Click on the title to link to a "YouTube" film clip of Sonny Boy Williamson performing "Keep It To Yourself".
CD Review
Sonny Boy Williamson: His Best: 50th Anniversary Chess Edition, Sonny Boy Williamson, Chess Records, 1997
I hope I never get tired of reviewing the various blues greats that I have spent the better part of the last couple of years trying to highlight. And I probably won’t. However, one little problem tends to keep creeping up. Just when I think that I have hit all the blues high-binders that are possible to mention without just running out into the street and reviewing some itinerant street player along comes another one that it would be a sin, a mortal sin, not to mention. That is the case here with the work of Sonny Boy Williamson (Rice Carter version, for those who want to get into that controversy over who the real Sonny Boy is, or was), master harmonica player, no, make that harmonica wizard.
One of the things that got added, significantly, when the blues went north to Chicago (and other such environs) and went electric in the post-World War II period was the increased use of the harmonica to drive the beat, or act as counter-point to it, as the case may be on any particular song . We all know, or should know, of the key role that Muddy Walters and his various bands played in this with the emergence of Little Walter and later James Cotton. Note should also be taken of Howlin’ Wolf’s role when he was in his prime, and drove everyone crazy with that voice and THAT harmonica he practically inhaled on things like “How Many More Years”. Well, how do you think these guys learned the tricks of the harmonica trade? One way or another at the feet of Sonny Boy.
And the proof? Well just take about ten out of the twenty selections in this 50th Anniversary of Chess Records edition. Perhaps any ten will do but here are my stick outs. Keep in mind that most of the lyrics are monstrously “politically incorrect” but “Keep It To Yourself,” “Your Funeral And My Trial,” Down Child,” and, the well-known “Help Me” are a good sampler.
Help Me
Sonny Boy Williamson
You got to help me
I can't do it all by myself
You got to help me, baby
I can't do it all by myself
You know if you don't help me darling
I'll have to find myself somebody else
I may have to wash
I may have to sew
I may have to cook
I might mop the floor
But you help me babe
You know if you don't help me darling
I'll find myself somebody else
When I walk, walk with me
When I talk, you talk to me
Oh baby, I can't do it all by myself
You know if you don't help me darling
I'll have to find myself somebody else
Help me, help me darlin'
Bring my nightshirt
Put on your morning gown
Bring my nightshirt
Put on your morning gown
Darlin I know we stripped bare
But I don't feel like lying down
by Willie Dixon
Blues Lyrics - Sonny Boy Williamson II
Your Funeral And My Trial
All rights to lyrics included on these pages belong to the artists and authors of the works.
All lyrics, photographs, soundclips and other material on this website may only be used for private study, scholarship or research.
by
Sonny Boy Williamson II (Rice Miller)
The Essential Sonny Boy Williamson (Chess/MCA 9343)
Please come home to your daddy, and explain yourself to me
Because I and you are man and wife, tryin' to start a family
I'm beggin' you baby, cut out that off the wall jive
If you can't treat me no better, it gotta be your funeral and my trial
When I and you first got together, 't was on one Friday night
We spent two lovely hours together, and the world knows alright
I'm just beggin' you baby, please cut out that off the wall jive
You know you gotta treat me better, if you don't it gotta be your funeral and my trial
Alright
The good Lord made the world and everything was in it
The way my baby love is some solid sentiment
She can love to heal the sick and she can love to raise the dead
You think I'm jokin' but you better believe what I say
I'm beggin' you baby, cut out that off the wall jive
Yeah, you gotta treat me better, or it gotta be your funeral and my trial
Showing posts with label Chicago Blues. Show all posts
Showing posts with label Chicago Blues. Show all posts
Wednesday, January 06, 2010
Thursday, December 03, 2009
*More, Much More Than All Right-Post- World War II Blues Up Close And Personal
Click On Title To Link To YouTube's Film Clip Of Sunnyland Slim (and Sonny Boy Williamson) Performing "Come Home Baby".
CD Review
When The Sun Goes Down: That’s All Right, various artists, BMG Music, 2002
In the course of the past year or so I have highlighted any number of blues CD compilations as I have tried to search for the roots of the American musical experience, and in the process retraced some of the nodal points of my own musical interests. I never tire of saying that I have been formed, and reformed by the blues so that when I came upon this “When The Sun Goes Down” series (a very apt expression of the right time for the blues to be played) I grabbed each copy with both hands. In one series, the producers, as an act of love without question, have gathered up the obscure, the forgotten, the almost forgotten and the never to be forgotten voices that “spoke” to me in my youth and started me on that long ago love affair with the blues. I have hardly been alone on that journey but it is nice to see that some people with the resources, the time, money and energy have seen fit to honor our common past. Each CD reviewed here, and any future ones that I can get my hands on, for there are more than the three I am reviewing today, is chock full of memorable performances by artists who now will, through the marvels of modern high technology, gain a measure of justified immortality.
Here is the cream. The name Big Maceo has not come up previously in this space. Here is his introduction, “Worried Life Blues”, Needless to say, as a blues man much covered by other better known musicians like John Lee Hooker, he will be receiving more attention in the future. Sunnyland Slim, here performing “Illinois Central” is another figure worthy of more ink. As is “Big Boy” Crudup doing an amazing version of “That’s All Right”. Yes, that is the one that Elvis made famous, but that is a separate story. The first time I heard “Look On Yonder Wall” it was done by Elmore James. Here the well-regarded Junior Gillum does a nice job, although I still prefer Elmore’s version. By the way, at one this song was in contention as the root source of rock and roll. We know now that “Shake, Rattle and Roll” is more worthy of that title but this one is not far behind. Tampa Red on “When Things Go Wrong With You”, Crudup on another classic “Dust My Broom” (showing some of both Robert Johnson’s and Elmore James’ versions), Roosevelt Sykes on “Anytime Is The Right Time” and an early Little Richard tune round out this compilation that is centered more on works representative of the post-World War II electrification of the blues than the previously reviewed CDs in this series. Arguably this compilation as a whole can serve both as prime examples of the R&B branch of the blues and the foundation for rock and roll, See what you think?
"Illinois Blues - Sunnyland Slim"
Boys, I'm walkin' an thinkin'
Woo-ooo!
But I ain't doin' myself no good
Woo-ooo!
I'm walkin' an thinkin'
Woo!
But I ain't doin' myself no good
Yoo-hoo-hoo!
The one I love
Woo-ooo!
Done left the neighborhood
Well, I hate to hear
Woo!
That Illinois Central, blow
Woo!
I hate to hear
Woo!
That Illinois Central, blow
Woo-hoo!
It fly on just like
Woo!
It won't be back no mo-oh-ore'
'Well, alright let me hear ya, Mr. Davis'
'Play it for me one time'
'You know what I'm talkin' about'
'Lord, have mercy, man have it'
'Lord, have mercy!'
'That low part, Mr. Ransom
You know what I'm talkin' about'
'Play it, man'
'Ah, mercy, mercy, mercy!'
'That makes me get homesick
sho' enough, now'
I wanna tell you people
Woo-ooo!
What the Illinois Central will do
Woo-hoo!
I wanna tell you people
Woo!
What the Illinois Central will do
Woo-hoo!
It'll steal your woman
Woo-hoo!
And blow back after you
I have tried to give up
Woo!
But it's a hard old thing to do
(I'll show you!)
Woo-hoo!
I have tried to give the girl up
Woo!
But it's a hard old thing to do
Woo!
So, I just keep on drinkin', John Davis
Woo!
Because I just can't believe it's through.
~
CD Review
When The Sun Goes Down: That’s All Right, various artists, BMG Music, 2002
In the course of the past year or so I have highlighted any number of blues CD compilations as I have tried to search for the roots of the American musical experience, and in the process retraced some of the nodal points of my own musical interests. I never tire of saying that I have been formed, and reformed by the blues so that when I came upon this “When The Sun Goes Down” series (a very apt expression of the right time for the blues to be played) I grabbed each copy with both hands. In one series, the producers, as an act of love without question, have gathered up the obscure, the forgotten, the almost forgotten and the never to be forgotten voices that “spoke” to me in my youth and started me on that long ago love affair with the blues. I have hardly been alone on that journey but it is nice to see that some people with the resources, the time, money and energy have seen fit to honor our common past. Each CD reviewed here, and any future ones that I can get my hands on, for there are more than the three I am reviewing today, is chock full of memorable performances by artists who now will, through the marvels of modern high technology, gain a measure of justified immortality.
Here is the cream. The name Big Maceo has not come up previously in this space. Here is his introduction, “Worried Life Blues”, Needless to say, as a blues man much covered by other better known musicians like John Lee Hooker, he will be receiving more attention in the future. Sunnyland Slim, here performing “Illinois Central” is another figure worthy of more ink. As is “Big Boy” Crudup doing an amazing version of “That’s All Right”. Yes, that is the one that Elvis made famous, but that is a separate story. The first time I heard “Look On Yonder Wall” it was done by Elmore James. Here the well-regarded Junior Gillum does a nice job, although I still prefer Elmore’s version. By the way, at one this song was in contention as the root source of rock and roll. We know now that “Shake, Rattle and Roll” is more worthy of that title but this one is not far behind. Tampa Red on “When Things Go Wrong With You”, Crudup on another classic “Dust My Broom” (showing some of both Robert Johnson’s and Elmore James’ versions), Roosevelt Sykes on “Anytime Is The Right Time” and an early Little Richard tune round out this compilation that is centered more on works representative of the post-World War II electrification of the blues than the previously reviewed CDs in this series. Arguably this compilation as a whole can serve both as prime examples of the R&B branch of the blues and the foundation for rock and roll, See what you think?
"Illinois Blues - Sunnyland Slim"
Boys, I'm walkin' an thinkin'
Woo-ooo!
But I ain't doin' myself no good
Woo-ooo!
I'm walkin' an thinkin'
Woo!
But I ain't doin' myself no good
Yoo-hoo-hoo!
The one I love
Woo-ooo!
Done left the neighborhood
Well, I hate to hear
Woo!
That Illinois Central, blow
Woo!
I hate to hear
Woo!
That Illinois Central, blow
Woo-hoo!
It fly on just like
Woo!
It won't be back no mo-oh-ore'
'Well, alright let me hear ya, Mr. Davis'
'Play it for me one time'
'You know what I'm talkin' about'
'Lord, have mercy, man have it'
'Lord, have mercy!'
'That low part, Mr. Ransom
You know what I'm talkin' about'
'Play it, man'
'Ah, mercy, mercy, mercy!'
'That makes me get homesick
sho' enough, now'
I wanna tell you people
Woo-ooo!
What the Illinois Central will do
Woo-hoo!
I wanna tell you people
Woo!
What the Illinois Central will do
Woo-hoo!
It'll steal your woman
Woo-hoo!
And blow back after you
I have tried to give up
Woo!
But it's a hard old thing to do
(I'll show you!)
Woo-hoo!
I have tried to give the girl up
Woo!
But it's a hard old thing to do
Woo!
So, I just keep on drinkin', John Davis
Woo!
Because I just can't believe it's through.
~
Saturday, November 28, 2009
*In The Time Of The Chicago Blues Explosion- The Blues Of Earl Hooker
Click on title to link to Earl Hooker's lyrics and rendition of "You Shook Me Baby"
CD Review
Blue Guitar, Earl Hooker, Blues Interactions, 2001
I have spent a fair amount of time in this space running through the legends of the Chicago blues explosion that hit its high point in the period just after World War II and continued to the advent of serious rock ‘n’ roll in the mid-1950s, a period that saw the mass migration from the southern farms and plantations of blacks (and poor whites) to the north in search of better paying, and mainly, unionized industrial jobs. Thus, such names as Howlin’ Wolf, Muddy Waters, Buddy Guy, Junior Wells and so on have gotten plenty of ink here. But those names hardly exhaust the sheer mass of blues artists who fled the South (with a stopover down river in Memphis in many cases) to make their names on Chicago's Maxwell Street. The name Earl Hooker, under review here figures prominently, if not famously, as part of that plethora of talent.
Naturally, in my attempts in this space to link up the names of the blues artists who I fell in love with in my youth I have used many sources, or have been led to them in various ways. The case of Earl Hooker is illustrative. I, some time ago, did a review of a documentary on the late Clifford Antone’s Club Antone down in Austin, Texas where many of the great then still standing blues artists, who came of age in the 1950s, found a second home, and an extended career. As part of that documentary coverage the name Earl Hooker, naturally enough, came up. And hence I went scurrying back to my archives to check his work out again. This, unfortunately, is the only album of his that I still possess after all these year but it is rather indicative of his style and is a good primer.
Outstanding here are the smoking “Will My Man Be Home Tonight”, the classic “Calling All Blues”, his signature and title track “Blue Guitar”, and another smoking “Off The Hook”. For a close look at one of the guys who jammed with the likes of Muddy and Howlin’ Wolf, after hours when they got down and serious and played the music for keeps, here is a your first look.
Song Lyrics: Sweet Home Chicago
Written and recorded by: Robert Johnson (1936)
--------------------------------------------------------------------------------
Oh baby don't you want to go
Oh baby don't you want to go
Back to the land of California
to my sweet home Chicago
Oh baby don't you want to go
Oh baby don't you want to go
Back to the land of California
to my sweet home Chicago
Now one and one is two
two and two is four
I'm heavy loaded baby
I'm booked I gotta go
Cryin baby
honey don't you want to go
back to the land of California
to my sweet home Chicago
Now two and two is four
four and two is six
You gonna keep monkeyin round here friend-boy
you gonna get your business all in a trick
But I'm cryin baby
honey don't you wanna go
Back to the land of California
to my sweet home Chicago
Now six and two is eight
eight and two is ten
Friend-boy she trick you one time
she sure gonna do it again
But I'm cryin hey hey
baby don't you want to go
back to the land of California
to my sweet home Chicago
I'm goin to california
from there to Des Moines Iowa
Somebody will tell me that you
need my help someday
cryin hey hey
baby don't you want to go
back to the land of California
to my sweet home Chicago
© (1978) 1990, 1991 Lehsem II, LLC/Claud L. Johnson
Administered by Music & Media International, Inc.
Robert Johnson
(Robert Leroy Johnson)
May 8, 1911 - August 16, 1938
--------------------------------------------------------------------------------
Also recorded by:
Johnny Shines, Foghat, Lonnie Pitchford,
Peter Green with Nigel Watson Splinter Group,
The King, Status Quo, Rocky Lawrence, Pyeng Threadgil,
Eric Clapton, Jim Belushi and The Sacred Hearts
CD Review
Blue Guitar, Earl Hooker, Blues Interactions, 2001
I have spent a fair amount of time in this space running through the legends of the Chicago blues explosion that hit its high point in the period just after World War II and continued to the advent of serious rock ‘n’ roll in the mid-1950s, a period that saw the mass migration from the southern farms and plantations of blacks (and poor whites) to the north in search of better paying, and mainly, unionized industrial jobs. Thus, such names as Howlin’ Wolf, Muddy Waters, Buddy Guy, Junior Wells and so on have gotten plenty of ink here. But those names hardly exhaust the sheer mass of blues artists who fled the South (with a stopover down river in Memphis in many cases) to make their names on Chicago's Maxwell Street. The name Earl Hooker, under review here figures prominently, if not famously, as part of that plethora of talent.
Naturally, in my attempts in this space to link up the names of the blues artists who I fell in love with in my youth I have used many sources, or have been led to them in various ways. The case of Earl Hooker is illustrative. I, some time ago, did a review of a documentary on the late Clifford Antone’s Club Antone down in Austin, Texas where many of the great then still standing blues artists, who came of age in the 1950s, found a second home, and an extended career. As part of that documentary coverage the name Earl Hooker, naturally enough, came up. And hence I went scurrying back to my archives to check his work out again. This, unfortunately, is the only album of his that I still possess after all these year but it is rather indicative of his style and is a good primer.
Outstanding here are the smoking “Will My Man Be Home Tonight”, the classic “Calling All Blues”, his signature and title track “Blue Guitar”, and another smoking “Off The Hook”. For a close look at one of the guys who jammed with the likes of Muddy and Howlin’ Wolf, after hours when they got down and serious and played the music for keeps, here is a your first look.
