C.W. Stoneking: King Hokum (2005)

King Hokum [VRCD 038]

Track list:

01. Way Out in the World
02. Don’t Go Dancin’ Down The Darktown Stutter’s Ball
03. She’s a Bread Baker
04. Dodo Blues
05. On A Christmas Day
06. Charley Bostocks Blues
07. Goin The Country
08. Bad Luck Everywhere You Go
09. Rich Man’s Blues
10. You Took My Thing And Put It In Your Place
11. Handyman Blues


C.W.Stoneking – guitar, tenor banjo, vocals;
Primitive Horn Orchestra:
Stephen Grant – trumpet (#2,4,5,11), trombone (#2,4,5,11);
Mark Elton – tuba [sousaphone] (#2,4) ;
Andy Ross – double bass (#4,5,7,11);
Lynn Wallis – drums (#2,4);
Mike Andrews – piano (#5,7,10);
Chris Tanner – clarinet (#2,5,9);
Kirsty Fraser – vocals (#5,10);
Anthony ‘Shorty’ Shortte – drums, percussion (#8);
Tony Dunn – jug (#9,10)

Recorded: 2005
Released: 2006
Label: King Hokum Records
KHR 01

Voodoo Rhythm Records
VRCD 038

Producer: J. Walker, CW Stoneking
Recorded and Mixed by: J. Walker

Mastered by: Andrew Stewart

Cover photography: Paty Marshall-Stave

CW Stoneking (5 photo 1)


He plays guitar like a demon, wears natty threads, sings catchy tunes and mutters to himself.

The idiosyncratic c.w. stoneking is a true entertainer who relies on musicianship stagecraft and performance to invoke the spirit of the 1920’s deep south blues in his original hokum style.

Set in an imaginary old-time southern town populated with singing dodo birds, sinister handymen, broken-hearted street singers and old testament field hollerers, the album also features C.W.’s backing band the primitive horn orchestra on a number of tunes.

Produced by j. Walker (machine translations) and containing 11 of C.W.’s original numbers, the album is a unique blend of old time blues and jazz that sounds like it was recorded in the 1920’s.

This is one of the most acclaimed australian albums of the last few years – best blues & roots album (air awards) and album of the year (abc radio national breakfast show 2006)!

C.W. is such a singular talent that his audience has expanded beyond blues and jazz listeners into mainstream and alternative audiences who have simply never heard anything like him.

King Hokum (1 front 1) [KHR-01]


Here in Australia we are blessed with some fine blues musicians, some surprisingly in the raw, primitive, rootsy style.

Three artists stand out for me, Hat Fitz, the group Collard, Greens and Gravy and the inimitable C.W.Stoneking.

How does Oz produce living anachronisms like Fitz and Stoneking when the genre emerged almost a century back in the U.S.A. born out of the black experience?

Well, there may be similarities in the culture apart from Australia’s natural propensity to produce quirky offspring.

C.W. Stoneking spent his early years way out of the Alice on an aboriginal settlement, so the bio says.

His West Virginian father was a teacher there.

The parents split up, his mother returned to the U.S. Who knows, the bio may be Stoneking’s story to flavour his art, much as Bob Zimmerman concocted his bio in the early years.

In fact there are many similarities between early Dylan and C.W. Stoneking.

Both excellent songwriters, interpreters, singers, musicians, appreciators and appropriators of roots music, entertainers.

Dylan with his Chaplinesque comedy on stage and C.W muttering away between songs in a rustic black American/aboriginal patois which requires subtitles and some tangential imagination to follow.

Both artists steeped in the form, in its many facets.

Both artists with a touch of sly wit, put on, hokum.

King Hokum is an extraordinary album.

C.W. Stoneking is a deceptively fine guitarist and banjo player, not flash but subtle, spare and gutsy.

The years of solo performing bear fruit.

The addition of the Primitive Horn Orchestra on several tracks provides superb backdrop which finds you immersed in a New Orleans saloon in the late 1920s.

The production by J. Walker is marvelously empathic; a warm atmosphere where less is more – a lesser producer with a modern brush could easily have ruined the album.

Various ambient noises, the caw of a crow, toll of a bell, bustle of a bar add to the atmosphere.

Musical highlights are many.

Mike Andrews’ piano, particularly on the boogie piece ‘Goin The Country’, Chris Tanner’s clarinet on ‘Rich Man’s Blues’, Kirsty Fraser’s sassy vocals on the vaudeville blues pieces, the rich, loose punctuation of the Primitive Horn Orchestra, but above all C.W.’s vocals and playing.

His voice is tough and ragged, loud and languid.

You hear echoes of Son House, Charlie Patton, Blind Willie McTell, mmmm – maybe closer is Walter Vinson from the Mississippi Sheiks…. and in ‘Bad Luck Everywhere You Go’ the screech of the Memphis recorded Howlin’ Wolf – used also by Tom Waits, if memory serves me.

In the guitar work you can hear Robert Johnson, Lonnie Johnson and Memphis Minnie.

His dialogue intro’s depict a rare understanding of the form and are witty and droll.

There is a danger of pastiche but C.W. is too clever or honest for that.

In the 20s style the double-entendre and sexual metaphor is present, however, it will fly over the heads of any teenagers listening.

Unless you laugh.

In which case you may have to explain why Willie’s long necked lizard went limp or why she wanted a cockatoo!!

Each track is a gem, delivering more with further listening.

Such conviction and artistry would lead lesser bluesmen to the crossroads.

C.W. Stoneking is in his early thirties.

We can look forward to further expression of his art.

In the meantime, give praise.
~Frank Matheis[The Hokum Monthly]