*"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.

*Poet's Corner- On The Edge With Charles Bukowski

Click On Title To Link To YouTube's Film Clip Of Charles Bukowski Reciting "The Man With The Beautiful Eyes".

Guest Commentary

This guy speaks for himself. I need add nothing here.

BEER
from: Love is A Mad Dog From Hell

I don't know how many bottles of beer
I have consumed while waiting for things
to get better
I dont know how much wine and whisky
and beer
mostly beer
I have consumed after
splits with women-
waiting for the phone to ring
waiting for the sound of footsteps,
and the phone to ring
waiting for the sounds of footsteps,
and the phone never rings
until much later
and the footsteps never arrive
until much later
when my stomach is coming up
out of my mouth
they arrive as fresh as spring flowers:
"what the hell have you done to yourself?
it will be 3 days before you can fuck me!"

the female is durable
she lives seven and one half years longer
than the male, and she drinks very little beer
because she knows its bad for the figure.

while we are going mad
they are out
dancing and laughing
with horney cowboys.

well, there's beer
sacks and sacks of empty beer bottles
and when you pick one up
the bottle fall through the wet bottom
of the paper sack
rolling
clanking
spilling gray wet ash
and stale beer,
or the sacks fall over at 4 a.m.
in the morning
making the only sound in your life.

beer
rivers and seas of beer
the radio singing love songs
as the phone remains silent
and the walls stand
straight up and down
and beer is all there is.

AS CRAZY AS I EVER WAS
from: Love is A Dog From Hell

drunk and writing poems
at 3 a.m.

what counts now
is one more
tight pussy

before the light
tilts out

drunk and writing poems
at 3:15 a.m.

some people tell me that I'm
famous.

what am I doing alone
drunk and writing poems at
3:18 a.m.?

I'm as crazy as I ever was
they don't understand
that I haven't stopped hanging out of 4th floor
windows by my heels-
I still do
right now
sitting here

writing this down
I am hanging by my heels
floors up:
68, 72, 101,
the feeling is the
same:
relentless
unheroic and
necessary

sitting here
drunk and writing poems
at 3:24 a.m.

ANOTHER BED
from: Love is a Mad Dog from Hell

another bed
another women

more curtains
another bathroom
another kitchen

other eyes
other hair
other
feet and toes.

everybodys looking.
the eternal search.

you stay in bed
she gets dressed for work
and you wonder what happened
to the last one
and the one after that...
it's all so comfortable-
this love making
this sleeping together
the gentle kindness...

after she leaves you get up and use her
bathroom,

it's all so intimate and strange.
you go back to bed and
sleep another hour.

when you leave its with sadness
but you'll se her again
whether it works or not.
you drive down to the shore and sit
in your car. it's almost noon.

-another bed, other ears, other
ear rings, other mouths, other slippers, other
dresses

colors, doors, phone numbers.

you were once strong enough to live alone.
for a man nearing sixty you should be more
sensible.

you start the car and shift,
thinking, I'll phone Jeanie when I get in,
I haven't seen her since Friday.

SHE SAID
from: War All the Time

what are you doing with all those paper
napkins in your car?
we dont have napkins like
that
how come your car radio is
always turned to some
rock and roll station?do you drive around with
some
young thing?

you're
dripping tangerine
juice on the floor.
whenever you go into
the kitchen
this towel gets
wet and dirty,
why is that?

when you let my
bathwater run
you never
clean the
tub first.

why don't you
put your toothbrush
back
in the rack?

you should always
dry your razor

sometimes
I think
you hate
my cat.

Martha says
you were
downstairs
sitting with her
and you
had your
pants off.

you shouldn't wear
those
$100 shoes in
the garden

and you don't keep
track
of what you
plant out there

that's
dumb

you must always
set the cat's bowl back
in
the same place.

don't
bake fish
in a frying
pan...

I never saw
anybody
harder on the
brakes of their
car
than you.

let's go
to a
movie.

listen what's
wrong with you?
you act
depressed.

THE ALIENS
from The Last Night Of The Earth Poems

you may not believe it
but there are people
who go through life with
very little
friction of distress.
they dress well, sleep well.
they are contented with
their family
life.
they are undisturbed
and often feel
very good.
and when they die
it is an easy death, usually in their
sleep.

you may not believe
it
but such people do
exist.

but i am not one of
them.
oh no, I am not one of them,
I am not even near
to being
one of
them.
but they
are there

and I am
here.

BAD TIMES AT THE 3RD AND VERMONT HOTEL
from: You Get So Alone At Times that It Just Makes Sense

Alabam was a sneak and a theif and he came to my
room when I was drunk and
each time I got up he would shove me back
down.

you prick, I tole him, you know I can take you!

he just shoved me down
again.

I finally caught him a good one, right over the
temple
and he backed off and
left.
it was a couple of days later
I got even: I fucked his
girl.

then I went down and knocked on his
door.

well, Alabam, I fucked your women and now I'm going to
kick you all the way to
hell!

the poor guy started crying, he put his hands over his
face and just cried

I stood there and watched
him.

then i left him there, i went back to
my room.

we were all alkies and none of us had jobs, all we had
was each other.


even then, my so-called women was in some bar or
somewhere, i hadn't seen her in a couple of
days.

I had a bootle of port
left.

i uncorked it and took it down to Alabam's
room.

said, how about a drink,
Rebel?

he looked up, stood up, went for two glasses.

THOSE GIRLS WE FOLLOWED HOME
from: You Get So Alone At Times that It Just MAkes Sense

in junior high the two prettiest girls were
Irene and Louise,
they were sisters;
Irene was a year older, a little taller
but it was difficult to choose between
them;
they were not only pretty but they were
astonishingly beautiful
so beautiful
that the boys stayed away from them;
they were terrified of Irene and
Louise
who weren't aloof at all;
even friendlier than most
but
who seemed to dress a bit
differently than the other girls;
they always wore high heels'
silk stockings,
blouses,
skirts,
new outfits
each day;
and'
one afternoon
my buddy, Baldy, and i followed them
home from school;
you see, we were kind of
the bad guys on the grounds
so it was
more or less
expected,
and
it was soomething:
walking along ten or twelve feet behind them;
we didnt say anything
we just followed
watching
their voultuous swaying,
the balance of the
haunches.

we liked it so much that we
followed them home from school
every
day.

when they'd go into their house
we'd stand outside on the sidewalk
smoking cigarettes and talking.

"someday". I told Baldy.
"they are going to invite us inside their
house and they are going to
fuck us."

"you really think so?"

"sure."

now
50 years later
I can tell you
they never did
-never mind all the stories we
told the guys;
yes, it's a dream that
keepds you going
then and
now.

*They Will Be Coming Around That Mountain- The Muisc Of The New Lost City Ramblers

Click On Title To Link To New Lost City Ramblers Wikipedia entry.

CD REVIEWS

The Roots Of Urban Folk

Outstanding In Their Field, Volume II, 1963-73, The New Lost City Ramblers, Smithsonian/Folkways, 1993

Recently I was listening to a local talk show here in Boston in which the subject was which way at least part of the American music scene was headed. One of the premises of the show was that roots music, you know, the blues, jazz, and the mountain music presented here in this album was once again going to form the new “in " music. Fair enough. These genres have been mined before for their expressions of Americana and they can be mined in the future for that same purpose. But here is the question that I have that underlies that above-mentioned radio show premise. How is it that “roots” music, and here I want to concentrate on mountain music and other traditions genres, transmitted?

Well, one answer to that question, before the last “dust-up’ a few years ago with the movies "The Song Catcher" and George Clooney’s "Brother, Where Art Thou", was the folk revival of the early 1960’s. And one of the key groups that consciously sought to find and play that music in its old form was the group under review, The New Lost City Ramblers. Needless to say, having Mike Seeger the legendary Pete’s Seeger's half-brother involved meant that there is going to be a very deep respect for those traditions. And it shows here in this compilation of their work from 1963-73. There is pure mountain music, some ragtime, some elemental jazzy things, some impromptu jug music, a little talking blues, Cajun; in short everything one needs to investigate the music of the folk before the arrival of serious technology changed the regional nature of folk and traditional music forever. Listen here for thoughtful renditions of these types of music and respect for the instrumentation of the times.

The Genesis of The Folk Revival

The New Lost City Ramblers: The Early Years, 1958-1962, The New Lost City Ramblers, Smithsonian/Folkways, 1991

Recently I was listening to a local talk show here in Boston in which the subject was which way at least part of the American music scene was headed. One of the premises of the show was that roots music, you know, the blues, jazz, and the mountain music presented here in this album was once again going to form the new “in " music. Fair enough. These genres have been mined before for their expressions of Americana and they can be mined in the future for that same purpose. But here is the question that I have that underlies that above-mentioned radio show premise. How is it that “roots” music, and here I want to concentrate on mountain music and other traditions genres, transmitted?

