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.

Happy Birthday Mississippi John Hurt *Sweet and Low- The Blues of Skip James-Part One

Happy Birthday To You-

By Lester Lannon

I am devoted to a local folk station WUMB which is run out of the campus of U/Mass-Boston over near Boston Harbor. At one time this station was an independent one based in Cambridge but went under when their significant demographic base deserted or just passed on once the remnant of the folk minute really did sink below the horizon.

So much for radio folk history except to say that the DJs on many of the programs go out of their ways to commemorate or celebrate the birthdays of many folk, rock, blues and related genre artists. So many and so often that I have had a hard time keeping up with noting those occurrences in this space which after all is dedicated to such happening along the historical continuum.

To “solve” this problem I have decided to send birthday to that grouping of musicians on an arbitrary basis as I come across their names in other contents or as someone here has written about them and we have them in the archives. This may not be the best way to acknowledge them, but it does do so in a respectful manner.    

 *************

Click On Title To Link To YouTube's Film Clip Of Skip James Doing "Devil Got My Woman" At The Newport Folk Festival in 1966.


CD REVIEW


Devil Got My Woman, Skip James, Vanguard records, 1991

"I'd Rather Be The Devil Than Be That Woman's Man"

The last time that I used this above-titled headline was in a commentary related to Senator Hillary Clinton's late presidential campaign and I caught hell from my feminist friends for it. So I add here blues singer/songwriter Rory Block's translation on her cover version for "political correctness". Okay? "I'd Rather Be The Devil, Than Be A Woman To That Man." I would add, that one is dealing with the blues we are not talking about any kind of sense of political correctness but the primordial longings unvarnished by the political niceties of that day or this. But enough of that. Let's talk about the legendary Skip James' work.

For those who saw Martin Scorsese's six-part blues series on PBS you know that one of the segments was directed by Wim Wender's who chose the work of Skip James as a subject for presentation. There Skip's very short recording career (as it turns out early recording career) was highlighted. As others have mentioned Skip James was a Baptist preacher, not a professional musician, so aside from the incredible recordings he made for Paramount Records in 1931, he wasn't widely sought after as a performer until the blues revival of the late '50s and early '60s. At that time he came front and center with fellow "discovered" artists like Mississippi John Hurt, Bukka White and Son House. That is the company he properly belongs in and should be compared to.

The contents of this CD only confirm that evaluation. His great falsetto voice accompanied by guitar or piano (as a nice change up) hold forth here. Interestingly, the CD features newer arrangements of several songs from James' 1931 Paramount recording, like the well-known title track "Devil Got My Woman" that got me into political trouble. There are also some moodier songs for piano here like the "22-20 Blues" and "Careless Love". Here, though, is the "skinny" on James. Like a number of blues artists you have to be in the mood and be patience. Then you don't want to turn the damn thing off. That is the case here.

Happy Birthday Mississippi John Hurt-*Sweet and Low- The Blues of Skip James-Part Three

Happy Birthday To You-

By Lester Lannon

I am devoted to a local folk station WUMB which is run out of the campus of U/Mass-Boston over near Boston Harbor. At one time this station was an independent one based in Cambridge but went under when their significant demographic base deserted or just passed on once the remnant of the folk minute really did sink below the horizon.

So much for radio folk history except to say that the DJs on many of the programs go out of their ways to commemorate or celebrate the birthdays of many folk, rock, blues and related genre artists. So many and so often that I have had a hard time keeping up with noting those occurrences in this space which after all is dedicated to such happening along the historical continuum.

To “solve” this problem I have decided to send birthday to that grouping of musicians on an arbitrary basis as I come across their names in other contents or as someone here has written about them and we have them in the archives. This may not be the best way to acknowledge them, but it does do so in a respectful manner.    

Happy Birthday Mississippi John Hurt-*Sweet and Low- The Blues of Skip James-Part Three

Click On Title To Link To YouTube's Film Clip Of Skip James Doing "Crow Jane".


Heroes Of The Blues: The Very Best Of Skip James, Skip James, Shout Factory, 2003


The contents of this CD only confirm Skip's power. His great falsetto voice accompanied by guitar or piano (as a nice change up) hold forth here. Interestingly, the CD features newer arrangements of several songs from James' 1931 Paramount recording, like the well-known title track "61 Highway” (this is the most fervent rendition of several that I have heard on various CD compilations. By the way Mississippi Fred McDowell does a tanked up version of this one, as well). There are also some moodier songs for piano here like the "22-20 Blues" and "Illinois Blues”. Also featured here is the classic “I’m So Glad” that Cream turned into a rock classic. The killer on this one though is the haunting “Cherry Ball Blues”. Here is the “skinny” though on James. Like a number of blues artists you have to be in the mood and be patience. Then you don’t want to turn the damn thing off. That is the case here.

