	Soon forgotten
B 04	D 06	Bo Diddley	You can't judge a book by its cover
B 05	D 07	Jimmy Reed	Close together
B 06	E 01	Bo Diddley	Pretty thing
B 07	E 02	Coasters	I'm a hog for you
B 08	D 08	Elmore James	Look on yonder wall
B 09	F 01	R. Sharpe	Linda Lou
B 10	C 01.2	Little Walter	Key to the highway
B 11	C 02	Robert Johnson	Stop breakin' down blues
B 12	C 03	Slim Harpo	Shake your hips
B 13	B 04.2	Howlin' Wolf	Going down slow
B 14	C 05.2	Fred McDowell	You got to move
B 15	C 06	Jimmy Reed	The sun is shining
B 16	C 07.3	Elmore James	It hurts me too
B 17	F 02	Amos Milburn	Chicken shack boogie

Track	Interpreter Soloist or band leader (listed with his stage or nick name)	Title	Author as given on record in last column	Recording date	First released on	Selection on Marquee '62 is taken from
A 01.1	Robert Petway	Catfish blues	no credits → Robert Petway [→ traditional]	1941.03.28	(7" A-side) Bluebird B8838	Yazoo L-1038
	This is the first recording of this very popular tune which is said to have been already played by Skip James in the 1920. (A very special version is featured on the Bluesbreakers' bootleg The dark side of midnight.)
A 01.2	Muddy Waters	Rollin' stone	McKinley Morganfield [= Muddy Waters]	1950.02	(7" A-side) Checker 1426	Phonogram 9124 224 [= Chess 1427]
	This one is evidently influenced by "Catfish blues". But I think that the new lyrics and the different way the guitar is used turn it to a tune which stands on its own strongly enough. (Has nothing to do with Robert Wilkins' very popular "Rolling stone" recorded on 7 September 1928)
A 01.3	Muddy Waters	Rollin' stone [alternate]	McKinley Morganfield [= Muddy Waters]	1950.02	(LP) Chess 8208 ?	(2LP) Teldec 6.28622 (Chess)
A 02.1	Little Willie Littlefield	Kansas City loving	Willie Littlefield [?→ Jerry Leiber, Mike Stoller]	1952.08.15or18	(7" A-side) Federal 12110	K. C. Rec. KC 101
	It's still not clear who wrote "Kansas City loving". On Federal 12110 it reads "Stoller-Leiber", but there is a credible story in existence, that in retrospect, Willie Littlefield sold this song for next to nothing to "Leiber-Stoller" (which is categorically denied by Mike Stoller).
A 02.2	Little Richard	Kansas City	Jerry Leiber, Mike Stoller [?→ Willie Littlefield]	1955.09.13-14	Specialty 2104	Ace CH 133 [= Specialty 2104]
	As the Stones knew Little Richard very well, I wanted to use his "Specialty 2104" version. But then, after having listened to it, I really disliked it. (Released in March 1959 on LP, more than three years after the recording session, and after the success of Wilbert Harrison's version also on single, but without scoring.)
A 02.3	Wilbert Harrison	Kansas City	Jerry Leiber, Mike Stoller [?→ Willie Littlefield]	1959.03	(7" A-side) Fury 1023	Charly CRB 1102
	When the session began, the horn section had already packed up their instruments. What a lucky chance! Did the Stones sound like that in the Marquee? I hope that they knew this very successful tune: No. 1 in the Billboard R&B charts with this lyrical slightly smoothed version of "Kansas City loving" (get me some - get me one). (Another source says, the piano was played by Ike Turner.)
A 03	Jimmy Reed	Baby what's wrong	Mathis James Reed [= Jimmy Reed]	1961	(7") Vee Jay 425	(2LP) Vee Jay VJS 2-1035