Well, one answer to that question, before the last “dust-up’ a few years ago with the movies “The Song Catcher” and George Clooney’s “Brother, Where Art Thou”, was the folk revival of the early 1960’s. And one of the key groups that consciously sought to find and play that music in its old form was the group under review, The New Lost City Ramblers. Needless to say, having Mike Seeger the legendary Pete’s Seeger's half-brother involved meant that there is going to be a very deep respect for those traditions. And it shows here in this compilation of their work from 1963-73. There is pure mountain music, some ragtime, some elemental jazzy things, some impromptu jug music, a little talking blues, some politics of the liberal FDR kind; in short everything one needs to investigate the music of the folk before the arrival of serious technology changed the regional nature of folk and traditional music forever. Listen here for thoughtful renditions of these types of music and respect for the instrumentation of the times.

HOW CAN A POOR MAN STAND SUCH TIMES AND LIVE ?

Blind Alfred Reed - 1929

There once was a time when everything was cheap,
But now prices nearly puts a man to sleep.
When we pay our grocery bill,
We just feel like making our will --
I remember when dry goods were cheap as dirt,

We could take two bits and buy a dandy shirt.
Now we pay three bucks or more,
Maybe get a shirt that another man wore --
Tell me how can a poor man stand such times and live?
Well, I used to trade with a man by the name of Gray,

Flour was fifty cents for a twenty-four pound bag.
Now it's a dollar and a half beside,
Just like a-skinning off a flea for the hide --
Tell me how can a poor man stand such times and live?

Oh, the schools we have today ain't worth a cent,
But they see to it that every child is sent.
If we don't send everyday,
We have a heavy fine to pay --
Tell me how can a poor man stand such times and live?

Prohibition's good if 'tis conducted right,
There's no sense in shooting a man 'til he shows flight.
Officers kill without a cause,
They complain about funny laws --
Tell me how can a poor man stand such times and live?

Most all preachers preach for gold and not for souls,
That's what keeps a poor man always in a hole.
We can hardly get our breath,
Taxed and schooled and preached to death --
Tell me how can a poor man stand such times and live?

Oh, it's time for every man to be awake,
We pay fifty cents a pound when we ask for steak.
When we get our package home,
A little wad of paper with gristle and a bone --
Tell me how can a poor man stand such times and live?

Well, the doctor comes around with a face all bright,
And he says in a little while you'll be all right.
All he gives is a humbug pill,
A dose of dope and a great big bill --
Tell me how can a poor man stand such times and live?


We've Got Franklin Delano Roosevelt Back Again Lyrics

WE'VE GOT FRANKLIN DELANO ROOSEVELT BACK AGAIN

Just hand me my old Martin for soon I will be startin'
Back to dear old Charleston far away
Since Roosevelt's been re-elected, we'll not be neglected
We've got Franklin D. Roosevelt back again

Back again, back again
We've got Franklin D. Roosevelt back again
Since Roosevelt's been re-elected
Moon liquor's been corrected
We've got legal wine, whiskey, beer and gin

I'll take a drink of brandy and let myself be handy
Good old times are coming back again
You can laugh and tell a joke, you can dance and drink and smoke
We've got Franklin D. Roosevelt back again
We've got Franklin D. Roosevelt back again
We'll have money in our jeans
We can travel with the queen
We've got Franklin D. Roosevelt back again

No more breadlines, we're happy to say the donkey won election
day
No more standing in the blowing, snowing rain
He's got things in full swing, we're all working and getting our
pay
We've got Franklin D. Roosevelt back again

We've got Franklin D. Roosevelt back again
Since Roosevelt's been re-elected
Moon liquor's been corrected
We've got Franklin D. Roosevelt back again

No Depression In Heaven

For fear the hearts of men are failing,
For these are latter days we know
The Great Depression now is spreading,
God's word declared it would be so

I'm going where there's no depression,
To the lovely land that's free from care
I'll leave this world of toil and trouble,
My home's in Heaven, I'm going there

In that bright land, there'll be no hunger,
No orphan children crying for bread,
No weeping widows, toil or struggle,
No shrouds, no coffins, and no death

This dark hour of midnight nearing
And tribulation time will come
The storms will hurl in midnight fear
And sweep lost millions to their doom

My Sweet Farm Girl - Clarence Ashley
Lyrics:

My sweet farm girl, she's jolly of my pride
My sweet farm girl, she's jolly of my pride
She knows I know how to keep her satisfied

So early in the morning I cut her grass you bet
So early in the morning I cut her grass you bet
Pull up the hose; I keep her lawn all wet

I close her fire; I shake her ashes down
I close her fire; I shake her ashes down
We eat our breakfast, then we ride on back to town

I keep her garden all free from bugs and weeds
I keep her garden all free from bugs and weeds
I plow her land, and then I sow my seeds

I trim her hedges; I clean out her back yard
I trim her hedges; I clean out her back yard
She loves her daddy because I'm long and hard

Notes:
Recorded on December 1, 1931 in New York City. Ashley plays guitar and sings, with Gwen Foster on guitar and harmonica. The sexual connotations are rather obvious.


Battleship Of Maine - Lyrics & Chords

C

Mc Kinley called for volunteers,

Then I got my gun,


F
First Spaniard I saw coming
C
I dropped my gun and run,
G7 C
It was all about that Battleship of Maine.

Chorus:


C
At war with that great nation Spain,

When I get back to Spain I want to honor my name,


G7 C
It was all about that Battleship of Maine.

Why are you running,
Are you afraid to die,
The reason that I'm running
Is because I cannot fly,
It was all about that Battleship of Maine.


The blood was a-running
And I was running too,
I give my feet good exercise,
I had nothing else to do,
It was all about that Battleship of Maine.


When they were a-chasing me,
I fell down on my knees,
First thing I cast my eyes upon
Was a great big pot of peas,
It was all about that Battleship of Maine.


The peas they were greasy,
The meat it was fat,
The boys was fighting Spaniards
While I was fighting that,
It was all about that Battleship of Maine.

*Obama's Afghan War Budget Update- This Is Not Your Father’s War- But It May Be Your Children’s

Click On Title For Link To Associated Press story on Obama's Afghan War Budget.

The Democratic Party-controlled United States has passed the Obama Administration's Afghan/Iraq supplementary war budget. I repost my comments from May 15, 2009 after the United States House of Representatives originally passed the budget. I stand by those comments.

*******************

This Is Not Your Father’s War- But It May Be Your Children’s- Obama’s Afghan War- Vote No With Both Hands On The War Budget!

President withholds torture photos as national security measure. President revives military tribunals. Congress gets ready to pass President’s supplementary Afghan/Iraq war budgets. Correct me if I am wrong but is this May 15, 2008 or May 15, 2009. These are headlines formerly associated with the Cheney/Bush Administration. For those who are ready to shed a few dogmatic illusions the contours of the Age of Obama are starting to come into focus. And it isn’t pretty. The streets are not for dreaming now. Read on.


Commentary

Sometime soon, perhaps as this commentary is being written on Friday May 15, 2007, the Democrat Party-controlled Congress will have passed the latest supplemental war budget appropriations asked for by the Obama Administration (actually more that they asked for, nice right?). I have already noted previously in a commentary earlier this year, as this issue surfaced, that such supplementary war budgets were a hallmark of the …Bush Administration. But we will let that little issue pass because the “big deal” here is how little opposition (and press coverage) there has been now that the “good guys” are in charge. The epitome of such servile non-opposition (Ouch! Sorry for this awkward expression.) is exemplified by the lack on efforts to oppose this war budget by the so-called “anti-war’ Progressive Democratic Caucus. The “highlight” of Democratic opposition centers on a bill by left-liberal Massachusetts Democratic Congressman James McGovern to “require” the Pentagon to come up with an “exit” strategy for Afghanistan by the end of this year. So much for the vaunted parliamentary opposition. Hence the title of the headline of this commentary.

Such innocuous and, frankly, baffling legislation does not even come close to rising to the occasions in the past where the likes of Congressman McGovern at least voted against the war budget. If Congressman McGovern represents the most extreme left expression within the Democratic Party on war issues, and I believe that he does, one hardly needs a crystal ball to realize that the already almost eight year American presence in Afghanistan has just gotten a lot longer. Add to that the recent decisions to have “Shoot first, and let god sort the rest out” General McChrystal replace the old-line armchair General McKiernan and you now know why at the very beginning of this Obama Administration I stated that he has staked his place in history on the outcome of that war. For those who despair that their children will be fighting in Afghanistan I do have a simple solution. Fight around this slogan- Obama- Immediate Unconditional Withdrawal Of All U.S./Allied Troops From Afghanistan (and Iraq). Do it for the kids.


