Happy Birthday Jim Kweskin-The Max Daddy Of Jug- On Memphis Minnie's Birthday-*Once Again A “Blues Mama” For Our Times- The Blues Of Maria Muldaur

Click On Title To Link To YouTube's Film Clip Of Maria Muldaur Perfoming "One Hour Mama".

CD Review

Richland Woman, Maria Muldaur, Stony Plain Records, 2001

This review was originally posted as a review for Maria Muldaur’s “Sweet Lovin' Ol’ Soul”. The main points made there apply here as well.

I have often noted that when white women cover blues songs done by the old classic black singers like Memphis Minnie, Bessie Smith, Big Mama Thornton and the like some undefined ingredient is missing. Call it "soul" or the "miseries" or whatever you like but somehow the depths of a song are generally not reached. Not so here, as Maria Muldaur presents the second of an anticipated three albums covering some great classics of old time barrel house blues. (The first album was "Richland Woman's Blues", taking the title from a song by Mississippi John Hurt so you know Maria is reaching for the blues roots, no question).

Bessie Smith's "Put It Right Here" sticks out here. Blind Willie Johnson’s classic religiously-tinged “Soul Of A Man” and Mississippi Fred McDowell’s "I’ve Got To Move” get their proper workout. The big highlight though (and a very necessary “re-discovery”) is the tribute to Memphis Minnie, “In My Girlish Days” (I wish Maria would cover “Bumble Bee”. Whoa). As Maria points out in her liner notes (to “Sweet Lovin’ Ol’ Soul”) some of these songs here are ones that she wanted to do earlier in her career but was either talked out or could not do justice to then. But now Maria knows she has paid her dues, I know she has paid her dues, and you will too. Listen.

"IN MY GIRLISH DAYS"

Late hours at night, trying to play my hand
Through my window, out stepped a man
I didn't know no better
Oh boys
In my girlish days

My mama cried, papa did, too
Oh, daughter, look what a shame on you
I didn't know no better
Oh boys
In my girlish days

I flagged a train, didn't have a dime
Trying to run away from that home of mine
I didn't know no better
Oh boys
In my girlish days

I hit the highway, caught me a truck
Nineteen and seventeen, when the winter was tough
I didn't know no better
Oh boys
In my girlish days

(spoken: Lord, play it for me now)

All of my playmates is not surprised,
I had to travel 'fore I got wise
I found out better
And I still got my girlish ways

Happy Birthday Jim Kweskin-The Max Daddy Of Jug- On Memphis Minnie's Birthday-In The Beginning There Was……Jug- Songstress Maria Muldaur Goes Back Home

Click on title to link to YouTube's film clip of Maria Muldaur performing with the Jim Kweskin Jug Band back in the days.

CD Review

Maria Muldaur And Her Garden Of Joy, Maria Muldaur and the Garden of Joy Jug Band, Stony Plain, 2009

The last time that I featured the femme fatale blues torch singer reincarnate Maria Muldaur (at least that is the way that she, successfully, projected herself in her recent blues revival projects) was in a review of her 2007 CD tribute to the great singers of the 1920s and 1930s, Bessie Smith, Memphis Minnie, Sippy Wallace and the like. I might add that I raved on and on about the value of her project, the worthiness of the singers honored and her own place in the blues pantheon. Of course, for those in the know about the roots of the folk revival of the 1960s at least, the name Maria Muldaur is forever associated with another closely-related branch of roots music-the jug band. Maria was the very fetching female vocalist for the old time revivalist Jim Kweskin Jug Band (and an earlier effort in her home town, New York City, by John Sebastian of The Lovin’ Spoonful fame, The Even Dozen Jug Band).

