On The Sixtieth Anniversary Of Her Death-Lady Day-Billie Holiday- She Took Our Pain Away Despite Her Own Pains- For Sax Man Johnny Hodge's 112th Birthday-Blowing The High White Note-The Giants of Jazz- Studs Terkel-Style

Click on the title to link to a "Sunday Boston Globe", December 13, 2009, review of a new biography of Louis Armstrong.

BOOK REVIEW

Giants of Jazz, Revised edition, Studs Terkel, Thomas Crowell Company, New York, 1975

Recently I have been on a tear reviewing the works of the now departed Studs Terkel. As is the case, usually, when I get “hot” on an author I grab everything I can get my hands on and read it in no particular order. That is the case here. Terkel, widely known and deservedly so, as the author of oral histories concerning the pressing social issues of class, race and gender of working people (in the main)in America was also in his earlier career a popular Chicago disc jockey concentrating on jazz (and a little blues and folk as they intersected jazz). I had not previously known of that part of Studs’ life and only became aware of it through reading his last work, a memoir of sorts but really a series of connected vignettes, “Touch and Go” (well worth reading by the way as background to his interest in the jazz figures highlighted here). Previously my knowledge of jazz was formed by the likes of Nat Hentoff and John Hammond. Apparently I have to revise this list to include Studs. Why?

As a member of the "Generation of ’68" my tastes were formed by blues, folk and early rock & roll and only incidentally by jazz. However, once one delves into the roots of all of these forms one can only understand their attractions when one sees the influences all those forms had on each other. Without going into a dissertation on the subject (useless in any case) jazz is a core beat that expressed one form of music that had its roots in the South , among blacks and was a reflection of the rural life that was being left behind as America became more industrialized. Jazz is the music of the city, as blues is (before World War II) the music of the southern countryside. But enough. Read Studs and you can see how the music developed (and was retarded as well by the rules of racial separation as it spread to whites looking for real music, other than the likes of the Paul Whitman Orchestra or Tin Pan Alley, after World War I).

Many of the names of the performers highlighted here have are the classic expressions of the jazz idiom. King Oliver, Louis Armstrong, "The Empress" Bessie Smith. "The Duke" (Ellington), "The Count" (Basie), "Lady Day" (Billie Holiday). Yes this is the royalty of jazz. For those who follow this space you already know of my devotion to Billie Holiday and Bessie Smith. Less well know is my devotion to the “King of Swing” Benny Goodman of the Peggy Lee days in the 1940’s, Dizzy Gillespie of be-bop in the early 1950’s and Duke Ellington of the early 1940’s. Well, if you want to know more about them read on. By the way, this little book’s formatting is an early example of Studs Terkel’s easy style that he would work into an art form when he went full bore at his oral history interviews later. The only fault I would find here is that Studs is a little light on female singers. No Peggy Lee of the Benny Goodman days, no Margaret Whiting, no Helen Morgan, No Ivy Anderson. Oh well, I have always been a 'sucker' for a "torch singer". Maybe, Studs, except for Billie, wasn’t.

When The Juke Joints Rocked And Nobody Cared About The Electricity-Delta Blues- And Then Some

When The Juke Joints Rocked And Nobody Cared About The Electricity-Delta Blues- And Then Some


Click On Title To Link To Rounder Records Web Page.

CD Review

Southern Journey, Highway 61, Mississippi Fred McDowell and various artists, Rounder Records, 1997

I have spent a fair amount of time recently reviewing, individually and on various artist compilations, performers from the 1960’s urban folk revival. You know, Bob Dylan, Joan Baez, Dave Van Ronk, Eric Von Schmidt and the like. I have also reviewed the earlier performers who influenced them on the more traditional folk side like Woody Guthrie and Pete Seeger. There was another component of that search for roots that entailed heading south to the Mississippi Delta (or the hills of North Carolina) and getting ‘religion’ on the black country blues scene.

I mentioned in a review of the performers who influenced the 1960’s urban folk scene that it did not fall from the sky but had been transmitted by earlier performers. That, my friends, applies as well to the search for the blues. I also mentioned that 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 country blues infusion second-hand through our addiction to local coffeehouses and the performers who provided us entertainment. They, in turn, learned their material from the masters who populate this CD.

This CD compilation is filled with the legends of the genre like the renowned Mississippi Fred McDowell (a major influence on and mentor of Bonnie Raitt). Moreover it contains fife and drum music from North Mississippi, which can be traced back to the African roots, and work songs that do not get nearly enough attention (including by this reviewer) as the work of the Delta artists like McDowell, Son House, John Hurt and Bukka White. Nicely done.

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.

I'm So Glad lyrics

Eee, an I'm so glad
Yes sir, I'm glad
Until I just don't know
What to do

An I am tired a-weeping
I'm so tired a-moanin'
I'm so tired of groanin' for you

(guitar)

Eee, an I am so -
Yes, I am mighty glad
Until I just don't know what -

Would you be my little darlin'?
Would you be my dear?
Would you be my darlin'
Be my dear?

Then I would be mighty -
I would be mighty glad
Then I just wouldn't know
What to do

When I say, 'Coo-coo-coo'
Just like a little baby, do
I would love to have
A lovely kiss from you

Then I would be mighty -
Then I would be so -
Until I just wouldn't know -

You know, I'm tired a-weeping
I'm so tired of a-moanin'
I'm so tired of groanin' for you

(guitar)

Eee, an I am so glad
Yes, I'm so glad
Until I just don't know
What to do-ooo-woo-ooo-ooo.

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.

Son House - Death Letter lyrics

Lyrics to Death Letter :

I got a letter this mornin, how do you reckon it read?
It said, "Hurry, hurry, yeah, your love is dead"
I got a letter this mornin, I say how do you reckon it read?
You know, it said, "Hurry, hurry, how come the gal you love is dead?"

So, I grabbed up my suitcase, and took off down the road
When I got there she was layin on a coolin' board
I grabbed up my suitcase, and I said and I took off down the road
I said, but when I got there she was already layin on a coolin' board

Well, I walked up right close, looked down in her face
Said, the good ol' gal got to lay here 'til the Judgment Day
I walked up right close, and I said I looked down in her face
I said the good ol' gal, she got to lay here 'til the Judgment Day

Looked like there was 10,000 people standin' round the buryin' ground
I didn't know I loved her 'til they laid her down
Looked like 10,000 were standin' round the buryin' ground
You know I didn't know I loved her 'til they damn laid her down

Lord, have mercy on my wicked soul
I wouldn't mistreat you baby, for my weight in gold
I said, Lord, have mercy on my wicked soul
You know I wouldn't mistreat nobody, baby, not for my weight in gold

Well, I folded up my arms and I slowly walked away
I said, "Farewell honey, I'll see you on Judgment Day"
Ah, yeah, oh, yes, I slowly walked away
I said, "Farewell, farewell, I'll see you on the Judgment Day"

You know I went in my room, I bowed down to pray
The blues came along and drove my spirit away
I went in my room, I said I bowed down to pray
I said the blues came along and drove my spirit away

You know I didn't feel so bad, 'til the good ol' sun went down
I didn't have a soul to throw my arms around
I didn't feel so bad, 'til the good ol' sun went down
You know, I didn't have nobody to throw my arms around