********

House Passes War Funds As 51 Democrats Dissent

By Perry Bacon Jr.
Washington Post Staff Writer
Friday, May 15, 2009


The House passed a bill yesterday that would provide more than $96 billion in funding for the wars in Afghanistan and Iraq through Sept. 30, as President Obama had requested, but a bloc of 51 Democrats opposed it.

Democratic opponents are accusing Obama of the same charge they leveled against his predecessor: escalating a war without a clear exit strategy.

The bill passed 368 to 60, with 200 Democrats and all but nine Republicans supporting it.

Democratic opponents did not attack Obama by name, but some likened his increase of 21,000 troops and billions of dollars to win the war in Afghanistan to President George W. Bush's efforts in Iraq.

"When George Bush was president, I was on this floor saying we need an exit strategy," said Rep. Jim McGovern (D-Mass.). "The same applies with Afghanistan. I'm tired of wars with no deadlines, no exits and no ends."

Rep. Maxine Waters (D-Calif.), who also voted against the bill, said that "this bill simply amplifies and extends failed policies."

The vote came the same day that another part of Obama's security agenda -- closing the detention facility at Guantanamo Bay, Cuba -- drew criticism from his party. The Democratic-controlled Senate Appropriations Committee passed a bill that includes $50 million to close the prison, as Obama promised during the campaign.

But the measure bans Obama from using the money to bring any of the 241 detainees to the United States, a move that administration officials have suggested might be necessary to get other countries to accept prisoners. The measure also requires the administration present Congress with a detailed plan on closing the prison before the money can be used.

Senate Democratic leaders criticized Obama for not having presented such a plan, as Republicans continue to highlight the issue and accuse the administration of putting Americans at risk with its proposal to bring potential terrorists to the United States.

Obama defended his strategy for Afghanistan in a meeting late last month with the Congressional Progressive Caucus, a group of more than 70 liberal members, many of whom opposed the funding bill. But most House Democrats indicated they want to give Obama's strategy a chance to succeed.

"The questions that were not being asked are now being asked," said Rep. Tom Perriello (D-Va.), who voted for the supplemental funding.

House Democratic leaders refused to back an effort by McGovern and other antiwar legislators that would require Obama to provide Congress a detailed exit strategy for Afghanistan by the end of the year.

Some Democratic senators, particularly Russell Feingold (Wis.), have also criticized Obama's proposal, but the funding is expected to be approved there, possibly as soon as next week. Republicans have said they might oppose increased funding for the International Monetary Fund, a request that has been inserted in the Senate version.

Some liberal activist groups, such as MoveOn.org, which sharply criticized Bush's efforts to increase troops in Iraq two years ago, have said little about Obama's troop increase in Afghanistan.

The failed effort to amend the House bill illustrated the ineffectiveness of some of the House's most liberal members. While the caucus of conservative Democrats known as the Blue Dogs has effectively blocked some of Obama's proposals, such as a ban on assault weapons, liberal Democrats have struggled with two of their biggest priorities: establishing a commission to investigate allegations of violations by the Bush administration; and greater reductions of troops in Iraq and Afghanistan.

McGovern said he remains concerned about Obama's policy in Afghanistan but is not sure exactly what he and others could do.

"I like Barack Obama; I thank God he's president; I think he will be a great president," McGovern said. "But sometimes great presidents make mistakes."

Lenin On The Three Sources Of Marxism

Markin comment:

As almost always these historical articles and polemics are purposefully helpful to clarify the issues in the struggle against world imperialism, particularly the “monster” here in America.

Workers Vanguard No. 937
22 May 2009


“The Three Sources and Three Component Parts of Marxism”

By V.I. Lenin

(From the Archives of Marxism)

V.I. Lenin’s “The Three Sources and Three Component Parts of Marxism,” which we reprint below, was first published in March 1913 in the Bolshevik journal Prosveshcheniye to commemorate the 30th anniversary of the death of Karl Marx, who, along with Friedrich Engels, founded scientific socialism. The following translation is taken from Volume 19 of the Collected Works of Lenin (Foreign Languages Publishing House, Moscow 1963).

Throughout the civilised world the teachings of Marx evoke the utmost hostility and hatred of all bourgeois science (both official and liberal), which regards Marxism as a kind of “pernicious sect.” And no other attitude is to be expected, for there can be no “impartial” social science in a society based on class struggle. In one way or another, all official and liberal science defends wage-slavery, whereas Marxism has declared relentless war on that slavery. To expect science to be impartial in a wage-slave society is as foolishly naïve as to expect impartiality from manufacturers on the question of whether workers’ wages ought not to be increased by decreasing the profits of capital.

But this is not all. The history of philosophy and the history of social science show with perfect clarity that there is nothing resembling “sectarianism” in Marxism, in the sense of its being a hidebound, petrified doctrine, a doctrine which arose away from the high road of the development of world civilisation. On the contrary, the genius of Marx consists precisely in his having furnished answers to questions already raised by the foremost minds of mankind. His doctrine emerged as the direct and immediate continuation of the teachings of the greatest representatives of philosophy, political economy and socialism.

The Marxist doctrine is omnipotent because it is true. It is comprehensive and harmonious, and provides men with an integral world outlook irreconcilable with any form of superstition, reaction, or defence of bourgeois oppression. It is the legitimate successor to the best that man produced in the nineteenth century, as represented by German philosophy, English political economy and French socialism.

It is these three sources of Marxism, which are also its component parts, that we shall outline in brief.

I

The philosophy of Marxism is materialism. Throughout the modern history of Europe, and especially at the end of the eighteenth century in France, where a resolute struggle was conducted against every kind of medieval rubbish, against serfdom in institutions and ideas, materialism has proved to be the only philosophy that is consistent, true to all the teachings of natural science and hostile to superstition, cant and so forth. The enemies of democracy have, therefore, always exerted all their efforts to “refute,” undermine and defame materialism, and have advocated various forms of philosophical idealism, which always, in one way or another, amounts to the defence or support of religion.

Marx and Engels defended philosophical materialism in the most determined manner and repeatedly explained how profoundly erroneous is every deviation from this basis. Their views are most clearly and fully expounded in the works of Engels, Ludwig Feuerbach and Anti-Dühring, which, like the Communist Manifesto, are handbooks for every class-conscious worker.

But Marx did not stop at eighteenth-century materialism: he developed philosophy to a higher level. He enriched it with the achievements of German classical philosophy, especially of Hegel’s system, which in its turn had led to the materialism of Feuerbach. The main achievement was dialectics, i.e., the doctrine of development in its fullest, deepest and most comprehensive form, the doctrine of the relativity of the human knowledge that provides us with a reflection of eternally developing matter. The latest discoveries of natural science—radium, electrons, the transmutation of elements—have been a remarkable confirmation of Marx’s dialectical materialism despite the teachings of the bourgeois philosophers with their “new” reversions to old and decadent idealism.

Marx deepened and developed philosophical materialism to the full, and extended the cognition of nature to include the cognition of human society. His historical materialism was a great achievement in scientific thinking. The chaos and arbitrariness that had previously reigned in views on history and politics were replaced by a strikingly integral and harmonious scientific theory, which shows how, in consequence of the growth of productive forces, out of one system of social life another and higher system develops—how capitalism, for instance, grows out of feudalism.

Just as man’s knowledge reflects nature (i.e., developing matter), which exists independently of him, so man’s social knowledge (i.e., his various views and doctrines—philosophical, religious, political and so forth) reflects the economic system of society. Political institutions are a superstructure on the economic foundation. We see, for example, that the various political forms of the modern European states serve to strengthen the domination of the bourgeoisie over the proletariat.

Marx’s philosophy is a consummate philosophical materialism which has provided mankind, and especially the working class, with powerful instruments of knowledge.

II

Having recognised that the economic system is the foundation on which the political superstructure is erected, Marx devoted his greatest attention to the study of this economic system. Marx’s principal work, Capital, is devoted to a study of the economic system of modern, i.e., capitalist, society.

Classical political economy, before Marx, evolved in England, the most developed of the capitalist countries. Adam Smith and David Ricardo, by their investigations of the economic system, laid the foundations of the labour theory of value. Marx continued their work; he provided a proof of the theory and developed it consistently. He showed that the value of every commodity is determined by the quantity of socially necessary labour time spent on its production.

