The Centennial Of Pete Seeger’s Birthday (1919-2014)- *Once More Into The Time Capsule, Part One-The New York Folk Revival Scene in the Early 1960’s-Odetta

Click on title to link to YouTube's film clip of Odetta performing "Water Boy". This is really the female counterpart to Paul Robeson's version of the same song. Wow!


CD Review

Washington Square Memoirs: The Great Urban Folk Revival Boom, 1950-1970, various artists, 3CD set, Rhino Records, 2001

"Except for the reference to the origins of the talent brought to the city the same comments apply for this CD. Rather than repeat information that is readily available in the booklet and on the discs I’ll finish up here with some recommendations of songs that I believe that you should be sure to listen to:

Disc One; Woody Guthrie on “Hard Travelin’”, Big Bill Broonzy on “Black , Brown And White”, Jean Ritchie on “Nottamun Town”, Josh White on “One Meat Ball” Malvina Reynolds on “Little Boxes”, Cisco Houston on “Midnight Special”, The Weavers on “Wasn’t That A Time”, Glenn Yarborough on “Spanish Is A Loving Tongue”, Odetta on “I’ve Been Driving On Bald Mountain”, The New Lost City Ramblers on “Don’t Let Your Deal Go Down”, Bob Gibson and Bob Camp on “Betty And Dupree”, Ramblin’ Jack Elliott on “San Francisco Bay Blues”, Peggy Seeger on “First Time Ever I Saw Your Face”, Hoyt Axton on “Greenback Dollar” and Carolyn Hester on “Turn And Swing Jubilee”."

Odetta on “I’ve Been Driving On Bald Mountain”. The late Odetta probably had the most powerful voice of any female (hell, maybe male) singer this side of classic opera. And she used it to tell the story of black oppression now (and I mean now, now) and the hard days of slavery. But she could also do the children’s songs as well with great verve. What you need to know, or remember, is that her whole stage presence was driven by getting YOU, whether you wanted to or not, to sing along. And you did. That, my friends, is no mean trick.

"I've Been Driving On Bald Mountain"

Well I've been driving on Bald Mountain
Well I've been driving on Bald Mountain
Well I've been driving on Bald Mountain
But I've done my time, you know I've done my time

Well look here buddy, where'd you get your learning[?]?
Well look here buddy, where'd you get your learning[?]?
Well look here buddy, where'd you get your learning[?]?
Well here you come, boy, here you come

Well I got my learning[?] on big, bad guitar man [?]
Well I got my learning[?] on big, bad guitar man [?]
Well I got my learning[?] on big, bad guitar man [?]
Well I've done my time, I've done my time

Well every little thing that, that you see shining
Well every little thing that, that you see shining
Well every little thing that, that you see shining
Well it ain't no gold, lord, well it ain't no gold

Well I've been driving since Johnny was a baby
Well I've been driving since Johnny was a baby
Well I've been driving since Johnny was a baby
Well I've done my time, I've done my time

Well I've been driving on Bald Mountain
Well I've been driving on Bald Mountain

The Centennial Of Pete Seeger’s Birthday (1919-2014)- In Honor Of Newport 1965-Folk Music- The Graduate Course

Click on the headline to link to a "YouTube" film clip of Woody Guthrie performing "Pastures Of Plenty".

CD REVIEW

Classic Folk Music, Woody Guthrie, Pete Seeger and various other artists, Smithsonian FolkWays, 2004

Recently, in a review of a three volume set of CDs entitled “Troubadours of The Folk Era” containing songs done by many of the folk singers then coming in prominent in the 1960’s, I headlined the entry “Folk Music 101-There Are Many Rooms In That Mansion” . That entry however, in a way, begged the question of how those singers (or listeners like me) traced their ways back to the roots of folk.

Well, my friends, I have the answer, or at least part of it, here in this little gem of a CD. Sure we all, later when we understood things better, appreciated that John and Allan Lomax did yeomen’s service to roots music by their travels into the hinterlands in the 1930’s and 1940’s (and had Pete Seeger tag along for a year and thus serve as a little transmission belt to the latter generation) to find blues, mountain and other types of American traditional music. However, most of us got our folk infusion second-hand through our addiction to local coffeehouses and the fledgling performers who provided us entertainment there. They, in turn, learned their material from the masters who populate this CD.