Well, hold the presses please, because the red hot blues mama has come back home in her latest project, the CD under review, “Maria Muldaur And Her Garden Of Joy”. And if Maria was kind of thrown in the background somewhat in those days by the strong presence of Jim Kweskin and that of her ex-husband Geoff Muldaur she is front and center on this effort. One of the virtues of jug music back in the day was that it was basically zany, funny, send-off kind of music and full of, usually, high-spirited if coded sexual innuendos. This, on occasion, was a welcome break from the heavy political message songs that were de rigueur or the traditional ballads filled with tales of thwarted love, duplicity and murder and mayhem. In this CD Maria brings back the energy and just plain wistfulness of that type of music. And she does it on her terms.

As fate would have it, or rather by a conscious act, I happened to see Maria and her very fine new jug band made up of younger, well, Jim Kweskin jug band-types (along with guest performer, now blues/ragtime guitar virtuoso John Sebastian) in Cambridge (one of her old stomping rounds and an important secondary center of the folk revival in the 1960s). And, like the last time I saw her a couple of years ago when she was that femme fatale blues singer, she did not disappoint. The woman carried the show with the energy of the old days (that you can get an idea of by going on "YouTube" in a click from 1966).

The line between jug music and flat out torch blues sometimes is not that wide and the switch over thus is not that dramatic. At least in Maria's hands. Witness her version of Mississippi John Hurt’s “Richland Woman” which she did jug-style at the concert (she did a more lowdown bluesy version on her “Richland Woman” album). The example on this album that comes to mind is the little known but, currently, very relevant 1929 song “Bank Failure Blues”. Also the classic jug tune “Garden Of Joy” and another one “Sweet Lovin’ Ol’ Soul” (also done blues-style on a previous album of the same name). This is good stuff but begs the question. Jim Kweskin is still performing. Geoff Muldaur is still performing. Geoff and Jim occasionally perform together. Wouldn’t it be a treat if...?

Blues Lyrics - Mississippi John Hurt Richland's Woman 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 Mississippi John Hurt recording of 19 from

Gimme red lipstick and a bright purple rouge
A shingle bob haircut and a shot of good boo'
Hurry down, sweet daddy, come blowin' your horn
If you come too late, sweet mama will be gone
Come along young man, everything settin' right
My husbands goin' away till next Saturday night
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
Now, I'm raring to go, got red shoes on my feet
My mind is sittin' right for a Tin Lizzie seat
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
The red rooster said, "Cockle-doodle-do-do"
The Richard's' woman said, "Any dude will do"
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
With rosy red garters, pink hose on my feet
Turkey red bloomer, with a rumble seat
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
Every Sunday mornin', church people watch me go
My wings sprouted out, and the preacher told me so
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
Dress skirt cut high, then they cut low
Don't think I'm a sport, keep on watchin' me go
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone __________

Note 1: a woman's haircut with the hair trimmed short from the back of the head to the nape; Note 2: nickname for the Model T Ford automobile (1915), a small inexpensive first time mass- produced early automobile.

On Memphis Minnie's Birthday ***A Blues Potpourri-The Blues Is Dues, Part II-The Sky May Be Crying But You Won’t Be

Click on the headline to link to a "YouTube" film clip of "Big Mama" Thornton performing "Hound Dog." Elvis step back, way back, on this one.

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.

The Sky May Be Crying But You Won’t Be

Living The Blues: Blues Masters, MCA Records, 1995

Many of the artists on this compilation have received individual attention by this reviewer elsewhere in this space. Thus I will highlight some of the lesser known artists who were either one hit johnnies (or janies) and for some reason did not make the blues pantheon. First, however, I must note that any compilation that starts off with “I’m Your Hoochie Goochie Man” by Muddy Waters, an incredible version of “Hound Dog” by “Big Mama” Thornton and “Back Door Man” by Howlin’ Wolf is has already paid its way. Add in a laid back Jimmy Reed on “Baby What Do You Want Me To Do”, a ripping slide guitar by Elmore James on “The Sky Is Crying”, a young and hungry John Lee Hooker flailing away on “Boogie Chillun” and “So Many Roads, So Many Trains” by the smooth Otis Rush and you have not been cheated.