Where the bourgeois economists saw a relation between things (the exchange of one commodity for another) Marx revealed a relation between people. The exchange of commodities expresses the connection between individual producers through the market. Money signifies that the connection is becoming closer and closer, inseparably uniting the entire economic life of the individual producers into one whole. Capital signifies a further development of this connection: man’s labour-power becomes a commodity. The wage-worker sells his labour-power to the owner of land, factories and instruments of labour. The worker spends one part of the day covering the cost of maintaining himself and his family (wages), while the other part of the day he works without remuneration, creating for the capitalist surplus-value, the source of profit, the source of the wealth of the capitalist class.

The doctrine of surplus-value is the corner-stone of Marx’s economic theory.

Capital, created by the labour of the worker, crushes the worker, ruining small proprietors and creating an army of unemployed. In industry, the victory of large-scale production is immediately apparent, but the same phenomenon is also to be observed in agriculture, where the superiority of large-scale capitalist agriculture is enhanced, the use of machinery increases and the peasant economy, trapped by money-capital, declines and falls into ruin under the burden of its backward technique. The decline of small-scale production assumes different forms in agriculture, but the decline itself is an indisputable fact.

By destroying small-scale production, capital leads to an increase in productivity of labour and to the creation of a monopoly position for the associations of big capitalists. Production itself becomes more and more social—hundreds of thousands and millions of workers become bound together in a regular economic organism—but the product of this collective labour is appropriated by a handful of capitalists. Anarchy of production, crises, the furious chase after markets and the insecurity of existence of the mass of the population are intensified.

By increasing the dependence of the workers on capital, the capitalist system creates the great power of united labour.

Marx traced the development of capitalism from embryonic commodity economy, from simple exchange, to its highest forms, to large-scale production.

And the experience of all capitalist countries, old and new, year by year demonstrates clearly the truth of this Marxian doctrine to increasing numbers of workers.

Capitalism has triumphed all over the world, but this triumph is only the prelude to the triumph of labour over capital.

III

When feudalism was overthrown and “free” capitalist society appeared in the world, it at once became apparent that this freedom meant a new system of oppression and exploitation of the working people. Various socialist doctrines immediately emerged as a reflection of and protest against this oppression. Early socialism, however, was utopian socialism. It criticised capitalist society, it condemned and damned it, it dreamed of its destruction, it had visions of a better order and endeavoured to convince the rich of the immorality of exploitation.

But utopian socialism could not indicate the real solution. It could not explain the real nature of wage-slavery under capitalism, it could not reveal the laws of capitalist development, or show what social force is capable of becoming the creator of a new society.

Meanwhile, the stormy revolutions which everywhere in Europe, and especially in France, accompanied the fall of feudalism, of serfdom, more and more clearly revealed the struggle of classes as the basis and the driving force of all development.

Not a single victory of political freedom over the feudal class was won except against desperate resistance. Not a single capitalist country evolved on a more or less free and democratic basis except by a life-and-death struggle between the various classes of capitalist society.

The genius of Marx lies in his having been the first to deduce from this the lesson world history teaches and to apply that lesson consistently. The deduction he made is the doctrine of the class struggle.

People always have been the foolish victims of deception and self-deception in politics, and they always will be until they have learnt to seek out the interests of some class or other behind all moral, religious, political and social phrases, declarations and promises. Champions of reforms and improvements will always be fooled by the defenders of the old order until they realise that every old institution, however barbarous and rotten it may appear to be, is kept going by the forces of certain ruling classes. And there is only one way of smashing the resistance of those classes, and that is to find, in the very society which surrounds us, the forces which can—and, owing to their social position, must—constitute the power capable of sweeping away the old and creating the new, and to enlighten and organise those forces for the struggle.

Marx’s philosophical materialism alone has shown the proletariat the way out of the spiritual slavery in which all oppressed classes have hitherto languished. Marx’s economic theory alone has explained the true position of the proletariat in the general system of capitalism.

Independent organisations of the proletariat are multiplying all over the world, from America to Japan and from Sweden to South Africa. The proletariat is becoming enlightened and educated by waging its class struggle; it is ridding itself of the prejudices of bourgeois society; it is rallying its ranks ever more closely and is learning to gauge the measure of its successes; it is steeling its forces and is growing irresistibly.

*When Clio Goes Tone Deaf...

Click On Title To Link To Clio Wikipedia Webpage.

Commentary

On any given day I like, no, I love to write political commentary, write a review about some lesson to be derived from an aspect of our leftist political history or make a point on some cultural remnant left by our forebears. However, every once in a while, and this period is one of them, Clio goes tone deaf on me and leaves me high and dry when I try to write something that makes sense to me, if not to the reader. Damn, the music of history that is seemingly always ringing in my ears has abandoned me. The old muse is indeed fickle.

No one, including this writer, expects that everything that comes to mind is unalloyed gold. I note that many of the political writers that I regard highly had, on occasion, the same problem. For example, Leon Trotsky’s “History Of The Russian Revolution” not only contains a million insightful comments and lessons but has an almost musical flow as one turns each page. Clio was smiling, no question. Other of Trotsky’s writings, especially concerning the internal struggles with his co-thinkers to create a new revolutionary cadre after the political demise of the Communist International in the 1930’s, seem forced by comparison.

Or take “Doctor Gonzo”, Hunter S. Thompson, in his various writings on the demise of one Richard Nixon, at one time President of The United States and common criminal, for “Rolling Stone” in the early 1970’s. Again, one could hear the notes almost fly off the page. By the time he got to Bill Clinton old Clio had gone on vacation and Hunter was praying for Ralph Steadman to create enough weirdly insightful political art to cover up the scarcity of the script. Not a pretty place to be, for sure. I, however, share that same trough today.

Frankly, what I need to do is get off the heavy political/cultural treadmill and just rip through some half-baked screed. The following is just such an effort. There is a little historical method to the madness though, even in this. Recently I have been reading about the various reform movements that swept through America in the age of Andrew Jackson in the early 19th century. I have written about some of them in this space on previous occasions like the critically important stirrings of the anti-slavery movement, the religious fervor that “burnt out” the East and headed west during the Second Great Awakening, the temperance movement and the struggle for woman’s suffrage.

In that same vane, but generally overlooked, and rightfully so, were various health fads that blossomed at the time, including the one ‘discussed’ here, around the virtues of a graham flour diet. Hell, we have been bombarded with every other possible health fad why not resurrect an old standby. Moreover, it gives me a topic for today-thanks for the life line Doctor Graham.

Do Not Go Gently…

… with Jim F., Class of 1964, in mind.

Okay, I am, once again, on my high horse today. I have heard enough, in fact more than enough, whining from fellow classmates that I have been in contact with as we get ready for our 45th high school reunion (ouch!) and others of my contemporaries from the “Generation of’68” about the aches and pains of becoming ‘a certain age’. If I hear one more story about a knee replacement or other transformative surgery I will go screaming to that good night. The same goes for descriptions of the CVS-worthy litany of the contents of an average medicine cabinet. Come on, after a life time of booze, dope and wild times what did you expect? For those of us who have not lived right, lo these many years, the chickens have come home to roost. But I have a cure. Make that THE cure.

No I am not, at this late date, selling the virtues of the Bible, the Torah, the Koran or any of a thousand and one religious cures we are daily bombarded with. You knew, or at least I hope you knew, I wasn’t going to go that route. That question, in any case, is each individual’s prerogative and I have no need to interfere there. Nor am I going to go on and on about the wonders of liposuction, botox, chin lifts, buttocks tuckers, stomach flatteners and the like. Damn, have we come to that? And I certainly do not want to inflame the air with talk of existentialism or some other secular philosophies that tell you to accept your fate with your head down. You knew that, as well. No, I am here to give the glad tidings, unadorned. Simply put- two words-Graham crackers. No, do not reach for the reading glasses, your eyes do not deceive you- graham crackers is what I said.

Hear me out on this. I am no “snake oil” salesman, nor do I have stock in Nabisco (moreover their products are not ‘true’ graham). So, please do not start jabbering to me about how faddish that diet was- in about 1830. I know that it has been around a while. And please do not start carping about how wasn’t this healthful substance a ‘magic elixir’, or some such, that Ralph Waldo Emerson and his transcendentalist protégés praised to high heaven back in Brook Farm days. Well, I frankly admit, as with any such movement, some of those guys went over the top, especially that wacky Bronson Alcott. Irresponsible zealots are always with us. Please, please do not throw out the baby with the bath water.

