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Memphis Minnie Vol. 5 (1940-1941)

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Memphis Minnie Vol. 5 (1940-1941) album cover
01
Lonesome Shack Blues
2:50
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02
Nothing In Rambling
2:42
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03
Boy Friend Blues
2:46
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04
Finger Print Blues
2:48
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05
It's Hard To Please My Man
2:45
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06
Ma Rainey
2:42
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07
In My Girlish Days
2:33
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08
Me And My Chauffeur Blues
2:45
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09
Down By The Riverside
2:32
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10
I Got To Make A Change Blues
2:56
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11
Pig Meat On The Line
2:32
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12
My Gage Is Going Up
2:39
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13
This Is Your Last Chance
2:52
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14
Can't Afford To Lose My Man
2:41
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15
I'm Not A Bad Gal
2:35
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16
You Got To Get Out Of Here
2:33
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17
Don't Turn The Card
2:48
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18
Looking The World Over
2:37
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19
It Was You Baby
2:54
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20
You Need A Friend
2:51
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21
I Am Sailin'
2:47
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22
Remember Me Blues
3:04
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23
Black Rat Swing
Artist: Memphis Minnie with Little Son Joe
2:50
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24
Just Had To Holler
Artist: Memphis Minnie with Little Son Joe
2:50
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Album Information
EDITOR'S PICK

Total Tracks: 24   Total Length: 65:52

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John Morthland

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John Morthland has been writing about music since the days of electronically rechanneled stereo and duophonic sound. His name has darkened the mastheads of Roll...more »

04.22.11
The originator of Led Zeppelin's "When the Levee Breaks."
2005 | Label: Document Records / The Orchard

Though especially influential among women — Maria Muldaur and Lucinda Williams both swear by her — Lizzie Douglas, aka Memphis Minnie, had a profound impact on all blues-based music. (Consider Led Zep's version of her "When the Levee Breaks.") Rooted in the Delta, her cutting, incisive guitar and gritty, no-nonsense vocals helped shape Chicago blues, and she crafted her vivid songs as brilliantly as any writer in the genre. This disc provides the… read more »

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They Say All Music Guide

The fifth and final volume in Document’s series begins with a mid-1940 studio date, Memphis Minnie’s first in over a year; recorded with Little Son Joe on second guitar, these simple, unaffected sides are among her strongest, with tracks like “Ma Rainey” (a tribute to the recently deceased blues great) and “Nothing in Rambling” brimming with confidence and inspiration. Her final pre-war session, recorded late in 1941, closes out the set; performing on amplified guitar, Minnie’s music adopts a relatively urbanized sound on tracks like the superb “I Am Sailin’” and “Don’t Turn the Card,” precipitating the Chicago blues of the postwar era. – Jason Ankeny

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