	Thanks to the 1963 studio recording we are familiar with the song. A Willie Dixon composition, as the Stones books say? By chance, I discovered the song on an LP of "Mr. Memphis" Lonnie Mack (Edsel ED 158). Mack? Yeah, it's him! Thanks to the given composer credits I could import the LP in question. (Note that lots of Vee Jay LPs have been rereleased in the last few months.) Sometimes Ian Stewart didn't note the song titles in his diary, but a similar sounding part of the lyrics. His "Honey what's wrong with you" is part of two Jimmy Reed songs: "Baby what's wrong" and "You don't have to go" (30 December 1953), but of course the played "Baby what's wrong". (Different way of writing on label and cover of double album Vee Jay 1035! What's written on the single "Baby what's wrong" or "What's wrong baby"? Leadbitter listed it as "What's wrong baby"!) Bad luck! First I preferred another "Baby what's wrong", one of my Elmore James' all time favourites (October 1952) with some great Berry riffs (sorry, T-Bone & Co, I know Chuck's "teachers"). But then all arguments spoke against that song.
A 04.1	Jay McShann and Walter Brown	Confessin' the blues	Walter Brown, Jay McShann → Walter Brown	1941.04.30	(7") Decca 85..	[tape]
	Was McShann more than just the arranger of this tune? Walter Brown, who was the new singer in the band at that time, was afterwards mostly regarded as the only composer. (Note that Charlie Parker was member of the band then! Remember Charlie's book?) - Late addition: McShann records are often stated as Jazz records. If I had known that earlier... (see MCA LP MCA-1338). A comparison of these three songs is worthwile! First let's look at what Roy Carr has written: "Confessin' the blues comes from Chuck Berrys's repertoire... surprisingly enough, the Stones keep to McShann's slower interpretation." Roy, that isn't true! Berry's version covers, despite the faster pace, a lot of the feeling of McShann's original (compare some lead guitar playing to McShann's piano playing), whereas the Stones 1964 recording is clearly influenced by Little Walter's interpretation. Concerning the lyrics, Mick followed Chuck Berry and Little Walter, putting in a few words of his own. And in 1962? Any reason why it shouldn't have been a cover of Little Walter's recording?
A 04.2	Little Walter	Confessin' the blues	Marion Walter Jacobs [= Little Walter] → Walter Brown, Jay McShann	1958.?02	(7") Checker 890	Teldec 6.24805 (Chess)
A 04.3	Chuck Berry	Confessin' the blues	Walter Brown, Jay McShann	1960.02.15	(LP) Chess 1448	Vogue 515033 [= Chess 1448]
A 05	Jimmy Reed	Bright lights, big city	Jimmy Reed	1961	(7") Vee Jay 398	Charly CRB 1003
	Backing vocals by his wife Mary Lee. She (co-)wrote many of his songs, but without receiving any credits until 1964. Because of his extreme alcohol abuse, Jimmy Reed often forgot the lyrics immediately, so she had to whisper resp. sing the words to him. Here, she can clearly be heard.
A 06	Elmore James	Dust my blues	Bihari, Elmore James → Elmore Brooks [= Elmore James] → RJ, Elmore James	1955.mid	(7" A-side) Flair 1074	Kent KST 522
