Old Town School of Folk Music Songbook, Vol.King Biscuit Flower Hour Presents In Concert A Time of Revelation Classic Heep: An Anthology Greatest Hits Demons and Wizards Uriah Heep Live Spellbinder Uriah Heep Live: January 1973 The Best of.Pts.Baby, Don't You Tear My Clothes, James Cotton, 2004.Hot Fingerpickin' Slide Guitar, Various Artists (Johnny Johnston), 2003.When the Sun Goes Down: The Secret History of Rock & Roll, Various Artists (Memphis Blues Band), 2002.Best of the Memphis Jug Band, Memphis Jug Band, 2001.Essential Memphis Jug Band, Memphis Jug Band, 2001.As Good As It Gets: Country Blues, Various Artists (Memphis Blues Band), 2000.Memphis Jug Band Story: 1927-1934, Memphis Jug Band, 2000.Still Crazy Soundtrack, Various Artists ( Billy Connolly), 1999.Chasin' Gus' Ghost, John Sebastian, 1999.2: The Great Jug Bands, Various Artists (Memphis Blues Band), 1998 Reckless Abandon / Bandit in a Bathing Suit, David Bromberg, 1998.Mandolin Blues, Various Artists (Johnny Young), 1997.What Kind of Woman Is That, Texas Red, 1997.Out On The Rolling Sea, Various Artists ( Ralph McTell), 1995.Let No One Deceive You, Dave Van Ronk, 1992.Charles et Les Lulus, Arno Hintjens, 1991.Complete Recorded Works, Vol 2 (1928-1929), Memphis Jug Band, 1990.The Best Of The Chicago Blues, Various Artists (Johnny Young's South Side Band), 1987.Laughing At Life, (The Armpit Jug Band), 1985.
The Clover Chronicle: The Best Of The Fantasy Years, Clover, 1979?. Welcome The Rock People, Various Artists (Taj Mahal), 1972. Music People, Various Artists (Taj Mahal), 1972. Happy Just to Be Like I Am, Taj Mahal, 1971. 
Jim Kweskin's America, Jim Kweskin, 1971. Schlagers!, Various Artists (Arlo Guthrie), 1970. Ragtime Jug Stompers, Dave Van Ronk, 1969. Running Down the Road, Arlo Guthrie, 1969 (his version appears in the film " Two-Lane Blacktop"). Johnny Young and His Chicago Blues Band, Johnny 'Man' Young, 1966. San Francisco Bay Blues, Jesse Fuller, 1963. The Country Blues, Various Artists (Memphis Jug Band), 1959. "Stealin'" appeared performed by them on the album Shady Grove in 1996 and on the compilation album Acoustic Disc 100% Handmade Music, Volume 3 in 1997. Jerry Garcia also recorded the song with friend and collaborator David Grisman. Other Dead albums the song has appeared on including: Years later, the sessions would appear of the bands twelve- CD box set The Golden Road (1965-1973) released on Octobefore released as part of the stand-alone album Birth of the Dead in March 2003. The song was part of the first ever release by the San Francisco, CA based psychedelic rock band the Grateful Dead, along with "Don't Ease Me In." The Scorpio Sessions, as the recording session was known, comprised several tracks which were released in limited supply by Scorpio Records in July 1966. In any case, this recording provided the basis for modern remakes after it was re-released in 1959. On the other hand, most of the lyrics clearly predated the Memphis Jug Band recording. By some standards, this is correct, as a compilation of earlier lyrics is often equated with authorship in the blues genre. The label on this release named Will Shade as the composer, and the copyright is still administered by Shade’s publisher, Peermusic (formerly known as the Southern Music Publishing Company). The song as we know it today was first recorded by the Memphis Jug Band as "Stealin' Stealin'." This recording session took place on Septemin Memphis, TN and featured Will Shade ( harmonica), Vol Stevens ( acoustic guitar), Ben Ramey ( kazoo), and Jab Jones ( vocals, jug). It does appear in the folk song “ I Know You Rider” and may actually predate Cannon.Īnother lyric associated with Gus Cannon is “She's a married woman, but she comes to see me all the time,” which appeared in his “Minglewood Blues,” recorded January 30, 1928. However, this line doesn’t appear in any of his recorded songs. Gus Cannon claimed to have written the opening line, "Put your arms around me like a circle 'round the sun." On this basis, Cannon is sometimes credited with authorship of the song. The lines “If you don’t believe I love you, look what a fool I’ve been / If you don’t believe I’d fall for you, look what a hole I’m in” were recorded by the New Orleans jazz musician Clarence Williams in 1921 and again by Leona Williams in 1922 as “If You Don't Believe I Love You, Look What a Fool I've Been.”
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