Now for the lesser lights that make this a virtually complete compilation of masters. How about a young but soon to be immortal Etta James on her classic “I’d Rather Go Blind”. Or the harmonica player extraordinaire, Little Walter, on “You’re So Fine”. And “The Things That I Used To Do” by the virtuoso guitarist Guitar Slim. And Lowell Fulsom rocking away on “Reconsider Baby. And…. Well, you get the picture. With the possible exception of Slim Harpo (who had a small body of work due to an early untimely death) all of these masters will be getting fuller treatment in this space later. For now this will give you an idea of what it was like when men and women played electric blues for real.

BIG MAMA THORNTON HOUND DOG LYRICS

You ain't nothing but a hound dog
Been snoopin' round my door
You ain't nothing but a hound dog
Been snoopin' round my door
You can wag your tail
But I ain't gonna feed you no more
You told me you was high class
I could see through that
You told me you was high class
I could see through that
And baby I know
You ain't no real cool cat
You ain't nothing but a hound dog
Been snoopin' round my door
You ain't nothing but a hound dog
Been snoopin' round my door
You can wag your tail
But I ain't gonna feed you no more
You made me feel so blue
You made me weep and moan
You made me feel so blue
You made me weep and moan
'Cause I'm looking for a woman
All your lookin' for is a home
You ain't nothing but a hound dog
Been snoopin' round my door
You ain't nothing but a hound dog
Been snoopin' round my door
You can wag your tail
But I ain't gonna feed you no more

On Memphis Monnie's Birthday-The “Kings Of Dinkytown**” - The Music Of Folk’s Spider John Koerner and Sidekicks Dave Ray And Tony Glover

Click on title to link to YouTube's film clip of Spider John Koerner and
Tony Glover performing "Last Lonesome Blues" at , appropriately, the Dinkyfest in 2007.

**Dinkytown refers to the student/hip ghetto, etc. of Minneapolis back in the days (and perhaps today as well). It also seemingly reflects on the geographic range of the Koerner/Ray/Glover ambition.

DVD Review

Blues, Rags& Hollers: The Koerner, Ray& Glover Story,directed by Tony Glover, MVD Visual, 1986

In a review of Spider John Koerner’s CD “Stargeezer” (see review entry accompanying this blog on this date, August 29. 2009) earlier this year I made the following comment that related to a question I was then asking about the fate of various male folk singers from the folk revival of the 1960s:

“Okay, Okay those of you who have been keeping tabs know that I have spend much of the last year, when not doing political commentary or book or movie reviews, reviewing many of the old time folk artists that, along with the blues, were the passion of my youth in the early 1960's. You might also know, if you are keeping tabs, that I have been attempting to answer a question that I have posed elsewhere in this space earlier about the fate or fates of various performers from that period. Spider John Koerner was a lesser known, but important, fixture on the Cambridge/Boston folk scene during that time, as well as later once the hubbub died down and he and a local stalwart, Mr. Bones, carried on the tradition in smaller venues and in front of smaller crowds.”

Well, according to this film documentary by Tony Glover, at various times part of the sporadic musical team of Koerner, Ray and Glover, there was more, much more to the Spider John story that I was aware of. And to the stories of Ray and Glover, as well. That said, it is nevertheless true that Spider John fell off the charts and became more of a regional influence. All of this seemingly by choice and by personal circumstance. That brings up the final point that I would make (other than recommending that if you are interested in the fates of the secondary occupants of the folk revival pantheon to view this very informative, if somewhat eccentric piece). Not everyone was cut out by disposition, drive, personal inclination or personal limitations to be “king of the hill” in the folk revival (or any other endeavor). But, damn they can still make good music and we owe a lot to this trio for preserving it for us.