Doctor Graham simply insisted that what our dietary intake consisted of was important and that a generous amount of graham flour in the system was good for us. Moreover, in order to avoid some of the mistakes of the earlier movement, in the age of the Internet we can now Google to find an almost infinite variety of uses and helpful recipes. Admit it, right now your head is swirling thinking about how nice it would be to have a few crackers and a nice cold glass of milk (fat-free or 1%, of course). Admit also; you loved those graham crumb-crusted pies your grandmother used to make. Case closed.

If people have been mistaking you for your father’s brother or mother’s sister lately then this is your salvation. So scurry down to your local Whole Foods or other natural food store and begin to fight your way back to health. Let me finish with this testimonial. I used to regularly be compared in appearance to George Bush, Sr. Now I am being asked whether Brad Pitts is my twin brother. Or is it Robert Redford? …..Oh well, that too is part of the aging process.

*Austin City Inner Limits- The Blues Addiction (Thankfully) Of Clifford Antone And The “Antone’s” Experience

Click on title to link to YouTube film clip of Eddie Taylor and Sunnyland Slim, two of the blues artists featured on this DVD review. This, my friends, is blues history down at the base.

DVD Review

Antone’s: Home Of The Blues, Clifford Antone and a huge cast of legendary male and female blues players, old and new, Etc. Film Productions, 2006

Get this DVD. Hold on a minute. Doesn’t this reviewer usually wait until he gives 101reasons why the reader should (or should not) spend time, money and energy on a reviewed item? Get this DVD. Why? This writer has strewn this space with more examples of historically important moments, events or personalities in music and other arts, general human culture and politics than one can shake a stick at. What drives this work is an attempt to give notice to the sometimes unknown (or not well-known) sources and support system for the kind of things that interest him. The blues interests him. And if one views this little gem of a DVD about the efforts of the late Clifford Antone, who for over thirty years was the pivotal figure in the Austin, Texas blues (and other genre) scene, then one will understand what I am trying to get at in these reviews.

Look, these days the popularity of the blues is at one of its lower points. Others forms of entertainment, including the rise and continued dominance of the variants of the hip-hop tradition among the young, the passing or retirement of the post-World War II legendary electric blues players that formed the transmission belt from the early rural blues tradition and dwindling number of us who still value this quintessential form of American music has taken it toll. As this DVD rather graphically, lovingly and with a bit of humor points out the role of “keeper of the flame” is, as they say, a hard dollar.

Yet beginning in 1975 (another low blues point) Clifford Antone and his friends did exactly that. This documentary is filled with the exploits, great and small, that went into that task, including the usual “talking head” commentary that one expects (and here wants) in this kind of documentary). Now “Antone’s” in Austin, Texas does for the blues tradition what the promoters of mountain music in Ashville, North Carolina or the owners of Club Passim (now non-profit) and Caffe Lena’s did for folk music in Cambridge, Massachusetts and Saratoga, New York have done to ‘keep the flame alive’ in these important musical traditions. But even more than that Clifford Antone and friends, seemingly, connected with every important living blues tradition of the last half of the 20th century. There are probably few places in America where the Muddy Waters/Howlin’ Wolf tradition (in the person of legendary guitarist Hubert Sumelin) could meet Stevie Ray and Jimmy Vaughn, Doug Sahm, the Thunderbirds and a host of other Texas talent- and it worked. Get this DVD. Oops, I said that already, didn’t I.

Illinois Blues - Sunnyland Slim lyrics

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.

*Bottom Rail On Top?- Playwright August Wilson's "Seven Guitars"

Click On Title To Link To August Wilson Home page.

Play Review

Seven Guitars (1948), August Wilson, Theater Communications Group, New York, 2007

Okay, blame it on the recently departed Studs Terkel and his damn interview books. I had just been reading his "The Spectator", a compilation of some of his interviews of various authors, actors and other celebrities from his long-running Chicago radio program when I came across an interview that he had with the playwright under review here, August Wilson. Of course, that interview dealt with things near and dear to their hearts on the cultural front and mine as well. Our mutual love of the blues, our concerns about the history and fate of black people and the other oppressed of capitalist society and our need to express ourselves politically in the best way we can. For Studs it was the incessant interviews, for me it is incessant political activity and for the late August Wilson it was his incessant devotion to his century cycle of ten plays that covered a range of black experiences over the 20th century.

Strangely, although I was familiar with the name of the playwright August Wilson and was aware that he had produced a number of plays that were performed at a college-sponsored repertory theater here in Boston I had not seen or read his plays prior to reading the Terkel interview. Naturally when I read there that one of the plays being discussed was entitled "Ma Rainey's Black Bottom" about the legendary female blues singer from the 1920's I ran out to get a copy of the play. That play has been reviewed elsewhere in this space but as is my habit when I read an author who "speaks" to me I grab everything I can by him or her to see where they are going with the work. This is doubly true in the case of Brother Wilson as his work is purposefully structured as an integrated cycle, and as an intensive dramatic look at the black historical experience of the 20th century that has driven a lot of my own above-mentioned political activism.


The action of this play takes place in a black neighborhood in Pittsburgh (Wilson's home town) in 1948. This, moreover, is the fifth and thus the middle play in the century cycle. Both these facts are important in understanding the tensions of the play. One of Terkel's oral histories is entitled "The Good War", about the trials and tribulations of those on all sides of the conflict in World War II and from all strata in the American experience of that war. Implicit in Terkel's use of quotation marks around the words in his title is that, on reflection and with time the expectations from that war might not be all they were made out to be. That, at least, jibes with my own sense of the dilemma that confronted those who fought the war. I believe that Wilson also is reflecting on that understanding in this work since some promises were made to black people then that "their boats would also rise" after their key role in industry on the home front and in the ranks of the (segregated) army.

The story line, as seems to be axiomatic with Wilson, is fairly straight forward if the issues presented and the dialogue spoken that convey those issues are much more complex. Army veteran Floyd has some musical talent and heads out to try his luck in the Mecca (for migrating southern blacks)- Chicago and has just had a hit. However, through the well-known vagaries of American racial life, as filtered through common black experience, he hasn't been able to cash in on his success. So, to avoid being the classic `one hit' Johnnie who clutter the cultural landscape of America, Floyd sets out to re-conquer Chicago on his terms- if he can just get that guitar out of hock, get that band together, get that woman (Vera) to believe in him and his ability to succeed and if he can avoid the "cutthroats" (literally) out to cut him down to size all will be well. Floyd fails, and that failure is a metaphor for the black condition in the 1940's. Maybe things will turn out better later but "the dream" is still on hold here. This, my friends, is powerful, powerful stuff beyond what I can describe to you here in this short summary.

Wilson's conceptual framework, as I have mentioned previously in a review of his "Ma Rainey's Black Bottom", is impeccable. Placing the scene in 1940's Pittsburgh permits him to give a bird's eye view of that great migration of blacks out of the south in the post-World War I period at a time when they are shaking off those roots (as exemplified by the nice contrast in the play between the old time thinking Miss Tilley's with her ill-fated rooster and Louise and Vera ). Floyd, Red Carter and Canewell, among others (including Ruby, recently arrived from the South) are now "assimilated". Moreover, Wilson is able to succinctly draw in the questions of white racism (powerfully so in the story of Floyd's agent, Mr. T. H. Hall), black self-help , black hatred of whites (Hedley's tirades), black self-hatred, black illusion (that the `lifting' of the white boats was going to end, for blacks, the seemingly permanent Great Depression), black pride (through the link with past black historical figures and with the then current hero, Joe Louis), the influence of the black church (good or bad), black folk wisdom (as portrayed by Canewell, who is more grounded in his memories of his southern roots than the others) and, in the end, the rage behind black on black violence (Hedley) resulting from a world that not was not made by the characters in this play but took no notice of their long suppressed rage that turned in on itself.

And all the time while one is reading the play one is struck by the music of the dialogue, it's always the blues. I posed a question in the review of "Ma Rainey" asking, plaintively, "what are the blues?". That is, apparently, to be my theme in reviewing the body of Brother Wilson's work. I will let the last line of that review stand here. "So if anyone asks you what the blues are you now know what to say- read and see Mr. Wilson's play(s)".

*Free Troy Davis- Down With The Death Penalty!

Guest Commentary

This news item is passed on from the Partisan Defense Committee. I add my voice to this chorus. Free Troy Davis! Down With the Death Penalty!


Death Penalty Appeal Denied

Free Troy Davis!

On April 16, a federal appeals court in Atlanta turned down a petition for habeas corpus by Troy Davis, who was framed up and convicted in 1991 for the killing of a cop. Davis, who was just two hours away from execution last September, is again facing legal lynching.