Happy Birthday Mississippi John Hurt- *Sweet and Low- The Blues of Skip James-Part Two

Happy Birthday To You-

By Lester Lannon

I am devoted to a local folk station WUMB which is run out of the campus of U/Mass-Boston over near Boston Harbor. At one time this station was an independent one based in Cambridge but went under when their significant demographic base deserted or just passed on once the remnant of the folk minute really did sink below the horizon.

So much for radio folk history except to say that the DJs on many of the programs go out of their ways to commemorate or celebrate the birthdays of many folk, rock, blues and related genre artists. So many and so often that I have had a hard time keeping up with noting those occurrences in this space which after all is dedicated to such happening along the historical continuum.

To “solve” this problem I have decided to send birthday to that grouping of musicians on an arbitrary basis as I come across their names in other contents or as someone here has written about them and we have them in the archives. This may not be the best way to acknowledge them, but it does do so in a respectful manner.    

Click On Title To Link To YouTube's Film Clip Of Skip James Doing "Hard Times Killin' Floor Blues". Wow.


The Complete Early Recordings of Skip James-1930, Skip James, Yazoo, 1994


The contents of this CD only confirm Skip's power. His great falsetto voice accompanied by guitar or piano (as a nice change up) hold forth here. Interestingly, the CD features newer arrangements of several songs from James' 1931 Paramount recording, like the well-known title track "Devil Got My Woman" that got me into political trouble (this is the most fervent rendition of several that I have heard on various CD compilations). There are also some moodier songs for piano here like the "22-20 Blues" and "Illinois Blues”. Also featured here is the classic “I’m So Glad” that Cream turned into a rock classic. The killer on this one though is the haunting “Cherry Ball Blues”. Here is the “skinny” though on James. Like a number of blues artists you have to be in the mood and be patience. Then you don’t want to turn the damn thing off. That is the case here.

A Juke Joint Saga- A Review Of The Film “Honeydripper”

Click on title to link to YouTube's film clip of the trailer for "Honeydripper".
DVD Review

Honeydripper, starring Danny Glover, Anarchist Connection Productions, 2007

In the recent past in this space I have gone on and on about the old country blues performed after a hard, hard week’s work on a Saturday in the local ‘juke joints’ down in the southern United States in places like rural Mississippi and Alabama before World War II. Of course, then the music took the road north, especially after the war and got electrified to fit the needs of the new black migration that was heading up river to find work (and get the hell away from Jim Crow) in the newly unionized (in most cases) industrial plants. But what about those left behind, or those who did not or could not go north? Or just wanted to, or had to, keep away from the cities with their treacherous ways? Answering those questions, in a nutshell, forms the plot line to this entertaining little saga about the trials and tribulations of modernization, blues version.

Okay, here is the plot line. A struggling juke joint owner (also the house piano player), played by star Danny Glover, is financially in deep trouble and needs a quick fix to keep the wolves from the door. Nothing seems to be working for the man, especially when a regionally well-known early R&B hot shot who is suppose to resolve all Danny’s financial problems is a no show. Not to worry, an itinerant R&B wannabe just happens to ride the blinds into town, gets himself into trouble (mainly for being black while seeking a work-some things never change), and in the end is Danny’s salvation by performing a successful Saturday gig and saving the day.

Along the way we also get small glimpse of black rural life including, naturally, the ardors of plantation life, -that means cotton picking, the tough times of small time musical talents, the role of the religious tent revival in rural life and needless to say, the confinements, large and small, of Jim Crow, physically, mentally and spiritually. I have reviewed plenty of film documentaries in this space that touch on the blues and the social milieu that it derived from. While those vehicles still give a historically more accurate account of what went into create that special blues idiom just before it got electrified this film is not a bad take on what that was all about- a little prettified up to be sure.

*Walk Right In Is Right- The Blues Up Close And Country

Click On The Title To Link To YouTube's Film Clip Of Bukka White Performing "Panama Limited". Wow!

CD Review

When The Sun Goes Down: Walk Right In, various artists, BMG Music, 2002

In the course of the past year or so I have highlighted any number of blues CD compilations as I have tried to search for the roots of the American musical experience, and in the process retraced some of the nodal points of my own musical interests. I never tire of saying that I have been formed, and reformed by the blues so that when I came upon this “When The Sun Goes Down” series (a very apt expression of the right time for the playing of the blues) I grabbed each copy with both hands. In one series, the producers, as an act of love without question, have gathered up the obscure, the forgotten, the almost forgotten and the never to be forgotten voices that “spoke” to me in my youth and started me on that long ago love affair with the blues. I have hardly been alone on that journey but it is nice to see that some people with the resources, the time, money and energy have seen fit to honor our common past. Each CD reviewed here, and any future ones that I can get my hands on for there are more than the three I am reviewing today, is chock full of memorable performances by artists who now will, through the marvels of modern high technology, gain a measure of justified immortality.