"Me & My Chauffeur" lyrics by Memphis Minnie

Won't you be my chauffeur
Won't you be my chauffeur
I wants him to drive me
I wants him to drive me downtown
Yes he drives so easy I can't turn him down
But I don't want him
But I don't want him
To be ridin' his girls
To be ridin' his girls around
So I'm gonna steal me a pistol, shoot my chauffeur down
Well I must buy him
Well I must buy him
A brand new V8
A brand new V8 Ford
Then he won't need no passengers, I will be his load
Yes... take it away...
Wanna let my chauffeur
Wanna let my chauffeur
Drive me around the
Drive me around the world
Then he can be my little boy, yes I'll be his girl

When First Unto This Country
Lyrics: Traditional
Music: Traditional

When first unto this country
A stranger I came
I courted a fair maid
And Nancy was her name

I courted her for love
Her love I didn't obtain
Do you think I've any reason
Or right to complain

I rode to see my Nancy
I rode both night and day
I stoled a fine stallion
From Colonel Charles Grey

I rode to see my Nancy
I rode both day and night
I courted fairest Nancy
My own heart's true delight

The sheriff's men they followed
And overtaken me
They carted me away
To the penitentiary

They opened up the door
And then they threw me in
They shaved off my hair
And they cleared off my chin

They beat me and they banged me
And they fed me on dry beans
'Til I wished to my own soul
I'd never been a thief

With my hands stuck in my pockets
And my cap set on so bold
My coat of many colors
Like Joseph's of old

When first unto this country
A stranger I came
I courted a fair maid
And Nancy was her name

On Memphis Minnie's Birthday-***Her Castle's Rocking- The Blues Of Alberta Hunter

Click on title to link to YouTube's film clip of Alberta Hunter performing "Nobody Knows You When You're Down And Out". Ain't that the truth.

DVD REVIEW

February Is Black History Month

March Is Women’s History Month

Alberta Hunter, Alberta Hunter (Jazz Masters Series), Shanachie Productions, 20005

The ideas in the first couple of paragraphs have been used elsewhere in this space in reviewing the works of other women of the early blues period.

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.

Yet the blues singer under review, Alberta Hunter, probably had almost as a productive career (with a long gap in between while pursuing a nursing career after the death of her mother) as either of the above-mentioned names. That ‘second’ career got a big boost by her performance in the Geraldine Chaplin film “Remember My Name”. And here is the kicker. If you were to ask today's leading women blues singers about influences they will, naturally, give the obligatory Bessie response, but perhaps more surprisingly will also praise Ms. Alberta, as well.

This nice little archival DVD compilation, while not technically the best, will explain the why of the above paragraph. Alberta worked the cabaret circuit with many back up players over the years, some good some bad, but her style and her energy carried most of the production. She, like Memphis Minnie and others, was the mistress of the double entendre so popular in old time blues- you know phrases like `put a little sugar in my bowl'. Here we have a late performance in 1982 by Alberta Hunter just a few years before her death. While she had lost a few steps her voice held up well, and more importantly, that little sparkle in here eyes and in her devil-may-care manner carry this effort.

So what sticks out here? Well, a nice interview with Alberta between sets for one. As for the songs how about the now appropriate “Nobody Knows You When You’re Down And Out”. Bessie’s “Down Hearted Blues” works. As does “My Castle’s Rocking” and the salacious “My Handy Man”. A nice hour for those who love the old women blues singers.



"Nobody Knows You When You're Down And Out"

(by Jimmie Cox)

Once I lived the life of a millionaire,
Spent all my money, I just did not care.
Took all my friends out for a good time,
Bought bootleg whisky, champagne and wine.

Then I began to fall so low,
Lost all my good friends, I did not have nowhere to go.
I get my hands on a dollar again,
I'm gonna hang on to it till that eagle grins.

'Cause no, no, nobody knows you
When you're down and out.
In your pocket, not one penny,
And as for friends, you don't have any.

When you finally get back up on your feet again,
Everybody wants to be your old long-lost friend.
Said it's mighty strange, without a doubt,
Nobody knows you when you're down and out.

When you finally get back upon your feet again,
Everybody wants to be your good old long-lost friend.
Said it's mighty strange,
Nobody knows you,
Nobody knows you,
Nobody knows you when you're down and out.