	Elmore James was the illegitimate child of Leola Brooks (thus the credits "Elmore Brooks"). Shortly after his birth, she married his father Joe Willie James. This is one of the typical variations of Robert Johnson's "I believe I'll dust my broom" (recorded 23 November 1936). (When writing this song, Robert Johnson must have had Kokomo Arnold's "Sagefield woman blues", recorded 15 January 1935, in mind. Other sources are said to have been Kokomo Arnold's "Sissy man blues", recorded 15 January 1935, and Leroy Carr's "I believe I'll make a change", recorded 16 August 1934.) Already in 1952 Elmore James had a top ten R&B hit with "Dust my broom" (recorded in August 1951, credited to Almore James!). In today's pop music it wouldn't be clear if "Dust my blues", with partially borrowed lyrics from Robert Johnson, could be considered as an original composition. Probably a judge would have to clear the situation. This song's pattern became Elmore James's trademark, but he's got a lot more to offer! (Elmore James's "Dust my broom" version is in my opinion the most popular blues by black and white blues musicians, comparable to Chuck Berry's "Johnny B. Goode" in the R&R field.) Bihari: It's a very strange characteristic not only of these producers and record company owners to put down their own names as (co-)authors without justification. (Josea is a pseudonym for Joe, Ling fpr Saul, and Taub for Jules or Florette Bihari.)
A 07	Chuck Berry	Down the road apiece	Don Raye	1960.02.15	(LP) Chess 1448	Vogue 515033 [= Chess 1448]
	The way of writing is not clear, e. g. as "Down the road apiece" on Chess LP 1448. It's also not clear from where the song comes. There is a vague idea that it was a boogie woogie hit in the 1930s. On the other sidethere are two versions by white pianist Freddie Slack: As "Down the road a-piece" (recorded 2 September 1940) and as "That place down the road a piece" (recorded 2 June 1941) with Don Raye as a "singer" and also mentioned as composer. (Don Raye is no pseudonym for Ray McKinley, the singer and drummer on the 1940 version. He was in fact one of the many Tin Pan Alley songwriters.)
B 01.1	Amos Milburn	Down the road apiece	Don Raye	1946.09.12	(7" A-side) Aladdin 161	Pathé Marconi 1546711
	Dedicated to Ian Stewart who perfectly knew Albert Ammons, Pete Johnson, Amos Milburn...
B 02	Jimmy Reed	I'm a love you	Jimmy Reed	1960.12.13	(7" B-side) Vee Jay 380	(2LP) Vee Jay VJS 2-1035
	Jimmy Reed didn't record a song titled "I want to love you"! I think it's this song, which also contains the words "I want to love you" in the lyrics.
B 03a	Eddie Playboy Taylor	Bad boy	Eddie Taylor	1955.01.18	(7" A-side) Vee Jay 149	Charly CRB 1015
	This is one of the songs Mick had already sung with Blues Incorporated. That's why it has to be "A 03a" because Cyril Davies would never have played a song like "A 03b".
B 03b	Larry Williams	Bad boy	Larry Williams	1958	(7" A-side) Specialty 658	(Ace CH 129)
	A song of the composer of e. g. "Dizzy Miss Lyzzy", "Slow down" and "Bony Maronie". (If you don't know his original, there's also a probably better known Beatles version.)
B 04.1	Jimmy Reed	I ain't got you	Calvin Carter	1955.07.18	(LP) Vee Jay 1022	Charly CRB 1003
	Written for Vee Jay Records. The song was better known in those days in Chicago as "Eldorado Cadillac". The Stones may have known both versions.
B 04.2	Billy Boy Arnold	I ain't got you	Calvin Carter	1955.fall	(7" A-side) Vee Jay 171	(Charly CRB 1016)
B 05	Jimmy Reed	Hush hush	Jimmy Reed	1959.08.25	(7" A-side) Vee Jay 357	Charly CRB 1028
B 06	Eddie Playboy Taylor	Ride 'em on down	Eddie Taylor → BJW, Eddie Taylor [→ traditional]	1955.12.05	(7" B-side) Vee Jay 185	Charly CRB 1015