You doubt the truth of that statement? Well, let’s go through the litany. On one CD we have Woody Guthrie doing “Pastures of Plenty”; Pete leading “We Shall Overcome; Lead Belly on “Rock Island Line”; Doc Watson on “John Henry”; Elizabeth Cotton on the super-classic “Freight Train" (a right of passage for virtually every 1960’s performer); Paul Robeson on “No More Auction Block” (it will give you goose bumps to hear that voice); Big Bill Broonzy on “This Train” (fighting Jim Crow version) and on and on. This is the core of folk, take my word for it. No don’t. Get this CD and get ‘religion’ on your own.

A word is also in order about the role of Moses Asch, his Asch recording studio in New York City and his role as the producer of many of the classic folk songs in the 1940’s and 1950’s gleaned from the always excellent liner notes provided by Smithsonian Folkway. As I have noted previously in this space the folk revival of the 1960’s did not form tabula rasa. Asch’s commitment is a testament to that proposition. It therefore is no accident that the early flowering of the folk revival was in New York City as that is where one could find the ‘refugees’ from elsewhere during the "red scare" during the hard political winter of the 1950’s.

Nor is it accidental that left-wingers blacklisted, like Pete Seeger, Woody and Paul Robeson, by the government are liberally represented in this collection. When one is searching for some kind of critique of society there is bound to be a folk song by some damn radical that reflects that outrage. Or gets prominence due to that struggle. Witness in that regard the history of the song “We Shall Overcome” and its relationship to the black civil rights movement. I should also point out that the liner notes provide an interesting fact about the older generation of folk performers like Woody Guthrie and the young revivalists of the 1960’s. The notes point out that a fair proportion of the folk revivalists came to love the music from songs they learned as children at summer camp. Woody and Pete Seeger are well-known for their children’s songs. So, maybe the government was right to see “reds” under every bunk bed corrupting the morals of the youth. Oh, well.

As a general observation the producers of this CD, Smithsonian Folkway (the name itself should be a give away about the quality of this production) went out of their way, way out of their way to get the best renditions available of the songs by the individual artists represented and to provide the best range of what folk meant to those who wrote the songs, sang them and listened in. As I mentioned above in that earlier review of the 1960’s folk scene for those too young to have heard the music then you have been given a reprieve- take advantage of it.

The Centennial Of Pete Seeger’s Birthday (1919-2014)- *Legends Of The Country Blues Tradition

DVD REVIEWS

February Is Black History Month

Legends Of The Country Blues, Vol. 1, Vestapol Productions, 2002

I have spent some considerable effort in this space reviewing various trends in the blues tradition, including country blues. As is fairly well known country blues got its start down in the South during the early part of the 20th century (if not earlier) as a way for blacks (mainly) to cope with the dreaded, deadly work on the plantations (picking that hard to pick cotton). In this volume (and a second volume that will be reviewed separately) Stefan Grossman, the renowned guitar teacher and performer in his own right has taken old film clips and segments from early television and produced an hour of classic performances by the masters of country blues guitar picking and singing (Sorry, no women players presented in these productions, although there were a few. Women blues singers came into their own a little later.).

Country acoustic blues guitar playing was a central form of entertainment for those who lives in the country, desperately needed entertainment during and after work and for the most part had no access to electricity. Thus, this favored form of entertainment was provided in the backwoods “juke joints” where the whiskey, women and words came fast and furious after a hard work week. A small body of men, mainly in Mississippi, but also elsewhere in the South (notably Texas and North Carolina) fought to be “king of the blues”. And the qualifications to win that title included being able to wield that old National Steel guitar for all it was worth and sing something about two-timing women, the rascally boss or overseer or just plain not having any money to show for the week’s work after that Saturday nights bout. In this volume the “king of the hill” is one Son House. This film contains the famous television performance of House’s "Death Letter Blues". It is mesmerizing as he flails away at that old National Steel guitar and trance-like invokes the ghost of his dead woman friend whom he has come to regret treating so badly.

Also present here are other classic performers such as Mississippi John Hurt, one of the key influences on the Northern urban folk revival of the early 1960’s, and his quiet style of picking and singing: Josh White with his more urbane, almost jazz-like style; Big Bill Broonzy, a performer worthy of more extensive separate comment, in several pieces; Mance Lipscomb and his Texas style: and the Reverend Gary Davis and his clean picking and deeply religious moanings. I might note that some of the performances were done on a show that Pete Seeger hosted so that is an added treat although he, and others, are reduced to looking on in awe. That seems about right. This DVD is useful both for the experienced guitar player who is looking to see how the masters did it and for those novices unfamiliar with this kind of music as a good potpourri of styles to introduce the genre.