I loved you baby, like I love myself
You don't have me, you won't have nobody else
I loved you baby, better than I did myself
I said now if you don't have me, I didn't want you to have nobody else

You know, it's hard to love someone that don't love you
Ain't no satisfaction, don't care what in the world you do
Yeah, it's hard to love someone that don't love you
You know it don't look like satisfaction, don't care what in the world you do

Got up this mornin', just about the break of day
A-huggin' the pillow where she used to lay
Got up this mornin', just about the break of day
A-huggin' the pillow where my good gal used to lay

Got up this mornin', feelin' round for my shoes
You know, I must-a had them old walkin' blues
Got up this mornin', feelin' round for my shoes
Yeah, you know bout that, I must-a had them old walkin' blues

You know, I cried last night and all the night before
Gotta change my way a livin', so I don't have to cry no more
You know, I cried last night and all the night before
Gotta change my way a livin', you see, so I don't have to cry no more

Ah, hush, thought I heard her call my name
If it wasn't so loud and so nice and plain
Ah, yeah
Mmmmmm

Well, listen, whatever you do
This is one thing, honey, I tried to get along with you
Yes, no tellin' what you do
I done everything I could, just to try and get along with you

Well, the minutes seemed like hours, hours they seemed like days
It seemed like my good, old gal outta done stopped her low-down ways
Minutes seemed like hours, hours they seemed like days
Seems like my good, old gal outta done stopped her low-down ways

You know, love's a hard ol' fall, make you do things you don't wanna do
Love sometimes leaves you feeling sad and blue
You know, love's a hard ol' fall, make you do things you don't wanna do
Love sometimes make you feel sad and blue

Son House - Preachin' Blues lyrics
Lyrics to Preachin' Blues :

Oh, I'm gonna get me a religion, I'm gonna join the Baptist Church
Oh, I'm gonna get me a religion, I'm gonna join the Baptist Church
I'm gonna be a Baptist preacher, and I sure won't have to work

Oh, I'm a-preach these blues, and I, I want everybody to shout
I want everybody to shout
I'm gonna do like a prisoner, I'm gonna roll my time on out

Oh, I went in my room, I bowed down to pray
Oh, I went in my room, I bowed down to pray
Till the blues come along, and they blowed my spirit1 away

Oh, I'd-a had religion, Lord, this every day
Oh, I'd-a had religion, Lord, this every day
But the womens and whiskey, well, they would not set me free

Oh, I wish I had me a heaven of my own
Hey, a heaven of my own
Till I'd give all my women a long, long, happy home

hey, I love my baby, just like I love myself
Oh, just like I love myself
Well, if she don't have me, she won't have nobody else

Son House - Pony Blues lyrics
Lyrics to Pony Blues :

Why don't you catch my pony, now saddle up my black mare?
...my pony, saddle up, up my black mare?
You know, I'm gonna find my baby, well, in the world somewhere

You know, he's a travelin' horse, an' he's too black bad
He's a travelin' pony, I declare, he's too black bad
You know, he got a gait, now, no Shetlan' ain't never had

You know, I taken him by the rein an' I led him around and 'round
I say, I taken him by the reins an' I, I led him, him 'round and 'round
You know, he ain't the best in the world, but he's the best ever been in this town

You know, he's a travelin' horse and he don't deny his name
He's a travelin' pony and he don't deny his name
You know, the way he can travel is a low-down, old, dirty shame

Why don't you come up here, pony, now come on, please let's us go
I said, "Come up, get up now, please pony, now let's us go"
Let's we saddle on down on the Gulf of, of Mexico

You know, the horse that I'm ridin', he can fox-trot, he can lope and pace
I say, the pony I'm ridin', he can fox-trot, he can lope and pace
You know, a horse with them many gaits, you know, I'm bound to win the race

He's a travelin' horse an' he don't deny his name
He's a travelin' pony, he don't deny his name
the way he can travel is a low-down, old, dirty shame


Aberdeen Mississippi 2:33 Trk 9

Bukka White (Booker T. Washington White)
Bukka White - vocal & guitar
& Washboard Sam (Robert Brown) - wshbrd.
Recorded: March 7th & 8th 1940 Chicago, Illinois
Album: Parchman Farm Blues, Roots RTS 33055
Transcriber: Awcantor@aol.com


I was over in Aberdeen
On my way to New Orlean
I was over in Aberdeen
On my way to New Orlean
Them Aberdeen women told me
Will buy my gasoline

Hey, two little women
That I ain't ever seen
They has two little women
That I ain't never seen
These two little women
Just from New Orlean

Ooh, sittin' down in Aberdeen
With New Orlean on my mind
I'm sittin' down in Aberdeen
With New Orlean on my mind
Well, I believe them Aberdeen women
Gonna make me lose my mind, yeah

(slide guitar & washboard)

Aber-deen is my home
But the mens don't want me around
Aberdeen is my home
But the men don't want me around
They know I will take these women
An take them outta town

Listen, you Aberdeen women
You know I ain't got no dime
Oh-oh listen you women
You know'd I ain't got no dime
They been had the po' boy
All up and down.

(guitar & washboard to end)


Fixin' To Die Blues lyrics

I'm lookin' funny in my eyes
And I believe I'm fixin' to die
Believe I'm fixin' to die
I'm lookin' funny in my eyes
Now, I believe I'm fixin' to die, yeah
I know I was born to die
But I hate to leave my children around cryin'
Yeah

Just as sho' we live
It's a, sho' we's born to die
Sho' we's born to die
Just as sho's we live
Sho' we's born to die
Yeah
I know I was born to die
But I hate to leave my children around cryin'
Yeah

Yo mother treated me, children
Like I was her baby child
Was her baby child
Yo mother treated me
Like I was her baby child
That's why's I sighed
Sighed so hard
And come back home to die
Yeah

So many nights at the fireside
How my chillen's mother would cry
How my chillen's mother would cry
So many nights at the fireside
How my chillen's mother would cry
Yeah
'Cause I told the mother I had to say, goodbye

Look over yon-der
On the buryin' ground
On the buryin' ground
Look over yonder, on the burying ground
Yon' stand ten thousand
Standin' still to let me down
Yeah

(washboard & guitar)

Mother, take my chillen back
Before they let me down
Before they let me down
Mother, take my chillen back
'Fore they let me down
Ain't no need a-them screamin' an cryin'
On the graveyard ground.

(washboard & guitar to end)


Shake 'em On Down lyrics

Yes, you're a nice girl, mama
And little girl
Night before day
We gonna
Shake 'em on down

I need some time holler, now
Oh, must I shake 'em on down
I done shout hollerin', now
Must I shake 'em on down

Too much is debted to me
Through the week
Save these chili peppers
Some ol' rainy day, here

Best I'm hollerin', now
Ooh, must I shake 'em on down
I done shout hollerin', now
Must I shake 'em on down, now

Fix my supper
Let me go to bed
This white lightnin' done gone
To my head

Oh, must I holler now
Ooh, must I shake 'em on down
I done shout hollerin', now
Must I shake 'em on down

I ain't been in Georgia, babe
I been told
Georgia women got the best
Jellyroll

These nights time holler, now
Oh, must I shake 'em on down
I done shout hollerin', mama
Must I shake 'em on down

See See mama, heard
You, done-done
Made me love you, now I know
Man done coming

Best I'm hollerin', now
Oh, must I shake 'em on down
I done shout hollerin', mama
Must I shake 'em on down

Pretty girl's got
They don't know
What it is
Make me drunk at that old
Whiskey still

It's best I'm hollerin', now
Oh, must I shake 'em on down
I done shout hollerin'
Must I shake 'em on down.

