The fourth volume in the series opens with
Memphis Minnie's lone 1938 studio date; backed by mondolinist (and former brother-in-law) Charlie McCoy, the session possesses elements of the classic string band sound, with sides like "I'd Rather See Him Dead" and "Good Biscuits" among the most sexually explicit in her catalog. The remaining material, all cut in February 1939, is comprised of guitar-duet accompaniments with Little Son Joe, heralding the format consistent throughout the majority of Minnie's pre-war recordings; indeed, as stellar performances of "Keep Your Big Mouth Closed" and "Low Down Man Blues" indicate, perhaps no other arrangement was more ideally suited to her unique style. ~ Jason Ankeny