	According to Stones books, "Ride 'em on down" is said to have been written by Big Bill Broonzy. But he never recorded a song with this title! In fact a traditional Delta melody - listen to e. g. Johnnie Temple's "Lead pencil blues" (recorded 14 May 1935) - was used for several recordings: "Shake 'em on down" (Bukka White, recorded 1 September 1937; Bo Chatmon, recorded 22 October 1938), "New shake 'em on down" (Big Bill Broonzy, recorded 5 May 1938; T. McClennan, recorded 22 November 1939), "Truck 'em on down", "Ride 'em on down" (Robert Petway, recorded 28 March 1941). and "Break 'em on down" (Big Joe Williams, recorded 12 December 1941). Taylor's amplified version is lyrically a mixture of lots of Big Joe Williams's words, enriched with own ideas; and Petway was the first who used "Ride" in the refrain. The Stones played it most probably in the style of Jimmy Reed and Eddie Taylor (Eddie Taylor was Jimmy Reed's arranger and sideman for many years... and the harp player on A 03a "Bad boy" and A 06 "Ride 'em on down").
B 07	Chuck Berry	Back in the USA	Charles Edward Anderson Berry [= Chuck Berry]	1959.02	(7" A-side) Chess 1729	Chess 9283 020
B 08	Jimmy Reed	Kind of lonesome	Jimmy Reed	1960	(2LP) Vee Jay 1035	(2LP) Vee Jay VJS 2-1035
B 09.1	Leroy Carr	Blues before sunrise	no credits Leroy Carr [→ F. Blackwell, Leroy Carr]	1934.02.21	(7") Vocalion 02657	[never heard]
	This tune was first copyrighted in 1950, although Leroy Carr, to whom the song is credited, already died in 1935 (who got the royalties?). And there is some information that his partner "Scrapper" Blackwell co-wrote this song.
B 09.2	Elmore James	Blues before sunrise	no credits Elmore James ?→ Leroy Carr, Elmore James [?→ F. Blackwell, Leroy Carr, Elmore James]	1955.mid	(7" A-side) Flair 1079	Kent KST 522
	It's certainly no Elmore James composition (which is confirmed on the cover of Charly CRB 1017). Muddy Waters' studio version (recorded January 1959) and slow live version (recorded 26 October 1958 in Manchester, released 1982) weren't yet available on record in 1962. Muddy Waters and Elmore James used the same first verse (with that Carr's words), but the rest is typical Elmore James' style. So he gets credits, although I don't know Carr's original.
D 01	Jimmy Reed	Big boss man	Luther Dixon, Al Smith	1960.03.29	(LP) Vee Jay 1022	Charly CRB 1003
	Written for Jimmy Reed.
D 02	Billy Boy Arnold	Don't stay out all night	William Arnold [= Big Boy Arnold]	1955.fall	(7" B-side) Vee Jay 171	Charly CRB 1016
	It took me a long time to find out. Thanks for the hint, Mr. Korner! (Dalton p. 19) You don't have to compare with Skip James' "I don't want a woman to stay out all night" (recorded 1964, first recording in 1931 as "If... the road", and again in 1965 as "Look down the road"). It's a completely different song.
D 03	Jimmy Reed	Tell me you love me	Jimmy Reed, Al Smith Jimmy Reed	1961	(2LP) Vee Jay 1035	(2LP) Vee Jay VJS 2-1035
	Sung as "Tell me that you love me", but everywhere the song title is written without "that".
D 04	Elmore James	Happy home	no credits Josea → Elmore James	1955.05	(7" A-side) Flair 1069	Kent KST 522
	According to some liner notes, Elmore James never had an album released in his lifetime (1918-1963). In the USA some of his songs came out on singles, in Britain not even one. Where did Brian get these songs from? - Late addition: A 06, B 09.1 and D 04 on the tape are taken from a new, digitally remastered Ace LP.