Poor Boy Long Way From Home by Bukka White Lyrics

Poor boy a long way from home
Poor boy I'm a long way from home
Poor boy I'm a long way from home
I don't have no happy home to go home to

When I left my home my baby's in my arms
When I left my home my baby's in my arms
When I left my home my baby's in my arms
She wanna know, 'Daddy, when you comin' back home?'

(guitar)

They got me down here on the farm
Got me down here on old farm
I don't have no one to come and go my bail
Baby, I wanna come back home to you

(guitar)

Sorry, baby I can't call you over the phone
Sorry, I can't call you over the phone
'Cause they got me down here long distance phone
But I can't call you baby over the phone.

(guitar to end)

*Back Down In Delta Country Again- The Blues Of Charley Patton

Click on title to link to YouTube's film clip of Charley Patton performing "Shake It And Break It"

CD Review

Charley Patton:Founder Of The Blues, Yazoo Records, 1995

Okay, so this review shows one way my reviewing choices get made. Recently I was reviewing Volume Eight of the Bob Dylan Bootleg series. One of the outstanding tracks on the CD is Dylan's tribute version of the old country blues singer Charley Patton's "High Water Everywhere (Parts 1&2)". So, naturally, I had to go back and check out Mr. Patton's version.

Oh, did I mention that along with many Dylan reviews I have lately been on a country blues tear. You know Robert Johnson, Son House, Skip James, Mississippi John Hurt and the like. That, my friends, is where this all comes together. You cannot mention Delta blues without mentioning the name and influence of Charley Patton. There is no question that he influenced Son House (who played with him on occasion) or that Robert Johnson sat at his feet (maybe Patton is the "devil" he sold his soul out of Highway 51 to ratchet up his blues work). Whether he, as assumed by the title here, was the founder of the blues is a question that I believe is up in the air.

Certainly looking through this compilation Patton's whinny-voiced but driven (a factor that leads me away from him as founder) version of "High Water Everywhere" makes it now totally understandably why Dylan honored Patton on that latest CD of his. Others that make the Patton "greatest hits" list are the raucous "Shake It And Break It", "Stone Pony Blues" and a fantastic "Tom Rushen Blues". Now you can see how all the folk/blues things I write about are interconnected, musically at least. There is indeed a method to my madness.


Blues Lyrics - Charley Patton
High Water Everywhere (Part 1)

All rights to lyrics included on these pages belong to the artists and authors of the works.
All lyrics, photographs, soundclips and other material on this website may only be used for private study, scholarship or research.

by
Charley Patton
recording of 1929-1934
from
Charley Patton: Founder Of The Delta Blues (Yazoo L-1020)
Well, backwater done rose all around
Sumner
now,
drove me down the line
Backwater done rose at Sumner,
drove poor Charley down the line
Lord, I'll tell the world the water,
done crept through this town
Lord, the whole round country,
Lord, river has overflowed
Lord, the whole round country,
man, is overflowed
You know I can't stay here,
I'll go where it's high, boy
I would goto the hilly country,
but, they got me barred
Now, look-a here now at
Leland
river was risin' high
Look-a here boys around Leland tell me,
river was raisin' high
Boy, it's risin' over there, yeah
I'm gonna move to
Greenville
fore I leave, goodbye
Look-a here the water now, Lordy,
Levee
broke, rose most everywhere
The water at Greenville and Leland,
Lord, it done rose everywhere
Boy, you can't never stay here
I would go down to
Rosedale
but, they tell me there's water there
Now, the water now, mama,
done took Charley's town
Well, they tell me the water,
done took Charley's town
Boy, I'm goin' to
Vicksburg
Well, I'm goin' to Vicksburg,
for that high of mine
I am goin' up that water,
where lands don't never flow
Well, I'm goin' over the hill where,
water, oh don't ever flow
Boy, hit Sharkey County and everything was down in Stovall
But, that whole county was leavin',
over that
Tallahatchie
shore
Boy, went to Tallahatchie and got it over there
Lord, the water done rushed all over,
down old Jackson road
Lord, the water done raised,
over the Jackson road
Boy, it starched my clothes
I'm goin' back to the hilly country,
won't be worried no more
__________
Note: this song tells the story of the great Mississippi flood of 1927. The two-part song is long, it covers both sides of a 78 rpm. The music of part one is very similar to Willie Brown's "Future Blues" and Son House's "Jinx Blues";
Note 1: origin: from the old French word levée, act of raising, from lever to raise. An embankment for preventing flooding, or a river landing place, also, a continuous dike or ridge (as of earth) for confining the irrigation areas of land to be flooded. A levee camp therefore is a work camp for building or improving dikes to prevent rivers from flooding the land, primarily in the
Mississippi Delta
area.

Part 2

Backwater at
Blytheville
, backed up all around
Backwater at Blytheville, done took Joiner town
It was fifty families and children come to sink and drown
The water was risin' up at my friend's door
The water was risin' up at my friend's door
The man said to his women folk, "Lord, we'd better go"
The water was risin', got up in my bed
Lord, the water was rollin', got up to my bed
I thought I would take a trip, Lord, out on the big ice sled
Oh, I can hear, Lord, Lord, water upon my door,
you know what I mean, look-a here
I hear the ice, Lord, Lord, was sinkin' down,
I couldn't get no boats there, Marion City gone down
So high the water was risin' our men sinkin' down
Man, the water was risin' at places all around,
boy, they's all around
It was fifty men and children come to sink and drown
Oh, Lordy, women and grown men drown
Oh, women and children sinkin' down
Lord, have mercy
I couldn't see nobody's home and wasn't no one to be found
__________


Blues Lyrics - Charley Patton
Shake It And Break It

All rights to lyrics included on these pages belong to the artists and authors of the works.
All lyrics, photographs, soundclips and other material on this website may only be used for private study, scholarship or research.