Song Lyrics: Sweet Home Chicago
Written and recorded by: Robert Johnson (1936)
--------------------------------------------------------------------------------
Oh baby don't you want to go
Oh baby don't you want to go
Back to the land of California
to my sweet home Chicago
Oh baby don't you want to go
Oh baby don't you want to go
Back to the land of California
to my sweet home Chicago
Now one and one is two
two and two is four
I'm heavy loaded baby
I'm booked I gotta go
Cryin baby
honey don't you want to go
back to the land of California
to my sweet home Chicago
Now two and two is four
four and two is six
You gonna keep monkeyin round here friend-boy
you gonna get your business all in a trick
But I'm cryin baby
honey don't you wanna go
Back to the land of California
to my sweet home Chicago
Now six and two is eight
eight and two is ten
Friend-boy she trick you one time
she sure gonna do it again
But I'm cryin hey hey
baby don't you want to go
back to the land of California
to my sweet home Chicago
I'm goin to california
from there to Des Moines Iowa
Somebody will tell me that you
need my help someday
cryin hey hey
baby don't you want to go
back to the land of California
to my sweet home Chicago
© (1978) 1990, 1991 Lehsem II, LLC/Claud L. Johnson
Administered by Music & Media International, Inc.
Robert Johnson
(Robert Leroy Johnson)
May 8, 1911 - August 16, 1938
--------------------------------------------------------------------------------
Also recorded by:
Johnny Shines, Foghat, Lonnie Pitchford,
Peter Green with Nigel Watson Splinter Group,
The King, Status Quo, Rocky Lawrence, Pyeng Threadgil,
Eric Clapton, Jim Belushi and The Sacred Hearts
Friday, November 27, 2009
*A Buddy Guy Encore- From The Chess 50th Anniversary Collection Series
Click on title to link to YouTube's film clip of Buddy Guy performing Robert Johnson's classic "Sweet Home Chicago"
CD Review
Buddy’s Blues: Buddy Guy: The Chess 50th Anniversary Collection, Buddy Guy and various musicians, MCA Records, 1997
I have spent a fair amount of time in this space running through the legends of the Chicago blues explosion that hit its high point in the period just after World War II and continued to the advent of serious rock ‘n’ roll in the mid-1950s, a period that saw the mass migration off the southern farms and plantations of blacks (and poor whites) to the north in search of better paying, and mainly, unionized industrial jobs. Thus, such names as Howlin’ Wolf, Muddy Waters, Buddy Guy, Junior Wells and so on have gotten plenty of ink here. Strangely although the name Buddy Guy has been mentioned here many times this is the first CD by him that is being reviewed in this space. Strange, indeed.
That said, the name Buddy Guy also is usually uttered, reverently, around the same time that one speaks the name of master harmonica player, Junior Wells (Buddy's long time Chicago playing companion). And, of course when you say Junior Wells you, of necessity, have to speak about Muddy Waters, the 'Father' of all the post World War II Chicago blues. Here, however, Buddy stands alone in this 50th Anniversary of Chess Records series. I have reviewed other parts of this series elsewhere and find the material that is presented in each tends, very much so, to be "greatest hits"-type material. That is the case here as well, and I would add that the quality of the sound tends to a a bit better here than on some of the other efforts in this series. Still anyway you can hear that old 1950s blues sound when it was fresh and down grab the opportunity, with both hands.
Buddy Guy almost never has had a bad track so one has to go the other way and try to cull out the best. Here the classic "Pretty Baby is smokin', “My Love Is Real”, and “Stone Crazy” round out my picks as the top numbers.
Buddy Guy
Mustang Sally lyrics
Mustang Sally, guess you better slow your mustang down
Mustang Sally , baby, I guess you better slow your mustang down
You been a runnin' all over town, I guess I'll better put your big feet on the ground, oh yes, I will
All you wanna do is ride around, Sally
Ride Sally ride
All you wanna do is ride around, Sally
Ride Sally ride
All you wanna do is ride around, Sally
Ride Sally ride
All you wanna do is ride around, Sally
Ride Sally ride
One of these early mornings,
You gonna be wipin' your weepin' eyes, yes you will
I bought you a vintage mustang,
Of nineteen sixty-five
Now you comin' right signifyin' woman, no,
You don't wanna let me ride
Mustang Sally, baby, yeah,
I guess you better slow your mustang down, yes you will darling, I hope you will
Going around running' all over town,
I'm gonna put your big fat feet on the ground, oh yes Sally, well, look at here
All you wanna do is ride around, Sally
Ride Sally ride
All you wanna do is just ride around, Sally
Ride Sally ride
All you wanna do is just ride around, Sally
Ride Sally ride
All you wanna do is ride around, Sally
Ride Sally ride
One of these early mornings
You gonna put your bad bad feet on the ground, oh yes I will, Sally
Sally ride Sally ride
Sally ride Sally ride
Ride Sally ride
Ride Sally ride
Ride Sally ride
Ride Sally ride
My Love Is Real lyrics :
My love for you is like, is like a sweet refrain
Real, real true love, is like a burning, burning flame
My love for you will live through storm and rain
My love, my love for you is real.
My love for you, words can never express
My love, my love for you is real.
God, God only knows, that I'll love you, love you best
With only you my love could ever rest
My love for you will live forever
If you love me, love me my darling
My love for you makes me want you near
Forever and a day
Won't you show me in your own sweet way?
Within, within my heart, I really need, need you dear
Sometimes true love can make a, make a man she'd tears
My love for you is real.
Oh, my love, oh my love for you is real.
CD Review
Buddy’s Blues: Buddy Guy: The Chess 50th Anniversary Collection, Buddy Guy and various musicians, MCA Records, 1997
I have spent a fair amount of time in this space running through the legends of the Chicago blues explosion that hit its high point in the period just after World War II and continued to the advent of serious rock ‘n’ roll in the mid-1950s, a period that saw the mass migration off the southern farms and plantations of blacks (and poor whites) to the north in search of better paying, and mainly, unionized industrial jobs. Thus, such names as Howlin’ Wolf, Muddy Waters, Buddy Guy, Junior Wells and so on have gotten plenty of ink here. Strangely although the name Buddy Guy has been mentioned here many times this is the first CD by him that is being reviewed in this space. Strange, indeed.
That said, the name Buddy Guy also is usually uttered, reverently, around the same time that one speaks the name of master harmonica player, Junior Wells (Buddy's long time Chicago playing companion). And, of course when you say Junior Wells you, of necessity, have to speak about Muddy Waters, the 'Father' of all the post World War II Chicago blues. Here, however, Buddy stands alone in this 50th Anniversary of Chess Records series. I have reviewed other parts of this series elsewhere and find the material that is presented in each tends, very much so, to be "greatest hits"-type material. That is the case here as well, and I would add that the quality of the sound tends to a a bit better here than on some of the other efforts in this series. Still anyway you can hear that old 1950s blues sound when it was fresh and down grab the opportunity, with both hands.
Buddy Guy almost never has had a bad track so one has to go the other way and try to cull out the best. Here the classic "Pretty Baby is smokin', “My Love Is Real”, and “Stone Crazy” round out my picks as the top numbers.
Buddy Guy
Mustang Sally lyrics
Mustang Sally, guess you better slow your mustang down
Mustang Sally , baby, I guess you better slow your mustang down
You been a runnin' all over town, I guess I'll better put your big feet on the ground, oh yes, I will
All you wanna do is ride around, Sally
Ride Sally ride
All you wanna do is ride around, Sally
Ride Sally ride
All you wanna do is ride around, Sally
Ride Sally ride
All you wanna do is ride around, Sally
Ride Sally ride
One of these early mornings,
You gonna be wipin' your weepin' eyes, yes you will
I bought you a vintage mustang,
Of nineteen sixty-five
Now you comin' right signifyin' woman, no,
You don't wanna let me ride
Mustang Sally, baby, yeah,
I guess you better slow your mustang down, yes you will darling, I hope you will
Going around running' all over town,
I'm gonna put your big fat feet on the ground, oh yes Sally, well, look at here
All you wanna do is ride around, Sally
Ride Sally ride
All you wanna do is just ride around, Sally
Ride Sally ride
All you wanna do is just ride around, Sally
Ride Sally ride
All you wanna do is ride around, Sally
Ride Sally ride
One of these early mornings
You gonna put your bad bad feet on the ground, oh yes I will, Sally
Sally ride Sally ride
Sally ride Sally ride
Ride Sally ride
Ride Sally ride
Ride Sally ride
Ride Sally ride
My Love Is Real lyrics :
My love for you is like, is like a sweet refrain
Real, real true love, is like a burning, burning flame
My love for you will live through storm and rain
My love, my love for you is real.
My love for you, words can never express
My love, my love for you is real.
God, God only knows, that I'll love you, love you best
With only you my love could ever rest
My love for you will live forever
If you love me, love me my darling
My love for you makes me want you near
Forever and a day
Won't you show me in your own sweet way?
Within, within my heart, I really need, need you dear
Sometimes true love can make a, make a man she'd tears
My love for you is real.
Oh, my love, oh my love for you is real.
Friday, July 31, 2009
*A Mixed Bag Musical Potpourri-Jazz, Blues, Gospel, Rock And Rockabilly-Jimmie Rushing
Click On Title To Link To YouTube's Film Clip Of Jimmie Rushing Doing "Good Morning Blues". Wow.
Jimmy Rushes In
The Essential Jimmy Rushing, Jimmy Rushing, Vanguard Records, 1974
I admit to a very spotty interest in jazz over my life time and while I have always loved those 1940’s swing bands, like that of Benny Goodman, it was only with the celebration of the centennial of Duke Ellington’s birth in 1999 that I got a little more serious about this genre. Ken Burns’ “Jazz” series for PBS gave me another boost. Still and all there are huge gaps in my knowledge and appreciation of the classic jazz tradition. This is a little odd in that there is a certain convergence between jazz and my favorite musical genre, the blues. The artist under review here, Jimmy Rushing, exemplifies both those traditions. All I know is I like what I hear here.
And what is that? Well, how about a very comfortable version of the classic “See See Rider”. And of course one must pay attention to his work with Count Basie on “Boogie Woogie”, “Goin’ To Chicago” and “Take Me Back Baby” an association which formed the center of Rushing’s achievements musically. And how about a very nice finale with “If This Ain’t The Blues”. I also note that this album was produced by John Hammond, the master musicologist. I might add as well that Jimmy Rushing is the kind of artist that it takes a while to warm up to, and then you don’t want to turn him off. That, my friends, is a high compliment.
Going To Chicago Lyrics
You keep your New York Joys
I'm going to Illinois
Just as fast as I can
You New York women think
You'll make a fool of any man
Play all kinds of games
And you'll cheat if you can
Use love like a tool
Make a man a fool
What a beautiful motto
Got my money, that's it
How can you mind if I split
Going back where a woman
Really knows the way to treat a man
And people are friendly
Without no hidden plan
It's the best in the midwest
It's a real darn city full of
Good folks who come from home
And when I get back
I'll never roam far
From my little Chitown
Goodbye, farewell
I might see you later
Going to Chicago
Sorry but I can't take you
I come from Chitown
Going back to my town
Going to Chicago
Sorry but I can't take you
No use in crying
Tired of your lying
There ain't nothing in Chicago
That a monkey woman can do
I got to quit you
Can't make it with you
When you see me coming, baby
Raise your window high
Hide your window to the sky, yeah
When you see me coming, baby
Raise your window high
Catch me passing on the fly, yeah
But when you see me passing, baby
Hang your head and cry
search your soul and
Wonder why, yeah
Hurry, hurry down sunshine
And see what tomorrow brings
Tomorrow, tomorrow
Hurry, hurry, hurry down sunshine
And see what tomorrow brings
Tomorrow, tomorrow
Well, the sun went down
And tomorrow brought us rain
Tomorrow brought sorrow
Lyrics courtesy Top40db.
You're so mean and evil
You do things you ought not do
My, you're a mean one
first time I've seen one
You're so mean and evil
You do things you ought not do
You used to be cool
Now find a new fool
Got my brand of honey
But I won't have to
Put up with you
Hate you and your town
That's why I got
To put you down
Goodbye
Jimmy Rushes In
The Essential Jimmy Rushing, Jimmy Rushing, Vanguard Records, 1974
I admit to a very spotty interest in jazz over my life time and while I have always loved those 1940’s swing bands, like that of Benny Goodman, it was only with the celebration of the centennial of Duke Ellington’s birth in 1999 that I got a little more serious about this genre. Ken Burns’ “Jazz” series for PBS gave me another boost. Still and all there are huge gaps in my knowledge and appreciation of the classic jazz tradition. This is a little odd in that there is a certain convergence between jazz and my favorite musical genre, the blues. The artist under review here, Jimmy Rushing, exemplifies both those traditions. All I know is I like what I hear here.
And what is that? Well, how about a very comfortable version of the classic “See See Rider”. And of course one must pay attention to his work with Count Basie on “Boogie Woogie”, “Goin’ To Chicago” and “Take Me Back Baby” an association which formed the center of Rushing’s achievements musically. And how about a very nice finale with “If This Ain’t The Blues”. I also note that this album was produced by John Hammond, the master musicologist. I might add as well that Jimmy Rushing is the kind of artist that it takes a while to warm up to, and then you don’t want to turn him off. That, my friends, is a high compliment.
Going To Chicago Lyrics
You keep your New York Joys
I'm going to Illinois
Just as fast as I can
You New York women think
You'll make a fool of any man
Play all kinds of games
And you'll cheat if you can
Use love like a tool
Make a man a fool
What a beautiful motto
Got my money, that's it
How can you mind if I split
Going back where a woman
Really knows the way to treat a man
And people are friendly
Without no hidden plan
It's the best in the midwest
It's a real darn city full of
Good folks who come from home
And when I get back
I'll never roam far
From my little Chitown
Goodbye, farewell
I might see you later
Going to Chicago
Sorry but I can't take you
I come from Chitown
Going back to my town
Going to Chicago
Sorry but I can't take you
No use in crying
Tired of your lying
There ain't nothing in Chicago
That a monkey woman can do
I got to quit you
Can't make it with you
When you see me coming, baby
Raise your window high
Hide your window to the sky, yeah
When you see me coming, baby
Raise your window high
Catch me passing on the fly, yeah
But when you see me passing, baby
Hang your head and cry
search your soul and
Wonder why, yeah
Hurry, hurry down sunshine
And see what tomorrow brings
Tomorrow, tomorrow
Hurry, hurry, hurry down sunshine
And see what tomorrow brings
Tomorrow, tomorrow
Well, the sun went down
And tomorrow brought us rain
Tomorrow brought sorrow
Lyrics courtesy Top40db.
You're so mean and evil
You do things you ought not do
My, you're a mean one
first time I've seen one
You're so mean and evil
You do things you ought not do
You used to be cool
Now find a new fool
Got my brand of honey
But I won't have to
Put up with you
Hate you and your town
That's why I got
To put you down
Goodbye
Thursday, July 23, 2009
*The Hoodoo Man Is In The House- The Harmonica Blues Of Junior Wells
Click On Title To Link To YouTube's Film Clip Of Junior Wells Doing "Hoodoo Man".
DVD REVIEW
Don’t Start Me Talking: The Junior Wells Story, Junior Wells, Buddy Guy and various artists and commentators, Sony, 2005
The last time that the name Junior Wells was mentioned in this space was when he was referenced in a review of the work of legendary Chicago blues guitarist and his long time musical companion, Buddy Guy. Starting in the late 1950's those names, more often than not, were linked together as among the hottest sounds to come out of clubs and other venues during that fantastic period of the reemergence of the Chicago blues. Well today is Junior's turn in the spotlight in this informative hour and one half review of the ups and downs of his musical and personal life.
The personal part of Junior's life is not an unfamiliar one when detailing the life stories of many of the great black blues musicians who made a name for themselves in Chicago, the "Mecca" of the electric blues. Born down South on the farm, enduring a hard scrabble childhood, coming up North, hungry. Sound familiar? And, as in many other cases concerning the hungry part including Junior's case, almost literally so. But these guys and gals (think of Koko Taylor, an interviewee here) ready to do anything to get out of the South of the hard luck farms and the plantations, to speak nothing of Jim Crow. Chicago-bound was Junior's cry, as well. But there were a million guys trying to work Maxwell Street and get the bright light attention of the likes of Muddy Waters and Howlin' Wolf in the late 1950's. Somehow, through thick and thin and some toying around the edges of the criminal life, sheer talent and energy, Junior survived and got his big chance with Muddy. The rest, as they say, is history.