Here is the cream. As always “Big Joe” Williams holds forth on “Baby, Please Don’t Go”. The only question is how many strings does the guitar that he is using on this track have? I know it isn’t six. That’s too easy. Moving on, no anthology of the country blues is complete without a Lead Belly song. Although he has never been on the top of my country blues list here his “Ham an’ Eggs” and, of course, the jumping “Midnight Special” are well done. Hey, I only said he wasn’t only MY A-list not that he wasn’t a great and worthy blues legend. Big Bill Broonzy is definitely on my A-list and he shows off here with “Mississippi River Blues”. A real treat in this compilation is the inclusion of Milton Brown and His Musical Brownies doing “Garbage Man Blues” Why? Well, at one time, before his early death in an automobile accident, he was a real challenger to Bob Wills and His Texas Playboys for the title of "King of Western Swing”. Moreover, unlike my questioning the placement of yodeler Jimmy Rodgers as a blues man (in another CD in this series) Milton Brown fits right in here.

All hail Bukka White. I have been raving about my relatively recent “discovery” of Brother White every since I saw him on a Stephan Grossman DVD musical documentary that also included Son House. Old Bukka blew House, that well-respected and seminal figure in country blues away. Here Bukka holds forth on the old railroad blues tune “The Panama Limited”, a song that I first heard way back in the day when it was covered by folk revivalist Tom Rush on one of his early albums. Tommy Johnson, as on a previous CD in this series, stands out with “Cold Drink Of Water Blues”. No wonder blues woman Rory Block, a key figure in the modern “discovery” of his work, chose to cover this classic.

Two exceptional treats here are the incomparable Paul Robeson reaching down for “Sometimes I Feel Like A Motherless Child”. Nothing I could say here would give an adequate expression to the voice of Brother Robeson. We may have been left wing political opponents but when the deal went down he could sings circles around anyone else, especially with his primordial emotive powers. All I can say is that you have to hear this one. The other treat is a genuine piece of black cultural history, the weaving of politics and religion that, in a pre-Obama age (and maybe even now) drove one aspect of black musical expression. Here we have the Reverend J.M. Gates doing “Somebody’s Been Stealin’” (along with some members of his congregation). If you want to hear what bluesman Blind Willie Johnson and, let’s say, a black politician like Adam Clayton Powell fed off of in order to learn to “speak’ in the cadence of the black masses in the first third of the 20th century listen up.


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)

*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 Mississippi John Hurt- Sleepy John’s Time- The Country Blues of Sleepy John Estes

Click on the title to link to YouTube's film clip of Sleepy John Estes performing "Drop Down Mama".

CD Review

The Legend Of Sleepy John Estes, Sleepy John Estes, Delmark, 1993

I have spent considerable time in this space detailing the musical careers of a number of old time, mainly black, country blues musicians, especially, like the artist under review Sleepy John Estes, those who were “discovered” during the folk revival of the 1960s. Not everyone got the publicity of those like Mississippi John Hurt, Son House and Skip James, but they at least got some well deserved notice on “discovery”. Or, really rediscovery because most of them, like Sleepy John, had careers back in the day. But you get the point.

That said, I have remarked elsewhere that some of these two career stalwarts also had two musical voices. I always like to bring up the example of Mississippi John Hurt. If you hear him (and you should do so) on a recording from the late 1920s like you can with “Spike Driver’s Blues” (his version of the traditional “John Henry”) on Harry Smith famous “Anthology of American Folk Music” where he is both dexterous on the guitar and velvety-voiced on the lyrics and melody and then check out a folk revival production where his guitar is still smoothly worked but his voice had become raspy (although very serviceable) you will see what I mean. The same holds true for Sleepy John. But here is the kicker. In both cases they still give us that very deeply-rooted passionate voice when telling, in song, the lives of woe they have led and the music they have made.

That said, as with Mississippi John the only question left is what are the stick outs you should pay special attention to. Here those include: “Divin’ Duck Blues,” the much-covered (and especially well-covered by Geoff Muldaur of the old Jim Kweskin Jug Band)“Drop Down Mama,” “Milk Cow Blues (also done in a very different style by Bob Wills and the Texas Playboys),” and the mournful and heartfelt “I’ve Been Well Warned".

Drop Down Mama
Lyrics: Traditional
Music: Traditional

Drop down mama
Let your daddy see
You got something goin' down
That keeps on worryin' me

Chorus
But my mama don't allow me
To fool around
She's sayin' "Son you're too young now
Some woman might put you down"

Go away from my window
Stop scratchin' round my screen
You're so evil woman
And I know what you mean

[chorus]

I got three women livin'
On the same damn road
One does my cookin', one does my washin'
One pays my room and board

[chorus]

Drop down mama
Let your daddy see
You got something goin' down
That keeps worryin' me

[chorus]

Son you're too young now
Some woman might put you down

*Songs To While Away The Class Struggle By- Bukka White's "Poor Boy Long Way From Home"

Click on the headline to link to a YouTube film clip of Bukka White performing Poor Boy Long Way From Home. Wow!


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.