by
Charley Patton
recording of 1929-1934
from
Charley Patton: Founder Of The Delta Blues (Yazoo L-1020)
You can shake it, you can break it, you can hang it on the wall
Throw it out the window, catch it 'fore it roll
You can shake it, you can break it, you can hang it on the wall
...it out the window, catch it 'fore it falls
My
jelly, my roll
, sweet mama, don't let it fall
Everybody have a jelly roll like mine, I lives in town
I, ain't got no brown, I, an' I want it now
My jelly, my roll, sweet mama, don't let it fall
You can snatch it, you can grab it, you can break it, you can twist it,
any way that I love to get it
I, had my right mind since I, I blowed this town
My jelly, my roll, sweet mama, don't let it fall
Jus' shake it, you can break it, you can hang it on the wall
.. it out the window, catch it 'fore it falls
You can break it, you can hang it on the wall
...it out the window, catch it 'fore it...
My jelly, my roll, sweet mama, don't let it fall
I ain't got nobody here but me and myself
I, stay blue all the time, aw, when the sun goes down
My jelly, my roll, sweet mama, don't let it fall
You can shake it, you can break it, you can hang it on the wall
... it out the window, catch it 'fore it fall
You can break it, you can hang it on the wall
...it out the window, catch...
My jelly, my roll, sweet mama, don't let it fall
You can snatch it, you can grab it, you can break it, you can twist it,
any way that I love to get it
I, had my right mind, I, be worried sometime
'Bout a jelly, my roll, sweet mama, don't let it fall
Just shake it, you can break it, you can hang it on the wall
... it out the window, catch it 'fore it falls
You can break it, you can hang it on the wall
...it out the window, catch it 'fore it falls
My jelly, my roll, sweet mama, don't let it fall
I know I been to town, I, I walked around
I, start leavin' town, I, I fool around
My jelly, my roll, sweet mama, don't let it fall
Just shake it, you can break it, you can hang it on the wall
... it out the window, catch it 'fore it falls
You can break it, you can hang it on the wall
...it out the window, catch it 'fore it...
My jelly, my roll, sweet mama, don't let it fall
Jus' shake it, you can break it, you can hang it on the wall
... it out the window, catch it 'fore it...
My jelly, my roll, sweet mama, don't let it...
__________
Note: this song is an ode to... the jelly roll, a pastry but also, like in this case, a reference to the male genitals. The triple-dot parts are not missing lyrics, Patton just left them unspoken.

Happy Birthday-*Tribute Album Potpourri- A Tip Of The Hat To Mississippi John Hurt- "Did You Hear John Hurt?"

Click On Title To Link To YouTube's Film Clip Of Mississippi John Hurt On Pete Seeger's Television Show "Rainbow Quest".

This Is Part Of A Four Artist Tribute Album Potpourri- A Tip Of The Hat To Hank Williams, Mississippi John Hurt, Bob Dylan and Greg Brown.

CD REVIEW

A musical performer knows that he or she has arrived when they have accumulated enough laurels and created enough songs to be worthy, at least in some record producer's eyes, of a tribute album. When they are also alive to accept the accolades as two out of the four of the artists under review are, which in these cases is only proper, that is all to the good. That said, not all tribute albums are created equally. Some are full of star-studded covers, others are filled with lesser lights who have been influenced by the artist that they are paying tribute to. As a general proposition though I find it a fairly rare occurrence, as I have noted in a review of the “Timeless” tribute album to Hank Williams, that the cover artist outdoes the work of the original recording artist. With that point in mind I will give my “skinny” on the cover artists here.


Did You, You Hear John Hurt?

Avalon Blues: A Tribute To The Music Of Mississippi John Hurt, various artists, Vanguard Records, 2001

If one were to ask virtually any fairly established folk music singer in, let’s say 1968, what country blues musician influenced them the most then the subject of this review would win hands down. The list would be long- Dave Van Ronk, Geoff Muldaur, Maria Muldaur, Phil Ochs, Chris Smithers, Joan Baez and on and on. Hell, Tom Paxton wrote a song about him-“Did You Hear John Hurt?” That song still gets airplay on the folk station around where I live.

So what gives? Why the praise? What gives is this- Mississippi John Hurt and his simple country blues were 'discovered' at a time when many young, mainly white urban musicians were looking for roots music. This search is not anything particularly new-John and Alan Lomax went on the hustings in the 1930’s and recorded many of the old country blues artists that were ‘discovered’ in the 1960’s. Hell, you can go back further to the 1920’s and the record companies themselves were sending out agents to scour the country looking for talent- they found the likes of the Carter Family and Blind Willie McTell along the way.

That is the tradition that the artists covering Brother Hurt’s songs are paying homage to in this CD. For the most part these are lesser known artists who, however, provide a sense of what old John was trying to convey in his slow, clear low-down style. Outstanding in that regard are Chris Smither’s interpretation of the super-classic 'man done wrong' story “Frankie and Johnnie”, Lucinda Williams’ sorrowful “Angels Lay Him Away”, Geoff Muldaur’s humorous “Chicken”, Taj Mahal’s eerily deep-throated “My Creole Belle” and Gillian Welch’s mournful “Beulah Land”. Listen on.

Did You Hear John Hurt?

Words and Music by Tom Paxton
It was a frosty night. It was beginning to snow,
And down the city streets, the wind began to blow.
We all came to the cellar. We all emptied the bar,
To hear a little fellow, play a shiny guitar.

[Cho:]
Did you hear John Hurt play the "Creole Bell,"
"Spanish Fandango" that he loved so well?
And did you love John Hurt? Did you shake his hand?
Did you hear him sing his "Candy Man?"

On a straight back chair, with his felt hat on,
He tickled our fancy with his "Avalon."
And everyone passing down on MacDougle Street,
Cocked their heads and listen to the tappin' feet.

[Cho:]

[Repeat first verse and Chorus]


Ain't no tellin

Don't you let my good girl catch you here.
Don't you let my good girl catch you here.
She might shoot you, may cut ya and starve you too.
Ain't no tellin, what, she might do.

I'm up the country where the col' sleet and snow.
I'm up the country where the col' sleet and snow.
Ain't no telling how much further I may go.

Eatin' my breakfast here, my dinner in Tennessee.
Eatin' my breakfast here, my dinner in Tennessee.
I tol' you I was comin', baby, won't you look for me.
Hey, hey, such lookin' the class.

The way I'm sleepin' my back and shoulders tired.
Way I'm sleepin' babe, my back and shoulders tired.
Gonna turn over, try it on the side.

Don't you let, my good girl catch you here.
She, might shoot you, may cut you and starve you too.
Ain't no tellin', what, she might do.
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Avalon Blues

written by: Mississippi John Hurt

Got to New York this mornin', just about half-past nine
Got to New York this mornin', just about half-past nine
Hollerin' one mornin' in
Avalon
, couldn't hardly keep from cryin'
Avalon is my hometown, always on my mind
Avalon is my hometown, always on my mind
Pretty mama's in Avalon want me there all the time
When the train left Avalon, throwin' kisses and wavin' at me
When the train left Avalon, throwin' kisses and wavin' at me
Says, "Come back, daddy, and stay right here with me"
Avalon's a small town, have no great big range
Avalon's a small town, have no great big range
Pretty mama's in Avalon, they sure will spend your change
New York's a good town, but it's not for mine
New York's a good town, but it's not for mine
Goin' back to Avalon, near where I have a pretty mama all the time
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Candy Man Blues

written by: Mississippi John Hurt

Well all you ladies gather 'round
That good sweet candy man's in town
It's the candy man
It's the candy man
He likes a stick of candy just nine inch long
He sells as fast a hog can chew his corn
It's the candy man...
All heard what sister Johnson said
She always takes a candy stick to bed
Don't stand close to the candy man
He'll leave a big candy stick in your hand
He sold some candy to sister Bad
The very next day she took all he had
If you try his candy, good friend of mine,
you sure will want it for a long long time
His stick candy don't melt away
It just gets better, so the ladies say
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Casey Jones