Junior's story is told here in a number of ways. Mainly there are personal interviews with him about his sometimes rocky way to blues stardom. Then there are personal and musical testimonials from the likes of the above-mentioned Buddy Guy and long time Wells band member Lonnie Brooks (worthy of his own separate review in his well-travelled blues career). Finally, there is the seemingly inevitable roundtable group of commentators who throw out various tidbits about Junior's life, his recording career and his character, including important information for the blues archivist about the Delmark Records production of the album "Hoodoo Man" and from his first manager, the ubiquitous Dick Waterman. The results are an inside look into one of the key Chicago blues figures who carried on the tradition from the post-World War II blues giants like Muddy, Howlin' Wolf, and Willie Dixon. Nice.
"Hoodoo Man"
Lord, I wonder what's the matter, I'm crying all the
time
The minutes seem like hours, everything's the same
But I'm holding my hand, Lord I'm trying to make my
baby understand
Somebody done tell me, Junior, somebody done
hoodoo
the hoodoo man
I buzzed your bell this morning, elevator running
slow
I buzzed your bell this morning, take me up to your
third floor.
But I'm holding my hand, Lord I'm trying to make my
baby understand
I'm gonna tell you one time, ain't gonna tell you no
more
If I have to tell you again, I'm gonna let you go
But I'm holding my hand, Lord I'm trying to make my
baby understand
"Checkin' On My Baby"
Checkin' on my baby, see what she puttin' down
So many days and nights I been out of town
I wouldn't call home, and I wouldn't even write
I bought me a plane and flew back the same night
Checkin' on my baby, find out what she puttin' down
Checkin' up on my baby, find out what she puttin'
down
So many nights and days I been out of town
"Good Mornin' Lil' Schoolgirl"
Good morning, little schoolgirl, can I go home with
you?
Tell your mother and your poppa, I'm a little
schoolboy too
Lord, I love you baby, just can't help myself
Don't care how you treat me, baby, I don't want nobody
else
Good morning, little schoolgirl, hey hey hey!
Oohweeh, I'm gonna leave you baby, one of these old
days
On account of how you treat me, baby, I'm gonna stay
away
Good morning, little schoolgirl, can I go home with
you?
Come on now, pretty baby, come one home with me
Good morning, little schoolgirl, hey hey hey!
Ooh, oohweeh, I'm gonna buy an airplane, fly all over
your town
Tell everybody, baby, Lord knows you're fine
I can't stand it, baby, just can't help myself
You're so young and pretty, you love somebody else
Good morning, little schoolgirl, hey hey hey!
Ooh, oohweeh!
"My Baby She Left Me"
When my baby she left me, she left me with a mule to
ride
When my baby she left me, she left me with a mule to
ride
When her train left the station that old mule laid
down and died
Man I sent this woman a brand new twenty dollar bill
Lord I sent that woman a brand new twenty dollar bill
Now if that don't bring her back, I'm sure this old
shotgun will
Lake Michigan ain't no river, Chicago ain't no hill
town
Lake Michigan ain't no river, Chicago ain't no hill
town
If I feel like this tomorrow I'm gonna clear out be
back down Memphis bound
I'll be standing down on the landing when the big boat
pull off and roll
I'll be standing on the landing when the big boat pull
off and roll
I'll be hopin' I'll be prayin' I don't see your face
no more
When my baby she left me, she left me with a mule to
ride
When my baby she left me, she left me with a mule to
ride
When her train left the station that old mule laid
down and died
Lord I sent this woman a brand new twenty dollar bill
Man I sent my baby a brand new twenty dollar bill
Now if that don't bring her back, I'm sure my shotgun
will
"Messin' With The Kid"
What's this a-here goin' all around town
The people they say they're gonna put the kid down
Oh no, oh look at what you did
You can call it what you want to, I call it messin'
with the kid
You know the kid's no child, and I don't play
I says what I mean and I mean what I say
Oh yeah yeah yeah yeah yeah, oh look at what you did
You can call it what you want to, I call it messin'
with the kid
You know the kid's no child, and I don't play
I says what I mean and I mean what I say
Oh yeah yeah yeah yeah yeah, oh look at what you did
You can call it what you want to, I call it messin'
with the kid
We're gonna take the kid's car and drive around town
Tell everybody you're not puttin' him down
Oh yeah yeah yeah yeah, oh look at what you did
You can call it what you want to, I call it messin'
with the...
DVD REVIEW
Don’t Start Me Talking: The Junior Wells Story, Junior Wells, Buddy Guy and various artists and commentators, Sony, 2005
The last time that the name Junior Wells was mentioned in this space was when he was referenced in a review of the work of legendary Chicago blues guitarist and his long time musical companion, Buddy Guy. Starting in the late 1950's those names, more often than not, were linked together as among the hottest sounds to come out of clubs and other venues during that fantastic period of the reemergence of the Chicago blues. Well today is Junior's turn in the spotlight in this informative hour and one half review of the ups and downs of his musical and personal life.
The personal part of Junior's life is not an unfamiliar one when detailing the life stories of many of the great black blues musicians who made a name for themselves in Chicago, the "Mecca" of the electric blues. Born down South on the farm, enduring a hard scrabble childhood, coming up North, hungry. Sound familiar? And, as in many other cases concerning the hungry part including Junior's case, almost literally so. But these guys and gals (think of Koko Taylor, an interviewee here) ready to do anything to get out of the South of the hard luck farms and the plantations, to speak nothing of Jim Crow. Chicago-bound was Junior's cry, as well. But there were a million guys trying to work Maxwell Street and get the bright light attention of the likes of Muddy Waters and Howlin' Wolf in the late 1950's. Somehow, through thick and thin and some toying around the edges of the criminal life, sheer talent and energy, Junior survived and got his big chance with Muddy. The rest, as they say, is history.
Junior's story is told here in a number of ways. Mainly there are personal interviews with him about his sometimes rocky way to blues stardom. Then there are personal and musical testimonials from the likes of the above-mentioned Buddy Guy and long time Wells band member Lonnie Brooks (worthy of his own separate review in his well-travelled blues career). Finally, there is the seemingly inevitable roundtable group of commentators who throw out various tidbits about Junior's life, his recording career and his character, including important information for the blues archivist about the Delmark Records production of the album "Hoodoo Man" and from his first manager, the ubiquitous Dick Waterman. The results are an inside look into one of the key Chicago blues figures who carried on the tradition from the post-World War II blues giants like Muddy, Howlin' Wolf, and Willie Dixon. Nice.
"Hoodoo Man"
Lord, I wonder what's the matter, I'm crying all the
time
The minutes seem like hours, everything's the same
But I'm holding my hand, Lord I'm trying to make my
baby understand
Somebody done tell me, Junior, somebody done
hoodoo
the hoodoo man
I buzzed your bell this morning, elevator running
slow
I buzzed your bell this morning, take me up to your
third floor.
But I'm holding my hand, Lord I'm trying to make my
baby understand
I'm gonna tell you one time, ain't gonna tell you no
more
If I have to tell you again, I'm gonna let you go
But I'm holding my hand, Lord I'm trying to make my
baby understand
"Checkin' On My Baby"
Checkin' on my baby, see what she puttin' down
So many days and nights I been out of town
I wouldn't call home, and I wouldn't even write
I bought me a plane and flew back the same night
Checkin' on my baby, find out what she puttin' down
Checkin' up on my baby, find out what she puttin'
down
So many nights and days I been out of town
"Good Mornin' Lil' Schoolgirl"
Good morning, little schoolgirl, can I go home with
you?
Tell your mother and your poppa, I'm a little
schoolboy too
Lord, I love you baby, just can't help myself
Don't care how you treat me, baby, I don't want nobody
else
Good morning, little schoolgirl, hey hey hey!
Oohweeh, I'm gonna leave you baby, one of these old
days
On account of how you treat me, baby, I'm gonna stay
away
Good morning, little schoolgirl, can I go home with
you?
Come on now, pretty baby, come one home with me
Good morning, little schoolgirl, hey hey hey!
Ooh, oohweeh, I'm gonna buy an airplane, fly all over
your town
Tell everybody, baby, Lord knows you're fine
I can't stand it, baby, just can't help myself
You're so young and pretty, you love somebody else
Good morning, little schoolgirl, hey hey hey!
Ooh, oohweeh!
"My Baby She Left Me"
When my baby she left me, she left me with a mule to
ride
When my baby she left me, she left me with a mule to
ride
When her train left the station that old mule laid
down and died
Man I sent this woman a brand new twenty dollar bill
Lord I sent that woman a brand new twenty dollar bill
Now if that don't bring her back, I'm sure this old
shotgun will
Lake Michigan ain't no river, Chicago ain't no hill
town
Lake Michigan ain't no river, Chicago ain't no hill
town
If I feel like this tomorrow I'm gonna clear out be
back down Memphis bound
I'll be standing down on the landing when the big boat
pull off and roll
I'll be standing on the landing when the big boat pull
off and roll
I'll be hopin' I'll be prayin' I don't see your face
no more
When my baby she left me, she left me with a mule to
ride
When my baby she left me, she left me with a mule to
ride
When her train left the station that old mule laid
down and died
Lord I sent this woman a brand new twenty dollar bill
Man I sent my baby a brand new twenty dollar bill
Now if that don't bring her back, I'm sure my shotgun
will
"Messin' With The Kid"
What's this a-here goin' all around town
The people they say they're gonna put the kid down
Oh no, oh look at what you did
You can call it what you want to, I call it messin'
with the kid
You know the kid's no child, and I don't play
I says what I mean and I mean what I say
Oh yeah yeah yeah yeah yeah, oh look at what you did
You can call it what you want to, I call it messin'
with the kid
You know the kid's no child, and I don't play
I says what I mean and I mean what I say
Oh yeah yeah yeah yeah yeah, oh look at what you did
You can call it what you want to, I call it messin'
with the kid
We're gonna take the kid's car and drive around town
Tell everybody you're not puttin' him down
Oh yeah yeah yeah yeah, oh look at what you did
You can call it what you want to, I call it messin'
with the...
Sunday, July 19, 2009
***Once Again, A Blues Potpourri-John Lee Hooker And Furry Lewis
Click On Title To Link To YouTube's Film Clip Of Furry Lewis Doing "Kassie Jones" Wow!
DVD REVIEW
John Lee Hooker and Furry Lewis, John Lee Hooker, Furry Lewis, Yazoo Productions, 2002
I have recently reviewed a few of John Lee Hooker’s vast number of blues albums that lend credence to the title “Boogie Chillen” man. I also noted that unlike other old time electric blues artists such as Howlin’ Wolf and Lighting Hopkins that Hooker’s work, in general, leaves me cold. Although the small segment of his work presented here is good as he articulates his sense of what the blues mean, especially as it features one of his signature songs that I like, “Boom Boom”, I still am left with that same feeling. I finish by noting that this is a question of personal taste. Hooker is a blues legend, justifiably so. Case closed.
The other figure in this short Yazoo production is a different story. I have also reviewed Furry Lewis’s work elsewhere in this space and have praised his clean guitar picking style and vocals from his early career in the 1920’s when he was along with Blind Blake and Blind Lemon Jefferson one of the kings of the guitar pick. Furry does not fail here late in his career after reemerging during the folk revival of the 1960’s. His version of the famous “Kassie Jones” is worth the price of admission.
DVD REVIEW
John Lee Hooker and Furry Lewis, John Lee Hooker, Furry Lewis, Yazoo Productions, 2002
I have recently reviewed a few of John Lee Hooker’s vast number of blues albums that lend credence to the title “Boogie Chillen” man. I also noted that unlike other old time electric blues artists such as Howlin’ Wolf and Lighting Hopkins that Hooker’s work, in general, leaves me cold. Although the small segment of his work presented here is good as he articulates his sense of what the blues mean, especially as it features one of his signature songs that I like, “Boom Boom”, I still am left with that same feeling. I finish by noting that this is a question of personal taste. Hooker is a blues legend, justifiably so. Case closed.
The other figure in this short Yazoo production is a different story. I have also reviewed Furry Lewis’s work elsewhere in this space and have praised his clean guitar picking style and vocals from his early career in the 1920’s when he was along with Blind Blake and Blind Lemon Jefferson one of the kings of the guitar pick. Furry does not fail here late in his career after reemerging during the folk revival of the 1960’s. His version of the famous “Kassie Jones” is worth the price of admission.
Sunday, July 12, 2009
*If You Like Your T-Bone Rare This Is Your Stop- The Electric Blues Guitar Of T-Bone Walker
Click On Title To Link To YouTube's Film Clip Of T-Bone Walker Doing "Don't Throw Your Love On Me So Strong"
CD REVIEW
Back On The Scene Texas 1966: T-Bone Walker, T-Bone Walker, Castle Music, 2003
Okay, ask around. Here is the question. Who was (and maybe still is) the most influential electric blues guitarist of the post- World War II period. From casual listeners you may get a variety of answers, all of them somewhat worthy of consideration like Muddy Waters and B.B. King or from a later period , perhaps Eric Clapton. But down at the soul of the electric blues you will find one name that all the other choices will gladly agree (if they are honest) is the max daddy of the electric blues guitar, T-Bone Walker. He owns the thing. It is part of his physical person and combined with that plaintive sweet but catlike menacing voice presents a strong case for his place in the blues pantheon. In short, if you hear someone today playing electric blues guitar that sound like they are gently running the piano keyboard and with a sense that the player has been through some kind of hell that person was influenced by Walker. No doubt.
That said, this is not his strongest work but is a better than average primer considering that it represents the latter part of T-Bone’s career. Still just listening to the way he introduces a sing and then goes through his paces will set the mood for you. Try the ironic “Good Boy” for starters. And the title track “Back On The Scene”. Close out with “ Afraid To Close My Eyes” and you will start looking for earlier T-Bone CDs right away.
alimony blues lyrics
It's a cold-blooded world when a man has to pawn his shoes
It's a cold-blooded world when a man has to pawn his shoes
That's the fix I'm in today, I swear I've been abused
Yes, the woman is a devil, she will trick you if she can
Yes, the woman is a devil, she will trick you if she can
She will tell you that she love you, an work out some other plan
"Call It Stormy Monday"
They call it stormy Monday, but Tuesday's just as bad
They call it stormy Monday, but Tuesday's just as bad
Wednesday's worse, and Thursday's also sad
Yes the eagle flies on Friday, and Saturday I go out to play
Eagle flies on Friday, and Saturday I go out to play
Sunday I go to church, then I kneel down and pray
Lord have mercy, Lord have mercy on me
Lord have mercy, my heart's in misery
Crazy about my baby, yes, send her back to me
Got those alimony blues an I sure got to pay some dues
Got those alimony blues an I sure got to pay some dues
And if I run short of cash, it's the road camp, I've got to choose
"Midnight Blues"
Well, the clock is strikin' twelve, somebody's got to go
Well, the clock is strikin' twelve, somebody's got to go
Gee, but I'm going to miss ya baby, this is one thing I'm sure you know
When it's twelve o'clock in Memphis, it's one o'clock in San Antone
When it's twelve o'clock in Memphis, it's one o'clock in San Antone
When it's midnight in California, I'll be so all alone
Midnight is an awful hour, why does it come so soon?
Midnight is a awful hour, why does it come so soon?
It never bring me happ'ness, it always leave me filled with gloom
Don't ever gamble buddy, unless you're sure that you can't lose
Don't ever gamble buddy, unless you're sure that you can't lose
You better take my advise, unless you want this midnight blues
"Put it away!"
"T-Bone Shuffle"
Let your hair down baby,
Let's have a natural ball.
Let your hair down baby,
Let's have a natural ball.
Cause when you're not happy,
It ain't no fun at all.
You can't take it with you,
That's one thing for sure.
You can't take it with you baby,
That's one thing for sure.
There's nothing wrong with ya baby,
That a good T-Bone shuffle can't cure.
Have fun while ya can,
Fate's an aweful thing.
Have fun while ya can,
Fate's an aweful thing.
You can't tell what might happen,
That's why I love to sing.