Legends Of The Country Blues, Vol. 2, Vestapol Productions, 2002

Part of this review has been used in a separate review of Volume One.

I have spent some considerable effort in this space reviewing various trends in the blues tradition, including country blues. As is fairly well known country blues got its start down in the South during the early part of the 20th century (if not earlier) as a way for blacks (mainly, although here Sam Chatman is given some space I think to represent the mountain music contribution to this rural music) to cope with the dreaded, deadly work on the plantations (picking that hard to pick cotton). In this volume (and a first volume that has been reviewed separately) Stefan Grossman, the renowned guitar teacher and performer in his own right has taken old film clips and segments from early television and produced an hour of classic performances by the masters of country blues guitar picking and singing (Sorry, no women players presented in these productions, although there were a few. Women blues singers came into their own a little later.).

Country acoustic blues guitar playing was a central form of entertainment for those who lives in the country, desperately needed entertainment during and after work and for the most part had no access to electricity. Thus, this favored form of entertainment was provided in the backwoods “juke joints” where the whiskey, women and words came fast and furious after a hard work week. A small body of men, mainly in Mississippi, but also elsewhere in the South (notably Texas and North Carolina) fought to be “king of the blues”. And the qualifications to win that title included being able to wield that old National Steel guitar for all it was worth and sing something about two-timing women, the rascally boss or overseer or just plain not having any money to show for the week’s work after that Saturday nights bout.

In this volume the “king of the hill” is one Bukka White. Son House the star of Volume One is relegated to second place here as Bukka just flat out plays that old guitar better, with more feeling and a better sense of showmanship in presenting the material. "Aberdeen Mississippi Women" is an extremely good example of his mastery. I have mentioned in a previous review that Bukka White was not as familiar to me and those who I know who share my interest in the blues. That deserves immediate correction and Brother White will certainly be the subject of a later, separate entry in this space.

Also included here is the previously mentioned Son House, again flailing away for all he is worth; The Reverend Gary Davis demonstrating his prowess as a guitarist: Huston Stackhouse with his playful voice; Big Joe Williams being, well, Big Joe with some guitar that I could not count the number of strings on (as usual); and, Lead Belly. Lead Belly, who may have been one of the most well-known black country blues performers of all time (certainly through his connection to "Goodnight, Irene"), is rather flat here. Too bad. There are better clips of his performances elsewhere.

*Once More Into The Time Capsule, Part One-The New York Folk Revival Scene in the Early 1960’s-Big Bill Broonzy

Click on to title to link to YouTube's film clip of Big Bill Broonzy performing "Black, Brown and White"



CD Review

Washington Square Memoirs: The Great Urban Folk Revival Boom, 1950-1970, various artists, 3CD set, Rhino Records, 2001



"Except for the reference to the origins of the talent brought to the city the same comments apply for this CD. Rather than repeat information that is readily available in the booklet and on the discs I’ll finish up here with some recommendations of songs that I believe that you should be sure to listen to:

Disc One; Woody Guthrie on “Hard Travelin’”, Big Bill Broonzy on “Black , Brown And White”, Jean Ritchie on “Nottamun Town”, Josh White on “One Meat Ball” Malvina Reynolds on “Little Boxes”, Cisco Houston on “Midnight Special”, The Weavers on “Wasn’t That A Time”, Glenn Yarborough on “Spanish Is A Loving Tongue”, Odetta on “I’ve Been Driving On Bald Mountain”, The New Lost City Ramblers on “Don’t Let Your Deal Go Down”, Bob Gibson and Bob Camp on “Betty And Dupree”, Ramblin’ Jack Elliott on “San Francisco Bay Blues”, Peggy Seeger on “First Time Ever I Saw Your Face”, Hoyt Axton on “Greenback Dollar” and Carolyn Hester on “Turn And Swing Jubilee”."