***********

Poor Boy Long Way From Home 2:21 Trk 21
Bukka White (Booker T. Washington White)
Recorded: 1963 Memphis, Tennessee
Album: Parchman Farm Blues - Roots RTS 33055
Transcriber: Awcantor@aol.com

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.

Happy Birthday John Hurt- From Beulah Land- Mississippi John Hurt

Happy Birthday John Hurt-  From Beulah Land- Mississippi John Hurt
CD REVIEW

Last Sessions, Mississippi John Hurt, Vanguard Records, 1972

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.

And what made John Hurt so special? Well, for one, very clean, very simple picking on the old guitar. For another that little raspy voice that you had to perk up your ear to if you wanted to hear him. But the big deal really is that he sang songs in a simple country way that reflected the hard life of the Mississippi delta, the hard work of picking cotton, the hard fact of being black in the Jim Crow South and the hard fact of needing some musical entertainment on a hot Saturday night after a hard week in the fields. The flow changed when the blues headed north to Chicago and got electrified but if you want to hear a master at work when the sound was simpler then hear John Hurt, hear him playing Creole Belle. And Joe Turner Blues, Spanish Fandango, Beulah Land and the rest.

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

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

CD Review

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

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

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

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


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

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

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

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

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

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



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

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

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

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

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

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

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

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


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

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

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

(instrumental)

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

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


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

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

(instrumental) slide guitar

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

(instrumental) slide guitar

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

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


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

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

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

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

(instrumental)

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

'Everybody, rock' 1:14

'Ah-ha, oh yeah, oh yeah'

'I hear ya talkin' to me'

(piano)

'I'm lookin' at that piano man'

'Ah-ha, yeah'

'Oh yeah'

(trumpet)

Ah-ha

That's it

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

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

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

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

*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"

***Again,The Boogie Chillen” Man- The Boogie Blues Of John Lee Hooker

Click On Title To Link To YouTube's Film Clip Of John Lee Hooker Doing "Boom Boom".


The Very Best Of John Lee Hooker, John Lee Hooker, Rhino Records, 1995

So given the above comments what is classic here, according to my tastes. Well, hell just the lyrics alone to “I’m Bad Like Jesse James” rates as one of those here or there songs Hooker songs I mentioned above that I liked. Others may like the much covered “One Bourbon, One Scotch, One Beer”. (This may be the best way to state my case- George Thorogood’s version “speaks” to me.) “Boogie Chillen” and “I’m In The Mood” are exemplars of Hooker’s boogie guitar style.

*I Like My Liquor In Costa Rica- The Blues Of Taj Mahal

Click on the headline to link to a "YouTube" film clip of Taj Mahal performing his "Mail Box Blues."

CD Review

Shoutin’ In Key; Taj Mahal and the Phantom Blues Band, Taj Mahal and various musicians, Kan-Du Records, 2000

Okay, okay about a year or so ago when I was reviewing every possible blues artist that ever hit the pavements in the 20th century I mentioned, in a review of an old film documentary of country blues artists, including Son House and Bukka White, that was hosted by Taj Mahal that I needed to do a separate review on his important blues contribution. Well here I finally get around to putting paid on that pledge, although this CD with his one time Phantom Blues Band represents only one aspect of his work.

The important thing to note about Taj is that although he is well-versed in the old country tunes, witness the cover of the country blues classic "Corrina, Corrina" here, and of the electric blues long identified with Chicago, witness his own “Mail Box Blues,” he is also one of the exemplars of the Carib blues beat that is closely associated with the New Orleans blues tradition. Check out his “Every Wind In The River” on that score. Of course, given his West Indian roots this is to be expected but it also means that he is not easily categorized. This mix comes out more fully in other albums that I will review later but I will just alert the reader to that influence here.

Note: I have seen Taj Mahal in concert on many occasions and in many venues; folk, blues, and rock. Sometimes he will blow you away with his musical energy. Other times he has seemed to lack direction and clarity about what he was trying to present. That is not true here and I believe that his band composed of well thought of musicians is the key to keeping things tight.


Lyrics to Corrina :

I got a bird what whistles, baby got a bird
Honey got a bird ... it would sing, baby got a bird
Honey got a bird ... it would sing
Without my Corrina, sure don't mean ..., sure don't mean a natural thing

I learned to love you baby, honey for I call
Baby for I call your name, baby for I call
Honey for I call your name, I love you Corrina
It sure don't mean, it sure don't mean a natural thing

Have mercy, have mercy, baby on my hard luck
Honey on my hard luck soul, baby on my hard luck
Honey on my hard luck soul

I got a rainbow round my shoulder
Looks like silver, shines like Klondike1 gold

Well I love you honey, honey tell the world, baby tell the world I do
Honey tell the world I do, baby tell the world I do
Ain't no woman in fourteen counties, love me baby like the way I do

I got a bird what whistles, baby got a bird
Honey got a bird ... it would sing, baby got a bird
Honey got a bird ... it would sing
Without Corrina, sure don't mean, sure don't mean a natural thing