"My Handy Man"

Whoever said a good man was hard to find,
Postively, absolutely sure was blind;
I found the best that ever was,
Here's just some of the things he does:

He shakes my ashes, greases my griddle,
Churns my butter, strokes my fiddle;
My man is such a handy man!

He threads my needle, creams my wheat,
Heats my heater, chops my meat;
My man is such a handy man!

Don't care if you believe or not,
He sure is good to have around;
Why, when my furnace gets too hot,
He's right there to turn my damper down!

For everything he's got a scheme;
You ought to see his new starter that he uses on my machine;
My man is such a handy man!

He flaps my flapjacks, cleans off the table, He feeds the horses in my stable; My man is such a handy man!

He's God's gift!

Sometimes he's up long before dawn,
Busy trimming the rough edges off my lawn;
Oooh, you can't get away from it! He's such a handy man!

Never has a single thing to say,
While he's working hard;
I wish that you could see the way
He handles my front yard!

My ice don't get a chance to melt away,
He sees that I get that old fresh piece every day;
Lord, that man sure is such a handy man!

ON Memphis Minnie's Birthday-*The King Of Bottleneck Blues- The Work Of Tampa Red

Click on title to link to information about the life and work of Tampa Red.

CD Review

The Guitar Wizard: Tampa Red, Tampa Red, Columbia Legacy series, Sony Music, 1994

If the sincerest form of flattery is imitation then there is no question that the legendary bottleneck blues guitarist Tampa Red has been flattered by whole generations of latter day bottleneck guitarists, including some rather traditional country and western musicians, western swing artists like the well-respected Bob Wills bands and many modern rock instrumentalists. And with good reason. Although the case for greater showmanship can be argued of behalf of the legendary Mississippi Delta guitar artist Bukka White the Tampa Red picking style on that old National steel guitar has been subject of more imitation. Bukka brings his breakneck speed on the guitar with his breakneck lyrics to create a better and bouncier presentation but I will concede the point that for pure guitar virtuosity the nod goes to Brother Red.

And for those who do not believe me then merely check out the following tracks on this Columbia legacy equivalent of Tampa Red’s greatest hits. How about “Big Fat Mama”, “Don’t Leave Me Here” and “You Can’t Get That Stuff No More” done with Georgia Tom Dorsey in the days before Tom got religion. Or if you want to hear a solo then how about the classic “Turpentine Blues” and the two “Sugar Mama” tracks here. Some of the entries here are blues classics, some are then topical novelty songs that every genre produces but all have the Tampa Red trademark. Now you get it. Right?

Got To Leave My Woman Trk 22 Dsc 2 3:13 song 45
Tampa Red (Hudson Whittaker)
Aurora, Illinois, Monday, March 14, 1938 Leland Hotel Top Floor
Tampa Red- vocal, piano, Willie Bee James - guitar
Album: The Bluebird Recordings - Tampa Red 1936 - 1938
2 Disc set RCA 07863 66722-2 1997 BMG
Transcriber: Awcantor@aol.com


Meet me down in the bottom
Mama, bring my shoes and clothes
Meet me down in the bottom
Mama, bring my shoes and clothes
I ain't got very many
But I got so fer to go

And the only one thing
That keep me so worried in mind
Now, the only one thing
That keep me so worried in mind
I've got to go leave
The woman I love, behind

Now, I don't mind leaving
But I got to be gone so long
I don't mind leaving
But I got to be gone so long
They got me 'cussed of murder, mama
An I ain't done nothin' wrong

Big sky's folding
And it can't be long 'fore day
Big sky's a-folding
And it can't be long 'fore day
Oh, goodbye baby
I must be on my way

When I write you a letter, mama
Mama, answer me in a telegram
When I write you a letter
Mama, answer with a telegram
'Cause I will not be contented, mama
Until I get you where I am.