Big Bill Broonzy on “Black, Brown And White”. No small part of the folk revival concerned the hot topics of the day; nuclear disarmament, alienation, the fight against conformity and greed and, most importantly, the black civil rights struggle in the Southern United States (and later, much less successfully up North). Although Broonzy’s name or his songs do not come up automatically when that struggle is mentioned he nevertheless in an early day was himself, like Josh White who is also on this compilation and will be noted later, a transmission belt from the country sound to the more sophisticated urban sound as blacks began to leave the South in large numbers starting in the late 1920s. But here is the kicker- have things in 2009, notwithstanding a black president, changed all that much. “White your right, brown stick around, black get back” sound very familiar looking at any given day’s headlines.

"Black, Brown And White"

This little song that I'm singin' about
People you know it's true
If you're black and gotta work for a living
This is what they will say to you

They says if you was white, should be all right
If you was brown, stick around
But as you's black, m-mm brother, git back git back git back

I was in a place one night
They was all having fun
They was all byin' beer and wine
But they would not sell me none

They said if you was white, should be all right
If you was brown, stick around
But if you black, m-mm brother, git back git back git back

Me and a man was workin' side by side
This is what it meant
They was paying him a dollar an hour
And they was paying me fifty cent

They said if you was white, 't should be all right
If you was brown, could stick around
But as you black, m-mm boy, git back git back git back

I went to an employment office
Got a number 'n' I got in line
They called everybody's number
But they never did call mine

They said if you was white, should be all right
If you was brown, could stick around
But as you black, m-mm brother, git back git back git back

I hope when sweet victory
With my plough and hoe
Now I want you to tell me brother
What you gonna do about the old Jim Crow?

Now if you was white, should be all right
If you was brown, could stick around
But if you black, whoa brother, git back git back git back

*A Country Blues Encore Performance- In One Place At One Time

Click on title to link to YouTube's film clip of Son House performing "Death Letter Blues" on that old National guitar. Whoa!



Legends Of The Country Blues Guitar, various blues guitar artists, Vestapol Productions, 1994



I have reviewed all of the performers mentioned here individually and while I would have included a few others there is no question these guys (and it is all guys) make the A-list.

Mance Lipscomb, Mississippi John Hurt, Henry Townsend, Son House, Reverend Gary Davis, Big Bill Broonzy, Robert Pete Williams, Brownie McGhee and Josh White. Well, that is not a bad roundup of the greats of country blues guitar (mainly that means of, or from, the Mississippi Delta but it can also mean North Carolina or , as in the case of Mance Lipscomb Texas). I, and perhaps you, could add many more (Mississippi Fred McDowell, Tommy Johnson, Bukka White?) but here is the main point. For beginners you get a great rare video look at the masters in their prime (for the most part) doing their famous work. And all in one place. And for the aficionados it gives you ample reason to go out and get some of those others that were on your list but did not make it here.

Son House - Death Letter Blues Lyrics

Hey, I solemnly swear, Lord, I raise my right hand
That I'm goin' get me a woman, you get you another man
I solemnly swear, Lord, I raise my right hand
That I'm goin' get me a woman, you get you another man

I got a letter this morning, how do you reckon it read?
"Oh, hurry, hurry, gal, you love is dead"
I got a letter this morning, how do you reckon it read?
"Oh, hurry, hurry, gal, you love is dead"

I grabbed my suitcase, I took off, up the road
I got there, she was laying on the cooling board
I grabbed my suitcase, I took on up the road
I got there, she was laying on the cooling board

Well, I walked up close, I looked down in her face
Good old gal, you got to lay here till Judgment Day
I walked up close, and I looked down in her face
Yes, been a good old gal, got to lay here till Judgment Day

Oh, my woman so black, she stays apart of this town
Can't nothin' "go" when the poor girl is around
My black mama stays apart of this town
Oh, can't nothing "go" when the poor girl is around

Oh, some people tell me the worried blues ain't bad (note 1)
It's the worst old feelin' that I ever had
Some people tell me the worried blues ain't bad
Buddy, the worst old feelin', Lord, I ever had

Hmmm, I fold my arms, and I walked away
"That's all right, mama, your trouble will come someday"
I fold my arms, Lord, I walked away
Say, "That's all right, mama, your trouble will come someday"

*Songs To While Away The Class Struggle By-Big Bill Broonzy's "Black, Brown And White"

Click on the title to link a "YouTube" film clip of Big Bill Broonzy performing "Black, Brown and White".

