Doc Bowling And His Blues Professors – Sing The American Songbag
Self-Release -2025
11 tracks; 43 minutes
This is the band’s fourth album release since 2012. Taking its title from a 1927 book by Carl Sandberg, the music is country blues from the early twentieth century although many of the tunes date back far further, as is explained in excellent detail in the sleeve notes which are a treasure trove of information about the songs and the people with whom we associate them. The band is a large unit, led by Ben ‘Doc’ Bowling on vocals, acoustic guitar, resonator and harp, Donnie Burke guitar and resonator, Simon Minney acoustic bass, Roger Chapman drums, cajon and percussion, Johannes Bowling alto sax, Mlle. Chat Noir (Sophie Loyer) violin, Jens Skwirblies accordion, Kenny Bruno piano and Eamonn McKeever banjo; several of the band also add B/V’s. The album was recorded in London and the band plays in the UK, Ireland and Germany.
We start with Robert Johnson and an acoustic reading of “Me And The Devil Blues”, the violin reminding us that it was a very common blues instrument back in the day. Doc’s sleeve notes tell us that both Bo Diddley and Big Bill Broonzy were also violinists, a fact that this reviewer was not aware of. “Irene, Good Night” is best known from Lead Belly’s version and has been covered by many, including Johnny Cash, Ry Cooder and Eric Clapton. The song has its roots far earlier, originally written by Gussie Lord Davis and then reworked by Lead Belly whose version was recorded by the Lomaxes in 1933 when Lead Belly was in jail in Louisiana. The Professors’ version brings out the tragic dimension of the song in a quiet version with strong harmonies. Ben first heard “Going Down The Road Feeling Bad” on a Big Bill Broonzy EP in 1958, but, again, the song dates back to 1924; many readers may know it as a regular part of the Grateful Dead’s repertoire. The Professors’ uptempo version features harp and percussion and has been their opening number for many years in live performance. Violin and banjo drive “Cotton-Eyed Joe”, a jaunty country tune which, as Ben notes, was an unlikely hit for Swedish Eurodance band Rednex in 1994. The song goes back as far as the 1880’s, even probably back to the Civil War, based on a traditional Irish folk song with lyrics rooted in the slave plantations and the band’s hoedown approach must be a great success in concert.
The next two songs take us into gospel territory. “Keep On The Sunny Side” was a Christian hymn written in 1889, the words inspired by the writer’s disabled nephew who always asked for his wheelchair to be pushed down the sunny side of the street. With banjo and great harmonies, it is impossible not to join in on the chorus. Originally a prison song from the 1920’s “I’ll Fly Away” was featured in O Brother, Where Art Thou? And The Professors’ uplifting version rattles along with fine harmonies, violin and banjo. Described by Ben as “the ultimate genre-fluid song”, “St James Infirmary” is said to date back to a British eighteenth century folk song entitled ‘The Unfortunate Rake’ and has, of course, been widely recorded, notably in jazz by the likes of Louis Armstrong and Duke Ellington, in blues by Bobby Bland and in rock by The Animals and Joe Cocker. The Professors’ extended version strikes a lugubrious tone as sax and violin play mournfully behind Ben’s reading of the familiar lyrics before the band builds up the tempo towards the end, perhaps emulating the traditional New Orleans funerals?
A second song associated with Lead Belly is “Midnight Special”, the “ever-loving light” being the light on the front of the train from Houston to the Sugar Land prison. Influenced by the version that Lead Belly recorded with the Golden Gate Quartet, this version is strong on harmonies, harp and violin behind the guitar work, making it a gentle take on a song recorded so many times over the years. Less familiar is “I Wish I Was A Mole In The Ground”, a warm song that searches for solace and dates back to 1929; Ben first heard this done by Eric Bibb. Also less familiar is “My Creole Belle” which goes back to 1902, this version adding accordion to give it something of a Louisiana feel. Ben notes that what started out as a music hall tune became a jazz standard and was adapted by Mississippi John Hurt in 1963, then covered by Arlo Guthrie and Taj Mahal. We close with “Trouble In Mind” which we will all associate with Big Bill Broonzy. However, Ben’s informative notes tell us that it is an adaptation of a nineteenth century spiritual, a song of hope in hard times. Transcribed in the 1920’s by Richard M Jones, it has become one of the most recorded songs, including versions by Big Bill, BB King, Johnny Cash, Jimmy Reed and Muddy Waters. The Professors give the song a very positive reading with sax, piano and some scat singing!
As the title suggests, a second volume is in the works and will concentrate on the move to the cities, Chicago blues and post-war music in the band’s spotlight. If it is anywhere near as enjoyable as their run through the pre-war stuff it will be another excellent listen!