CD REVIEW
Back On The Scene Texas 1966: T-Bone Walker, T-Bone Walker, Castle Music, 2003
Okay, ask around. Here is the question. Who was (and maybe still is) the most influential electric blues guitarist of the post- World War II period. From casual listeners you may get a variety of answers, all of them somewhat worthy of consideration like Muddy Waters and B.B. King or from a later period , perhaps Eric Clapton. But down at the soul of the electric blues you will find one name that all the other choices will gladly agree (if they are honest) is the max daddy of the electric blues guitar, T-Bone Walker. He owns the thing. It is part of his physical person and combined with that plaintive sweet but catlike menacing voice presents a strong case for his place in the blues pantheon. In short, if you hear someone today playing electric blues guitar that sound like they are gently running the piano keyboard and with a sense that the player has been through some kind of hell that person was influenced by Walker. No doubt.
That said, this is not his strongest work but is a better than average primer considering that it represents the latter part of T-Bone’s career. Still just listening to the way he introduces a sing and then goes through his paces will set the mood for you. Try the ironic “Good Boy” for starters. And the title track “Back On The Scene”. Close out with “ Afraid To Close My Eyes” and you will start looking for earlier T-Bone CDs right away.
alimony blues lyrics
It's a cold-blooded world when a man has to pawn his shoes
It's a cold-blooded world when a man has to pawn his shoes
That's the fix I'm in today, I swear I've been abused
Yes, the woman is a devil, she will trick you if she can
Yes, the woman is a devil, she will trick you if she can
She will tell you that she love you, an work out some other plan
"Call It Stormy Monday"
They call it stormy Monday, but Tuesday's just as bad
They call it stormy Monday, but Tuesday's just as bad
Wednesday's worse, and Thursday's also sad
Yes the eagle flies on Friday, and Saturday I go out to play
Eagle flies on Friday, and Saturday I go out to play
Sunday I go to church, then I kneel down and pray
Lord have mercy, Lord have mercy on me
Lord have mercy, my heart's in misery
Crazy about my baby, yes, send her back to me
Got those alimony blues an I sure got to pay some dues
Got those alimony blues an I sure got to pay some dues
And if I run short of cash, it's the road camp, I've got to choose
"Midnight Blues"
Well, the clock is strikin' twelve, somebody's got to go
Well, the clock is strikin' twelve, somebody's got to go
Gee, but I'm going to miss ya baby, this is one thing I'm sure you know
When it's twelve o'clock in Memphis, it's one o'clock in San Antone
When it's twelve o'clock in Memphis, it's one o'clock in San Antone
When it's midnight in California, I'll be so all alone
Midnight is an awful hour, why does it come so soon?
Midnight is a awful hour, why does it come so soon?
It never bring me happ'ness, it always leave me filled with gloom
Don't ever gamble buddy, unless you're sure that you can't lose
Don't ever gamble buddy, unless you're sure that you can't lose
You better take my advise, unless you want this midnight blues
"Put it away!"
"T-Bone Shuffle"
Let your hair down baby,
Let's have a natural ball.
Let your hair down baby,
Let's have a natural ball.
Cause when you're not happy,
It ain't no fun at all.
You can't take it with you,
That's one thing for sure.
You can't take it with you baby,
That's one thing for sure.
There's nothing wrong with ya baby,
That a good T-Bone shuffle can't cure.
Have fun while ya can,
Fate's an aweful thing.
Have fun while ya can,
Fate's an aweful thing.
You can't tell what might happen,
That's why I love to sing.
Thursday, July 02, 2009
*"Come To Mama"- The Blues Of Etta James
Click On Title To Link To YouTube's Film Clip Of Etta James Performing "Tell Mama".
This is a little quick entry for a blues queen that I will write more, much more, about later in connection with a review of "Cadillac Blues", a film based on the history of Chicago's Chess Records that gave Etta her start. Feast on.
*********
Here is a little tribute to a kindred spirit that the old time blues singer, Sippy Wallace, would call "sister".
"Come To Mama”- The Blues Of Ms. Etta James
Etta James And The Roots Band: Burning Down The House, Etta James and various artists, NTSC, 2001
The name Etta James goes back in my memory to associations with my first listening to rock music on the old transistor radio in the late 1950’s. At that time, I believe, her music was in the old doo wop tradition of the late 1950’s, a music that I was fairly soon to dismiss out of hand as the ‘bubble gum’ music that was prevalent in that period between the height of Elvis/Jerry Lee/Carl Perkins classic rock & rock and the Beatles and The Rolling Stones. That is where things were left until a dozen years ago or more when Etta ‘stole the show’ at the Newport Folk Festival. Well, we live and learn.
Here we have Etta, in a 2001 concert being recorded for this album, doing all the songs that she is justly famous for like “Born Blue” and “I Rather Be A Blind Girl” as well as some nice covers in her own style of the likes of Steppenwolf’s “Born To Be Wild”. Just a nice solid performance with a good back up band, including a couple of her sons.
Etta James- "Come To Mama" Lyrics
If the Sun goes behind the clouds
And you feel it's gonna rain
And if the moon ain't shinin bright
And the Stars, the Stars
Won't shine for you tonight
If your life is hard to understand
And your lovelife is out of hand
Oh, Come to Mama
Come on to Mama
If you need, if you need a satisfyer
Let me be, let me be your pacifyer
And if you feel, feelin like a horse
Chompin at the bit
Call my number 777-6969, I'll give you a fix
Cause I've got your favorite toy
Guaranteed to bring you joy
Come to Mama
Come on to Mama
Lead Solo
+ de parolesAt Last I Just Want To Make Love To You Stormy Weather (keeps Rainin' All The Time) All I Could Do Was Cry Don't Cry Baby Hickory Dickory Dock Oh Happy Day Amen, This Little Light of Mine A Sunday Kind Of Love A Change Is Gonna Do Me Good
If your soul is on fire
Let me take you to the corner of the sky
Hey - Come to Mama
Come on to Mama
Come to Mama
Come on come on to Mama
COME ON TO MAMA.....
This is a little quick entry for a blues queen that I will write more, much more, about later in connection with a review of "Cadillac Blues", a film based on the history of Chicago's Chess Records that gave Etta her start. Feast on.
*********
Here is a little tribute to a kindred spirit that the old time blues singer, Sippy Wallace, would call "sister".
"Come To Mama”- The Blues Of Ms. Etta James
Etta James And The Roots Band: Burning Down The House, Etta James and various artists, NTSC, 2001
The name Etta James goes back in my memory to associations with my first listening to rock music on the old transistor radio in the late 1950’s. At that time, I believe, her music was in the old doo wop tradition of the late 1950’s, a music that I was fairly soon to dismiss out of hand as the ‘bubble gum’ music that was prevalent in that period between the height of Elvis/Jerry Lee/Carl Perkins classic rock & rock and the Beatles and The Rolling Stones. That is where things were left until a dozen years ago or more when Etta ‘stole the show’ at the Newport Folk Festival. Well, we live and learn.
Here we have Etta, in a 2001 concert being recorded for this album, doing all the songs that she is justly famous for like “Born Blue” and “I Rather Be A Blind Girl” as well as some nice covers in her own style of the likes of Steppenwolf’s “Born To Be Wild”. Just a nice solid performance with a good back up band, including a couple of her sons.
Etta James- "Come To Mama" Lyrics
If the Sun goes behind the clouds
And you feel it's gonna rain
And if the moon ain't shinin bright
And the Stars, the Stars
Won't shine for you tonight
If your life is hard to understand
And your lovelife is out of hand
Oh, Come to Mama
Come on to Mama
If you need, if you need a satisfyer
Let me be, let me be your pacifyer
And if you feel, feelin like a horse
Chompin at the bit
Call my number 777-6969, I'll give you a fix
Cause I've got your favorite toy
Guaranteed to bring you joy
Come to Mama
Come on to Mama
Lead Solo
+ de parolesAt Last I Just Want To Make Love To You Stormy Weather (keeps Rainin' All The Time) All I Could Do Was Cry Don't Cry Baby Hickory Dickory Dock Oh Happy Day Amen, This Little Light of Mine A Sunday Kind Of Love A Change Is Gonna Do Me Good
If your soul is on fire
Let me take you to the corner of the sky
Hey - Come to Mama
Come on to Mama
Come to Mama
Come on come on to Mama
COME ON TO MAMA.....
Sunday, May 31, 2009
*Roosevelt Sykes Is In The House- The "Honey Dripper" Plays His Boogie-Woogie Piano
Click On Title To Link To YouTube's Clip Of Roosevelt Sykes doing "Gulfport Boogie"
DVD REVIEW
Roosevelt Sykes and Big Bill Broonzy, Roosevelt Sykes and Big Bill Broonzy, Yazoo Productions, 200
The last time that the name Roosevelt Sykes was mentioned in this space was to highlight his boogie-woogie piano performances in a country blues compilation entitled “Rural Blues’, Volume 3. There I mentioned the following- “However, the ‘king of the hill’ on this one is Roosevelt Sykes’s piano work and vocals on “Hush Oh Hush” and “I’m Tired”. Roosevelt Sykes is one of those guys you keep hearing about if you listen to enough blues. Now I know why. Needless to say you will be seeing a separate individual review of his work in this space later.” And here it is.
In this documentary film you get to see Roosevelt in person with old soft hat on his head (I think that’s what they call that kind of hat. Being a child of the hatless Kennedy era I am not up on the sartorial distinctions on this question.), cigar in his mouth, keeping time with his foot and stretching his fingers all across the keyboard just like the way that you would think that the old time boogie-woogie guys would do it if you had to describe what they were up to in words. The smoked-filled 1950’s jazz club atmosphere of the film gives just the right feel to Sykes’ work. Outstanding here is his version of “The Nighttime Is The Right Time”.
I should note that the reason I got this film was to get a look at Roosevelt. As an added treat there is footage of Big Bill Broonzy doing a separate nightclub act in the same kind of atmosphere as that of the Sykes segment. And maybe just a little bit more provocative with a white hipster ‘dame’ in the picture. Dangerous stuff. Moreover, there are added segments of Big Bill wailing his acoustic guitar in practice that, I believe, came from one of Stefan Grossman’s “Legends of The Country Blues” volumes. Nice.
“Night Time Is The Right Time”
You know the night time, darling
(night and day)
Is the right time
(night and day)
To be
(night and day)
With the one you love, now
(night and day)
Say now oh baby
(night and day)
When I come home baby, now
(night and day)
I wanna be with the one I love, now
(night and day)
You know what I'm thinking of
(night and day)
I know the night time
(night and day, oh)
Whoa, is the right time
(night and day, oh)
To be with the one you love, now
(night and day)
I said to be with the one you love
(night and day)
You know my mother, now
(night and day)
Had to die, now
(night and day)
Umm, and my father
(night and day)
Well he broke down and cry
(night and day)
Whoah! whoa baby
(night and day)
When I come home baby now
(night and day)
I want you to hold my hand
(night and day)
Yeah, tight as you can
(night and day)
I know the night time
(night and day, oh)
Whoah is the right time
(night and day, oh)
To be with the one you love
(night and day)
You know what I'm thinking of
(night and day)
Whoah! sing your song, Margie
Baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Oh, Baby
(night and day)
Do I love you?
(night and day)
No one above you
(night and day)
Hold me tight
(night and day)
And make everything all right
(night and day)
Because the night time
(night and day)
Oh, is the right time
(night and day)
To be with the one you love now
(night and day)
Oh yeah
(night and day)
Tease me
(night and day)
Squeeze me
(night and day)
Leave me
(night and day)
Ah, don't leave me
(night and day)
Lawdy baby
(night and day)
Take my hand, now
(night and day)
I don't need
(night and day)
No other man
(night and day)
Because the night time
(night and day)
Ow, is the right time
(night and day)
To be with the one you love
(night and day)
Oh yeah
(night and day)
I said baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Whoah! baby now
(night and day)
Oh come on baby
(night and day)
You know I want you by my side
(night and day)
I want you to keep
(night and day)
Oh keep me satisfied
(night and day)
I know the night time
(night and day)
Everyday is the right time
(night and day)
Yeah to be with the one you love now
(night and day)
Well you know it's all right
Roosevelt Sykes
Ice Cream Freezer lyrics
My baby owns a ice cream freezer
She let's me put my milk in her can
Mercy!
My baby owns a ice cream freezer
She let's me put my milk in her can
Her freezer ain't to be churned
By no other man
Some people crave vanilla or strawberry
But-a black walnut is all I love
Mercy!
Some people crave vanilla or strawberry
But-a black walnut is all I love
When I put my spoon in her freezer
Man, it fits just like a rubber glove
Mercy!
Now, she turns her freezer
So slow an easy
She said, 'Daddy can you hold back
And stick around? ' (I'll try, ha-ha)
As she turn her freezer
So slow an easy
She say, 'Now, daddy can you jus hold back
And stick around? '
I'll say, I b'lieve you spoke jus a little too late
Pretty mama
I gotta let that flavor come runnin' down
'Mercy, mercy, man, yeah'
Ho, yeah!
'Let it roll on a while in the night'
'Ho, til the break of day'
'Ho, til the break of day'
'My, my, my, my'
'Ho while'
She said, 'Now, you done used my freezer
You said, 'Daddy, you look like
You gettin' ready to leave' (quite natural)
My, my
She said, 'Now, you done uses my freezer
'Look like you gettin' ready to leave'
She said, 'But you're still welcome to my can
When you have more cream to freeze'
More cream to freeze.
Roosevelt Sykes
She's Got It lyrics
Worked the gulf port from Memphis, Tennessee
Help me find Mrs. Mercy Dee
I just found a girl, she's got
Just found a girl and she's got
She's got the kind of lovin' I've been lookin' for
Well, she looks so fine
All dressed up in plaid
She start in to makin' love
She goes ravin' mad
I just found a girl an she's got
Just found a girl, she's got
Just found a girl got
The lovin' I've been lookin' for
My, my, my
Whoa (alittle right here)
Let it ride a while (roll another one right here)
Oh yeah
My, my (another one left)
She's no virgin but she's outta sight
She say I can suit her appetite
I just found a girl, she's got a
I just found a girl, and she's got
She's got the kind of lovin' I've been lookin' for
My, my (add a little)
'Let it rock now' (another, another all the way)
'Oh yeah' (another there)
Hurry up, baby
I'm gon' be in here quiet as a mouse
Come on baby, in this house
Cause I just found a girl and
She's got a, I just found that girl
And she's got, she's got
The kind of lovin' I've been lookin' for
My, my, my, my
'Ride now' (right here)
'Roll' (roll it)
'Let it ride a while'
My, my (right here)
'Gonna shake a little while now' (right here a little)
'Ho, yeah' (alright boys, right there)
'Oh, yeah'
My, my (outta here)
Well, I just found a girl and she's got
Just found a girl and she's got
Just found a girl and she's got
Just found a girl and she's got it
Just found a girl and she's got it
Just found a girl
She's got the love I've been lookin' for
Oh, my.
DVD REVIEW
Roosevelt Sykes and Big Bill Broonzy, Roosevelt Sykes and Big Bill Broonzy, Yazoo Productions, 200
The last time that the name Roosevelt Sykes was mentioned in this space was to highlight his boogie-woogie piano performances in a country blues compilation entitled “Rural Blues’, Volume 3. There I mentioned the following- “However, the ‘king of the hill’ on this one is Roosevelt Sykes’s piano work and vocals on “Hush Oh Hush” and “I’m Tired”. Roosevelt Sykes is one of those guys you keep hearing about if you listen to enough blues. Now I know why. Needless to say you will be seeing a separate individual review of his work in this space later.” And here it is.
In this documentary film you get to see Roosevelt in person with old soft hat on his head (I think that’s what they call that kind of hat. Being a child of the hatless Kennedy era I am not up on the sartorial distinctions on this question.), cigar in his mouth, keeping time with his foot and stretching his fingers all across the keyboard just like the way that you would think that the old time boogie-woogie guys would do it if you had to describe what they were up to in words. The smoked-filled 1950’s jazz club atmosphere of the film gives just the right feel to Sykes’ work. Outstanding here is his version of “The Nighttime Is The Right Time”.