written by: Mississippi John Hurt

Casey Jones was a brave engineer,
he told his fireman to not to fear
Says, "All I want, my water and my coal
Look out the window, see my drive wheel roll"
Early one mornin' came a shower of rain,
'round the curve I seen a passenger train
In the cabin was Casey Jones,
he's a noble engineer man but he's dead and gone
"Children, children, get your hat"
Mama, mama, what you mean by that?"
"Get your hat , put it on your head,
go down in town, see if your daddy's dead"
"Mama, mama, how can it be?
My daddy got killed on the old I.C.
"Hush your mouth and hold your breath,
you're gonna draw a pension after your daddy's dead"
Casey's wife, she got the news,
she was sittin' on the bedside,
she was lacin' up her shoes
I said, "Go away, children, and hold your breath,
you're gonna draw a pension after your daddy's dead"
Casey said, before he died,
fixed the
blinds so the boys can't ride
If they ride, let 'em ride the rod,
trust they lives in the hands of God"
Casey said again, before he died,
one more road that he wanted to ride
People wondered what road could that be?
The Gulf Colorado and the Santa Fe
Casey Jones was a brave engineer,
he told his fireman to not to fear
Says, "All I want, my water and my coal
Look out the window, see my drive wheel roll"
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Coffee Blues

written by: Mississippi John Hurt

(spoken:
This is the "Coffee Blues", I likes a certain brand
- Maxwell's House - it's good till the last drop,
just like it says on the can. I used to have a girl
cookin' a good Maxwell House. She moved away.
Some said to
Memphis
and some said to Leland,
but I found her. I wanted her to cook me some
good Maxwell's House. You understand,
if I can get me just a spoonful of Maxwell's House,
do me much good as two or three cups this other coffee)
I've got to go to Memphis, bring her back to
Leland
I wanna see my baby 'bout a lovin'
spoonful
, my lovin' spoonful
Well, I'm just got to have my lovin'
(spoken: I found her)
Good mornin', baby, how you do this mornin'?
Well, please, ma'am, just a lovin' spoon,
just a lovin' spoonful
I declare, I got to have my lovin' spoonful
My baby packed her suitcase and she went away
I couldn't let her stay for my lovin',
my lovin' spoonful
Well, I'm just got to have my lovin'
Good mornin', baby, how you do this mornin'?
Well, please, ma'am, just a lovin' spoon,
just a lovin' spoonful
I declare, I got to have my lovin' spoonful
Well, the preacher in the pulpit, jumpin' up and down
He laid his bible down for his lovin'
(spoken: Ain't Maxwell House all right?)
Well, I'm just got to have my lovin'


Corrina, Corrina

traditional

Corrina, Corrina, where'd you stay last night?
Corrina, Corrina, where'd you stay last night?
Come in this morning, clothes ain't fittin' you right
I left Corrina, way across the sea
I left Corrina, way across the sea
She wouldn't write me no letter, she don't care for me
Oh Corrina, Corrina, where you been so long?
Oh Corrina, Corrina, where you been so long?
She wouldn't write me no letter, she don't care for me
Corrina, Corrina, where'd you stay last night?
Corrina, Corrina, where'd you stay last night?
Come in this morning, clothes ain't fittin' you right



Got The Blues, Can't Be Satisfied

written by: Mississippi John Hurt

Got the blues, can't be satisfied
Got the blues, can't be satisfied
Keep the blues, I'll catch that train and ride
Yes, whiskey straight will drive the blues away
Yes, whiskey straight will drive the blues away
That be the case, I wants a quart today
I bought my baby a great big diamond ring
I bought my baby a great big diamond ring
Come right back home and caught her
shaking that thing
I said, "Babe, what make you do me this a-way?"
I said, "Babe, what make you do me this a-way?"
Well, that I bought, now you give it away
I took my gun and broke the barrel down
I took my gun and broke the barrel down
I put that joker six feet in the ground
You got the blues, and I still ain't satisfied
You got the blues, and I still ain't satisfied
Well, some old day, gonna catch that train and ride

I'm satisfied

I'm satisfied, tickled, too. Old enough to marry you.
I'm satisfied it's going to bring you back.
I'm satisfied, tickled, too. Old enough to marry you.
I'm satisfied it's going to bring you back.

First in the country, then in town. I'm a total old shaker from my navel on down.
I'm satisfied it's going to bring you back.
I'm satisfied, tickled, too. Old enough to marry you.
I'm satisfied it's going to bring you back.

I pull my dress to my knees, I give my total all to who please.
I'm satisfied it's going to bring you back.
I'm satisfied, tickled, too. Old enough to marry you.
I'm satisfied it's going to bring you back.

I'm satisfied, tickled, too. Old enough to marry you.
I'm satisfied it's going to bring you back.
I'm satisfied, tickled, too. Old enough to marry you.
I'm satisfied it's going to bring you back.
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Louis Collins

Mrs Collins weeped, Mrs. Collins moaned
To see her son Louis leavin' home.
The angels laid him away.

The angels laid him away,
They laid him six feet under the clay.
The angels laid him away.

Oh kind friends, oh ain't it hard?
To see poor Louis in a new graveyard.
The angels laid him away.

Oh Bob shot once and Louis shot, too [two]
Shot pOor Collins, shot him through and through.
The angels laid him away.

The angels laid him away,
They laid him six feet under the clay.
The angels laid him away.

Mrs. Collins weeped, Mrs. Collins moaned
To see her son Louis leavin' home.
The angels laid him away.

The angels laid him away.
They laid him six feet under the clay.
The angels laid him away.

Oh, when they heard that Louis was dead,
All the people, they dressed in red.
The angels laid him away.

The angels laid him away,
They laid him six feet under the clay.
The angels laid him away.
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Make me down a pallet on your floor


Make me down a pallet on your floor.
Make me down...
Make me down a pallet down, soft and low
Make me a pallet on your floor.

Up the country, 20 miles or more.
I'm going up the country where the cold, sleet and snow.
I'm going up the country, where the cold, sleet and snow.
No tellin' how much further I may go.

Just make me down ...
Make me down...
Make me a pallet, down, soft and low.
Make me a pallet on your floor.

Way I'm sleeping, my back and shoulders tired.
Way I'm sleeping, my back and shoulders tired.
The way I'm sleeping, my back and shoulders tired.
Goin' to turn over and try it on the side.

Repeat first verse.

Don't you let my good girl catch you here.
Don't let my good girl catch you here.
Oh she, might shoot you, liable to cut and starve you too.
No tellin' what she might do.

Repeat first verse.

Make it baby, close behind your door.
Make it baby, close behind the door.
Make me a pallet, close behind the door.
Make it where your good man will never go.

Repeat first verse.
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Monday morning blues

I woke up this morning... I woke up this morning...
Woke up this morning, with the monday morning blues.

I couldn't hardly find... I couldn't hardly find...
I couldn't hardly find, my monday morning shoes.

Monday morning blues... Monday morning blues...
Monday morning blues, searched all through my bones.

Monday morning blues... Monday morning blues...
Monday morning blues, made me leave my home.

I've been laying in jail... I've been laying in jail...
I've been laying in jail, six long weeks today.

Lord, tomorrow morning... Lord, tomorrow morning...
Lord, tomorrow morning, gonna be my trial day.

Lord, I asked the judge... Well, I asked the judge...
Well, I asked the judge, what might be my crime.