February Is Black History Month

In this series, presented under the headline “Songs To While Away The Class Struggle By”, I will post some songs that I think will help us get through the “dog days” of the struggle for our communist future. I do not vouch for the political thrust of the songs; for the most part they are done by pacifists, social democrats, hell, even just plain old ordinary democrats. And, occasionally, a communist, although hard communist musicians have historically been scarce on the ground. Thus, here we have a regular "popular front" on the music scene. While this would not be acceptable for our political prospects, it will suffice for our purposes here.

Markin comment:

The Broonzy lyrics below seen very, very appropriate today, reading almost every indicator of black experience, despite the seventy years span since they were written. Some "post-racial" society. I do note though some stirrings-from the white left and the black left, as well. Black is back. Praise be!

Note: Big Bill wrote and sang many other songs like this, as well as the traditional jazz and blues pieces that he is noted for from the period. I will post more of the political ones as I run across them.


"Black, Brown And White"-Big Bill Broonzy

This little song that I'm singin' about
People you know it's true
If you're black and gotta work for a living
This is what they will say to you

They says if you was white, should be all right
If you was brown, stick around
But as you's black, m-mm brother, git back git back git back

I was in a place one night
They was all having fun
They was all byin' beer and wine
But they would not sell me none

They said if you was white, should be all right
If you was brown, stick around
But if you black, m-mm brother, git back git back git back

Me and a man was workin' side by side
This is what it meant
They was paying him a dollar an hour
And they was paying me fifty cent

They said if you was white, 't should be all right
If you was brown, could stick around
But as you black, m-mm boy, git back git back git back

I went to an employment office
Got a number 'n' I got in line
They called everybody's number
But they never did call mine

They said if you was white, should be all right
If you was brown, could stick around
But as you black, m-mm brother, git back git back git back

I hope when sweet victory
With my plough and hoe
Now I want you to tell me brother
What you gonna do about the old Jim Crow?

Now if you was white, should be all right
If you was brown, could stick around
But if you black, whoa brother, git back git back git back

*Miss (Ms.) Rhythm Is In The House- The R&B Of Miss Ruth Brown

Click On Title To Link To YouTube’s Film Clip Of Ruth Brown Doing "Mama He Treats Your Daughter Mean". Wow!

CD Review

Ruth Brown, Miss Rhythm (Greatest Hits And More), 2CD Set, Ruth Brown, Atlantic Records, 1989

Okay, I have spent a fair amount of time tracing the roots of rock and roll back to the early 1950s and the heyday of rhythm and blues. And of course part of that process required a look, a serious look, at the pivotal roles of the likes of black male R&B performers like Big Joe Turner, Ike Turner and Little Milton. Those are some of the key forces that drove the sound. Unlike the early blues, however, where black female singers dominated the charts and the flow of where the music was heading women were not as prominent in the link between R&B and the emergence of rock and rock as a national (and later international) musical genre. But they were there. And the black (and proud) female singer under review here, Ruth Brown, rightly known under the moniker "Miss Rhythm", was right there along with Dinah Washington and Lavern Baker to sing up a storm. Thanks, gals.

The name Ruth Brown has come up a number of times in this space when talking about 1950's blues, R&B and rock. However, those occasions have usually been as a "talking head" commentator in documentaries like Martin Scorsese's multi-part PBS blues series of 2003. And the tale Miss Brown had to tell about the background to her performing career was not pretty concerning the segregated dance halls, second-rate accommodations and other intolerable conditions that black musicians, great and small, male and female had to work under. Despite that, she still had a few crossover hits and got those white teenagers jumping. That doesn't make up for the indignities she suffered, nothing will, but she has to know that in her prime she had that thing- "Miss Rhythm, indeed!"

Some of this material on this 2CD set sounds as fresh today as when it was first recorded. Others, as is the nature of such compilations, are either gimmicky, second-rate or both. Here are some of the fresh sounds that highlight Miss Brown's talent; "So Long", "Be Anything", "5-10-15 Hours", "Daddy Daddy" and "Mama He Treats Your Daughter Mean" (Wow, on this last one). From Disc One. From Disc Two; "Why Me', "This Little Girl's Gone Rocking", "Somebody Touch Me" and "Don't Deceive Me".

