The Bluebird imprint, founded in 1934, had a roster of artists the read something like an early round up city blues players, old tyme guitarists and some hillbilly stalwarts like Jimmie Rodgers tossed in. For the label to have such a seemingly eclectic stable of players would say that the men who ran the show over at Bluebird – Lester Melrose perhaps, he snagged talent if nothing else – had a vision. It should also serve to explain that all of those musics weren’t really all that different, having only in subsequent years been divided up and prostituted. Yeah Garth Brooks is country, but Jimmie Rodgers? I mean come on. There’s not a comparison there. Just like Joe Bonamassa, although a talented dude, really isn’t in the same league as Bukka White even if you can find both at your local record store (they still have those, right?) in the same section.

Anyway, amongst the Bluebird roster was a pianist named Big Maceo Merriweather. Moving around a bit, he started off in Atlanta before making his way up to the Motor City. After gaining a bit of experience performing at parties and the like, Merriweather headed to Chicago in order to pursue a recording career. And as odd as it sounds, he quickly met and befriend Tampa Red. Yeah, that’s what happened in the Windy City during the ‘40s, you meet guitar legends on every block. Utilizing his friend’s connections, Merriweather eventually wrangled a deal and the rest is just Chicago blues history.

Although, today Merriweather isn’t recalled by passing blues fans, he fits into the town’s scene pretty seamlessly. Accompanied by a guitarist and a bassist occasionally, the tenor singer and pianist was able to sound solidly tied to country styled blues while still coming off as a city player. He wasn’t a barrelhouse shouter or rollicking keyboard player, but the languid tones coming from this instrument and his throat made him an easily digestible showman.

One of Merriweather’s first singles, “Worried Life Blues,” wound up being an instant hit and was covered countless times in not just the following few years, but up to the present day. The confounding thing about that, though, is the fact that a great many other blues players had songs with titles akin to it. When I first heard the track, I just kinda figured it was some Skip James appropriation. It’s not, but the song’s not too far removed from the basic tenets of the James song recorded some years prior to Merriweather’s cut.

Regardless, Merriweather wasn’t a one trick pony. And over time he cranked out a good many sides. There’re a few Bluebird collections that serve to cobble together than man’s career. Most notable is the first volume which spans just 1941 thru ’42. Included is the aforementioned track alongside of a few other notable efforts – like “Can’t You Read” where the pianist almost sounds like Howlin’ Wolf for just a brief moment.

This isn’t for new comers to the genre or folks looking for some revved up stuffs. It’s where the city met the country.