J.T. "Funny Papa" Smith- Complete Recorded Works (1930-1931)
"J.T. "Funny Paper" Smith was a pioneering force behind the development of the Texas blues guitar style of the pre-war era; in addition to honing a signature sound distinguished by intricate melody lines and simple, repetitive bass riffs, he was also a gifted composer, authoring songs of surprising narrative complexity. A contemporary of such legends as Blind Lemon Jefferson and Dennis "Little Hat" Jones, next to nothing concrete is known of John T. Smith's life; assumed to have been born in East Texas during the latter half of the 1880s, he was a minstrel who wandered about the panhandle region, performing at fairs, fish fries, dances and other community events (often in the company of figures including Tom Shaw, Texas Alexander and Bernice Edwards). Smith settled down long enough to record some 22 songs between 1930 and 1931, among them his trademark number "Howling Wolf Blues, Parts One and Two"; indeed, he claimed the alternate nickname "Howling Wolf" some two decades before it was appropriated by his more famous successor, Chester Burnett. (The true story behind Smith's more common nickname remains a matter of some debate -- some blues archivists claim he was instead dubbed "Funny Papa," with the "Funny Paper" alias resulting only from record company error.) His career came to an abrupt end during the mid-'30s, when he was arrested for murdering a man over a gambling dispute; Smith was found guilty and imprisoned, and is believed to have died in his cell circa 1940."
"Document's Complete Recorded Works (1930-1931) offers an exhaustive overview of Funny Paper Smith's entire career, featuring all 22 sides he produced during the early '30s. Highlights are all over this disc, including the original "Howling Wolf Blues," "Tell It to the Judge," and the two-part "Seven Sisters Blues." However, there are also quite a few alternate takes, which will make it more of a chore to get through for casual listeners. The features that make it appealing to academics -- long running time, exacting chronological sequencing, poor fidelity (all cuts are transferred from original acetates and 78s), and an exhaustive number of performances -- will likely impair its overall listenability for most."
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