“Well, I woke up this mornin’, mama, ‘as feelin’ bad
Got to thinkin’ about the times I once have had

Now, if you don’t want me why don’t you tell me so?
I could get a woman anywhere I go

Lord, I asked the judge, “What should be my fine?”
Said, “Eleven, twenty-nine and fifty dollar fine.”

Yes, I asked the judge to be “easy as you can
That’s all I want, you to slip me from the pen.”

Ummm, ummm
Cryin’ ummm, ummm
Cryin’ ummm, ummm

Ever since my mother has been dead
Been troubles and trials jumpin’ ‘cross my head

Cryin’ ummm, don’t nobody know
Cryin’ ummm, don’t nobody know

Ummm”

How in the world is it that a blues song with such simple lyrics can so profoundly move me?  This week I was listening to the great Document Records CD entitled Memphis Blues – Volume 1 (1928-1935) – Robert Wilkins, Tom Dickson, Allen Shaw – Complete Recorded Works In Chronological Order (DOCD-5014).  Over the landscape of this tremendous 23-cut CD, 17 of the selections are from Wilkins, with four from Dickson, and two from Shaw. 

Without a doubt, Memphis has always been a hotbed of blues activity, and it is certainly not a stretch to suggest that due to W.C. Handy’s September, 1912 release of “The Memphis Blues,” a tune he self-produced, a concealed blues world in the city located in the far southwestern portion of Tennessee was brought to the fore.  Handy’s song was not constructed in what many at all would consider to be in the typical blues format.  In fact, no less than Handy himself though his arrangement to be a “southern rag.”  Also, many perceived Handy had lifted the song from a 1909 political tune that Handy is said to have authored for a Memphis mayoral candidate’s political objective.  However, a bandmate of Handy’s suggests that Handy actually first heard the song in 1903 when it was performed by a three-piece string band outfit.  Regardless of the composition’s intended use and originality, the instrumental set in motion the rise of Memphis blues as it was being played in the big city’s rough-and-tumble Beale Street blues joints with names such as The Hole In The Wall and Pee Wee’s, to name only a couple of the dangerous venues.

As a result of Handy’s 1912 work, Memphis’ blues artists enjoyed a newfound prominence beginning in the 1920s when they began to record their music.  The reality was, though, that despite the importance Memphis itself played in the recording of these blues musicians, the majority of the performers arrived into the city from rural locations attempting to find steady employment in the urban area.  Along with themselves and their families, however, they also brought their unique brands of blues with them.

Wilkins was a prolific recording artist of both blues and gospel material, including recording for the Victor and Brunswick labels.  He was an artist whose musical range, though, transcended just blues and gospel, but ragtime and minstrel categories, too.

Tom Dickson recorded a total of six songs for the OKeh label, with his blues being unique in that each of his compositions are presented in a different key, while each also had a quite interesting and novel melody.

Which leads me to Allen Shaw.  His only known released blues were from 1934 on the Vocalion label, both being recorded in New York City in mid-September, 1934 (the 17^th and 18^th).  “I Couldn’t Help It” / “Moanin’ The Blues” (Vocalion #02844) were those blues songs.

“Moanin’ The Blues,” with its dynamic and rhythmic slide guitar, and clear, stout and slightly-coarse vocals is blues of the highest art, and yet here again, it is provided by a highly accomplished blues craftsperson who was as capable as any of the more prominently known acoustic blues names.  So often is the case that some obscure blues artist produces the finest of blues.

“Moanin’ The Blues,” as simple as its lyrics are, is a master class of true blues expression, fraught with deep feeling and shadings, presented in a fashion that completely suggests that it could indeed belong in the well of blues classics.  Instead, it is relegated to be found by the true blues enthusiasts who regularly dig deeply to unearth hidden genre treasures.

Likewise, “I Couldn’t Help It” is a blues of the uppermost quality, clearly and confidently sung, with percussive guitar strumming accompaniment that, in the end, yields great blues virtuosity.  Once more, this long-time blues supporter acutely ponders why Shaw’s blues didn’t resonate with the record buying public of his time, and why today his abbreviated body of work is not praised in the same breath as others of his era who are more celebrated.

Here’s the real rub with the absolute top-shelf talent, other on guitar and vocally, that plagues Shaw.  Research indicates that he may have appeared on an additional 15 unissued Hattie Hart blues tunes, and two by Memphis Willie Borum, plus there may be three unissued selections of his own. 

Given Shaw’s huge blues skill set, what a shame it is that his known two solo sides only can provide a glimpse into his extraordinary blues intellect.  While this has not been the usual blues artist profile that graces this blog’s pages, where the entirety of an artist’s life is examined, taking a look at the brilliance of Allen Shaw’s vast blues capabilities hopefully turns others toward his dazzling work.

Allen Shaw’s music is offered to blues fans via the magnificent compilations indicated below. 

• Memphis Blues – Volume 1 (1928-1935) – Robert Wilkins, Tom Dickson, Allen Shaw – Complete Recorded Works In Chronological Order (Document Records DOCD-5014
• Memphis Girls (1929-1935) – The Complete Recordings Of Leola Manning And Medelyn James – The Remaining Titles Of Hattie Hart And Minnie Wallace (RST Records BD-2029 with Allen Shaw on guitar on the four Hattie Hart cuts)