I should note that the reason I got this film was to get a look at Roosevelt. As an added treat there is footage of Big Bill Broonzy doing a separate nightclub act in the same kind of atmosphere as that of the Sykes segment. And maybe just a little bit more provocative with a white hipster ‘dame’ in the picture. Dangerous stuff. Moreover, there are added segments of Big Bill wailing his acoustic guitar in practice that, I believe, came from one of Stefan Grossman’s “Legends of The Country Blues” volumes. Nice.
“Night Time Is The Right Time”
You know the night time, darling
(night and day)
Is the right time
(night and day)
To be
(night and day)
With the one you love, now
(night and day)
Say now oh baby
(night and day)
When I come home baby, now
(night and day)
I wanna be with the one I love, now
(night and day)
You know what I'm thinking of
(night and day)
I know the night time
(night and day, oh)
Whoa, is the right time
(night and day, oh)
To be with the one you love, now
(night and day)
I said to be with the one you love
(night and day)
You know my mother, now
(night and day)
Had to die, now
(night and day)
Umm, and my father
(night and day)
Well he broke down and cry
(night and day)
Whoah! whoa baby
(night and day)
When I come home baby now
(night and day)
I want you to hold my hand
(night and day)
Yeah, tight as you can
(night and day)
I know the night time
(night and day, oh)
Whoah is the right time
(night and day, oh)
To be with the one you love
(night and day)
You know what I'm thinking of
(night and day)
Whoah! sing your song, Margie
Baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Oh, Baby
(night and day)
Do I love you?
(night and day)
No one above you
(night and day)
Hold me tight
(night and day)
And make everything all right
(night and day)
Because the night time
(night and day)
Oh, is the right time
(night and day)
To be with the one you love now
(night and day)
Oh yeah
(night and day)
Tease me
(night and day)
Squeeze me
(night and day)
Leave me
(night and day)
Ah, don't leave me
(night and day)
Lawdy baby
(night and day)
Take my hand, now
(night and day)
I don't need
(night and day)
No other man
(night and day)
Because the night time
(night and day)
Ow, is the right time
(night and day)
To be with the one you love
(night and day)
Oh yeah
(night and day)
I said baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Whoah! baby now
(night and day)
Oh come on baby
(night and day)
You know I want you by my side
(night and day)
I want you to keep
(night and day)
Oh keep me satisfied
(night and day)
I know the night time
(night and day)
Everyday is the right time
(night and day)
Yeah to be with the one you love now
(night and day)
Well you know it's all right
Roosevelt Sykes
Ice Cream Freezer lyrics
My baby owns a ice cream freezer
She let's me put my milk in her can
Mercy!
My baby owns a ice cream freezer
She let's me put my milk in her can
Her freezer ain't to be churned
By no other man
Some people crave vanilla or strawberry
But-a black walnut is all I love
Mercy!
Some people crave vanilla or strawberry
But-a black walnut is all I love
When I put my spoon in her freezer
Man, it fits just like a rubber glove
Mercy!
Now, she turns her freezer
So slow an easy
She said, 'Daddy can you hold back
And stick around? ' (I'll try, ha-ha)
As she turn her freezer
So slow an easy
She say, 'Now, daddy can you jus hold back
And stick around? '
I'll say, I b'lieve you spoke jus a little too late
Pretty mama
I gotta let that flavor come runnin' down
'Mercy, mercy, man, yeah'
Ho, yeah!
'Let it roll on a while in the night'
'Ho, til the break of day'
'Ho, til the break of day'
'My, my, my, my'
'Ho while'
She said, 'Now, you done used my freezer
You said, 'Daddy, you look like
You gettin' ready to leave' (quite natural)
My, my
She said, 'Now, you done uses my freezer
'Look like you gettin' ready to leave'
She said, 'But you're still welcome to my can
When you have more cream to freeze'
More cream to freeze.
Roosevelt Sykes
She's Got It lyrics
Worked the gulf port from Memphis, Tennessee
Help me find Mrs. Mercy Dee
I just found a girl, she's got
Just found a girl and she's got
She's got the kind of lovin' I've been lookin' for
Well, she looks so fine
All dressed up in plaid
She start in to makin' love
She goes ravin' mad
I just found a girl an she's got
Just found a girl, she's got
Just found a girl got
The lovin' I've been lookin' for
My, my, my
Whoa (alittle right here)
Let it ride a while (roll another one right here)
Oh yeah
My, my (another one left)
She's no virgin but she's outta sight
She say I can suit her appetite
I just found a girl, she's got a
I just found a girl, and she's got
She's got the kind of lovin' I've been lookin' for
My, my (add a little)
'Let it rock now' (another, another all the way)
'Oh yeah' (another there)
Hurry up, baby
I'm gon' be in here quiet as a mouse
Come on baby, in this house
Cause I just found a girl and
She's got a, I just found that girl
And she's got, she's got
The kind of lovin' I've been lookin' for
My, my, my, my
'Ride now' (right here)
'Roll' (roll it)
'Let it ride a while'
My, my (right here)
'Gonna shake a little while now' (right here a little)
'Ho, yeah' (alright boys, right there)
'Oh, yeah'
My, my (outta here)
Well, I just found a girl and she's got
Just found a girl and she's got
Just found a girl and she's got
Just found a girl and she's got it
Just found a girl and she's got it
Just found a girl
She's got the love I've been lookin' for
Oh, my.
Tuesday, May 26, 2009
*"I’d Rather Be The Devil That Be A Woman To That Man"- The Blues Of Rory Block
CD REVIEW
Gone Woman Blues: The Country Blues Collection, Rory Block, Rounder Records, 1997
I owe Rory Block one. Here is why. During the recently completed misbegotten American presidential campaign season I took more heat that one could shake a stick at for using the title of one of country blues master Skip James’ songs, “I’d Rather Be A Devil That To Be That Woman’s Man”, for some political blogs that I wrote in regard to the Hillary Clinton Democratic Party candidacy. For months I took it on the chin from my feminist friends as exhibiting some form of latent hostility to women, especially women candidates for president. (By the way, that was a totally false accusation. I would have been more than willing to vote for Victoria Woodhull on the Woman’s Equality ticket in 1872.) There one day I remembered through the mist of time singer/songwriter Rory Block’s change up rendition of the James’ classic which forms the headline to this entry. Thanks, Rory.
But more than that, thanks for this great album of country blues classics some famous, some a little obscure and known only to serious aficionados but all well worth placing in the album with the quirky little Rory Block treatment that makes many of the songs her own. Oh, did I also mention her virtuoso strong guitar playing. Well, that too. I have gone on and on elsewhere in this space about the old time women blues singers, mostly black, like Bessie Smith, Victoria Spivey and Ida Cox. I have also spilled some ink on more modern, mainly white, women blues singers like Bonnie Raitt, Maria Muldaur and a local talent here in Boston, Les Sampou, and their admirable (and necessary) efforts to carry on this proud tradition. Rory belongs right up there with these women.
But, enough homage. You get the drift. So what is good here? Of course the above-mentioned tune (named “Devil Got My Man” here). Thanks, again Rory. A couple of nice covers of the legendary Robert Johnson’s “Terraplane Blues’ and “Hellhound On My Trail”. I have mentioned in reviewing Johnson's work that his vocals are reedy and thin. Here Rory gives full-bodied treatment to the songs. Of course one must pay respects, as well, to her own CD title track "Gone Woman Blues”.
A couple of other Skip James tunes also deserve mention, “Be Ready When He Comes” (remember Skip turned to preaching after his very short first blues career) and “Cypress Grove”. Ms. Block also does a very sexy version of Hattie Hart’s double entendre “I Let My Daddy Do That”. Here is the kicker though. Bessie Smith made “Do Your Duty” rattle the house back in the day. I like Rory’s cover better. That, my friends, is high praise indeed as I was practically spoon-fed on Bessie back in my youth.
Skip James
Devil Got My Woman lyrics
You know, I'd rather be the ol' devil
Well, I'd rather be the devil
Then to be that woman' man
You know, rather be the devil
Than to be that woman' man
You know, I'm so sorry
You know, so sorry
That I ever fell in love wit' you-ooo-hoo-oo
Because you know you don't treat me
Baby, like you used ta do-hoo
You know, I laid down last night
You know, I laid down last night
And I thought to take me some rest
But my mind got to rambling
Like a wild geese from the west
You know the woman that I love
The woman that I love
I stol't her from my best friend
But you know he done got lucky
An he done got her back, again
You know, I used to cut your kindleing
You know, I used to cut your kindleing
Baby, then I made you some fire
Then I would tote all your water
Way, way, way, from the bogy brier
You know, my baby she don't drink whiskey
My baby, she don't drink no whiskey
An I know she ain't crazy about wine
Now, it was nothin' but the ol' devil
He done changed my baby's mind
You know, I could be right
You know, I could be right
Then again, I could be wrong
But it was nothin' but the ol' devil
He done got my baby
Now he done gone.
Skip James
Cherry Ball Blues lyrics
I love my little cherry ball
Better than I love myself
I love my cherry ball
Better than I love myself
Then if she don't love me
She can't love nobody else
Cherry ball, she quit me
Quit me in a nice, good way
Cherry ball, she quit me
Quit me in a nice, good way
You know, what it take to get her back
I carries it ev'ryday
Now, I left cherry ball standin'
Standin' in the back do' cryin'
Now, I left cherry ball
Standin' in the back do' cryin'
Of course, I feel her condition
But her trouble ain't none a-mine
She's just like a spider
She's hangin' on the wall
She's like a spider
She's hangin' on the wall
You know, she done quit me
She quit me without a cause
Now, when she left me
She left tears in my eye
Now, when she left me
She left tears in my eye
You know, that I love her
But her disposition I do dispise
Now, you can take the Southern
I'm 'on take the Sante Fe
Now, you take the Southern
I'm 'on take the Sante Fe
I'm gon' ride an gon' ramble
'Till cherry ball come back to me
She got to come on back home to me-ee-ee.
I Let My Daddy Do That lyrics
I've got a long black hair
I'll say very tall
I'm just about set to have my ashes hauled
I Let My Daddy Do That,
I Let My Daddy Do That
I Let My Daddy Do That,
Cause it satisfies my worried mind
I got a range in my kitchen
got a straightened door
when it get to hot,
I want my oven to cool
I Let My Daddy Do That
I Let My Daddy Do That
I Let My Daddy Do That
Cause it satisfies my worried mind
You can drink my liquor
wear my clothes
when it comes to time
to pay my dow
I Let My Daddy Do That
I Let My Daddy Do That
I Let My Daddy Do That
Cause it satisfies my worried mind
You can milk my cow
use the cream
when it comes to lovin that's just a dream
I Let My Daddy Do That
I Let My Daddy Do That
I Let My Daddy Do That
Cause it satisfies my worried mind
"Oh Janet you're on bar-b-que..."
You can crank my car
shift my gears
But when any easy ridin's gonna go on here
I Let My Daddy Do That
I Let My Daddy Do That
I Let My Daddy Do That
Cause it satisfies my worried mind
Have Mercy, Rory
Angel Of Mercy, Rory Block, Rounder Records, 1994
I recently, in reviewing Rory Block’s fine “Gone Woman’s Blues CD, noted that I owed her one. Here is why. During the recently completed misbegotten presidential campaign season I took more heat that one could shake a stick at for using the title of one of country blues master Skip James’ “I’d Rather Be A Devil That To Be That Woman’s Man” for some political blogs that I wrote in regard to the Hillary Clinton’s Democratic Party candidacy. For months I took it on the chin from my feminist friends as exhibiting some form of latent hostility to women, especially woman candidates for president. (By the way, that was a totally false accusation. I would have been more than willing to vote for Victoria Woodhull on the Woman’s Equality ticket in 1872.) There one day I remembered through the mist of time singer/songwriter Rory Block’s rendition of the James’ classic and which forms the headline to this entry. Thanks, Rory.
But thanks and kudos can only go so far. The present CD, “Angel Of Mercy”, leaves me cold. Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.
Pure Rory
CD Review
“I’ve Got A Rock In My Sock”, Rory Block, Rounder Records, 1989
Apparently I am to have a love/hate “relationship’ in reviewing the CDs of Ms. Rory Block. I have thus far expressed my gratitude for her fine work in her “Gone Woman’s Blues” album (as well as ‘saving’ me, see that review in this space for the details). I, however, had to pan her 1994 effort, “Angel Of Mercy”, as it did not “speak” to me. In that review I made the following point:
“… Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.”
Well, with this CD we are back on the positive side that I mentioned in that review. Partially it is due to the point above about letting her natural bluesy side show, as exemplified here by her own title track song” I’ve Got A Rock In My Sock”, Charley Patton’s “Moon’s Goin’ Down” and the Willie Brown classic “M&O Blues”. That tips it to the positive side, no matter what else is here. However, even her folk stylist persona is ratcheted up a notch on this one. “Love and Whiskey” is evocative and rings true as coming from someone having taken a few blows from life’s sometimes mysterious doings. And “Send The Man Back Home” is well; just good advise under the terms of the song's scenario. Kudos.
Ain't She A Woman
CD Review
Ain’t I A Woman, Rory Block, Rounder Records, 1992
Apparently I am to have a love/hate “relationship’ in reviewing the CDs of Ms. Rory Block. I have thus far expressed my gratitude for her fine work in her “Gone Woman’s Blues” album (as well as ‘saving’ me, see that review in this space for the details). The same for “I’ve Got A Rock In My Sock”. I, however, had to pan her 1994 effort, “Angel Of Mercy”, as it did not “speak” to me. In that review I made the following point:
“… Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.”
Well, with this CD we are back on the positive side that I mentioned in that review. Partially it is due to the point above about letting her natural bluesy side show, as exemplified here by her own title track song” Ain’t I A Woman”, the legendary blues man Robert Johnson’s “Come On In My Kitchen” and the little known (but should be) Lottie Kimbrough’s “Rolling Log”. That tips it to the positive side, no matter what else is here. However, even her folk stylist persona is ratcheted up a notch on this one. “Faithless World” like “Love and Whiskey” from the CD “I’ve Got A Rock In My Sock” is evocative and rings true as coming from someone having taken a few blows from life’s sometimes mysterious doings. A couple of Tommy Johnson songs round this one out. Kudos, again.
Once Again, Rory Have Mercy
CD REVIEW
Tornado, Rory Block, Rounder Records, 1996
Damn, apparently I really am to have a love/hate “relationship’ in reviewing the CDs of Ms. Rory Block. I have thus far expressed my gratitude for her fine work in her “Gone Woman’s Blues” album (as well as ‘saving’ me, see that review in this space for the details). The same for “I’ve Got A Rock In My Sock” and “Ain’t I A Woman”. I, however, had to pan her 1994 effort, “Angel Of Mercy”, as it did not “speak” to me. In that review I made the following point:
“… Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.”
Here we are “Angel Of Mercy’ turf again despite some good material and various all-star back up performers. That Block folk stylist nexus is on display here, as well as a bit of overall overproduction on most of the songs. Again, maybe it is that the lyrics just do not “speak” to me but something is off here. I will make one great exception for her inclusion of “Gone Woman Blues” from a previous CD mentioned above. I will make an even greater exception for an incredible cover of Andy Barnes “The Last Leviathan” (that’s right, about the fate of the whales, and us). Wow. That said, two out of eleven do not a great CD make.
Gone Woman Blues: The Country Blues Collection, Rory Block, Rounder Records, 1997
I owe Rory Block one. Here is why. During the recently completed misbegotten American presidential campaign season I took more heat that one could shake a stick at for using the title of one of country blues master Skip James’ songs, “I’d Rather Be A Devil That To Be That Woman’s Man”, for some political blogs that I wrote in regard to the Hillary Clinton Democratic Party candidacy. For months I took it on the chin from my feminist friends as exhibiting some form of latent hostility to women, especially women candidates for president. (By the way, that was a totally false accusation. I would have been more than willing to vote for Victoria Woodhull on the Woman’s Equality ticket in 1872.) There one day I remembered through the mist of time singer/songwriter Rory Block’s change up rendition of the James’ classic which forms the headline to this entry. Thanks, Rory.
But more than that, thanks for this great album of country blues classics some famous, some a little obscure and known only to serious aficionados but all well worth placing in the album with the quirky little Rory Block treatment that makes many of the songs her own. Oh, did I also mention her virtuoso strong guitar playing. Well, that too. I have gone on and on elsewhere in this space about the old time women blues singers, mostly black, like Bessie Smith, Victoria Spivey and Ida Cox. I have also spilled some ink on more modern, mainly white, women blues singers like Bonnie Raitt, Maria Muldaur and a local talent here in Boston, Les Sampou, and their admirable (and necessary) efforts to carry on this proud tradition. Rory belongs right up there with these women.
