Here are two live recordings by steel guitar ace Hop Wilson & Ivory Lee Semien from Mack McCormick's private stash and more.
Here's the scoop...
Step inside the Houston club Irene’s, a legendary place for blues and early zydeco music, with this 1966 recording of “3 O’Clock Blues” and "Broke and Hungry" by blues steel guitar player and singer Harding “Hop” Wilson.
Raised in Crockett, Texas, Wilson became known for his mastery of the double-neck lap-steel guitar, in which he tuned one neck to an open G chord and the other to an open E, often moving back and forth to play each neck during one song. Texas blues and western swing bands were major influences, motivating him to purchase his first electric steel guitar in 1939. After serving in the U.S. Army from 1942 until 1946, Wilson performed regularly in Houston venues and recorded with the drummer Ivory Lee Semien in the late 1950s as depicted in Mack McCormick's photo above. His music has influenced blues and rock musicians since the 1960s, such as Texas guitarist Johnny Winter.
These two performances appear on the massive multi-artist 66-track Grammy-nominated compilation Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958–1971, out on CD, LP, and digital platforms available here. Have a listen to the two Hop Wilson tracks from the compilation along with a few of Hop's rockin' studio recordings for Goldband.
Late field recording historian Mack McCormick collected 590 reels of exciting blues/gospel performances now issued as a box set.
Here's the scoop...
In the 1950s and 60s, the blues was the dominant form of Black vernacular music throughout Texas and the surrounding areas. In segregated neighborhoods, community members gathered in saloons, dancehalls, and each other’s homes to hear their neighbors sing their stories of sorrow, heartbreak, jubilation, and triumph. Robert “Mack” McCormick, an academically untrained but fanatical devotee of the blues, stepped into this world and became one of its most devout advocates and documentarians. By photographing Black and Latino Texans and their neighborhoods, as well as recording and interviewing musicians—many of whom never stepped foot into a proper recording studio—McCormick endeared and eventually embedded himself into these communities.
By the time he died in 2015, McCormick had amassed a collection of 590 reels of sound recordings and 165 boxes of manuscripts, original interviews and research notes, thousands of photographs and negatives, playbills, and posters. Because McCormick never published or released most of these materials, his collection became a thing of legend and intense speculation among scholars, blues aficionados, and musicians alike.
Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958–1971 (available now as a 3CD or 6LP vinyl box set from Smithsonian Folkways via Bandcamp right here) is the first compilation of music drawn from this fabled collection, which indelibly documents a pivotal moment in African American history. It features never-before-heard performances not only from musicians who became icons in their own right—including Lightnin’ Hopkins and Mance Lipscomb—but also, crucially, performers whose names may be unfamiliar to even the most devoted blues fans and scholars. Newly mastered recordings and accompanying photographs bring to life many of these forgotten figures: offering insight into their lives and illuminating in new, enlightening ways their joys and anguish, deep social connections, distinctive voices, and cultural networks. The collection spans gospels, ragtime, country blues dirges, the unclassifiable music of George “Bongo Joe” Coleman, and more, showing that no community, no matter how tight knit, is monolithic.
Accompanying the music is a 128-page book, which contains breathtaking photographs by McCormick and his associates, as well as contextual essays by producers Jeff Place and John Troutman on McCormick’s life, and by musicians Mark Puryear and Dom Flemons on some of the marginalized communities throughout “Greater Texas” to which McCormick devoted his life’s work. This release is a partnership with the Smithsonian’s National Museum of American History.
Listen to a sampling of tracks from the box: Mance Lipscomb - “God Moves on the Water” (00:00),
James Tisdom - “Salty Dog Rag” (2:36), Dudley Alexander and Washboard Band - “St. James Infirmary” ( 5:55), The Spiritual Light Gospel Group - “My Work Will Be Done” (10:15), George “Bongo Joe” Coleman - “George Coleman for President, Nobody for Vice President” (13:16) along with a few bonus tunes from Hop Wilson and Leroy "Country" Johnson.
