Mamie Smith

She appeared in further films, including Mystery in Swing, Sunday Sinners (1940), Stolen Paradise, Murder on Lenox Avenue (1941), and Because I Love You (1943). Gareth Davies now persues a solo career as a performer and producer, whilst Andrew Girardin publishes poetry and is currently working on his first novel. She returned to performing in 1939 to appear in the motion picture Paradise in Harlem. (I) Feel Like A Ghostbuster was a sparkling pop song that re-awakened interest in this most cultish of bands. She retired from recording and performing in 1931. In 2001 a compilation LP entitled Tautology (http://www.geocities.com/subveguk/tautology.html) was released and Davies recorded a new single under the Suburban Vegetable name for the occasion. Mamie Smith appeared in an early soundie, Jail House Blues, in 1929. Although the 1992 line-up reformed for a one-off gig in May 1993, the band split for good immediately afterwards.

(Shortly later, this billing of Mamie Smith was one-upped by Bessie Smith, who called herself "The Empress of the Blues".). The sound again shifted to more heavy guitars and basses, more akin to American bands such as Pavement and Pixies. She was billed as "The Queen of the Blues". In late 1992, internal rifts split the band apart and Davies recorded the final LP Censored Haircut (http://www.geocities.com/subveguk/haircut.html) largely alone. She toured the United States and Europe with her band "Mamie Smith & Her Jazz Hounds" as part of "Mamie Smith's Struttin' Along Review". It was in the summer of 1992 that the band played their biggest gigs and reached their career peak. She also made some records for Victor. Live in concert, the band were often compared to local heroes The Fall, despite Davies' prominent use of tin whistle and flute which clearly betrayed his continued love of Jethro Tull and folk rock.

Mamie Smith continued to make a series of popular recordings for Okeh throughout the 1920s. The album was hailed as a masterpiece and the subsequent tour saw them attract their biggest crowds, despite their success being localised to the North West of England. It also opened up the record industry to recordings by and for African Americans in other genres. By November 1991 though the band were back on track with their third LP Gladioli Mix (http://www.geocities.com/subveguk/gladioli.html) and new permenent members in guitarist Matthew Poole and drummer Ian Ferguson. Their fourth LP Organic (http://www.geocities.com/subveguk/organic.html) saw them move away from their traditional keyboard and acoustic guitar sound and use electric guitars for the first time, a change inspired by Davies' new found love of indie music and bands such as Blur and The Stone Roses. The success of Smith's record prompted record companies to seek to record other female blues singers and started the era of what is now known as classic female blues. Following Girardin's departure in early 1991, Davies struggled to write and record the second album Weety Things (http://www.geocities.com/subveguk/weety.html) which was panned by critics. Johnson in the 1890s), they were all black artists who had a substantial following with white audiences. This was followed in 1990 by their debut LP Mr.Ridley (http://www.geocities.com/subveguk/ridley.html) which was immediately revered as an underground classic.

Although other African Americans had been recorded earlier (going back to George W. They signed to Saltwater Records in October 1989 and released their debut single One For Uncle Martin later that month. "Crazy Blues" in particular was noted as a distinctively "colored" number performed by a "colored" performer. Their early work was influenced by The KLF and the Pet Shop Boys although Davies' love of progressive rock gave their work a more off-the-wall approach. To the surprise of record companies, large numbers of the record were purchased by African-Americans, a market the record industry had hitherto neglected. Suburban Vegetable were formed as an improvisational synth-pop duo by Gareth Davies and Andrew Girardin in Manchester, England in 1989. These were the first recordings of vocal blues by an African American singer, and the record became an explosive best seller, selling a million copies in one year. 2001 Tautology - Suburban Vegetable Examined Compilation LP.

On August 10 of 1920, Smith recorded the Bradford-penned "Crazy Blues" and "It's Right Here For You, If You Don't Get It, 'Tain't No Fault of Mine". 1993 Censored Haircut LP. Smith's record sold moderately well, so she and Bradford were invited back to make additional recordings. 1992 Organic LP. Smith recorded two sides ("That Thing Called Love" and "You Can't Keep A Good Man Down") on February 14, 1920, backed by a white studio band. 1991 Gladioli Mix LP. Tucker was ill and could not make it to the session; Bradford persuaded Okeh to allow Mamie Smith to record in Tucker's place. 1991 Weety Things LP.

In early 1920, Okeh Records planned to record popular singer Sophie Tucker performing a pair of songs by Perry Bradford. 1990 Mr.Ridley LP. She appeared in songwriter Perry Bradford's musical "Made in Harlem" in 1918. Smith was born as Mamie Robinson in Cincinnati, Ohio. She toured with African-American vaudeville and minstrel shows until settling in New York City in 1913, where she worked as a cabaret singer. She entered blues history by being the first African American to make vocal blues recordings in 1920.

As a vaudeville singer she performed a number of styles including jazz and blues. Mamie Smith (May 26, 1883 - September 16, 1946) was a vaudeville singer, dancer, pianist and actress, and appeared in several motion pictures late in her career.