"This Little Girl's Gone Rockin'"

I wrote my mom a letter
And this is what I said

Well-a, well-a, well-a, well-a
I washed all the dishes
And I did a lot more
I even bought the dinner
At the grocery store

Now, Mom, you'll find
The key next door cause
This little girl's gone rocking

I left some biscuits for the pup
I put fresh water in his cup
And now I'm off
I'm gonna live it up cause
This little girl's gone rocking

Well, I'm be home about
Twelve tonight and not a
Minute, minute, minute later
Don't forget the front door lock
That's all for now
I'll see you later, mater

You'll find these things
That you wanted done
I'm off to meet that special one
Boy, oh, boy, will we have fun
Cause this little girl's gone rocking

Well, I'm be home about
Twelve tonight and not a
Minute, minute, minute later
Don't forget the front door lock
That's all for now
I'll see you later, mater

You'll find these things
That you wanted done
I'm off to meet that special one
Boy, oh, boy, will we have fun
Cause this little girl's gone rocking
Yeah, this little girl's gone rocking.....


"(Mama) He Treats Your Daughter Mean"


Mama he treats your daughter mean
Mama he treats your daughter mean
Mama he treats your daughter mean
He's the meanest man I've ever seen

Mama he treats me badly
Makes me love him madly
Mama he takes my money
Makes me call him honey

Mama he can't be trusted
He makes me so disgusted
All of my friends they don't understand
What's the matter with this man

I tell you mama he treats your daughter mean
Mama he treats your daughter mean
Mama he treats your daughter mean
He's the meanest man I've ever seen

Mama this man is lazy
Almost drives me crazy
Mama he makes me squeeze him
Still my squeezes don't please him

Mama my heart is aching
I believe it's breaking
I've stood all that I can stand
What's the matter with this man?

I tell you Mama he treats your daughter mean
Mama he treats your daughter mean
Mama he treats your daughter mean
He's the meanest man I've ever seen

*Roosevelt Sykes Is In The House- The "Honey Dripper" Plays His Boogie-Woogie Piano

Click On Title To Link To YouTube's Clip Of Roosevelt Sykes doing "Gulfport Boogie"

DVD REVIEW

Roosevelt Sykes and Big Bill Broonzy, Roosevelt Sykes and Big Bill Broonzy, Yazoo Productions, 200

The last time that the name Roosevelt Sykes was mentioned in this space was to highlight his boogie-woogie piano performances in a country blues compilation entitled “Rural Blues’, Volume 3. There I mentioned the following- “However, the ‘king of the hill’ on this one is Roosevelt Sykes’s piano work and vocals on “Hush Oh Hush” and “I’m Tired”. Roosevelt Sykes is one of those guys you keep hearing about if you listen to enough blues. Now I know why. Needless to say you will be seeing a separate individual review of his work in this space later.” And here it is.

In this documentary film you get to see Roosevelt in person with old soft hat on his head (I think that’s what they call that kind of hat. Being a child of the hatless Kennedy era I am not up on the sartorial distinctions on this question.), cigar in his mouth, keeping time with his foot and stretching his fingers all across the keyboard just like the way that you would think that the old time boogie-woogie guys would do it if you had to describe what they were up to in words. The smoked-filled 1950’s jazz club atmosphere of the film gives just the right feel to Sykes’ work. Outstanding here is his version of “The Nighttime Is The Right Time”.

I should note that the reason I got this film was to get a look at Roosevelt. As an added treat there is footage of Big Bill Broonzy doing a separate nightclub act in the same kind of atmosphere as that of the Sykes segment. And maybe just a little bit more provocative with a white hipster ‘dame’ in the picture. Dangerous stuff. Moreover, there are added segments of Big Bill wailing his acoustic guitar in practice that, I believe, came from one of Stefan Grossman’s “Legends of The Country Blues” volumes. Nice.

“Night Time Is The Right Time”