Corrina, Corrina, Corrina

Preachin' The Blues- Son House

CD REVIEW

The Very Best of Son House , Heroes Of The Blues, Son House, Sony Music, 2003

I recently reviewed Mississippi John Hurt’s "The Last Sessions" in this space. Hurt was ‘discovered’ in the early 1960’s by young, mainly white, folk singers looking to find the roots of American music. Well, Hurt was not the only old black country blues player ‘discovered’ during that period. There is a now famous still picture (as well as well as video performance clip, I wonder if it is on YouTube?) of Hurt along with the legendary Skip James and the musician under review, Son House, jamming at the Newport Folk Festival in 1963. That was a historic (and probably one of the last possible) moments to hear these legends of country blues in one spot together.

And why was House on that stage with Hurt and James? Well, the short answer is that old flailing National steel guitar of his. However, the real answer is that like Hurt he represented a piece of American music that was fast fading away, at least in its original form –the country blues. Can anyone beat the poignancy of "Death Letter Blues" or bitterness of "Levee Moan"? Or when House gets preachy on "John the Revelator" and other old time religious songs of shout and response. The tension between being a preacher man and doing the ‘devil’s work' (playing the blues) is more clearly felt in House’s work than in Hurt’s.

House’s repertoire is not as extensive as Hurt’s and there is a little sameness of some of the lyrics but when he is hot watch out. There is another famous film clip of him alone sitting down in a chair on stage under the hot lights flailing away at the guitar almost trance-like, sweating buckets doing "Death Letter Blues". That is the scene you want to evoke when you listen to this selection. And do listen.

DVD REVIEW

Kicking The Country Blues- Son House and Bukka White

Son House and Bukka White: Masters Of The Country Blues, hosted by Taj Mahal, Yazoo Videos, 1991

I have reviewed the music of country blues legend Son House elsewhere in this space (and above in this entry) and expected to review this documentary solely on the basis of a comment there. I mentioned there that in 1963 Son House, Skip James and Mississippi John Hurt performed at the Newport Folk Festival, a historic Delta blues occasion. One of the vivid cinematic scenes from that event was Son House flailing his National steel guitar, trance like, on the classic "Death Letter Blues". I assumed that I was going to see that performance here. That was not the case. However, with solid introductions to both performers by blues legend Taj Mahal we are treated to a little different look at Son House and a new look at Bukka White.

The Son House segments here concentrate on the lifelong tension between a career in preaching, Baptist style of course, and ‘doin’ the devil’s work’ of singing the blues (and along the way doing a little whiskey drinking, womanizing and hell-raising). House is interviewed here trying to lay out his philosophy, his theology and his acknowledgement that the whiskey and women mainly got the best of him. The actual musical presentation is rather short and religiously oriented- "Death Letter Blues", "John The Revelator" and the like. If you want Son House at his most musical you will have to look elsewhere, mainly to his CDs. If you want to know the man behind the music a little this is for you.

Enough of Son House here though. The real story of this documentary is that the lesser known (at least to me and others that I know who follow the blues) Bukka White steals the show in his segments. Not only is he a better and more versatile guitar player than Son House but he jumps with his musical compositions here. Let us leave it, for now, that if you want to get introduced to Brother White then this is a very good way to start. I might add that in a segment of The Howlin’ Wolf Story that I am also currently in the process of reviewing that White also steals the show from the legendary Wolf with his guitar playing. That said, the reader can expect that Brother White will shortly be getting an individual entry in this space. Yes, indeed, he will.

*Walking With The King- The Blues Of B.B. King With Eric Clapton

Click on the headline to link to a "YouTube" film clip of B.B. King and Eric Clapton performing "Riding With The King".

CD Review

Riding With The King, B.B. King and Eric Clapton, Reprise Records, 2000

Over the past couple of years I have spent a fair amount of time reviewing various blues artists who “spoke” to me when I first got interested in the folksy county blues of the likes of Son House and Skip James back in the folk revival days of the early 1960s. And then the steamy city blues of Muddy Waters and Howlin’ Wolf. Now those last named two came out of the country, the Mississippi Delta cotton country, but when they went north to Chicago and got some electricity they transformed themselves and the genre. No question.

The blues, especially the country blues, got a great impetus from the folk revival of the early 1960s, as the country blues of Son and Skip along with Mississippi John Hurt got more play from young, mainly Northern urban folkies who “discovered” them. The real impetus behind the “discovery” of the likes of Muddy and Wolf, as well as one of the two artists under review here, B.B. King, was the “British invasion”. While we teenagers on this side of the Atlantic were hung up with Elvis and Jerry Lee Lewis, and rightly so, the “lads” in England like The Rolling Stones, the Beatles, and the other artist featured here, Eric Clapton, were trying to get every blues record, city or country, they could lay their hands on.