Delta Woman Blues Trk 7 Dsc 2 3:03 song 30
Tampa Red (Hudson Whittaker)
Aurora, Illinois, Oct. 11, 1937 Leland Hotel Top Floor
Tampa Red- vocal, guitar & piano, Willie Bee James - guitar
Album: The Bluebird Recordings - Tampa Red 1936 - 1938
2 Disc set RCA 07863 66722-2 1997 BMG
Transcriber: Awcantor@aol.com



I'm goin' back to the delta
That's where I belong
I'm goin' back to the delta
That's where I belong
If old bad luck an trouble
Don't keep me far to long

I'd rather be down in the delta
Than any place I know
I'd rather be down in the delta
Than any place I know
Because I don't feel happy
No other place I go

My little woman in the delta
Sho' was good to me
My little woman in the delta
Sho' was good to me
Well, she was a good kind-hearted
As one poor gal could be

I'm goin' back to the delta
Fall down on my knees
Gonna ask my delta woman
To forgive me if she please

I'm goin' back to the delta, woo-ooo
Goin' to fall down on my knees
I'm gonna ask my delta woman
To forgive me if she please.

I've tested with all-a my women
From here to Mexico
But my woman in the delta
She's the sweetest gal I know

I've tested with all-a my women, woo-ooo
From here to Mexico
But my little woman in the delta
She's the sweetest gal I know.

When The One You Love Is Gone Trk 2 Dsc 2 3:04 Song 25
Tampa Red (Hudon Whittaker)
Aurora, Illinois, Tues. May 4, 1937 Leland Hotel Top Floor
Tampa Red- vocal & piano, Willie Bee James - guitar
Album: The Bluebird Recordings - Tampa Red 1936 - 1938
2 Disc set RCA 07863 66722-2 1997 BMG
Transcriber: Awcantor@aol.com


Ain't it lonesome when the one you love is gone?
Ain't it lonesome when the one you love is gone?
Well, you cannot help but to worry
I know you're bound to weep and moan

My night so lonely
And my days are plenty blue
My nights are lonely
And my days are plenty blue
Well, I can't find no contentment
No matter what I do

Umm, if I could just explain
Umm, if I could just explain
Well, but I'm upset and I'm bothered
And my heart is full of pain

(instrumental)

Come back, baby
And I won't be bad no mo'
Come back, baby
And I won't be bad no mo'
Well, I will string along wit' you, baby
No matter where you will go.

Seminole Blues Trk 12 Dsc 2 3:03 Song 35
Tampa Red (Hudson Whittaker)
Aurora, Illinois, Oct. 11, 1937 Leland Hotel Top Floor
Tampa Red- vocal, piano & guitar, Willie Bee James - guitar
Album: The Bluebird Recordings - Tampa Red 1936 - 1938
2 Disc set RCA 07863 66722-2 1997 BMG
Transcriber: Awcantor@aol.com


My baby's gone, won't be back no mo'
She won't be back no mo', whoa-ooh
My baby's gone, she won't be back no mo'
She left this mo'nin', she caught that Seminole

I got the blues so bad
It hurt my tongue to talk
It hurt my tongue to talk, ooh-ooh
The blues so bad
It hurt my tongue to talk
I would follow my baby
But it hurt my feet to walk

(instrumental) slide guitar

She gimme her love
Even let me draw her pay
She let me draw her pay, yeah
She give me her love
Even let me draw her pay
She was a real good woman
But unkindness drove her 'way

(instrumental) slide guitar

I've got the Seminole blues
Leaving on my mind
Leaving on my mind, whoa-ooh
Seminole blues, leaving on my mind
I'm goin' to find my baby
If I have to ride the blind.