The Marquee gig is over!

Now for some more songs which (certainly) have connection to the Stones. To make it easier for you to compare, I've given all recording dates where the Stones (group, individual members) were involved.

NB: It's controversial if all cover versions of the Stones are of top quality. But it's undisputed that they almost managed to make the best choice!

Recording date given if a song was released on record and/or on film (full-playback performances excluded), with the exception of a few cases of historical interest.

Some data should be especially interesting (not only for hardcore fans, I hope) because it differs a bit from the existing information. Special notice should be taken in the lists to "First recorded by".

It's definitively not my aim to accumulate as many blues songs as possible, but to build up a fine collection. Fortunately there are a few record shops specializing in blues, where I could carefully listen to all the songs I didn't want to buy (thanks!). Therefore excuse some gaps ("First" and songs as "Hi-heel sneakers" where I couldn't find a blues LP in my collection with a version of it. - But there's Jerry Lee Lewis' 1964 live version in the rock'n'roll section!)

Track	Interpreter Soloist or band leader (listed with his stage or nick name)	Title	Author as given on record in last column	Recording date	First released on	Selection on Marquee '62 is taken from
D 05.1	St. Louis Jimmy	Soon forget you	no credits James Burke Oden [= St. Louis Jimmy]	1942.03.25	(7") Bluebird B9016	[never heard]
D 05.2	Muddy Waters	Soon forgotten	no credits James Burke Oden [= St. Louis Jimmy]	1960.07.03	(LP) Chess 1449	P-Vine Spec. PLP-814 [= Chess 1449]
D 06	Bo Diddley	You can't judge a book by its cover	Willie James Dixon [= Willie Dixon]	1962.06.27	(7") Checker 1019	Chess CH-9106 (Sugar Hill)
D 07	Jimmy Reed	Close together	Jimmy Reed	1960.12.13	(7" A-side) Vee Jay 373	Vee Jay VJLP 1025
D 08	Elmore James	Look on yonder wall	no credits Elmore James, M. Sehorn → James Clark → James Clarke	1961	(7") Fire 504	(3LP) P-Vine Spec. PLP-6006
C 01.1	Jazz Gillum	Key to the highway	no credits William McKinley Gillum [= Jazz Gillum]	1940.05.09	(7") Bluebird B8529	[never heard]
C 01.2	Little Walter	Key to the highway	Little Walter → Jazz Gillum	1958.?08	(7" A-side) Checker 904	Teldec 6.24805 (Chess)
C 01.3	Jazz Gillum	Key to the highway	no credits Jazz Gillum	1961	(LP) Folkways FS3826	Folkways Rec. FS3826
C 02	Robert Johnson	Stop breakin' down blues	Robert L. Dodds [= Robert Johnson]	1937.06.20	(7" A-side) Vocalion 04002	CBS (Columbia) C 30034
C 03	Slim Harpo	Shake your hips	James Moore [= Slim Harpo]	1966.?01	(7" A-side) Excello 2278	(LP) Rhino RNLP 106
C 04.1	St. Louis Jimmy	Going down slow	no credits St. Louis Jimmy	1941.11.11	(7") Bluebird B8889	[never heard]
C 04.2	Howlin' Wolf	Going down slow	no credits St. Louis Jimmy	1961.12	(7") Chess 1813	(LP) Vogue 515026 [= Chess 1469]
C 05.1	Reverend Gary Davis	You got to move	traditional [→ Gary D. Davis = Reverend Gary Davis]	1961.08.10	(LP) Pre./B'ville 1032	(2LP) Fantasy F-24704
C 05.2	Fred McDowell	You got to move	Fred McDowell → Reverend Gary Davis, Fred McDowell [→ traditional]	1966	(LP) Arhoolie F 1027	(LP) Arhoolie F-1027
C 06	Jimmy Reed	The sun is shining	Jimmy Reed	1957.04.03	(7" A-side) Vee Jay 248	(2LP) Vee Jay VJS 2-1035
C 07.1	Tampa Red	It hurts me too	Hudson Woodbridge [= Tampa Red]	1940.05.10	(7" B-side) Bluebird B8635	(Blues Classics BC 25)
C 07.2	Elmore James	It hurts me too	Elmore James, Marshall Sehorn → Tampa Red, Elmore James	1957	(7" A-side) Chief 248	(Charly CRB 1008)
C 07.3	Elmore James	It hurts me too	no credits Elmore James, Marshall Sehorn → Tampa Red, Elmore James	1962or1963	(7" A-side) Fire 2020	(3LP) P-Vine Spec. PLP-6007
C 08	Bo Diddley	Mona (I need you baby)	Ellas Bates [= Bo Didlley]	1957.03	(7") Checker 860	Chess CH-9106 (Sugar Hill)
E 01	Bo Diddley	Pretty thing	Willie Dixon	1955.08.12	(7" A-side) Checker 827	(Chess CH-9106 (Sugar Hill))
E 02	Coasters	I'm a hog for you	Jerry Leiber, Mike Stoller	1959.07.17	(7" B-side) Atco 6146	(Atlantic 30057)
F 01	Ray Sharpe	Linda Lou	Ray Sharpe	ca. 1959	(7" A-side)	(Moonshine BLP 104)
F 02	Amos Milburn	Chicken shack boogie	Lola Ann Cullum, Amos Milburn	1956	(7") Aladdin 3332	(Pathé Marconi 1546711)
--	Sonny Boy Williamson	Down child	Aleck Ford [= Sonmny Boy Williamson 2]	1964.early	(LP) Fontana TL 5277	[taped FM broadcast]
	Sonny Boy recorded some (chaotic) live sides with the Yardbirds, the Animals, Brian Auger and Chris Barber; and toured with lots of English bands. Were the Stones too busy to...? This song has a certain raw charm. Hasn't it?

Publication

ca. 1987

liner notes for sampler tape Marquee '62

These liner notes were originally written for the booklet of the unauthorised sampler double album Marquee '62. Author Walter Schäppi sent them to me in 1987 - though I never got hold of this album and I don't know if it actually exists at all (Walter had a definite faible for non-existing albums). However these notes show Walter's in-depth interest for the Rolling Stones and their blues roots, so I think it's good lecture still today. When I revised Walter's original writing in 2009, I substituted abbreviations with the complete words; footnotes were directly included to make reading easier.