One of the last of the old country bluesmen to record, the diminutive Tommy McClennan delivered 40-some tracks to Bluebird Records between 1939 and 1942 before vanishing into the haze of blues history. Although small in stature, McClennan had a strong, raspy voice that brought a lively exuberance to his often generic lyrics, and his habit of tossing in spoken interjections - he literally talked to himself as he sang - give his songs the feel of intimate dialogues. This collection is the second, and final, installment of McClennan's Bluebird sessions to be released by Document Records. Unfortunately, the first one, 1939-1940 Whiskey Head Woman, Vol. 1, has most of his essential recordings on it. McClennan was a limited guitarist, and his singing approach, while exciting, was essentially shouting, and he had obviously run out of fresh ideas by the time of these final recordings…

Tommy McClennan would work in the cotton fields by day and in the evenings he would play on the streets of Greenwood, MS. Later he worked in juke joints and for dance parties, playing both the guitar and the piano. McClennan was a small man, standing just 4 feet 10, but this in no way negated the powerful voice that he possessed. His guitar playing is typical of the Mississippi style; simple, dominant, solid rhythms from the bass end with dashes of spikey treble riffs interjected between the vocal choruses. His voice was rough, hoarse and loud. Loud enough to be heard over the hubbub in a Mississippi juke joint on a Saturday night. Honey Boy Edwards tells of Tommy’s habit of standing in front of a mirror talking to himself…