But, enough homage. You get the drift. So what is good here? Of course the above-mentioned tune (named “Devil Got My Man” here). Thanks, again Rory. A couple of nice covers of the legendary Robert Johnson’s “Terraplane Blues’ and “Hellhound On My Trail”. I have mentioned in reviewing Johnson's work that his vocals are reedy and thin. Here Rory gives full-bodied treatment to the songs. Of course one must pay respects, as well, to her own CD title track "Gone Woman Blues”.
A couple of other Skip James tunes also deserve mention, “Be Ready When He Comes” (remember Skip turned to preaching after his very short first blues career) and “Cypress Grove”. Ms. Block also does a very sexy version of Hattie Hart’s double entendre “I Let My Daddy Do That”. Here is the kicker though. Bessie Smith made “Do Your Duty” rattle the house back in the day. I like Rory’s cover better. That, my friends, is high praise indeed as I was practically spoon-fed on Bessie back in my youth.
Skip James
Devil Got My Woman lyrics
You know, I'd rather be the ol' devil
Well, I'd rather be the devil
Then to be that woman' man
You know, rather be the devil
Than to be that woman' man
You know, I'm so sorry
You know, so sorry
That I ever fell in love wit' you-ooo-hoo-oo
Because you know you don't treat me
Baby, like you used ta do-hoo
You know, I laid down last night
You know, I laid down last night
And I thought to take me some rest
But my mind got to rambling
Like a wild geese from the west
You know the woman that I love
The woman that I love
I stol't her from my best friend
But you know he done got lucky
An he done got her back, again
You know, I used to cut your kindleing
You know, I used to cut your kindleing
Baby, then I made you some fire
Then I would tote all your water
Way, way, way, from the bogy brier
You know, my baby she don't drink whiskey
My baby, she don't drink no whiskey
An I know she ain't crazy about wine
Now, it was nothin' but the ol' devil
He done changed my baby's mind
You know, I could be right
You know, I could be right
Then again, I could be wrong
But it was nothin' but the ol' devil
He done got my baby
Now he done gone.
Skip James
Cherry Ball Blues lyrics
I love my little cherry ball
Better than I love myself
I love my cherry ball
Better than I love myself
Then if she don't love me
She can't love nobody else
Cherry ball, she quit me
Quit me in a nice, good way
Cherry ball, she quit me
Quit me in a nice, good way
You know, what it take to get her back
I carries it ev'ryday
Now, I left cherry ball standin'
Standin' in the back do' cryin'
Now, I left cherry ball
Standin' in the back do' cryin'
Of course, I feel her condition
But her trouble ain't none a-mine
She's just like a spider
She's hangin' on the wall
She's like a spider
She's hangin' on the wall
You know, she done quit me
She quit me without a cause
Now, when she left me
She left tears in my eye
Now, when she left me
She left tears in my eye
You know, that I love her
But her disposition I do dispise
Now, you can take the Southern
I'm 'on take the Sante Fe
Now, you take the Southern
I'm 'on take the Sante Fe
I'm gon' ride an gon' ramble
'Till cherry ball come back to me
She got to come on back home to me-ee-ee.
I Let My Daddy Do That lyrics
I've got a long black hair
I'll say very tall
I'm just about set to have my ashes hauled
I Let My Daddy Do That,
I Let My Daddy Do That
I Let My Daddy Do That,
Cause it satisfies my worried mind
I got a range in my kitchen
got a straightened door
when it get to hot,
I want my oven to cool
I Let My Daddy Do That
I Let My Daddy Do That
I Let My Daddy Do That
Cause it satisfies my worried mind
You can drink my liquor
wear my clothes
when it comes to time
to pay my dow
I Let My Daddy Do That
I Let My Daddy Do That
I Let My Daddy Do That
Cause it satisfies my worried mind
You can milk my cow
use the cream
when it comes to lovin that's just a dream
I Let My Daddy Do That
I Let My Daddy Do That
I Let My Daddy Do That
Cause it satisfies my worried mind
"Oh Janet you're on bar-b-que..."
You can crank my car
shift my gears
But when any easy ridin's gonna go on here
I Let My Daddy Do That
I Let My Daddy Do That
I Let My Daddy Do That
Cause it satisfies my worried mind
Have Mercy, Rory
Angel Of Mercy, Rory Block, Rounder Records, 1994
I recently, in reviewing Rory Block’s fine “Gone Woman’s Blues CD, noted that I owed her one. Here is why. During the recently completed misbegotten presidential campaign season I took more heat that one could shake a stick at for using the title of one of country blues master Skip James’ “I’d Rather Be A Devil That To Be That Woman’s Man” for some political blogs that I wrote in regard to the Hillary Clinton’s Democratic Party candidacy. For months I took it on the chin from my feminist friends as exhibiting some form of latent hostility to women, especially woman candidates for president. (By the way, that was a totally false accusation. I would have been more than willing to vote for Victoria Woodhull on the Woman’s Equality ticket in 1872.) There one day I remembered through the mist of time singer/songwriter Rory Block’s rendition of the James’ classic and which forms the headline to this entry. Thanks, Rory.
But thanks and kudos can only go so far. The present CD, “Angel Of Mercy”, leaves me cold. Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.
Pure Rory
CD Review
“I’ve Got A Rock In My Sock”, Rory Block, Rounder Records, 1989
Apparently I am to have a love/hate “relationship’ in reviewing the CDs of Ms. Rory Block. I have thus far expressed my gratitude for her fine work in her “Gone Woman’s Blues” album (as well as ‘saving’ me, see that review in this space for the details). I, however, had to pan her 1994 effort, “Angel Of Mercy”, as it did not “speak” to me. In that review I made the following point:
“… Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.”
Well, with this CD we are back on the positive side that I mentioned in that review. Partially it is due to the point above about letting her natural bluesy side show, as exemplified here by her own title track song” I’ve Got A Rock In My Sock”, Charley Patton’s “Moon’s Goin’ Down” and the Willie Brown classic “M&O Blues”. That tips it to the positive side, no matter what else is here. However, even her folk stylist persona is ratcheted up a notch on this one. “Love and Whiskey” is evocative and rings true as coming from someone having taken a few blows from life’s sometimes mysterious doings. And “Send The Man Back Home” is well; just good advise under the terms of the song's scenario. Kudos.
Ain't She A Woman
CD Review
Ain’t I A Woman, Rory Block, Rounder Records, 1992
Apparently I am to have a love/hate “relationship’ in reviewing the CDs of Ms. Rory Block. I have thus far expressed my gratitude for her fine work in her “Gone Woman’s Blues” album (as well as ‘saving’ me, see that review in this space for the details). The same for “I’ve Got A Rock In My Sock”. I, however, had to pan her 1994 effort, “Angel Of Mercy”, as it did not “speak” to me. In that review I made the following point:
“… Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.”
Well, with this CD we are back on the positive side that I mentioned in that review. Partially it is due to the point above about letting her natural bluesy side show, as exemplified here by her own title track song” Ain’t I A Woman”, the legendary blues man Robert Johnson’s “Come On In My Kitchen” and the little known (but should be) Lottie Kimbrough’s “Rolling Log”. That tips it to the positive side, no matter what else is here. However, even her folk stylist persona is ratcheted up a notch on this one. “Faithless World” like “Love and Whiskey” from the CD “I’ve Got A Rock In My Sock” is evocative and rings true as coming from someone having taken a few blows from life’s sometimes mysterious doings. A couple of Tommy Johnson songs round this one out. Kudos, again.
Once Again, Rory Have Mercy
CD REVIEW
Tornado, Rory Block, Rounder Records, 1996
Damn, apparently I really am to have a love/hate “relationship’ in reviewing the CDs of Ms. Rory Block. I have thus far expressed my gratitude for her fine work in her “Gone Woman’s Blues” album (as well as ‘saving’ me, see that review in this space for the details). The same for “I’ve Got A Rock In My Sock” and “Ain’t I A Woman”. I, however, had to pan her 1994 effort, “Angel Of Mercy”, as it did not “speak” to me. In that review I made the following point:
“… Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.”
Here we are “Angel Of Mercy’ turf again despite some good material and various all-star back up performers. That Block folk stylist nexus is on display here, as well as a bit of overall overproduction on most of the songs. Again, maybe it is that the lyrics just do not “speak” to me but something is off here. I will make one great exception for her inclusion of “Gone Woman Blues” from a previous CD mentioned above. I will make an even greater exception for an incredible cover of Andy Barnes “The Last Leviathan” (that’s right, about the fate of the whales, and us). Wow. That said, two out of eleven do not a great CD make.
Monday, March 30, 2009
*Lyrics, Etc. For "Two Trains Coming"
Here is a song in different variations and with some notes that tells the tale that playwright August Wilson presents in his "Two Trains Coming" play of the Century cycle. Markin
Two Trains Running
Lyrics: Traditional
Music: Traditional
So far as is known, the Dead did this only once, on 15 December 1971. It's a fragment Pigpen inserted in Lovelight.
Well there's two trains a-coming
Two trains coming
One comes around midnight
Other one comes by day
The best-known recording under this title is probably that by the Paul Butterfield Blues Band, credited on the album to "Davis". But it seems that the originas go back to early Muddy Waters and probably before that.
The lyrics of the Paul Butterfield version are:
Well there's two trains running
But there's not one going my way
Yeah one runs at midnight
Other's just for day
Other's just for day
Other's just for day
I went down to my baby's house
And I sat down on her steps
She said come on in here baby
My old man just left
Yeah just now left
My old man just left
Yes I wish I was a catfish
Swimming in the deep blue sea
I'd have all you pretty women
Fishing after me
Fishing after me
Fishing after me
Well she's long and she's tall
And she shakes just like a willow tree
You say she's no good
But she's all right with me
She's all right with me
She's all right with me
She's all right with me
Little girl's all right, all right with me
She give me loving in the morning
[etc]
The Muddy Waters version was originally recorded in 1951 under the title "Still A Fool". Thanks to Anita Cantor for alerting me to this, and pointing me to a Rob Quinn transcription of the lyrics. According to Anita, Muddy Waters also recorded it with different lyrics under the title "She's All Right"
The Muddy Waters lyrics are:
Well now there's two
There's two trains runnin'
Well ain't not one, (ho!) goin' my way
Well now one run at midnight
And the other one runnin' just 'fore day
A runnin' just 'fore day
It's runnin' just 'fore day
Oh Lord
Sure 'nough then
Oh well
Hmm, (ho) (ho)
Somebody help me (ho) with these blues
Well now, she's the one I'm lovin'
She the one I do hate to lose
I do hate to lose
I do hate to lose
Oh Lord
Sure enough I do
Oh well
I been crazy
Yes I been a fool
I been crazy, oh all my life
Well I done fell in love with her
With another man's wife
With another man's wife
With another man's wife
Oh Lord
Sure 'nough I done
Oh well
Long, she's long and tall
'Til she weeps like a willow tree
Well now, then say she's no good
But she's all right
She's all right with me
She's all right
She's all right
She's all right
She's all right
Two Trains Running
Lyrics: Traditional
Music: Traditional
So far as is known, the Dead did this only once, on 15 December 1971. It's a fragment Pigpen inserted in Lovelight.
Well there's two trains a-coming
Two trains coming
One comes around midnight
Other one comes by day
The best-known recording under this title is probably that by the Paul Butterfield Blues Band, credited on the album to "Davis". But it seems that the originas go back to early Muddy Waters and probably before that.
The lyrics of the Paul Butterfield version are:
Well there's two trains running
But there's not one going my way
Yeah one runs at midnight
Other's just for day
Other's just for day
Other's just for day
I went down to my baby's house
And I sat down on her steps
She said come on in here baby
My old man just left
Yeah just now left
My old man just left
Yes I wish I was a catfish
Swimming in the deep blue sea
I'd have all you pretty women
Fishing after me
Fishing after me
Fishing after me
Well she's long and she's tall
And she shakes just like a willow tree
You say she's no good
But she's all right with me
She's all right with me
She's all right with me
She's all right with me
Little girl's all right, all right with me
She give me loving in the morning
[etc]
The Muddy Waters version was originally recorded in 1951 under the title "Still A Fool". Thanks to Anita Cantor for alerting me to this, and pointing me to a Rob Quinn transcription of the lyrics. According to Anita, Muddy Waters also recorded it with different lyrics under the title "She's All Right"
The Muddy Waters lyrics are:
Well now there's two
There's two trains runnin'
Well ain't not one, (ho!) goin' my way
Well now one run at midnight
And the other one runnin' just 'fore day
A runnin' just 'fore day
It's runnin' just 'fore day
Oh Lord
Sure 'nough then
Oh well
Hmm, (ho) (ho)
Somebody help me (ho) with these blues
Well now, she's the one I'm lovin'
She the one I do hate to lose
I do hate to lose
I do hate to lose
Oh Lord
Sure enough I do
Oh well
I been crazy
Yes I been a fool
I been crazy, oh all my life
Well I done fell in love with her
With another man's wife
With another man's wife
With another man's wife
Oh Lord
Sure 'nough I done
Oh well
Long, she's long and tall
'Til she weeps like a willow tree
Well now, then say she's no good
But she's all right
She's all right with me
She's all right
She's all right
She's all right
She's all right
Thursday, February 26, 2009
*Ma Rainey Don't Bite Her Tongue, And Neither Does Playwright August Wilson
Click On Title To Link To August Wilson Homepage.
Commentary
February Is Black History Month
I had originally intended to review all of the late August Wilson's Century Cycle plays at the same time. On reflection this is such an important series about sketches of black cultural life in the 20th century that I decided to review each one separately. Below is a list of the ten plays to be reviewed over the next several months.
Play Reviews
The August Wilson Century Cycle
Gem Of The Ocean (1904)
Joe Turner's Come And Gone (1911)
Ma Rainey’s Black Bottom (1927)
The Piano Lesson(1936)
Seven Guitars (1948)
Fences(1957)
Two Trains Running(1969)
Jitney(1977)
King Hedley II (1985)
Radio Golf(1997)
*************************************************
Ma Rainey’s Black Bottom (1927), August Wilson, New American Library, New York, 1981
Readers of this space know that over the past year or so I have highlighted the musical works of various acoustic and electric black blues performers, mainly the former. The hidden question posed by those performers and subsequently by this reviewer is- "What are the blues?" The answers I have given have ranged from the perennial- "the blues is the dues" to old Lightnin' Hopkins' refrain- "the blues ain't nothing but a good woman on your mind". Playwright August Wilson posed this very question in this his first, I believe, play "Ma Rainey's Black Bottom". His answer is far more profound that mine could ever be when he has Ma say the blues are "way of understanding life". And then proceeds in his little beauty of a play to give a black version of the way that life played out.
The story line of this play is fairly straight forward, although probably an unusually theme for a serious play, about the trails and tribulations of blacks recording blues records in Chicago in the mid-1920's. And not just any blues singer off the farm, but the most famous female blues singer of her day, Ma Rainey, and her band. But that is not the half of it. In that small physical space and musical universe of the recording studio and with her motley group of band members that seemingly represented every possible black musician type that Wilson could image, Ma Rainey, the Mother of The Blues and the whites in charge of production (and who will reap the disproportionate share of the profits) has raised every timely issue for blacks in the 1920's, the 1980's when he wrote the play and, notwithstanding the Obama presidential victory, now.
Wilson's conceptual framework is impeccable. Placing the scene in 1920's Chicago permits him to work with the migration of blacks out of the south in the post-World War I period in order to show the contrasts (and similarities) between the `country boys' (Toledo) and the `assimilated' city boys (Levee). Moreover, he is able to succinctly draw in the questions of white racism (powerfully so in the story of Levee's mother's rape by white men) , black self- help (Levee's father's response to his wife's rape), black hatred of whites, black self-hatred, black illusions (that of Ma in her `queenly' relationships with the profiting whites), black pride, the influence of the black church (good and bad), black folk wisdom ( as portrayed by Cutler, the senior band member) and, in the end, the rage behind black on black violence (Levee) resulting from a world that was not made by the characters in this play but took no notice of their long suppressed rage that turned in on itself. Like I said above Wilson provides a very profound answer to the question posed in my first paragraph. So if anyone asks you what the blues are you now know what to say- read and see Mr. Wilson's play.