Thus it seems fitting, in a way, that B.B. King and Eric Clapton, clearly two ambassadors for the blues should team up and let it rip through some of the classics of the genre. Now I have a confession to make. Although I have spilled much ink in this space on many old time blues artists, some well known, others strictly for aficionados, I have not mentioned B.B. King, except in passing. This is solely a matter of personal preference. B.B. and his ever present “Lucille”, with the exception of a few early numbers, never really “spoke” to me like Howlin’ Wolf, for one, did.

There is no question, however, that B.B. is a master on the guitar. Nor any question that he is a great bluesman in the old fashion sense and no question that when he teams up with Clapton here they “smoke” on some of the songs. So that only leaves what is good here. Well, certainly the title track, “Riding With The King”, the country blues classic, “Keys To The Highway”, “Worried Life Blues”, and “I Wanna Be”. Those will keep you jumpin’.



"Riding With The King" Lyrics


I dreamed I had a good job and I got well paid,
I blew it all at the penny arcade,
A hundred dollars on a cupid doll,
No pretty chick is gonna make me crawl,

And I teetered the way to the promised land,
Every woman, child and man,
Get your caddilac and a great big diamond ring,
Don't you know you're riding with the king?

He's on a mission of mercy, to the new fronteir,
He's gonna take us all outta' here,
Up to that mansion, on a hill,
Where you can get your prescription pill

And I teetered the way to the promised land,
Everybody clap your hands,
And don't you dirts love the way that he sings?
Don't you know you're riding with the king?
You're riding with the king!
Don't you know you're riding with the king?

A tuxedo and a shining green burning five,
You can see it in his face, the blues is alive,
Tonight everybody's getting their angel wings,
Don't you know you're riding with the king?

I stepped out of Mississippi when I was ten years old,
With a suit cut sharp as a razor and a heart made of gold.
I had a guitar hanging just about waist high,
And I'm gonna play this thing until the day I die.
Don't you know you're riding with the king?
Don't you know you're riding with the king?
(You're riding with me baby)
(You got good hands)
(Yes, you're riding with the king)
(I wanted to say B.B. King, but you know who the king is)

Once More Into The Time Capsule, Part Three- The New York Folk Revival Scene in the Early 1960’s-Taj Mahal

Click on title to link to YouTube's film clip of Taj Mahal performing John Hurt's "Candy Man". John would be proud.

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 Three: Phil Ochs on “I Ain’t Marching Anymore”, Richard &Mimi Farina on “Pack Up Your Sorrows”, John Hammond on “Drop Down Mama”, Jim Kweskin & The Jug Band on “Rag Mama”, John Denver on “Bells Of Rhymney”, Gordon Lightfoot on "Early Morning Rain”, Eric Andersen on “Thirsty Boots”, Tim Hardin on “Reason To Believe”, Richie Havens on “Just Like A Woman”, Judy Collins on “Suzanne”, Tim Buckley on “Once I Was”, Tom Rush on “The Circle Game”, Taj Mahal on “Candy Man”, Loudon Wainwright III on “School Days”and Arlo Guthrie on “The Motorcycle Song”

Taj Mahal on “Candy Man”. Taj covering old John Hurt’s salacious tune. That’s the ticket. Taj will be getting a more extensive review later when I look at his work in greater depth. Enough here to say this man knows the roots of his music, the blues, and expands and contracts his work from that perspective.


"Mississippi John Hurt Candy Man lyrics"

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
It's the candy man

All heard what sister Johnson said
She always takes a candy stick to bed
It's the candy man
It's the candy man

Don't stand close to the candy man
He'll leave a big candy stick in your hand
It's the candy man
It's the candy man

He sold some candy to sister Bad
The very next day she took all he had
It's the candy man
It's the candy man

If you try his candy, good friend of mine,
you sure will want it for a long long time
It's the candy man
It's the candy man

His stick candy don't melt away
It just gets better, so the ladies say
It's the candy man
It's the candy man

*Today's Burning Question Of The Class Struggle- The Search For The Great Working Class Love Song (In English)- A Late Entry-"James Alley Blues"

Click on title to link link to YouTube's film clip of Rabbit Brown performing his James Alley Blues".

Markin comment November 17, 2009:

This is a late addition to the great working class love songs contest. This is from the famous "Harry Smith's Anthology Of American Folk Music". It is a classic. I note that the three selection are all male-voiced (ouch). Well, what about it? If women have a selection I would me more than happy to put it in the contest.


Markin comment:

No, old Markin has not gone off the deep end. But every once in a while I like to get a little whimsical, especially if I have music on my mind. Let’s face it , communist political realists that we are we cannot (or should not go) 24/7 on the heavy questions of health care, the struggle against the banks and other capitalist institutions, the fight for a working wage and the big fight looming ahead on Afghanistan without a little relief. So, for this moment, I ask this question –what is the great working class love song (in English)?