We Gonna Get High Together Trk 14 Dsc 2 3:07 song 37
Tampa Red (Hudson Whittaker) And The Chicago Five
Aurora, Illinois, March 14, 1938 Leland Hotel Top Floor
Tampa Red- vocal,& guitar, unk - trumpet
poss. Bill Owsley - tenor sax, prob. Blind John Davis - piano
unk string bass (poss. imitation sb)
Album: The Bluebird Recordings - Tampa Red 1936 - 1938
2 Disc set RCA 07863 66722-2 1997 BMG
Transcriber: Awcantor@aol.com


There are you and here am I
We would be silly to sit an sigh
Okie-dokey, darlin' you and I
Are gonna get high together

Ev'rytime I look at you
I picture things that we could do
Drink up dear and don't be blue
We gonna get high together

When the band begin to play it
And the gang begin to sway it
Then we will begin the latest
Just messin' around
Darlin' truckin' on down

Then after drinkin' some-a this and that
I may decide to take ya to my flat
Turn out the light an make it tight like that
We're gonna get high together

(instrumental)

'Yas, yas' I hear ya, Mr. Sax Man

'Everybody, rock' 1:14

'Ah-ha, oh yeah, oh yeah'

'I hear ya talkin' to me'

(piano)

'I'm lookin' at that piano man'

'Ah-ha, yeah'

'Oh yeah'

(trumpet)

Ah-ha

That's it

There are you and here am I
We would be silly
Just to sit an sigh
Okie-dokey, darlin' you and I
Are gonna get high together

Evrytime I look at you
I picture things that we could do
Drink up dear and don't be blue
We gonna get high together

When the band begins to play it
And the gang begins to sway
Then we will begin the latest
Just messin' around, darling
Truckin' on down

Then after drinkin' some a-this and that
I may decide to take ya to my flat
Turn out the light and make it tight like that
We gonna get high together, yas.

On Memphis Minnie's Birthday-Out In the 1930s Be-Bop Barrelhouse Blues Night- Memphis Minnie Is Front And Center-A CD Review

Click on the headline to link to a YouTube film clip of Memphis Minnie performing her classic Hoodoo Lady Blues

CD Review

Memphis Minnie, In My Girlish Days, 1991

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. Yet the blues singer under review, Memphis Minnie, probably had as a productive career as either of the above-mentioned names. And here is the kicker. If you were to ask today’s leading women blues singers like Bonnie Raitt or Maria Muldaur about influences they will, naturally, give the obligatory Bessie response, but perhaps more surprisingly will also praise Ms. Minnie to the skies.

This compilation, while not technically the best, will explain the why of the above paragraph. Minnie worked with many back-up players over the years, some good some bad, but her style and her energy carried most of the production. She was the mistress of the double entendre so popular in old time blues- you know, or you better ask somebody, phrases like “put a little sugar in my bowl”. The best of the bunch here are Bumble Bee, Down Home Girl and the classic In My Girlish Days. Listen on.

On Memphis Minnie's Birthday- The Queen of The Blues- Bessie Smith

CD REVIEW

The Essential Bessie Smith, Bessie Smith, Columbia, two disc set, 1997

Elsewhere in this space I have mentioned that in the early days of the blues, at least the recorded blues, women vocalists dominated the market. One thinks of Mabel Smith and Ma Rainey in that regard. But the queen of the hill, and the one still best remembered, for roaring out those barrel house blues is Bessie Smith. This little two-disc compilation gives a very nice beginner cross section of the kind of subjects that she sang about-mainly broken-hearted love, no good men and the trials and tribulations of being a black woman on her own.

Bessie's music also represents the place, as with Blind Willie McTell on the male side, where the blues go from the Saturday night juke joints of farm, make that cotton, country to the more sophisticated Southern city locales. Furthermore, she along with Memphis Minnie were the queens of the now lost art of sexual double entendre- you know, 'put a little sugar in my bowl', 'take me for a buggy ride' and other classic lines of that type.

Be aware in listening to this compilation that the quality of the early recordings can be a little grating on the ear but bear with it because this thing just grows on you. It is rather an acquired taste but once you have the Bessie in your head you will not want to turn the damn thing off. Top selections here are a moanful , weary St Louis Blues, Weeping Willow Blues and a novelty song- Jazzbo Brown From Memphis Town that later singers have covered. Are these recordings all the essentials you need to bring you up to speed on Bessie? No way, but go back the first sentence of this paragraph-you will be saving your pennies to get the next album.