Ma Rainey’s Black Bottom- The Blues Of Gertrude “Ma” Rainey
Ma Rainey’s Black Bottom, Ma Rainey, Yazoo Records, 1990
One of the interesting facts about the development of the blues is that in the early days the recorded music and the bulk of the live performances were done by women, at least they were the most popular exponents of the genre. That time, the early 1920's to the 1930's, was the classic age of women blues performers. Of course, when one thinks about that period the name that comes up is the legendary Bessie Smith. Beyond that, maybe some know Ethel Waters. And beyond that-a blank.
Except maybe I have to take that back a little in the case of Gertrude “Ma” Rainey, at least as to her name if not her music that has gotten more recent publicity through the work of playwright August Wilson’s Century Cycle play “Ma Rainey’s Black Bottom”. Notwithstanding that possibility, in the CD compilation under review we have what amounts to the best of Ma Rainey during her short but productive recording career in the 1920’s. Upon hearing her on this CD women’s blues aficionados are going to want to know how she stacks up against the heavy competition of Bessie Smith. In many ways there are comparable since they worked much the same milieu but, in the end Bessie’s wider range and more heartfelt ‘feel’ for a song wins out. A case in point is the classic “Oh Papa Blues” done by both. There is absolutely nothing wrong with Ma’s version as entertainment but Bessie’s version comes out as if she had just been shot in the heart by some two-timin’ man. That difference is reflected throughout.
As is highlighted in Wilson’s play Ma however was no fool , unlike Bessie, when it came to business and that included making sure she got her just desserts (and credit) for songs that she wrote (somewhat unusual for a singer in the days of Tin Pan Alley). Moreover, some of the best songs here have some legendary blues sidemen on them. For example, Fletcher Henderson on piano on “Ma Rainey’s Black Bottom”. Coleman Hawkins on “Blues Oh Blues”. And both Georgia Tom Dorsey (who later went on to a successful gospel career) and Tampa Red on “Sleep Talking Blues”. Wow.
Commentary
February Is Black History Month
I had originally intended to review all of the late August Wilson's Century Cycle plays at the same time. On reflection this is such an important series about sketches of black cultural life in the 20th century that I decided to review each one separately. Below is a list of the ten plays to be reviewed over the next several months.
Play Reviews
The August Wilson Century Cycle
Gem Of The Ocean (1904)
Joe Turner's Come And Gone (1911)
Ma Rainey’s Black Bottom (1927)
The Piano Lesson(1936)
Seven Guitars (1948)
Fences(1957)
Two Trains Running(1969)
Jitney(1977)
King Hedley II (1985)
Radio Golf(1997)
*************************************************
Ma Rainey’s Black Bottom (1927), August Wilson, New American Library, New York, 1981
Readers of this space know that over the past year or so I have highlighted the musical works of various acoustic and electric black blues performers, mainly the former. The hidden question posed by those performers and subsequently by this reviewer is- "What are the blues?" The answers I have given have ranged from the perennial- "the blues is the dues" to old Lightnin' Hopkins' refrain- "the blues ain't nothing but a good woman on your mind". Playwright August Wilson posed this very question in this his first, I believe, play "Ma Rainey's Black Bottom". His answer is far more profound that mine could ever be when he has Ma say the blues are "way of understanding life". And then proceeds in his little beauty of a play to give a black version of the way that life played out.
The story line of this play is fairly straight forward, although probably an unusually theme for a serious play, about the trails and tribulations of blacks recording blues records in Chicago in the mid-1920's. And not just any blues singer off the farm, but the most famous female blues singer of her day, Ma Rainey, and her band. But that is not the half of it. In that small physical space and musical universe of the recording studio and with her motley group of band members that seemingly represented every possible black musician type that Wilson could image, Ma Rainey, the Mother of The Blues and the whites in charge of production (and who will reap the disproportionate share of the profits) has raised every timely issue for blacks in the 1920's, the 1980's when he wrote the play and, notwithstanding the Obama presidential victory, now.
Wilson's conceptual framework is impeccable. Placing the scene in 1920's Chicago permits him to work with the migration of blacks out of the south in the post-World War I period in order to show the contrasts (and similarities) between the `country boys' (Toledo) and the `assimilated' city boys (Levee). Moreover, he is able to succinctly draw in the questions of white racism (powerfully so in the story of Levee's mother's rape by white men) , black self- help (Levee's father's response to his wife's rape), black hatred of whites, black self-hatred, black illusions (that of Ma in her `queenly' relationships with the profiting whites), black pride, the influence of the black church (good and bad), black folk wisdom ( as portrayed by Cutler, the senior band member) and, in the end, the rage behind black on black violence (Levee) resulting from a world that was not made by the characters in this play but took no notice of their long suppressed rage that turned in on itself. Like I said above Wilson provides a very profound answer to the question posed in my first paragraph. So if anyone asks you what the blues are you now know what to say- read and see Mr. Wilson's play.
Ma Rainey’s Black Bottom- The Blues Of Gertrude “Ma” Rainey
Ma Rainey’s Black Bottom, Ma Rainey, Yazoo Records, 1990
One of the interesting facts about the development of the blues is that in the early days the recorded music and the bulk of the live performances were done by women, at least they were the most popular exponents of the genre. That time, the early 1920's to the 1930's, was the classic age of women blues performers. Of course, when one thinks about that period the name that comes up is the legendary Bessie Smith. Beyond that, maybe some know Ethel Waters. And beyond that-a blank.
Except maybe I have to take that back a little in the case of Gertrude “Ma” Rainey, at least as to her name if not her music that has gotten more recent publicity through the work of playwright August Wilson’s Century Cycle play “Ma Rainey’s Black Bottom”. Notwithstanding that possibility, in the CD compilation under review we have what amounts to the best of Ma Rainey during her short but productive recording career in the 1920’s. Upon hearing her on this CD women’s blues aficionados are going to want to know how she stacks up against the heavy competition of Bessie Smith. In many ways there are comparable since they worked much the same milieu but, in the end Bessie’s wider range and more heartfelt ‘feel’ for a song wins out. A case in point is the classic “Oh Papa Blues” done by both. There is absolutely nothing wrong with Ma’s version as entertainment but Bessie’s version comes out as if she had just been shot in the heart by some two-timin’ man. That difference is reflected throughout.
As is highlighted in Wilson’s play Ma however was no fool , unlike Bessie, when it came to business and that included making sure she got her just desserts (and credit) for songs that she wrote (somewhat unusual for a singer in the days of Tin Pan Alley). Moreover, some of the best songs here have some legendary blues sidemen on them. For example, Fletcher Henderson on piano on “Ma Rainey’s Black Bottom”. Coleman Hawkins on “Blues Oh Blues”. And both Georgia Tom Dorsey (who later went on to a successful gospel career) and Tampa Red on “Sleep Talking Blues”. Wow.
Wednesday, February 25, 2009
*The King Of The Slide Guitar, An Encore- Elmore James
Click on the title to link to a "YouTube" film clip of Elmore James performing his classic slide rendition of "It Hurts Me Too". Wow!
CD Review
Who’s Muddy Shoes, Elmore James with John Brim and others, MCA, 1969
Well, what did you NEED to listen to here? Obviously,”Dust My Broom”. On this CD though you MUST listen to Elmore on “Who’s Muddy Shoes?” Wow, it jumps right out at you. “Madison Blues”, “Talk To Me Baby” and “Stormy Monday” round out the minimum program here. John Brim's vocals add in spots. Listen on.
"Madison Blues" Lyrics
Ahh, you babes talk about your Madison shoes
We got a thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
I know a gal her name is Lindsey Lou
She told me she loved me but I know it ain't true
Put on your Madison shoes
Put on your Madison blue shoes
I got the Madison blues
Now put on your Madison blue shoes
Ahh, you cats talking about your Madison shoes
We do the thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
Ah you babes talk about your Madison shoes
We got a thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
CD Review
Who’s Muddy Shoes, Elmore James with John Brim and others, MCA, 1969
Well, what did you NEED to listen to here? Obviously,”Dust My Broom”. On this CD though you MUST listen to Elmore on “Who’s Muddy Shoes?” Wow, it jumps right out at you. “Madison Blues”, “Talk To Me Baby” and “Stormy Monday” round out the minimum program here. John Brim's vocals add in spots. Listen on.
"Madison Blues" Lyrics
Ahh, you babes talk about your Madison shoes
We got a thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
I know a gal her name is Lindsey Lou
She told me she loved me but I know it ain't true
Put on your Madison shoes
Put on your Madison blue shoes
I got the Madison blues
Now put on your Madison blue shoes
Ahh, you cats talking about your Madison shoes
We do the thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
Ah you babes talk about your Madison shoes
We got a thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
*The King Of The Slide Guitar, One More Time - Elmore James
Click on the title to link to a "YouTube" film clip of Elmore James performing his (and Robert Johnson's) classic, "Dust My Broom".
The Very Best Of Elmore James, Elmore James with the Broomdusters, Virgin Records, 1986
Well, what did you NEED to listen to here? Obviously,”Dust My Broom”. On this CD
though you MUST listen to Elmore on “Standing At The Crossroads”. Wow, it jumps right out at you. “Sure Enough I Do”, “Wild About You Baby" and “Mean and Evil” round out the minimum program here. Listen on.
Dust My Broom
Robert Johnson, Elmore James
I'm gonna get up in the mornin',
I believe I'll dust my broom (2x)
Girlfriend, the black man you been lovin',
girlfriend, can get my room
I'm gon' write a letter,
Telephone every town I know (2x)
If I can't find her in West Helena,
She must be in East Monroe, I know
I don't want no woman,
Wants every downtown man she meet (2x)
She's a no good doney,
They shouldn't 'low her on the street
I believe, I believe I'll go back home (2x)
You can mistreat me here, babe,
But you can't when I go home
And I'm gettin' up in the morning,
I believe I'll dust my broom (2x)
Girlfriend, the black man that you been lovin',
Girlfriend, can get my room
I'm gon' call up Chiney,
She is my good girl over there (2x)
If I can't find her on Philippine's Island,
She must be in Ethiopia somewhere
Robert Johnson
The Very Best Of Elmore James, Elmore James with the Broomdusters, Virgin Records, 1986
Well, what did you NEED to listen to here? Obviously,”Dust My Broom”. On this CD
though you MUST listen to Elmore on “Standing At The Crossroads”. Wow, it jumps right out at you. “Sure Enough I Do”, “Wild About You Baby" and “Mean and Evil” round out the minimum program here. Listen on.
Dust My Broom
Robert Johnson, Elmore James
I'm gonna get up in the mornin',
I believe I'll dust my broom (2x)
Girlfriend, the black man you been lovin',
girlfriend, can get my room
I'm gon' write a letter,
Telephone every town I know (2x)
If I can't find her in West Helena,
She must be in East Monroe, I know
I don't want no woman,
Wants every downtown man she meet (2x)
She's a no good doney,
They shouldn't 'low her on the street
I believe, I believe I'll go back home (2x)
You can mistreat me here, babe,
But you can't when I go home
And I'm gettin' up in the morning,
I believe I'll dust my broom (2x)
Girlfriend, the black man that you been lovin',
Girlfriend, can get my room
I'm gon' call up Chiney,
She is my good girl over there (2x)
If I can't find her on Philippine's Island,
She must be in Ethiopia somewhere
Robert Johnson
Saturday, February 21, 2009
*A Blues Potpourri-The Blues Is Dues, Part II-Every Day He May Have The Blues But You Won’t
Click on the headline to link to a "YouTube" film clip of Willie Dixon performing his"29 Ways."
CD REVIEW
February Is Black History Month
As those familiar with this space know I have spent a good amount of ink touting various old time blues legends that I ‘discovered’ in my youth. My intention, in part, is to introduce a new generation to this roots music but also to demonstrate a connection between this black-centered music and the struggle for black liberation that both blacks and whites can appreciate. Like virtually all forms of music that lasts more than five minutes the blues has had its ups and downs. After becoming electric and urbanized in the immediate post-World War II period it was eclipsed by the advent of rock&roll then made a comeback in the mid- 1960's with the surge of English bands that grew up on this music, and so on. Most recently there was mini-resurgence with the justifiably well-received Martin Scorsese PBS six-part blues series in 2003. A little earlier, in the mid-1990’s, there had also been a short-lived reemergence spearheaded by the ‘discovery’ of urban blues pioneer Robert Johnson’s music.
The long and short of this phenomenon is that commercial record production of this music waxed and waned reflecting that checkered history. I have, in the interest of variety for the novice, selected these CDs as a decent cross-section of blues (and its antecedents in earlier forms of roots music) as to gender, time and type. The following reviewed CDs represent first of all an attempt by record companies to meet the 1990’s surge. They also represent a hard fact of musical life. Like rock&roll the blues will never die. Praise be. Feast on these compilations.
Every Day He May Have The Blues But You Won’t
Living The Blues: Blues Greats, MCA Records, 1995
If you have read my review of “Living The Blues: Blues Masters” then this compilation is an extension of that CD as to the level of talent. Very good work ,as is to be expected, by Muddy Waters, John Lee Hooker, Elmore James, the under-appreciated Otis Rush on “Double Trouble” place this CD just fraction below the previously reviewed “Blues Masters”. Additional standout work includes impresario Willie Dixon (who deserves and will receive individual review later) on his own “29 Ways”. T-Bone Walker on his “T-Bone Shuffle" (was there a better electric blues guitar player?), Little Walter (and his incredible harmonica) on “Juke” and “Driving Wheel” by Little Junior Parker.
29 Ways
Willie Dixon
I got 29 ways to make it to my baby's door
I got 29 ways to make it to my baby's door
And if she needs me bad
I can find about two or three more
I got one through the basement
Two down the hall
And when the going gets tough
I got a hole in the wall
CHORUS
I can come through the chimney like Santa Claus
Go through the window and that ain't all
A lot of good ways I don't want you to know
I even got a hole in the bedroom floor
CHORUS
I got a way through the closet behind her clothes
A way through the attic that no one knows
A master key that fits every lock
A hidden door behind the grandfather clock
CHORUS
© 1956
CD REVIEW
February Is Black History Month
As those familiar with this space know I have spent a good amount of ink touting various old time blues legends that I ‘discovered’ in my youth. My intention, in part, is to introduce a new generation to this roots music but also to demonstrate a connection between this black-centered music and the struggle for black liberation that both blacks and whites can appreciate. Like virtually all forms of music that lasts more than five minutes the blues has had its ups and downs. After becoming electric and urbanized in the immediate post-World War II period it was eclipsed by the advent of rock&roll then made a comeback in the mid- 1960's with the surge of English bands that grew up on this music, and so on. Most recently there was mini-resurgence with the justifiably well-received Martin Scorsese PBS six-part blues series in 2003. A little earlier, in the mid-1990’s, there had also been a short-lived reemergence spearheaded by the ‘discovery’ of urban blues pioneer Robert Johnson’s music.
The long and short of this phenomenon is that commercial record production of this music waxed and waned reflecting that checkered history. I have, in the interest of variety for the novice, selected these CDs as a decent cross-section of blues (and its antecedents in earlier forms of roots music) as to gender, time and type. The following reviewed CDs represent first of all an attempt by record companies to meet the 1990’s surge. They also represent a hard fact of musical life. Like rock&roll the blues will never die. Praise be. Feast on these compilations.
Every Day He May Have The Blues But You Won’t
Living The Blues: Blues Greats, MCA Records, 1995
If you have read my review of “Living The Blues: Blues Masters” then this compilation is an extension of that CD as to the level of talent. Very good work ,as is to be expected, by Muddy Waters, John Lee Hooker, Elmore James, the under-appreciated Otis Rush on “Double Trouble” place this CD just fraction below the previously reviewed “Blues Masters”. Additional standout work includes impresario Willie Dixon (who deserves and will receive individual review later) on his own “29 Ways”. T-Bone Walker on his “T-Bone Shuffle" (was there a better electric blues guitar player?), Little Walter (and his incredible harmonica) on “Juke” and “Driving Wheel” by Little Junior Parker.