Get a pick and shoveL.. Get a pick and shovel...
Get a pick and shovel, let's go down in the mine.

That's the only time... That's the only time...
That's the only time, I ever felt like cryin'.

Well, my heart struck sorrow... Well, my heart struck sorrow...
Well, my heart struck sorrow, tears come rolling down.

I woke up this morning... I woke up this morning...
Woke up this morning, with the monday morning blues.
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My Creole Belle

written by: Mississippi John Hurt

My Creole Belle, I love her well,
my darlin' baby, my Creole Belle
When the stars shine I'll call her mine,
my darlin' baby, my Creole Belle
My Creole Belle, I love her well,
I love her more anyone can tell
My Creole Belle, I love her well,
my darlin' baby, my Creole Belle
When the stars shine I'll call her mine,
my darlin' baby, my Creole Belle
My Creole Belle, I love her well,
my darlin' baby, my Creole Belle
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Oh Mary don't you weep

Oh, Mary don't you weep, don't you mourn.
Pharoah's army got drownded,
Oh, Mary don't you weep.

If I could, I surely would,
Stand on the rock where Moses stood.
Pharoah's army got drownded,
Oh, Mary don't you weep.

Mary weep, Martha moaned,
All around God's holy strong.
Pharoah's army got drownded,
Oh, Mary don't you weep.

Well, God told Noah about the rainbow sound.
No more water but the God makes...
Pharoah's army got drownded,
Oh, Mary don't you weep.

Repeat first verse.

Sinners don't come by the ...
No need to come when the train done gone.
Pharoah's army got drownded,
Oh, Mary don't you weep.

Repeat first verse.
One of these days about 12 o'clock,
This 0l' world gonna reel and rock.
Pharoah's army got drownded,
Oh, Mary don't you weep.

Repeat first verse.

Richland's Woman Blues

written by: Mississippi John Hurt

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

written by: Mississippi John Hurt

(spoken: "
Salty Dog
")
Hey-hey, you salty dog
Hey-hey-hey, you salty dog
Said, the little fish, big fish swimmin' in the water
Come back, man, and gimme my quarter
Hey-hey-hey, you salty dog
Said, the scaredest I ever was in my life
Uncle Bud like to caught me kissin' his wife
Hey-hey, you salty dog
Says, God made woman, made 'em mighty funny
The lips 'round her mouth, just as sweet as any honey
Hey-hey, you salty dog
Hey-hey, you salty dog
Hey-hey-hey, you salty dog
(spoken: Well!)
Well, little fish, big fish swimmin' in the water
Come back here, man, gimme my quarter
Hey-hey-hey, you salty dog
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See See Rider

written by: Mississippi John Hurt

You see, see, rider, you see what you have done?
You made me love you
Made me love you, now your man done come
You made me love you, now your man have come
Ain't no more potatoes, the frost have killed the vine
Well, the blues ain't nothin' but a good woman on your mind
The blues ain't nothin' but a good woman on your mind
The blues ain't nothin' but a good woman on your mind
You see, see, rider, you see what you done?
You done made me love you
You made me love you
I've told you, baby and your mama told you, too
"You're three times seven, you know what you wanna do,
three times seven, you know what you wanna do,
you're three times seven, you know what you wanna do"
If I had-a listened to my second mind,
Lord, I wouldn't -a been sittin' here and wringin' my hands and cryin'
I wouldn't been sittin' here, wringin' my hands and cryin'
I wouldn't been sittin' here, wringin' my hands and cryin'
You see, see, rider, you see what you have done?
You done made me love you
You made me love you
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Spike Driver Blues

written by: Mississippi John Hurt

Take this hammer and carry it to my captain, tell him I'm gone, tell him I'm gone, tell him I'm gone
Take this hammer and carry it to my captain, tell him I'm gone, just tell him I'm gone, I'm sure is gone
This is the hammer that killed John Henry, but it won't kill me, but it won't kill me, but it won't kill me
This is the hammer that killed John Henry, but it won't kill me, but it won't kill me, ain't gonna kill me
It a long ways from East Colarado, honey to my home, honey to my home, honey to my home
It a long ways to East Colarado, honey to my home, honey to my home, that where I'm going
John Henry he left his hammer, layin' side the road, layin' side the road, layin' side the road
John Henry he left his hammer, all over in red, all over in red, thats why I'm gone
John Henry was a steel driving man, but he went down, but he went down, but he went down
John Henry was a steel driving man, but he went down, but he went down, that's why I'm gone
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Stack O'Lee Blues

written by: Mississippi John Hurt

Police officer, how can it be?
You can 'rest everybody but cruel Stack O' Lee
That bad man, oh, cruel Stack O' Lee
Billy de Lyon told Stack O' Lee, "Please don't take my life,
I got two little babies, and a darlin' lovin' wife"
That bad man, oh, cruel Stack O' Lee
"What I care about you little babies, your darlin' lovin' wife?
You done stole my Stetson
hat, I'm bound to take your life"
That bad man, cruel Stack O' Lee
...with the forty-four
When I spied Billy de Lyon, he was lyin' down on the floor
That bad man, oh cruel Stack O' Lee
"Gentleman's of the jury, what do you think of that?
Stack O' Lee killed Billy de Lyon about a five-dollar Stetson hat"
That bad man, oh, cruel Stack O' Lee
And all they gathered, hands way up high,
at twelve o'clock they killed him, they's all glad to see him die
That bad man, oh, cruel Stack O' Lee

Blame It On The Late Sam Phillips, Okay?

CD REVIEWS

25 Sun Rock’n’ Roll Classics, various artists, Sun Records, 2004



Howlin’ Wolf, Roscoe Gordon, Rufus Thomas and an assortment of black blues notables in the early days. Elvis, Carl Perkins, Johnnie Cash and Jerry Lee Lewis and an assortment of white rockabilly notables in the mid to late 1950’s. What do they all have in common? Well, one thing, and make that a decisively important one thing, is that they passed through Mr. Sam Phillips’ Sun Records recording studio in Memphis, Tennessee on the way to some kind of career. Amazing. With the possible exception of Chess Records in Chicago, a label that moreover concentrated on the blues, no other studio can claim so much as the catalyst for what became rock & roll in the mid- 1950’s, the youth of the present writer and of his Generation of ‘68.

That said, the impetus for this review of a compilation of Sun Record rock and roll artists is a Public Broadcasting Station’s American Masters series that highlighted the ten years existence of that recording studio. There the format included a generous round of ‘ talking heads’ interspersed with some performances, in this case, to honor the 50th Anniversary of the founding of the Sun Records (1950). The ‘talking heads’ in that documentary include several of the artists highlighted here.

This documentary also included many of the old Sun artists who did not attain the stardom of those mentioned in the first paragraph yet who nevertheless had some interesting things to say about the meaning of the Sun Record experience. A recurring theme is that mainly it got them the hell off the farms and out of the fields, especially those damn cotton fields. And they had fun and got paid for it. And met girls! How can you beat that? My take on this is that they were good old boys who got more out of the Sun, if not financially then musically, than they had originally bargained for. And this entire film trip down memory lane, not without a ew barbs, was presided over by the impresario himself, the late Sam Phillips.