Empty Bed Blues, Bessie Smith EMI, 1991

Be aware listening to Bessie is rather an acquired taste but once you have the Bessie in your head you will not want to turn the damn thing off. Unlike compilations that start with her earlier material like Aggravatin' Papa where the quality of the recording gets in the way of your listening pleasure this one is mainly later material with better sound quality. Top selections here are a moanful , weary St Louis Woman, the sexy Easy Rider, the jump two parts of Empty Bed Blues of the title, the down and dirty Me and My Gin and the novelty song Jazzbo Brown From Memphis Town. Are these recordings all the essentials to bring you up to speed on Bessie? No way, but go back the first sentence of this paragraph- you will be saving your pennies to get the next album.

On Memphis Minnie's Birthday - When Women Singers Held Sway In The 1920s Blues Night- “I Can’t Be Satisfied”-A CD Review

Click on the headline to link to a YouTube film clip of Memphis Minnie, the Hoodoo Lady, performing, well what else, Hoodoo Lady Blues.

CD Review

I Can’t Be Satisfied: Early American Women Blues Singers-Town And Country: Volume l-Country, Yazoo Records, 1997


Recently in reviewing another compilation of women blues singers from the 1920s I mentioned that I had sworn off, I had sworn on a stack of seven bibles, that I was off, finally off film noir femme fatales after watching (or rather, re-watching) Robert Mitchum and Jane Greer, mainly Jane Greer, go round and round in the classic crime noir Out Of The Past. How could any rational man not think twice about following such femmes as Jane Greer’s Kathy who just happened to be a little gun happy (and a chronic liar to boot) and who put a couple in Robert Mitchum’s Jeff after he did somersaults to try to save her bacon about six times. That’s gratitude for you.

Well, like I said I am off, done, finished with those two-timing dames, and good riddance. Now I have time, plenty of time, and my health to speak of blues in the night wailing female torch singers who, as far as I know, do not carry or do not need to carry guns, to do their business. Of course it was not big deal to change my allegiances because since I was a kid I have been nothing but putty in their hands for any torch singer who could throw away my blues with some sorrow laden tune.

Maybe it was in some back-drop Harvard Square coffeehouse in long mist time 1960s when I first heard such voices, first among them, Billie Holiday, late, early, whatever Billie Holiday singing of some man on her mind, mostly some no good man, some no dough man, who maybe took a couple of whacks at her for no reason, or just took her last dough to bet on that next sure thing…and happiness. Or maybe earlier when some home background 1940s we won the war be-bop music filtered through the air of my own childhood house from the local radio station playing Peggy Lee all Benny Goodman’d up, or Helen Whiting, or, or well, you get the drift. Stuff that would stop me in my tracks and ask, ask where did that sorrow come from.

Later, several years later, it blossomed fully when some now half-forgotten (but only half-forgotten) girlfriend gave me a complete Vanguard Record set of all of Bessie Smith’s recordings. Ah heaven, and ah the student neighbors who had to listen for half a day while I played the damn set through. So get it, get it straight I am a long-time aficionado of the genre and commenting on this I Can’t Be Satisfied CD about classic women blues is a piece of cake.

Strangely, although the bulk of the “discovered” blues singers of the folk revival minute of the 1960s were male (Mississippi John Hurt, Bukka White, Son House, Skip James, et. al) back in the serious heyday of the blues in the 1920s and early 1930s women dominated the blues market, the popular music of the day. And the women featured in this compilation were the most well-known of the myriad torch singers that lit up the concert hall, speakeasies and juke joints North and South. Hattie Hart, Ruby Glaze, the divine Bessie Tucker, of course Lottie Kimbrough, Lizzie Washington, and Bertha Lee are all rightfully and righteously here.

What, no Memphis Minnie? Well yes she does Outdoor Blues here so stay calm. I have singled her out because to me her voice, her phrasing, her half breath between notes is what blues-style torch singing is all (and with plenty of double ententes too) . Now if I could just get a torch singer who was also a non-gun- toting femme fatale I would be in very heaven. Ya, I know I said I was off femmes but what are you going to do.