You know the night time, darling
(night and day)
Is the right time
(night and day)
To be
(night and day)
With the one you love, now
(night and day)
Say now oh baby
(night and day)
When I come home baby, now
(night and day)
I wanna be with the one I love, now
(night and day)
You know what I'm thinking of
(night and day)
I know the night time
(night and day, oh)
Whoa, is the right time
(night and day, oh)
To be with the one you love, now
(night and day)
I said to be with the one you love
(night and day)
You know my mother, now
(night and day)
Had to die, now
(night and day)
Umm, and my father
(night and day)
Well he broke down and cry
(night and day)
Whoah! whoa baby
(night and day)
When I come home baby now
(night and day)
I want you to hold my hand
(night and day)
Yeah, tight as you can
(night and day)
I know the night time
(night and day, oh)
Whoah is the right time
(night and day, oh)
To be with the one you love
(night and day)
You know what I'm thinking of
(night and day)
Whoah! sing your song, Margie
Baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Oh, Baby
(night and day)
Do I love you?
(night and day)
No one above you
(night and day)
Hold me tight
(night and day)
And make everything all right
(night and day)
Because the night time
(night and day)
Oh, is the right time
(night and day)
To be with the one you love now
(night and day)
Oh yeah
(night and day)
Tease me
(night and day)
Squeeze me
(night and day)
Leave me
(night and day)
Ah, don't leave me
(night and day)
Lawdy baby
(night and day)
Take my hand, now
(night and day)
I don't need
(night and day)
No other man
(night and day)
Because the night time
(night and day)
Ow, is the right time
(night and day)
To be with the one you love
(night and day)
Oh yeah
(night and day)
I said baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Whoah! baby now
(night and day)
Oh come on baby
(night and day)
You know I want you by my side
(night and day)
I want you to keep
(night and day)
Oh keep me satisfied
(night and day)
I know the night time
(night and day)
Everyday is the right time
(night and day)
Yeah to be with the one you love now
(night and day)
Well you know it's all right

Roosevelt Sykes
Ice Cream Freezer lyrics

My baby owns a ice cream freezer
She let's me put my milk in her can
Mercy!
My baby owns a ice cream freezer
She let's me put my milk in her can
Her freezer ain't to be churned
By no other man

Some people crave vanilla or strawberry
But-a black walnut is all I love
Mercy!
Some people crave vanilla or strawberry
But-a black walnut is all I love
When I put my spoon in her freezer
Man, it fits just like a rubber glove
Mercy!

Now, she turns her freezer
So slow an easy
She said, 'Daddy can you hold back
And stick around? ' (I'll try, ha-ha)
As she turn her freezer
So slow an easy
She say, 'Now, daddy can you jus hold back
And stick around? '
I'll say, I b'lieve you spoke jus a little too late
Pretty mama
I gotta let that flavor come runnin' down

'Mercy, mercy, man, yeah'
Ho, yeah!

'Let it roll on a while in the night'

'Ho, til the break of day'

'Ho, til the break of day'
'My, my, my, my'

'Ho while'

She said, 'Now, you done used my freezer
You said, 'Daddy, you look like
You gettin' ready to leave' (quite natural)
My, my
She said, 'Now, you done uses my freezer
'Look like you gettin' ready to leave'
She said, 'But you're still welcome to my can
When you have more cream to freeze'

More cream to freeze.

Roosevelt Sykes
She's Got It lyrics

Worked the gulf port from Memphis, Tennessee
Help me find Mrs. Mercy Dee
I just found a girl, she's got
Just found a girl and she's got
She's got the kind of lovin' I've been lookin' for

Well, she looks so fine
All dressed up in plaid
She start in to makin' love
She goes ravin' mad

I just found a girl an she's got
Just found a girl, she's got
Just found a girl got
The lovin' I've been lookin' for
My, my, my

Whoa (alittle right here)

Let it ride a while (roll another one right here)

Oh yeah
My, my (another one left)

She's no virgin but she's outta sight
She say I can suit her appetite
I just found a girl, she's got a
I just found a girl, and she's got
She's got the kind of lovin' I've been lookin' for
My, my (add a little)

'Let it rock now' (another, another all the way)

'Oh yeah' (another there)

Hurry up, baby
I'm gon' be in here quiet as a mouse
Come on baby, in this house
Cause I just found a girl and
She's got a, I just found that girl
And she's got, she's got
The kind of lovin' I've been lookin' for
My, my, my, my

'Ride now' (right here)
'Roll' (roll it)
'Let it ride a while'
My, my (right here)
'Gonna shake a little while now' (right here a little)
'Ho, yeah' (alright boys, right there)
'Oh, yeah'
My, my (outta here)

Well, I just found a girl and she's got
Just found a girl and she's got
Just found a girl and she's got
Just found a girl and she's got it
Just found a girl and she's got it
Just found a girl
She's got the love I've been lookin' for
Oh, my.

"St. Louis Woman"- Bessie Smith On Video

DVD Review

The Blues Is The Dues-Right?