Now there are plenty of them I am sure but I control the stick today. You have to choose between my two (now three, see above)selections. Richard Thompson’s classic motorcycle love song (which, of course, if you read the lyrics, borders very closely to the lumpen proletarian-but so does working class existence, especially down among the working poor, for that matter). Or, Tom Waits’ version of the classic weekend- freedom seeking “Jersey Girl”. And, after that……… Obama, Troops Out Of Afghanistan- Free Quality Health care For All- Down With The Wall Street Bankers. See, I told you I had not gone off the deep end.




James Alley Blues

Times right now ain't nothin' like they used to be
Well times right now ain't nothin' like they used to be
You know I'll tell you all the truth, won't you take my word from me

Well I seen better days, but I ain't puttin' up with these
Well I've seen better days, but I ain't puttin' up with these
I had a lot better time with those women down in New Orleans

Well I was born in the country so she thinks I'm easy to lose
Well I was born in the country so she thinks I'm easy to lose
She wants to hitch me to a wagon and drive me like a mule

I bought her a gold ring and I pay the rent
I bought her a gold ring and I pay the rent
She tried to get me to wash her clothes but I got good common sense

Well if you don't want me then why don't you just tell me so?
Well if you don't want me then why don't you just tell me so?
It ain't like I'm a man that ain't got nowhere else to go

I give you sugar for sugar, but all you want is salt for salt
I give you sugar for sugar, but all you want is salt for salt
Well if you can't get along with me, then it's your own fault

Well, you want me to love you, but then you just treat me mean
Yea, you want me to love you, but then you just treat me mean
You're my daily thought and you're my nightly dream

Well, sometimes I think that you're just too sweet to die
Ah, sometimes I think that you're just too sweet to die
And other times I think that you ought to be buried alive


found on: The Harry Smith Connection: A Live Tribute

words: Rabbit Brown (traditional)

***The "Max Daddy” Blues Shootout- Alan Lomax’s "Blues At Newport 1966"

Click On Title To Link To YouTube Film Clip Of Skip James Doing "Devil Got My Woman" At The Newport Folk Festival In 1966. Wow!

DVD REVIEW

Devil Got My Woman: Blues At Newport 1966, Skip James, Son House, Howlin’ Wolf, Bukka White and the Reverend Pearly Brown, Vestapol Productions, 1996

I have spent some considerable effort in this space reviewing various trends in the blues tradition, including both the country blues and the later electrified urban sound most closely associated with places like Memphis and Chicago. 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). The electric blues really came of age in the post World War I period and later when there was a massive black migration out of the south in search of the, now disappearing, industrial jobs up north (and to get out from under old Jim Crow racial segregation). In this volume (and similarly in a couple of other previously reviewed volumes in this series) Stefan Grossman, the renowned guitar teacher and performer in his own right, has taken old film clips and segments from an Alan Lomax experiment at the Newport Folk Festival of putting exemplars of both traditions together under one roof and has produced an hour of classic performances by some masters of the genre. Wow.

Let me set the stage on this one to give you a small, small sense of what an historic blues cultural occasion this was. Alan Lomax, the famous musicologist and folk performer, put the then recently rediscovered Skip James and Son House and the already well known and powerful voice of Howlin' Wolf together under one roof. Oh yes, and then added Bukka White and the Reverend Pearly Brown to the mix. The motif: an attempt to recreate an old fashioned "juke joint'" from back in the days on a Down South rural Saturday night complete with dancing and plenty of liquor. Watch out.

Needless to say anyone even vaguely familiar with the long and storied history of the early blues knows that this was indeed an historic, and fleeting, occasion. 1966 might have been one of the few years that such an event could have been put together as the old country blues singers were starting to past from the scene. But as fate would have it we got one last chance to look at these five performers going head to head, everyone one way or another a legend. With the partial exception of the Reverend Pearly Brown and his religiously- oriented country blues done in the shout and response style of the old Baptist churches reflecting the tradition made popular by the Reverend Blind Willie Johnson, all the other performers have rated plenty of ink in this space as members of one or another branch of the blues pantheon.

A few of the highlights. Skip James' rendition of his classic "I'd Rather Be The Devil That Be That Woman's Man" (also known by the title of this documentary "Devil Got My Woman"). I have gotten more mileage out of my use of that title in various political commentaries in this space than I deserve. Thanks, Skip. Son House brought out his classic "Death Letter Blues" that I always go crazy over. Howlin' Wolf is, well, Howlin' Wolf as he almost inhales the harmonica on "How Many More Years" and does an incredible cover of the old Robert Johnson/Elmore James song "Dust My Broom". Reverend Brown does a very soulful rendition of the tradtional religious blues classic "Keep Your Lamp Trimmed And Burning".