In refusing to even consider the overwhelming evidence of Davis’s innocence, the federal court relied on Bill Clinton’s 1996 Antiterrorism and Effective Death Penalty Act, which virtually eliminated the right of habeas corpus appeal for those sentenced to death in state courts. This law has also been the pretext for the federal courts’ refusal to hear evidence of death row political prisoner Mumia Abu-Jamal’s innocence. Davis has until May 16 to appeal to the U.S. Supreme Court, the same racist court that refused to consider his case last October. In the 1993 case of Leonel Herrera, the Supreme Court declared that execution of an innocent man did not violate the Constitution. The following May 2 protest letter was sent by the Partisan Defense Committee—a class-struggle, non-sectarian legal and social defense organization associated with the Spartacist League—to Georgia governor George Ervin Perdue.

We are again writing to protest the threatened execution of Troy Anthony Davis. On April 16, in a two to one decision, the 11th U.S. Circuit Court of Appeals grotesquely denied Davis’s appeal despite the massive evidence that he is innocent. His legal lynching is now stayed for 30 days, pending an appeal to the pro-death penalty U.S. Supreme Court.

Mr. Davis’s conviction was based on the testimony of “eyewitnesses” who were intimidated by policemen to falsely implicate him in the death of a white off-duty police officer. Seven of the nine prosecution witnesses have since recanted, several citing police misconduct. Evidence has shown that one of those still maintaining his original testimony is himself a suspect in the killing. The dissenting judge in the recent federal court decision said that the execution of Davis, “in the face of a significant amount of the proffered evidence that may establish his actual innocence,” was “unconscionable.”

Thousands of protests worldwide, including from Amnesty International and the Vatican, have railed against the execution of Troy Davis. The death penalty is cruel and barbaric. In the United States it is the racist legacy of centuries of slavery: it is the lynch rope made legal. We once again demand this racist atrocity be stopped and that Troy Davis be freed.

*Better Days Are Coming?-"Never Should Have Been No Too Early"-Playwright August Wilson's "Fences"

Click On Title to Link To August Wilson Home page.

Play/Book Review

Fences, August Wilson, New American Library, New York, 1986

The first couple of paragraphs of this review have been used as introduction to other August Wilson Century Cycle plays as well.

Okay, blame it on the recently departed Studs Terkel and his damn interview books. I had just been reading his "The Spectator", a compilation of some of his interviews of various authors, actors and other celebrities from his long-running Chicago radio program when I came across an interview that he had with the playwright under review here, August Wilson. Of course, that interview dealt with things near and dear to their hearts on the cultural front and mine as well. Our mutual love of the blues, our concerns about the history and fate of black people and the other oppressed of capitalist society and our need to express ourselves politically in the best way we can. For Studs it was the incessant interviews, for me it is incessant political activity and for the late August Wilson it was his incessant devotion to his century cycle of ten plays that covered a range of black experiences over the 20th century.

Strangely, although I was familiar with the name of the playwright August Wilson and was aware that he had produced a number of plays that were performed at a college-sponsored repertory theater here in Boston I had not seen or read his plays prior to reading the Terkel interview. Naturally when I read there that one of the plays being discussed was entitled "Ma Rainey's Black Bottom" about the legendary female blues singer from the 1920's I ran out to get a copy of the play. That play has been reviewed elsewhere in this space but as is my habit when I read an author who "speaks" to me I grab everything I can by him or her to see where they are going with the work. This is doubly true in the case of Brother Wilson as his work is purposefully structured as an integrated cycle, and as an intensive dramatic look at the black historical experience of the 20th century that has driven a lot of my own above-mentioned political activism.

The action of this play takes place in the mid-1950's in a black neighborhood in Pittsburgh (Wilson's home town) as do most of the plays in the cycle. This is the sixth play in the cycle and the first to reflect that notion that some profound changes were in the offing for black people, not all of them good and not all for the better. Both these facts are important in understanding the tensions of the play. Although Wilson's plays are almost exclusively centered in black life as it is lived in the neighborhood the various trials and tribulations of blacks elsewhere are woven into his story line. The white world, for the most part, except as represented by amorphous outside forces that have the access and control of the resources that blacks need to survive and break out of racial isolation are on the sidelines here. And that is as it should be in these plays on the black experience. Moreover, this truly reflects how it has been (and how it still is, notwithstanding the Obamaid) in that outer world.

I labelled this entry with the headline "Better Days Are Coming?" purposefully including the question mark. Surely, some progress toward the goal of racial equality, if not nearly enough, has been made over the last half century since the time period of this play. That is not the question. The real question is posed by the main character, Troy Maxton, who in his time was something of an exceptional baseball player, but who "came too early" to have it change the fortunes of his life. His reply: "ain't nothing should have ever been too early". Wilson hits the nail on the head here. After that remark nothing else really needs to be said.

Wilson's conceptual framework, as I have mentioned previously in a review of his "Ma Rainey's Black Bottom", is impeccable. Placing the scene in 1950's Pittsburgh permits him to give a bird's eye view of that great migration of blacks out of the South in the post-World War II period at a time when they are shaking off those old subservient southern roots. Wilson is also able to succinctly draw in the questions of white racism (obliquely here), black self-help (as in building that damn fence) , black hatred of whites, black self-hatred, black illusion (that the `lifting' of the white boats was going to end, for blacks, the seemingly permanent Great Depression), black pride (through the link with past black historical figures and with the then current hero, Jackie Robinson, although Troy has some cutting remarks on the status of that figure), the influence of the black church (good or bad), black folk wisdom (as portrayed by Jim Bono, who is more grounded in his memories of his southern roots than the others) and, in the end, the rage just below the surface of black existence (as portrayed here by Troy's mentally ill brother Gabriel, a character who epitomizes one of the tragic aspects of black male existence) resulting from a world that not was not made by the characters in this play but took no notice of their long suppressed rage that turned in on itself.

Unlike some of the earlier play, however, there is a little ray of hope in the character of Troy's son (by his wife Rose) Cory whose struggle for his own identity with his father and the world is a sub-theme here. As always, if you get a chance go see this play but, please, at least read it. Read the whole cycle.

*This Is Not Your Father’s War- But It May Be Your Children’s- Obama’s Afghan War

Click On Title For Link To Associated Press Story On Obama's Afghan War Budget.

This Is Not Your Father’s War- But It May Be Your Children’s- Obama’s Afghan War- Vote No With Both Hands On The War Budget!

President withholds torture photos as national security measure. President revives military tribunals. Congress gets ready to pass President’s supplementary Afghan/Iraq war budgets. Correct me if I am wrong but is this May 15, 2008 or May 15, 2009. These are headlines formerly associated with the Cheney/Bush Administration. For those who are ready to shed a few dogmatic illusions the contours of the Age of Obama are starting to come into focus. And it isn’t pretty. The streets are not for dreaming now. Read on.


Commentary

Sometime soon, perhaps as this commentary is being written on Friday May 15, 2007, the Democrat Party-controlled Congress will have passed the latest supplemental war budget appropriations asked for by the Obama Administration (actually more that they asked for, nice right?). I have already noted previously in a commentary earlier this year, as this issue surfaced, that such supplementary war budgets were a hallmark of the …Bush Administration. But we will let that little issue pass because the “big deal” here is how little opposition (and press coverage) there has been now that the “good guys” are in charge. The epitome of such servile non-opposition (Ouch! Sorry for this awkward expression.) is exemplified by the lack on efforts to oppose this war budget by the so-called “anti-war’ Progressive Democratic Caucus. The “highlight” of Democratic opposition centers on a bill by left-liberal Massachusetts Democratic Congressman James McGovern to “require” the Pentagon to come up with an “exit” strategy for Afghanistan by the end of this year. So much for the vaunted parliamentary opposition. Hence the title of the headline of this commentary.

Such innocuous and, frankly, baffling legislation does not even come close to rising to the occasions in the past where the likes of Congressman McGovern at least voted against the war budget. If Congressman McGovern represents the most extreme left expression within the Democratic Party on war issues, and I believe that he does, one hardly needs a crystal ball to realize that the already almost eight year American presence in Afghanistan has just gotten a lot longer. Add to that the recent decisions to have “Shoot first, and let god sort the rest out” General McChrystal replace the old-line armchair General McKiernan and you now know why at the very beginning of this Obama Administration I stated that he has staked his place in history on the outcome of that war. For those who despair that their children will be fighting in Afghanistan I do have a simple solution. Fight around this slogan- Obama- Immediate Unconditional Withdrawal Of All U.S./Allied Troops From Afghanistan (and Iraq). Do it for the kids.


********

House Passes War Funds As 51 Democrats Dissent

By Perry Bacon Jr.
Washington Post Staff Writer
Friday, May 15, 2009


The House passed a bill yesterday that would provide more than $96 billion in funding for the wars in Afghanistan and Iraq through Sept. 30, as President Obama had requested, but a bloc of 51 Democrats opposed it.

