1) Broke Down Engine No. 2 (take 1); 2) Broke Down Engine No. 2 (take 2); 3) B & O Blues No. 2; 4) Some Lonesome Day (take 1); 5) Some Lonesome Day (take 2); 6) New Lovin' Blues; 7) Unkind Woman; 8) When The Hearse Roll Me From My Door; 9) Insane Blues; 10) Tricks Ain't Walking No More; 11) Stinging Bull Nettle; 12) Oh Lordy Mama; 13) Dough Rolling Papa; 14) Some Lonesome Day; 15) Misery Man Blues; 16) Jinx Man Blues; 17) Evil Hearted Woman; 18) Too Dog Gone Jealous; 19) Someday Baby (I'll Have Mine); 20) Love Me, Baby, Love Me; 21) Sleepless Night; 22) Shake It All Night Long.
The second volume of Buddy's complete oeuvres (to be precise, complete pre-war oeuvres) covers a one-year period from September 1933 to August 1934 and runs pretty much in a straight, unbroken line together with the first one, so it is not highly likely you will find any serious differences from the first volume, other than perhaps a larger percentage of completely solo (single guitar) tracks, and just a few scattered attempts to introduce syncopated «dance blues» patterns in the repertoire (ʽTricks Ain't Walking No Moreʼ) that broaden the range, but do not add extra insights that hadn't already been there with Blind Blake.
One song from these sessions that has managed to make a little history is ʽOh Lordy Mamaʼ, later known as ʽHey Lawdy Mamaʼ and remade by countless artists from Count Basie and Louis Armstrong to Freddie King and even Cream (who played the song for the BBC and later merged it with Albert King's ʽCrosscut Sawʼ to make a ʽStrange Brewʼ indeed). Musically, it sounds exactly the same way as about a dozen other songs in Buddy's catalog (country-blues with a boogie bass line to it), but it goes to show how much fuss just a teensy-weensy bit of variety in the 12-bar world can make — here, inserting the «hookline» of "oh lordy mama..." after each first line of the verse, which gives a funny illusion of extra complexity and «progressiveness» compared to the more rigid three-line-verse formula. Just an illusion, really, but sometimes an illusion is all it takes to gain additional popularity.
On the other hand, Buddy is just too good a guitarist to be continuously recycling exactly the same ideas, and serious blues fans with a good ear for nuance will most certainly be able to single out unusual takes — for instance, ʽDough Rolling Papaʼ makes some interesting stop-and-starts between the regular bars, and the melody is played as if the bass strings and the higher strings were holding a busy dialog with each other rather than working in tandem; the opening notes of ʽSomeday Baby (I'll Have Mine)ʼ are quite pretty-poetic; and the final track from the 1934 sessions (ʽShake It All Night Longʼ) ends the period on a musically/lyrically joyful rather than melancholic note. If only half of the other songs did not begin with the exact same note sequence (the pre-proto-ʽDust My Broomʼ pattern), I'm sure Buddy's legacy would have enjoyed more attention today; as it is, admiring all of these twenty-two tracks in straight sequence is more of a business for fanatical connoisseurs or students of acoustic blues playing techniques.