The Blues, Bessie Smith, Mame Smith, Ida Cox, Big ill Broonzy and Sonny Boy Williamson, Storyville Films, 2007

I have mentioned more than once over the past year of reviewing blues artists in this space that most of my favorites in my youth had already, one way or another, passed from the scene and therefore I had not been able to see them in live performances. Thus, for the most part, I know this music from records, tapes, CDs, later covers and, on occasion, from a video clip (more so now with the increases in video technology and information spread that makes this material more accessible). That is the case here with the performances of Bessie Smith in “St. Louis Woman”; Mame Smith: Ida Cox: Bill Big Broonzy: and, Sonny Boy Williamson.

Those who follow this space know that I have commented previously on Bessie “The Empress Of The Blues” Smith and the legendary “Big Bill” Broonzy. They need no further introduction here. Mame Smith and Ida Cox were working at the same time and in the same milieu as Bessie Smith although off their performances here they do not challenge Bessie’s claim to the Empress title. “Big Bill” here mainly does some very nice guitar work but nothing memorable. Sonny Boy Williamson, aside from the controversy about whether or what his right name was, kind of sneaks in here with some virtuoso harmonica performances. However, what you want to get this video for is Bessie singing “St. Louis Woman” in this short black and white clip from 1929. This is the old tale of a “fancy” man doing his woman wrong and she can’t break his spell. Not even by singing the blues. Watch this thing. It is incredible. Then you will know why she was the Empress.

***Big Bill Broonzy Is In The House

CD Reviews

Big Bill Broonzy, Chicago, 1937-1940 (four CD set), Big Bill Broonzy, ISP Records, 2005

I am in the process of reading and re-reading many of the books of oral history interviews collected by the recently departed Studs Terkel. As part of that process I have read his last work (published in 2007), a memoir of sorts but really a series of connected vignettes, that goes a long way to putting the pieces of Studs’ eclectic life together. A fact that I did not know is that Studs’ had radio and television music shows in the Chicago of the 1950’s. On one of those shows he performed with the blues/jazz folk artist under review here, Big Bill Broonzy. That long ago reference was enough for this reviewer to scamper back to give a listen to the melodious voice of one of the best in these traditions. But that begs the question where to start?

That is not merely a rhetorical question here. My first exposure to Big Bill, back in the mists of times, was as a performer on a Sunday night folk program here in Boston. In that format he was presented as a folk singer in the style of a black Pete Seeger, including singing many leftist political songs dealing with the pressing questions of race and class. Later I found some more jazzy works by him and some more raucous material in the old country blues tradition. So I hope you can see my dilemma.

The hard fact is that certain musicians, certain very talented musicians, can work more than one milieu or can transform themselves (for commercial or other reasons) into more than one genre. Moreover, in Big Bill’s case, the confluence of folk, blues and jazz at some points is fairly close. That surely is the case here on this CD compilation. So give a listen to that voice, that guitar and those wonderful songs. I might add that, although it seemed to be a given at the time, some of Big Bill lyrics are on point on racial segregation and other social issues. Think of the songs like “Brown, Black and White” or his version of “This Train” (that whipsaws Jim Crow very nicely). That is the real connection with old Studs, that is for sure.


Do That Guitar Rag 1928-1935, Big Bill Broonzy, Yazoo, 1991

The hard fact is that certain musicians, certain very talented musicians, can work more than one milieu or can transform themselves (for commercial or other reasons) into more than one genre. Moreover, in Big Bill's case, the confluence of folk, blues and jazz at some points is fairly close. That surely is the case here on this CD compilation. So give a listen to that voice, that guitar and those wonderful songs. At this time Big Bill was influenced by (and in turn influenced) the country blues mania then sweeping the black enclaves of the South (and not just those enclaves either- think about Jimmy Rodgers) and the songs here reflect that origin. What's good? "Guitar Rag", of course. "Down in the Basement" and "Bull Cow Blues" deserve a listen but for my money "Operation Blues" is tops here.

Added note: I "forgot" to add that on many of these tracks Big Bill has company. On some tracks that company is none other than the legendary Tom Dorsey (who also played behind Blind Willie McTell and many others in those days before going on to a gospel music career). On other tracks, in addition to Dorsey, the very, very bluesy voice of Jane Lucas is heard. Listen to "Leave My Man Alone". Nice, indeed.