Democratic opponents are accusing Obama of the same charge they leveled against his predecessor: escalating a war without a clear exit strategy.

The bill passed 368 to 60, with 200 Democrats and all but nine Republicans supporting it.

Democratic opponents did not attack Obama by name, but some likened his increase of 21,000 troops and billions of dollars to win the war in Afghanistan to President George W. Bush's efforts in Iraq.

"When George Bush was president, I was on this floor saying we need an exit strategy," said Rep. Jim McGovern (D-Mass.). "The same applies with Afghanistan. I'm tired of wars with no deadlines, no exits and no ends."

Rep. Maxine Waters (D-Calif.), who also voted against the bill, said that "this bill simply amplifies and extends failed policies."

The vote came the same day that another part of Obama's security agenda -- closing the detention facility at Guantanamo Bay, Cuba -- drew criticism from his party. The Democratic-controlled Senate Appropriations Committee passed a bill that includes $50 million to close the prison, as Obama promised during the campaign.

But the measure bans Obama from using the money to bring any of the 241 detainees to the United States, a move that administration officials have suggested might be necessary to get other countries to accept prisoners. The measure also requires the administration present Congress with a detailed plan on closing the prison before the money can be used.

Senate Democratic leaders criticized Obama for not having presented such a plan, as Republicans continue to highlight the issue and accuse the administration of putting Americans at risk with its proposal to bring potential terrorists to the United States.

Obama defended his strategy for Afghanistan in a meeting late last month with the Congressional Progressive Caucus, a group of more than 70 liberal members, many of whom opposed the funding bill. But most House Democrats indicated they want to give Obama's strategy a chance to succeed.

"The questions that were not being asked are now being asked," said Rep. Tom Perriello (D-Va.), who voted for the supplemental funding.

House Democratic leaders refused to back an effort by McGovern and other antiwar legislators that would require Obama to provide Congress a detailed exit strategy for Afghanistan by the end of the year.

Some Democratic senators, particularly Russell Feingold (Wis.), have also criticized Obama's proposal, but the funding is expected to be approved there, possibly as soon as next week. Republicans have said they might oppose increased funding for the International Monetary Fund, a request that has been inserted in the Senate version.

Some liberal activist groups, such as MoveOn.org, which sharply criticized Bush's efforts to increase troops in Iraq two years ago, have said little about Obama's troop increase in Afghanistan.

The failed effort to amend the House bill illustrated the ineffectiveness of some of the House's most liberal members. While the caucus of conservative Democrats known as the Blue Dogs has effectively blocked some of Obama's proposals, such as a ban on assault weapons, liberal Democrats have struggled with two of their biggest priorities: establishing a commission to investigate allegations of violations by the Bush administration; and greater reductions of troops in Iraq and Afghanistan.

McGovern said he remains concerned about Obama's policy in Afghanistan but is not sure exactly what he and others could do.

"I like Barack Obama; I thank God he's president; I think he will be a great president," McGovern said. "But sometimes great presidents make mistakes."

*Those Oklahoma Hills Back Home- The Cowboy Songs Of Woody Guthrie

Click On Title To Link To YouTube's Film Clip Of Woody Guthrie Doing "So Long Its Been Good To Know You".

CD REVIEW

Buffalo Skinners: The Asch Recordings, Volume 4, Woody Guthrie, Smithsonian/Folkways, 1999

As I have mentioned on early reviews concerning the music of folklorist Woody Guthrie if any of the older generation, the “Generation of ‘68” needs an introduction to Woody Guthrie then I ask what planet have you been on. Woody’s “This Land Is Your Land” is practically a national anthem (and in some quarters is treated as just that). Not as well known, but which now should be rectified with the production of this fourth volume of Woody’s work from his most prolific Asch Recording period of the 1940’s, is his rather large compilation of Western cowboy-oriented material. This, as the title of this entry notes, reflects those Oklahoma hills back home from whence he came.

Woody as a folklorist, as well as a singer and songwriter, was not interested in the cowboy as created by the movies, especially the one-dimensional one created in the hey day of the cowboy movie in the 1930’s, but the real one. The one who spend many a lonely night out on the trail herding cattle to market; who went hungry and dusty for long periods; and, who was nicked up, kicked up and busted up by man and animal alike. And the one who liked his entertainments short and sweet, a little simple music, a lot of simple liquor and plenty of women on those raucous Saturday nights off the range. Not much room in those tales, either for 1930’s Hollywood or Woody’s for that matter, for the ones portrayed in literature by Larry McMurtry or Cormac McCarthy or on film by “Brokeback Mountain” or those not recognized until much later like those of the black cowboys of the Oklahoma range, but those are stories for another day.

This compilation covers a wide variety of songs that pay honor, justifiably or not, to the norms of the cowboy profession. “Ranger’s Command” and “Buffalo Skinners” give a sense of the hard life on the trail and the pitfalls of ignorant cowboys being taken in by primitive agrarian or industrial capitalists or their agents-and, as in the case, of “Buffalo Skinners” the quick and sure retribution when the rank and file cowboy got his dander up. Songs of the trail and its travails get a workout here, as well, in “Little Dogies” and “Chisholm Trail”. The loneliness of the life and the vagaries of love in such a transient profession are reflected in “Cowboy Waltz” and “Red River Valley”. The theme of ’rough and ready’ justice is revealed in songs like “Slipknot” and “Billy The Kid”. Overall these twenty- six tracks, several of which also have Woody's long time traveling friend Cisco Houston accompanying him(a man whose career and place in the folk pantheon deserves more attention separately), bring to life the ‘real’ cowboy experience as it was known in Woody’s time.

As always with a Smithsonian/Folkways production the CD includes a booklet of copious liner notes that detail, for the folk historian or the novice alike, the history of each song and its genesis. I am always surprised by the insightful detail provided and as much as I know about this milieu always find something new in them. Moreover, the information here provided inevitably details the rather mundane genesis of some very famous songs like “Pretty Boy Floyd”.

Note: I want to address separately the subject of one of Woody’s most famous songs, and perhaps one of the first of his songs that I remember hearing back in the days, the above-mentioned “Pretty Boy Floyd”. I have reviewed Larry McMurtry’s novel of the same title elsewhere in this space. That novel details the actual ‘exploits of this notorious murderer at the tail end of the Old West period (and maybe, really, the post-Old West period). Woody’s version reflects a 1930’s romantic notion of this primordial outlaw as a modern day Robin Hood. Thus, even a realist like Woody, who could write with compassion and wit about the real sufferings of his beloved Okies and others, got caught up in the myths of the Old West that have sustained generations of Americans, including this reviewer, eagerly looking for a heroic past. For all its false premises though, Woody’s “Pretty Boy” has a line that still has a kernel of folk wisdom that is what drew me to the song in the first place-“some men will rob you with a six gun, and some with a fountain pen”. Sounds prophetic, right?


Pretty Boy Floyd

If you'll gather 'round me, children,
A story I will tell
'Bout Pretty Boy Floyd, an outlaw,
Oklahoma knew him well.

It was in the town of Shawnee,
A Saturday afternoon,
His wife beside him in his wagon
As into town they rode.

There a deputy sheriff approached him
In a manner rather rude,
Vulgar words of anger,
An' his wife she overheard.

Pretty Boy grabbed a log chain,
And the deputy grabbed his gun;
In the fight that followed
He laid that deputy down.

Then he took to the trees and timber
To live a life of shame;
Every crime in Oklahoma
Was added to his name.

But a many a starving farmer
The same old story told
How the outlaw paid their mortgage
And saved their little homes.

Others tell you 'bout a stranger
That come to beg a meal,
Underneath his napkin
Left a thousand dollar bill.

It was in Oklahoma City,
It was on a Christmas Day,
There was a whole car load of groceries
Come with a note to say:

Well, you say that I'm an outlaw,
You say that I'm a thief.
Here's a Christmas dinner
For the families on relief.

Yes, as through this world I've wandered
I've seen lots of funny men;
Some will rob you with a six-gun,
And some with a fountain pen.

And as through your life you travel,
Yes, as through your life you roam,
You won't never see an outlaw
Drive a family from their home.

*An Encore, The "Jelly Roll Baker" Is In The House- The Blues Of Lonnie Johnson

Click On Title To Link To YouTube's Film Clip Of Lonnie Johnson Doing "Blackbird Blues".