As to the present compilation of songs some comments are worth mentioning. As with all such compilations there is some unevenness in the quality of performance. For every Jerry Lee Lewis and "Great Balls of Fire" or Carl Perkins and "Blue Suede Shoes" there are any number of one-shot johnnies like Warren Smith doing the Johnny Cash- written "Rock and Roll Ruby" or Sonny Burgess doing "Red-Headed Woman", both fine if singular efforts. Then there are the merely imitative- of Elvis, Jerry Lee or whoever- like Bill Riley. And then those who never got released like Jack Earls and "Let's Bop". Well, today they all attain immorality collectively with this compilation. Rock on.


25 Sun Rare Blues Classics, various artists, Sun Records, 1997

Most of the points made above about fates of the rock and roll artists apply here as well, except the obvious question of race, both in how the artists were treated personally and financially by Phillips, and the audiences that the artists could perform before that does not get dealt with adequately in the documentary mentioned above except by Rufus Thomas in his fight to trace the roots of rock & roll back to a black musical influence. As to the present compilation some comments are worth mentioning. As with all such compilations there is some unevenness in the quality of performance.

Rufus Thomas on "Married Woman" is fine. As are the performances of Earl Hooker and Sleepy John Estes in his pre-folkie days. Tops for me is Little Milton. One should also note the house musicians like Billy Emerson ( a fine artist in his own right) and hovering around on that old piano the late Ike Turner (can anyone forget his work on "Rocket 88", not on this CD but get it).

I would add this note below that I am doing to all my Sun Record-related reviews taken from the review of the Sun Record documentary because it is appropriate in virtually every instance.

"A note on sound- no, not of this American Masters production which like virtually all PBS productions is technically of high quality. No, I am referring here to the sound in Sun Studio. I do not believe in ghosts or other such things but tell me this. Why, for example, does Johnny Cash in his Sun Records days sound like god’s own creation when on work from other recordings I can take him or leave him? And that goes for Elvis, Carl, Jerry Lee and the others as well. The gods and goddesses of Rock and Roll were smiling on that joint- thanks."

Once Again On Sun Records

25 More Blues Classics, various artists, Sun Records, 2002

Most of the points that I have made in reviewing the fates of the rock and roll artists that passed through the portals of Sun Recording studio apply here as well, except the obvious question of race both in how the artists were treated personally and financially by Phillips and the audiences that the artists could perform before that does not get dealt with adequately in the PBS documentary on the history of Sun Records except by Rufus Thomas in his fight to trace the roots of rock and roll back to the black musical influence. As to the present compilation some comments are worth mentioning. As with all such compilations there is some unevenness in the quality of performance.

Rufus Thomas on "Save That Money" is fine. As are the performances of Earl Hooker and James Cotton, Tops for me is Frankie Ballard’s "Trouble Down The Road". One should also note the house musicians like Billy Emerson (a fine artist in his own right) and hovering around on that old piano the late Ike Turner (can anyone forget his work on "Rocket 88", not on this CD but get it). Mainly though the first volume of this series (25 Rare Blues Classics) is more varied and flows better. Here there is a fair amount of imitation of Muddy Water’s and Howlin’ Wolf’s sound (not bad men to imitate, that is for sure) by musicians who, for the most part, like James Cotton and Walter Horton were just getting warmed up in their careers. They get better later.

I would add this note below that I am doing to all my Sun Record-related reviews taken from the review of the Sun Record documentary because it is appropriate in virtually every instance.

"A note on sound- no, not of this American Masters production which like virtually all PBS productions is technically of high quality. No, I am referring here to the sound in Sun Studio. I do not believe in ghosts or other such things but tell me this. Why, for example, does Johnny Cash in his Sun Records days sound like god’s own creation when on work from other recordings I can take him or leave him? And that goes for Elvis, Carl, Jerry Lee and the others as well. The gods and goddesses of Rock and Roll-and the blues- were smiling on that joint- thanks."

*On Getting “Hip” To The Blues, The Delta Blues - A CD Primer

Click on the headline to link to a YouTube film clip of Delta blues great, Bukka White, performing Aberdeen Mississippi Blues

CD Review

The Rough Guide To Delta Blues, various artists, World Music Network, 2002

Okay so the blues have got your attention. Maybe you heard it as background music while traveling and can’t get that sound out of your head, or heard someone strumming in some urban square trying to scratch a few pennies out of those little chords on a guitar. Whatever. You are hooked, or at least intrigued. So you need a little primer of the guys (mainly, guys, but not exclusively so) who taught the guys who taught the guys who you heard on that street corner or in some current concert hall. That is where this nice little CD comes in. In one place and at one sitting you will most of the key guitarists who created the beat and the singers who put words to the mournful sounds about hard women, hard work, hard living and hard liquor. Names like Tommy Johnson, Skip James, Son House, of course, Muddy Waters, Charley Patton and so on.

But wait a minute this is only the beginning of the journey. From there you will need, desperately need, to hear the material John and Alan Lomax recorded back in the days down in the South when these guys were still alive. And, of course, check out Harry Smith’s Anthology of American Folk Music. Oh, ya, don’t forget the women blues singers who got more renown when they were alive and filling the gin mils and concert halls. And the blues as it moved north to places like Chicago and Detroit. And then people like the Stones, Rory Block, and others who cover the old classics. And don’t forget the Cajun influences, And Tex-Mex, and…. Hell by the time you get done you will be an old codger or codgerette. But here is where you start.

I would direct your attention to several outstanding efforts here, first and foremost a great version of Sitting On Top Of The World by the under-appreciated Mississippi Sheiks; Tommy Johnson on Cool Drink of Water Blues; the incredible Bukka White and his flailing National Steel guitar on Aberdeen Mississippi Blues;, and, Louise Johnson’s On The Wall.

*Lyrics, Etc. For "Two Trains Coming"

Here is a song in different variations and with some notes that tells the tale that playwright August Wilson presents in his "Two Trains Coming" play of the Century cycle. Markin

Two Trains Running

Lyrics: Traditional

Music: Traditional

So far as is known, the Dead did this only once, on 15 December 1971. It's a fragment Pigpen inserted in Lovelight.

Well there's two trains a-coming
Two trains coming
One comes around midnight
Other one comes by day

The best-known recording under this title is probably that by the Paul Butterfield Blues Band, credited on the album to "Davis". But it seems that the originas go back to early Muddy Waters and probably before that.

