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Bo Carter - Banana In Your Fruit Basket: Red Hot Blues, 1931-1936 (LP, Comp, Ltd, RE, 180) Mint (M) / Mint (M)

Bo Carter - Banana In Your Fruit Basket: Red Hot Blues, 1931-1936 (LP, Comp, Ltd, RE, 180) Mint (M) / Mint (M)


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Low stock: 2 left

Summary: Vinyl, LP, Compilation1, Banana In Your Fruit Basket: Red Hot Blues, 1931-1936, Bo Carter, 2013, US, Limited Edition

Media Condition:  Mint (M)
Sleeve Condition: Mint (M)
Country:    US  
Genre:       Blues
Style:         Delta Blues

New & Sealed.


A1: 1936 A2: 1931 A3: 1931 A4: 1931 A5: 1931 A6: 1931 A7: 1936 B1: 1931 B2: 1931 B3: 1935 B4: 1931 B5: 1936 B6: 1931 B7: 1931


A1. All Around Man
A2. Banana In Your Fruit Basket
A3. Pig Meat Is What I Crave
A4. Pussy Cat Blues
A5. My Pencil Won't Write No More
A6. Ants In My Pants
A7. Cigarette Blues
B1. Howling Tom Cat Blues
B2. What Kind Of Scent Is This?
B3. Mashing That Thing ()
B4. Blue Runner Blues
B5. Don't Mash My Digger So Deep
B6. Pin In Your Cushion
B7. Ram Rod Daddy


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Product listed via Disconnect


The history of American sexual mores remains incomplete without reference to the blues songs that anticipated the ‘sexual revolution’ of the Sixties by four decades, and attained a boldness of expression that has only recently permeated popular literature, film and song. The pre-Sixties preoccupation with respectability and decorum, and the blues’ lack of pretentiousness or timidity about sex, gave the blues considerable notoriety for salaciousness.

Bo Carter’s recorded repertoire demonstrates his unusual flair for sexual motifs. While bluesmen like Charley Patton used sexual subjects as a stock-in-trade, they did not share Carter’s affinity for recording them. Perhaps they baulked at doing so through fear of giving offense to whites. Carter’s Hollindale, Mississippi neighbour Eugene Powell, for instance, recalls how a one-time crony of Patton’s once had his guitar smashed over his head by an irate Delta policeman for obliging a white request for what Powell termed a ‘nasty’ song. As a musician whose known clientele (in live performance) was exclusively white, Carter may have felt no inhibitions because he was able to calculate his audience’s tolerance or even relish for sexual material.

In any event Carter’s song subjects reflected a professional rather than personal predilection: his brother Sam reports that he had no interest whatsoever in skirt chasing, or even partying. His songs rather reflect the blues’ basic function – to entertain and amuse their audience.

- from liner notes

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