29 Ways
Willie Dixon
I got 29 ways to make it to my baby's door
I got 29 ways to make it to my baby's door
And if she needs me bad
I can find about two or three more
I got one through the basement
Two down the hall
And when the going gets tough
I got a hole in the wall
CHORUS
I can come through the chimney like Santa Claus
Go through the window and that ain't all
A lot of good ways I don't want you to know
I even got a hole in the bedroom floor
CHORUS
I got a way through the closet behind her clothes
A way through the attic that no one knows
A master key that fits every lock
A hidden door behind the grandfather clock
CHORUS
© 1956
Sunday, January 25, 2009
*The Hoochie Coochie Man- The Blues of Muddy Waters -"He's Got His Mojo Workin'"
Click on title to link to YouTube's film clip of Muddy Waters in Performance mode.
DVD Review
Muddy's Got His Mojo Working
Muddy Waters: Got My Mojo Working, German Cinema, 2003
Recently I watched this German cinema produced film concert documentary compilation as a companion piece to the documentary of Muddy’s life- “Muddy Waters Can’t Be Satisfied”. If you need background about the life and work of this important blues artist and innovator check out my review of it in this space (above). And get the film. If you just need a flat out “short course” in the electric blues of Mr. Muddy Waters and his various bands then this is the ticket. Some of the concert material is so-so, some is excellent. What you want to get this one for though is his incredible extended version of “Mannish Boy”. Hoochie Coochie Man, indeed.
DVD Review
Muddy's Got His Mojo Working
Muddy Waters: Got My Mojo Working, German Cinema, 2003
Recently I watched this German cinema produced film concert documentary compilation as a companion piece to the documentary of Muddy’s life- “Muddy Waters Can’t Be Satisfied”. If you need background about the life and work of this important blues artist and innovator check out my review of it in this space (above). And get the film. If you just need a flat out “short course” in the electric blues of Mr. Muddy Waters and his various bands then this is the ticket. Some of the concert material is so-so, some is excellent. What you want to get this one for though is his incredible extended version of “Mannish Boy”. Hoochie Coochie Man, indeed.
*The Hoochie Coochie Man- The Blues of Muddy Waters
Click on title to link to YouTube's film clip of Muddy waters Performing "He's Got His Mojo Workin'".
DVD Review
Anytime Is Blues History Month
Muddy Waters Can’t Be Satisfied, Muddy Waters, various band members and other artists, Productions,1997
Over the past year I have made some effort to trace back the roots of the blues by highlighting various seemingly forgotten blues artists, mainly from the country blues branch. I have also mentioned that the huge black migration of blacks in the 1930’ sand 1940’s from the South to the North, mainly up the river to Chicago, called for a different kind of energy and so the blues got plugged in to reflect that change. One would think that well before now I would have covered the great Muddy Waters, a seminal figure in that transformation of the blues. There are a few reasons what this has not been done previously. For one, I have tried to concentrate on the country blues artist, many who have been unjustly neglected. For another, I was aware that “Cadillac Records”, essentially the story of Muddy and his relationship to Chicago’s Chess Records, the key outlet for electric blues during its rise, was to be released at the end of 2008. But the main reason is that when it comes to the question of the “King of Chicago Blues” Howlin’ Wolf is my choice and I have felt no urgency to get to Muddy’s work, as important as it is to my project.
That said, this well made production highlighting the career and work of Muddy Waters is well worth the watch whatever your sympathies. As usual with these kinds of efforts there are many “talking heads” that inevitably populate this format. These include, importantly, various musicians that worked with Muddy over the years, like James Cotton and Charlie Musselwhite, and provide insight into his musician style, his personal habits including his womanizing and drinking, his on-and- off stage presences, a tour of various spots in Chicago where the music was made in the old days and a hint at his personality. There are also the appreciations by various later musicians influenced by Muddy, including Bonnie Raitt, Eric Clapton and the ubiquitous Keith Richards. Finally there are family members, girlfriends and others giving their, sometimes painful, recollections of the man.
Additionally, this film provides a running commentary through Muddy’s life, of the ups and downs of Chicago blues and the artists that performed that work. We get glances of Muddy’s start as a Delta artist in the late 1930’s, the transformation of his work as he hits Chicago in the war time 1940’s, his fight to be “King of the Hill”, his effect on other artists, the decline of the blues with the onslaught of rock & roll in the 1950’s, the revival in the 1960’s and his ultimate place in the blues pantheon. Along the way we get to hear snippets of his most famous work, including “Can’t Be Satisfied” and “Mannish Boy”. I, personally, do not think they compare to Howlin’ Wolf on “The Red Rooster” or “The Killing Floor” but this film gives those who have Muddy as number one in their electric blues pantheon plenty of ammunition for their position.
DVD Review
Anytime Is Blues History Month
Muddy Waters Can’t Be Satisfied, Muddy Waters, various band members and other artists, Productions,1997
Over the past year I have made some effort to trace back the roots of the blues by highlighting various seemingly forgotten blues artists, mainly from the country blues branch. I have also mentioned that the huge black migration of blacks in the 1930’ sand 1940’s from the South to the North, mainly up the river to Chicago, called for a different kind of energy and so the blues got plugged in to reflect that change. One would think that well before now I would have covered the great Muddy Waters, a seminal figure in that transformation of the blues. There are a few reasons what this has not been done previously. For one, I have tried to concentrate on the country blues artist, many who have been unjustly neglected. For another, I was aware that “Cadillac Records”, essentially the story of Muddy and his relationship to Chicago’s Chess Records, the key outlet for electric blues during its rise, was to be released at the end of 2008. But the main reason is that when it comes to the question of the “King of Chicago Blues” Howlin’ Wolf is my choice and I have felt no urgency to get to Muddy’s work, as important as it is to my project.
That said, this well made production highlighting the career and work of Muddy Waters is well worth the watch whatever your sympathies. As usual with these kinds of efforts there are many “talking heads” that inevitably populate this format. These include, importantly, various musicians that worked with Muddy over the years, like James Cotton and Charlie Musselwhite, and provide insight into his musician style, his personal habits including his womanizing and drinking, his on-and- off stage presences, a tour of various spots in Chicago where the music was made in the old days and a hint at his personality. There are also the appreciations by various later musicians influenced by Muddy, including Bonnie Raitt, Eric Clapton and the ubiquitous Keith Richards. Finally there are family members, girlfriends and others giving their, sometimes painful, recollections of the man.
Additionally, this film provides a running commentary through Muddy’s life, of the ups and downs of Chicago blues and the artists that performed that work. We get glances of Muddy’s start as a Delta artist in the late 1930’s, the transformation of his work as he hits Chicago in the war time 1940’s, his fight to be “King of the Hill”, his effect on other artists, the decline of the blues with the onslaught of rock & roll in the 1950’s, the revival in the 1960’s and his ultimate place in the blues pantheon. Along the way we get to hear snippets of his most famous work, including “Can’t Be Satisfied” and “Mannish Boy”. I, personally, do not think they compare to Howlin’ Wolf on “The Red Rooster” or “The Killing Floor” but this film gives those who have Muddy as number one in their electric blues pantheon plenty of ammunition for their position.
Saturday, December 20, 2008
Doin' His Midnight Creep- The Howlin' Wolf Story
DVD REVIEW
Doin' His Midnight Creep- The Howlin' Wolf Story
The Howlin’ Wolf Story, Howlin’ Wolf and various artists and commentators, Productions, 2004
I have reviewed several of Howlin’ Wolf’s CDs in this space previously and had expected that this documentary about the life, the times and the influence of this incredible blues performer would merely be an appetizer for further reviews of his music. Not so. This well-done, lovingly put together and extremely informative documentary is a worthy viewing for the novice and old Wolf aficionados like me. Thus, rather than placing this commentary as a tail to some other Wolf entry it is worthy of separate entry here.
In this presentation filled, as always in this kind of work, with the inevitable “talking heads” we go from Wolf‘s roots down in the Mississippi Delta, cotton country and nothing else, in the 1920’s and 1930’s through to the first stop up the Mississippi at Memphis on to the Mecca Chicago in the post- World War II period and finally to international renown in the blues revival started by the likes of The Rolling Stones and Eric Clapton the mid-1960s. In short we are treated to a view of the trajectory of Wolf’s life; unlike let us say Son House with whom Wolf worked with in the old days who stuck with the country roots, from country blues of the back road jukes to the electricity of the urban ghetto that made those old blues jump for, at first, migratory urban blacks and then young whites like this reviewer. Along the way many of the musicians that worked with Wolf like Hubert Sumerlin, a blues guitarist legend in his own right, and Sam Lay as well as Wolf’s daughters, the Chess Record producer Marshall Chess and others give some amusing stories and anecdotes on the life of the great bluesman. And seemingly as always when blues or rock and roll are mentioned little segments with the ubiquitous Sam Phillips of the well-known Sun Recording studio in Memphis.
I do not generally comment on (or for that matter look at) the special features sections of DVD. Not doing so here would be a mistake. There is some nice home movie footage, some interesting Wolf stories by his companions and rivals, a nice segment on the rivalry between Wolf and Muddy Waters to be “King of The Chicago Blues” and a recording of a radio broadcast of Wolf doing "Little Red Rooster". Damn, I flipped out the first time I heard that song when it was covered by The Rolling Stones in the early 1960’s. I also flipped out when I first heard a Wolf recording of it. I don’t know what I would have done had I heard it on my radio then. Probably started hitchhiking for Chicago.
All of this information is nice but I am sure the reader is just as interested to know about the music. Oh yes there is some great footage of classic Wolf efforts. Of course for this reviewer number one is always Wolf’s "Little Red Rooster". Christ, he is practically eating the harmonica by the end of the song. "Lovin’ Spoonful", "Moaning at Midnight" and a host of other songs get their usual professional Wolf treatment. That is a point to be underscored, he was a professional in his approach to the music, its presentation and the way that he could influence a genre that he practically build (along with his competitor Muddy Waters) from scratch. If you need an hour of the Wolf doin’ his Midnight Creep then you really have to see this documentary. Kudos to the filmmakers on this one.
Doin' His Midnight Creep- The Howlin' Wolf Story
The Howlin’ Wolf Story, Howlin’ Wolf and various artists and commentators, Productions, 2004
I have reviewed several of Howlin’ Wolf’s CDs in this space previously and had expected that this documentary about the life, the times and the influence of this incredible blues performer would merely be an appetizer for further reviews of his music. Not so. This well-done, lovingly put together and extremely informative documentary is a worthy viewing for the novice and old Wolf aficionados like me. Thus, rather than placing this commentary as a tail to some other Wolf entry it is worthy of separate entry here.
In this presentation filled, as always in this kind of work, with the inevitable “talking heads” we go from Wolf‘s roots down in the Mississippi Delta, cotton country and nothing else, in the 1920’s and 1930’s through to the first stop up the Mississippi at Memphis on to the Mecca Chicago in the post- World War II period and finally to international renown in the blues revival started by the likes of The Rolling Stones and Eric Clapton the mid-1960s. In short we are treated to a view of the trajectory of Wolf’s life; unlike let us say Son House with whom Wolf worked with in the old days who stuck with the country roots, from country blues of the back road jukes to the electricity of the urban ghetto that made those old blues jump for, at first, migratory urban blacks and then young whites like this reviewer. Along the way many of the musicians that worked with Wolf like Hubert Sumerlin, a blues guitarist legend in his own right, and Sam Lay as well as Wolf’s daughters, the Chess Record producer Marshall Chess and others give some amusing stories and anecdotes on the life of the great bluesman. And seemingly as always when blues or rock and roll are mentioned little segments with the ubiquitous Sam Phillips of the well-known Sun Recording studio in Memphis.
I do not generally comment on (or for that matter look at) the special features sections of DVD. Not doing so here would be a mistake. There is some nice home movie footage, some interesting Wolf stories by his companions and rivals, a nice segment on the rivalry between Wolf and Muddy Waters to be “King of The Chicago Blues” and a recording of a radio broadcast of Wolf doing "Little Red Rooster". Damn, I flipped out the first time I heard that song when it was covered by The Rolling Stones in the early 1960’s. I also flipped out when I first heard a Wolf recording of it. I don’t know what I would have done had I heard it on my radio then. Probably started hitchhiking for Chicago.
All of this information is nice but I am sure the reader is just as interested to know about the music. Oh yes there is some great footage of classic Wolf efforts. Of course for this reviewer number one is always Wolf’s "Little Red Rooster". Christ, he is practically eating the harmonica by the end of the song. "Lovin’ Spoonful", "Moaning at Midnight" and a host of other songs get their usual professional Wolf treatment. That is a point to be underscored, he was a professional in his approach to the music, its presentation and the way that he could influence a genre that he practically build (along with his competitor Muddy Waters) from scratch. If you need an hour of the Wolf doin’ his Midnight Creep then you really have to see this documentary. Kudos to the filmmakers on this one.
Wednesday, December 10, 2008
“I Said, Who Do You Love”- An Encore-The Raucous Music Of George Thorogood And The Destroyers
Click on the title to link to "YouTube"'s film clip of George Thorogood and The Destroyers performing their version of "Madison Blues".
CD Review
Live, George Thorogood and the Destroyers, Capitol, 1990
A couple of years ago when Bo Diddley died I mentioned in a review of his work that many latter musicians, particularly white musicians were influenced by his songs, and covered them like crazy. That is the case with George Thorogood, with or without his Destroyers. Although he is probably best known for his bad boy anthem, “Bad To The Bone” Thorogood cut his teeth on doing covers of Bo, John Lee Hooker, Muddy Waters and the other greats of the blues and early rock and roll. That is how we should measure his work, as an exponent of a certain kind or of rock and R&B.
This album delivers extended versions of his master works including: the afore-mentioned “Bad To The Bone,” the classic Bo Diddley tune “Who Do You Love,” “Madison Blues,” and the classic Hooker song “One Scotch, One Bourbon, One Beer”. This album is close to the best versions technically and will give an idea of what old George and boys could do on a hot night. Yes, indeed.
Blues Lyrics - George Thorogood
Madison Blues
All rights to lyrics included on these pages belong to the artists and authors of the works.
All lyrics, photographs, soundclips and other material on this website may only be used for private study, scholarship or research.
by
Elmore James
recording of 1977
from
George Thorogood & The Destroyers (Rounder CD-3013)
&
Live (EMI E 2-46329)
Ah you babes talk about your Madison shoes
We got a thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
I know a gal her name is Lindsey Lou
She told me she loved me but I know it ain't true
Put on your Madison shoes
Put on your Madison blue shoes
I got the Madison blues
Now put on your Madison blue shoes
Ah you cats talking about your Madison shoes
We do the thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
Ah you babes talk about your Madison shoes
We got a thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
CD Review
Live, George Thorogood and the Destroyers, Capitol, 1990
A couple of years ago when Bo Diddley died I mentioned in a review of his work that many latter musicians, particularly white musicians were influenced by his songs, and covered them like crazy. That is the case with George Thorogood, with or without his Destroyers. Although he is probably best known for his bad boy anthem, “Bad To The Bone” Thorogood cut his teeth on doing covers of Bo, John Lee Hooker, Muddy Waters and the other greats of the blues and early rock and roll. That is how we should measure his work, as an exponent of a certain kind or of rock and R&B.
This album delivers extended versions of his master works including: the afore-mentioned “Bad To The Bone,” the classic Bo Diddley tune “Who Do You Love,” “Madison Blues,” and the classic Hooker song “One Scotch, One Bourbon, One Beer”. This album is close to the best versions technically and will give an idea of what old George and boys could do on a hot night. Yes, indeed.
Blues Lyrics - George Thorogood
Madison Blues
All rights to lyrics included on these pages belong to the artists and authors of the works.
All lyrics, photographs, soundclips and other material on this website may only be used for private study, scholarship or research.
by
Elmore James
recording of 1977
from
George Thorogood & The Destroyers (Rounder CD-3013)
&
Live (EMI E 2-46329)
Ah you babes talk about your Madison shoes
We got a thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
I know a gal her name is Lindsey Lou
She told me she loved me but I know it ain't true
Put on your Madison shoes
Put on your Madison blue shoes
I got the Madison blues
Now put on your Madison blue shoes
Ah you cats talking about your Madison shoes
We do the thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
Ah you babes talk about your Madison shoes
We got a thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
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