Нравится слушателям: Little Walter, Howlin' Wolf, Muddy Waters. All The Classics 1936-1937, Vol. 4. Big Bill Broonzy. All The Classics 1935-1936, Vol. 3. Black, Brown and White. I'm Just a Bum. Big Bill Broonzy, Vol. 2. The Low Down Nitty Gritty Blues Album.

The Blues: Chicago 1937-1945 - Студийный альбом от Big Bill Broonzy. В альбом вошло 36 треков. Продолжительность альбома: 01:41:12. Doing The Best I Can. 02:52.

Guitar – Big Bill Broonzy, George Barnes (tracks: 1-2, 1-4, 1-5). Piano – Big Maceo (tracks: 2-15 to 2-18), Blind John Davis (tracks: 1-1, 1-2, 1-9, 2-10 to 2-13), Horace Malcolm (tracks: 2-7, 2-8), Joshua Altheimer (tracks: 1-3 to 1-8, 1-10 to 2-4), Memphis Slim (tracks: 2-9, 2-14). Vocals – Big Bill Broonzy. Washboard – Washboard Sam (tracks: 2-2, 2-3, 2-7 to 2-13).

Listen free to Big Bill Broonzy – In Chicago 1932/1937 (Long Tall Mama, You Know I Gotta Reason and more). Discover more music, concerts, videos, and pictures with the largest catalogue online at Last. Big Bill Broonzy (June 26, 1893 – August 15, 1958) was a prolific American blues singer, songwriter and guitarist. His career began in the 1920s when he played country blues to mostly African-American audiences. Through the 1930s and 1940s he successfully navigated a transition in style to a more urban blues sound popular with working class African-American audiences. In the 1950s a return to his traditional folk-blues roots made him one of the leading figures of the emerging American folk music revival and an international star.

Getting Older Every Day Lyrics. Big Bill Broonzy Lyrics provided by SongLyrics.

An Evening with Big Bill Broonzy, Vol. 1. See all albums. SongMeanings is a place for discussion and discovery.

Big Bill Broonzy (June 26, 1903 – August 15, 1958) was a prolific American blues singer, songwriter and guitarist.

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Big Bill Broonzy (born Lee Conley Bradley, June 26, 1903 – August 14, 1958) was an American blues singer, songwriter and guitarist. His career began in the 1920s, when he played country blues to mostly African-American audiences. Through the 1930s and 1940s he successfully navigated a transition in style to a more urban blues sound popular with working-class African-American audiences.