The lyrics of the Paul Butterfield version are:
Well there's two trains running
But there's not one going my way
Yeah one runs at midnight
Other's just for day
Other's just for day
Other's just for day

I went down to my baby's house
And I sat down on her steps
She said come on in here baby
My old man just left
Yeah just now left
My old man just left

Yes I wish I was a catfish
Swimming in the deep blue sea
I'd have all you pretty women
Fishing after me
Fishing after me
Fishing after me

Well she's long and she's tall
And she shakes just like a willow tree
You say she's no good
But she's all right with me
She's all right with me
She's all right with me
She's all right with me

Little girl's all right, all right with me
She give me loving in the morning
[etc]

The Muddy Waters version was originally recorded in 1951 under the title "Still A Fool". Thanks to Anita Cantor for alerting me to this, and pointing me to a Rob Quinn transcription of the lyrics. According to Anita, Muddy Waters also recorded it with different lyrics under the title "She's All Right"

The Muddy Waters lyrics are:
Well now there's two
There's two trains runnin'
Well ain't not one, (ho!) goin' my way
Well now one run at midnight
And the other one runnin' just 'fore day
A runnin' just 'fore day
It's runnin' just 'fore day
Oh Lord
Sure 'nough then
Oh well

Hmm, (ho) (ho)
Somebody help me (ho) with these blues
Well now, she's the one I'm lovin'
She the one I do hate to lose
I do hate to lose
I do hate to lose
Oh Lord
Sure enough I do
Oh well

I been crazy
Yes I been a fool
I been crazy, oh all my life
Well I done fell in love with her
With another man's wife
With another man's wife
With another man's wife
Oh Lord
Sure 'nough I done
Oh well

Long, she's long and tall
'Til she weeps like a willow tree
Well now, then say she's no good
But she's all right
She's all right with me
She's all right
She's all right
She's all right
She's all right

*”Bluesland” -A Look At The Evolution Of The Blues- In One Place At One Time

Click on title to link to YouTube's film clip of Muddy Waters performing "Hoochie Coochie Man" at the New Port Jazz Festival in 1960. Wow!


DVD Review

Bluesland: Masters Of American Music Series, various artists, BMG, 1991

Okay, apparently I will review any item that comes my way that has even the remotest connection with the blues, the history of the blues, or the individual performances of blues artists, great and small. I confess to being an aficionado and have been since my jaded youth. However, I know damn well that not everyone either shares that addiction or has heard enough to make a judgment. Thus, while I now tend to shy away from anthologies and general histories on this subject and have been honing in on individual genres and styles within the broad terms of what the blues are, when one of those crosses my desk that seems reasonably well-done and gives good sense of where the blues came from and….where it is going I will take the time to write a few word about it, especially as here there when there is a great deal of rare film footage involved in the production.

“Bluesland” easily fits those criteria just mentioned, and if there is just a little too much push of the blues as a central American gene in relationship to other musical forms by the presenter and “talking heads” that always feature in such documentaries, it hits all the known high spots of the blues experience and has some very, very good documentary footage accompanying the presentation. Like? Well, like old Son House flailing away on that National guitar of his. Or Muddy Waters tearing the place up in 1960 at the staid old Newport Jazz Festival with his “Hoochie Goochie Man” that had them dancing in the aisles. Or Duke Ellington leading the band in different variations of his classic “Ko-Ko” (including clips shot at the famed Harlem Cotton Club.). Yes, now you get the idea. Some of this footage is incredible.

But enough of the homage to the film footage. The central theme is the evolution of the genre from back in post-Civil War plantation days through Jim Crow sharecropping days that formed the music. Then it moves to the cities in the early part of the 20th century, in the South at first, then upriver to places like Memphis, Chicago and Kansas City. With the urbanization came the key changeover to electric sound in the post World War II period. The story from there is one of a mix and match and partial ellipse with the rise of rock and rock and then back up front again when some British kids, who had been spoon-fed in the late 1950s on it while we were listening to Bobby Vee or whoever, starting linking up wit the likes of Muddy Waters. And then…well we will wait and see. But, if you have any interest at all in the blues or our common musical heritage here in America then you shouldn’t wait.


"Charley Patton High Water Everywhere (part 1) lyrics"


Well, backwater done rose all around Sumner now,
drove me down the line
Backwater done rose at Sumner,
drove poor Charley down the line
Lord, I'll tell the world the water,
done crept through this town
Lord, the whole round country,
Lord, river has overflowed
Lord, the whole round country,
man, is overflowed
You know I can't stay here,
I'll go where it's high, boy
I would goto the hilly country,
but, they got me barred
Now, look-a here now at Leland
river was risin' high
Look-a here boys around Leland tell me,
river was raisin' high
Boy, it's risin' over there, yeah
I'm gonna move to Greenville
fore I leave, goodbye
Look-a here the water now, Lordy,
Levee broke, rose most everywhere
The water at Greenville and Leland,
Lord, it done rose everywhere
Boy, you can't never stay here
I would go down to Rosedale
but, they tell me there's water there
Now, the water now, mama,
done took Charley's town
Well, they tell me the water,
done took Charley's town
Boy, I'm goin' to Vicksburg
Well, I'm goin' to Vicksburg,
for that high of mine
I am goin' up that water,
where lands don't never flow
Well, I'm goin' over the hill where,
water, oh don't ever flow
Boy, hit Sharkey County and everything was down in Stovall
But, that whole county was leavin',
over that Tallahatchie shore Boy,
went to Tallahatchie and got it over there
Lord, the water done rushed all over,
down old Jackson road
Lord, the water done raised,
over the Jackson road
Boy, it starched my clothes
I'm goin' back to the hilly country,
won't be worried no more

"High Water Everywhere (part 2)"



Backwater at Blytheville, backed up all around
Backwater at Blytheville, done took Joiner town
It was fifty families and children come to sink and drown
The water was risin' up at my friend's door
The water was risin' up at my friend's door
The man said to his women folk, "Lord, we'd better go"
The water was risin', got up in my bed
Lord, the water was rollin', got up to my bed
I thought I would take a trip, Lord,
out on the big ice sled
Oh, I can hear, Lord, Lord, water upon my door,
you know what I mean, look-a here
I hear the ice, Lord, Lord, was sinkin' down,
I couldn't get no boats there, Marion City gone down
So high the water was risin' our men sinkin' down
Man, the water was risin' at places all around,
boy, they's all around
It was fifty men and children come to sink and drown
Oh, Lordy, women and grown men drown
Oh, women and children sinkin' down Lord, have mercy
I couldn't see nobody's home and wasn't no one to be found

The Hour Of The Wolf

DVD REVIEW

Howlin' Wolf, The London Sessions, 1971

One of my first exposures to the world of Chicago-style blues, after a steady diet of country-style Delta blues, was the Rolling Stones’ version of the Willie Dixon classic Little Red Rooster back in the early 1960’s. I thought that was a song to beat all songs and it had nothing to do its allegorical nature, you know, about sex. What, moreover, capped it for me the fact that it was originally banned in Boston- from the radio airwaves of the times. Naturally that made this teenager want to hear it even more.

All this is by way of saying-yes; the Stones did a great version of that song but if you really want it heard then you must go to the master- Howlin' Wolf. That big gravelly-voiced man who, in still pictures that I have seen of him as well as film seems to be inhaling the microphone, lets it all hang out as he struts his stuff on that number. In Do the Do, Little Red Rooster, Killing Floor and on and on the Wolf sweats, bleeds, sucks up the whiskey, has another one for good measure and gets down on his knees, sometimes literally, to belt out the blues.

In this two-disc set of Howlin' Wolf classics some of those Stones did exactly what I mentioned above-went to the source. Listen in to the dialogue when the Wolf tells these trained, experienced musicians how to do the do here on Little Red Rooster. And they are all ears. That says it all. Moreover, the musical excitement builds as song after song gets you in a true blues mood. This is all about sex, about whiskey, about hardworking weeks to get to fun-loving Saturday nights. Yes, the hour of the Wolf is just before the dawn. Get this masterwork. You will not regret it.