CD REVIEWS

Ballads and Blues, Lonnie Johnson and Elmer Snowden, Vanguard Records, 1960

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 blues artists that were the passion of my youth (and still are). So this writer, who thought he had heard virtually all the key blues men and women of the old days, got his comeuppance recently when the name of Lonnie Johnson and his version of the classic double-entendre "Jelly Roll Baker" came up. To name drop just a little, the occasion was a local reunion of Geoff Muldaur and Jim Kweskin of the old Jim Kweskin Jug Band from the 1960’s (that also included Geoff’s ex-wife and great performer in her own right, Maria Muldaur). They did a stirring rendition of the song and attributed it to the performer under review here. After scratching my head I ran out to get some more of Brother Lonnie’s work and I am here to tell you- get this CD because if you have any interest at all in the blues you will not be disappointed.

Why this particular album to start out with? Well, it features Lonnie Johnson and long time friend Elmer Snowden together for the first time although early on (back in the 1920’s) they had worked together on some blues and jazz albums. That is, perhaps, why this work is interesting as an example of that closeness between the jazz and blues idioms before those musical forms parted ways sometime in the late 1940’s. As others have mentioned Johnson, the father of single-note six-string soloing, is in a strangely haunting voice on this selection of blues, ballads, and jazz, crooning the double-entendre "Jelly Roll Baker" and the heartache-laden "Back Water Blues". I cannot add much to that description except you cannot go wrong by giving Haunted House, the first cut, a listen. That sets the mood. Finally, let me say WOW!


"Why Should I Grieve After You're Gone (1927)"

After you're gone, I'm left all alone.
Just feeling blue, all depending on you.
Not even the telephone, it don't ring anymore.
Not even the sun that shines, don't shine in my door anymore.
Since youâ've been gone away, many a million miles away.
I will give you a million smiles a day, to keep your blues away.

As the sun go down, and the wrong news, no play.
As the time goes lower and lower and lower, there's only you.
While I'm feeling blue, just feeling blue.
I would be happy today, but it all depends on you.

As the sun go down, and sinks behind the trees.
And just before it falls, I will answer to your calls.
When you're a million, million miles away, I will give you a million smiles a day.
That's because I love you, and wants to keep your blues away.

"Big Leg Woman"

Yes, I've got me a big legged woman, that solid rocks my soul
Yes, I've got me a big legged woman, that solid rocks my soul
And every time she turns the lights down low, Jack that's when I give up all my gold
She's so fine, she's so mellow, the rest I can't explain
Yes, she's so fine, she's so mellow, rest I can't explain
Way my baby stacked up, it's enough to drive the average cat insane
Yes, she's got great big legs, so pleasin' on the eye
Yes, she's got those great big legs, so pleasin' on the eye
And the preacher walked by, turned around and looked, Jack and hollered "My, my, my!"
She's got those big brown eyes, yes and she's somethin' really fine
Yes, she's got those big brown eyes, Jack she's somethin' really fine
And the best part about it, Jack she's mine, all mine!

"Cat You Been Messin' Around"

Now look here woman, you done lost your mind,
this is not my child, you bring me a better line
'Cause there's something wrong, woman don't start that lies there's something wrong
I never had such mix-ups in my family, since I was born
First it's loop-footin', and its head is long
And it's been half nuts ever since you brought it back home
So there's something wrong, I mean there's something wrong
Oh, take it back where you got it, woman 'cause depression is on
Now his eyes is blue, and his hair's brown
You know darn well you've been messin' around
So take that lie off of me, I mean take that lie off of me
Woman you had a twelve-month vacation, so don't put that lie on me
Now his head is nappy, and his feets is long, his eyes is crossed, and his sight is gone
You know there's something wrong, yes, woman there's something wrong
I never had nothing like that in my family, woman since I was born
Now I said it wasn't my child and you argued me down,
now my eyes ain't blue and my hair ain't brown
Woman you've been messin' around, yes,woman you've been messin' around
So woman get out of my face, or I take my fist and knock you down

"Low Down St. Louis Blues"

I love my St. Louis women, but their ways I really can't stand
I love my St. Louis women, but their ways I really can't stand
They always bettin' some woman, how she can take her man
My woman dips snuff
, and she drinks a good old homemade corn
My woman dips her snuff, and she drinks a good old homemade corn
She get as drunk as she can be, then she fight for the whole night long
And I got another gal, live down on Deep Morgan Street
And I got another gal, she lives down on Deep Morgan Street
If she don't kill a man every day, all I can do is to keep 'r off of me
She drinks her homemade corn whiskey, blackjack and a razor's her friend
She drinks her homemade corn whiskey, a blackjack and a razor's her friend
And she loves to kill a man, just like the devil loves sin
Boys I got another gal, she lives down on Walnut Street
Boys I got another gal, she lives down on Walnut Street
My other gal is so bad, the cops is scared to walk the beat
She can make a blackjack talk and a razor fairly moan
She can make a blackjack talk and a razor fairly moan
From the way that gal kill up men, the graveyard ain't got much more room

"Dont Drive Me From Your Door"

Just look how it's rainin', my feet's on the ground
Just look how it's rainin', and my poor feet's on the ground
For the woman I've made happy, well she's after every man in town

Friends please open your door, and don't drive me away
Please open your door, and don't drive me away
The rent man has put me outdoors, and I've got no place to stay

Let me stay here tonight, it's ice all on the ground
Let me stay here tonight, it's ice all over the ground
Cause I'm motherless and I'm fatherless, and please don't turn me down

When I had plenty money, I had friends all over town
When I had plenty of money, I had friends all over town
But just as soon as I got outdoors, none of my friends could be found

After mother and father's gone, a dollar's your right-hand friend
After mother and father's gone, dollar's your right-hand friend
Then after your last dollar's gone, you're like a road that has no end

Mmmmmmmmmmmmmmmmm, lord where will I go
I'm beggin' you my friend, don't drive me from your door
I cannot sleep on the ground, there's nothing but ice and snow

Jelly Roll Baker

She said, 'Mr. Jellyroll Baker
Let me be your slave
When Gabriel blows his trumpet

Then I'll rise from my grave

For some-a your jellyro-oll
Yes, I love a good jellyroll'
It is good for the sick
Yes, and it's good for the old'

I was sentenced for murder
In the 1st degree
*The judge's wife called up and says
'Let that man go free'

He's a jellyroll baker
He's got the best jellyroll in town
He's the only man can bake jellyroll
With his damper down

Once in a hospital
Shot all full-a holes
The nurse left the man dyin'
An says he's got to get her jellyroll

His good old jell-e-e-y
She says, 'I love my good jellyroll'
She says, 'I ruther let him lose his life
Than to miss my good jellyroll'

Lady asked me who learnt me
How to bake good jellyroll?
I says, 'It's nobody, Miss
'It's just a gift from my soul'
To bake good jellyro-oll
Mmm-mmm, that good ol' jellyroll

She says, 'I love your jellyroll
It do's me good deep down in my soul
She says, 'Can I put in a order
For two weeks ahead?
I'd ruther have your jelly-roll
Than my home-cooked bread'

I love your jell-e-e-y
I love your good jellyroll
It's just like Maxwell House Coffee
It's good, deep down in my soul.

*The "Jelly Roll Baker" Is In The House- The Blues Of Lonnie Johnson

Click On Title To Link To YouTube's Film Clip Of Lonnie Johnson Doing "Got The Blues For Murder Only".

CD REVIEW

Steppin’ The Blues, Lonnie Johnson, Columbia Records, 1990.

Parts of the following have been used in a review of Lonnie Johnson Blues and Ballads CD (hereafter B&B).

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 blues artists that were the passion of my youth (and still are). So this writer, who thought he had heard virtually all the key blues men and women of the old days, got his comeuppance a while back when the name of Lonnie Johnson and his version of the classic double-entendre song “Jelly Roll Baker” came up. To name drop just a little, the occasion was a local reunion of Geoff Muldaur and Jim Kweskin of the old Jim Kweskin Jug Band from the 1960’s (that also included Geoff’s ex-wife and great performer in her own right, Maria Muldaur). They did a stirring rendition of the song and attributed it to the performer under review here. After scratching my head I ran out to get some more of Brother Lonnie’s work and as noted above I have fulsomely praised his B&B CD in this space.

Although this CD has merit musically and certainly has historical worth as a comparison of young Lonnie Johnson in the 1920’s to the later B&B Lonnie this is one time when aging seems to have created a better body of work. A comparison of “I’m Nuts About That Gal” (really an early version of his classic “Jelly Roll Baker”) and the “Jelly Roll Baker” of the B&B make my point succinctly. That said, the noted Johnson guitar work is highlighted on “Guitar Blues”, the novelty sassy song in two parts “Toothache Blues” and “Deep Blue Sea Blues”. That is why you want this album.