So who is left? Well Bukka White, of course. Bukka is a recent addition to my personal blues pantheon and I have spend some effort praising his work, especially his smoking guitar work on that old National Steel guitar that he makes hum. Hell, I would have walked to Mississippi to hear that. This documentary has a separate songs section so that one can replay any song that one wants to without having to replay the whole film (although I did that as well). So who got replayed? Yes Bukka on "100 Men" (with Howlin' Wolf doing the response and some unknown washboard player as backup). Yes indeed, this was the blues shootout to end all shootouts. If you want to know what it was like to see men play the blues for keeps look here.



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

Howlin' Wolf

All songs written by Willie Dixon (Arc Music Corp- BMI) except * by Chester Burnett (Arc Music Corp- BMI) and ** by James B. Oden (Arc Music Corp- BMI)

SHAKE FOR ME

Sure look good, but it don't mean a thing to me
Sure look good, but it don't mean a thing to me
I got a hip-shaking woman, shake like a willow tree

You better wait baby, you got back a little too late.
You better wait baby, you got back a little too late.
I got a cool-shaking baby, shake like jello on a plate

When my baby walk, you know she's fine and mellow
When my baby walk, you know she's fine and mellow
Every time she stops, her flesh it shake like jello

Shake it baby, shake it for me
Shake lil' baby, shake it for me
Oh, shake it little baby, shake like a willow tree


THE RED ROOSTER

I had a little red rooster too lazy to crow for day
I had a little red rooster too lazy to crow for day
Keep everything in the barnyard upset in every way

Oh, them dogs begin to bark, hounds begin to howl
Oh, them dogs begin to bark, hounds begin to howl
Oh, Watch out strange kin people, little red rooster's on the prowl

If you see my little red rooster, please drag him on home
If you see my little red rooster, please drag him on home
There ain't no peace in the barnyard since my little red rooster's been gone


YOU'LL BE MINE

You so sweet, you so fine
How I wish you were mine
Honey I'll be your love
You'll be mine
You'll be mine
You'll be mine

You so nice, you so true
I'm so glad I love you
Honey I'll be your love
You'll be mine
You'll be mine
You'll be mine

Tell me pretty baby is you gonna try
If you say it baby, hang on baby
till the day I die

It's so true I love you
I don't care what you do
Honey I'll be your love
You'll be mine
You'll be mine
You'll be mine

Tell me pretty baby is you gonna try
If you say it baby, hang on baby
till the day I die

That is true I love you
I don't care what you do
Honey I'll be your love
You'll be mine
You'll be mine
You'll be mine (fade out)


WHO'S BEEN TALKIN' *

My baby caught the train, left me all alone
My baby caught the train, left me all alone
She knows I love her, she doin' me wrong

My baby bought the ticket, long as her right arm
My baby bought the ticket, long as my right arm
She says she's gonna ride long as I been from home

Well who been talking, everything that I do
Well who been talking, everything that I do
Well you is my baby, I hate to lose

Well goodbye baby, hate to see you go.
Well goodbye baby, hate to see you go.
You know I love you I'm the causin of it all.
I'm the causin' of it all.
I'm the causin' of it all.
I'm the causin' of it all.


WANG DANG DOODLE

Tell Automatic Slim , tell Razor Totin' Jim
Tell Butcher Knife Totin' Annie, tell Fast Talking Fanny
A we gonna pitch a ball, a down to that union hall
We gonna romp and tromp till midnight
We gonna fuss and fight till daylight
We gonna pitch a wang dang doodle all night long
All night long
All night long
All night long

Tell Kudu-Crawlin' Red, tell Abyssinian Ned
Tell ol' Pistol Pete, everybody gonna meet
Tonight we need no rest, we really gonna throw a mess
We gonna to break out all of the windows, we gonna kick down all the doors
We gonna pitch a wang dang doodle all night long
All night long
All night long
All night long

Tell Fats and Washboard Sam, that everybody gonna to jam
Tell Shaky and Boxcar Joe, we got sawdust on the floor
Tell Peg and Caroline Dye, we gonna have a time.
When the fish scent fill the air, there'll be snuff juice everywhere
We gonna pitch a wang dang doodle all night long
All night long
All night long
All night long
All night long
All night long
All night long
All night long

SPOONFUL

It could be a spoonsful of diamonds,
Could be a spoonful of gold,
Just a little spoon of your precious love,
Satisfies my soul.

Men lies about little,
Some of them cries about little,
Some of them dies about little,
Everything fight about little spoonful.

It could be a spoonful of coffee,
Could be a spoonful of tea,
But a little spoon of your precious love,
Good enough for me.

Men lies about that,
Some of them dies about that,
Some of them cries about that,
But everything fight about that spoonful.

That spoon, dat spoon, dat spoonful.

It could be a spoonsful of water,
Saved from the deserts sand,
But one spoon of them fortifies.
Save you from another man.

Men lies about that,
Some of them cries about that,
Some of them dies about that,
Everybody fightin' about that spoonful.

That spoon, dat spoon, dat spoonful.


BACK DOOR MAN

I am a back door man.
I am a back door man.
Well the men don't know, but the little girls understand.

When everybody's sound asleep,
I'm somewhere making my midnight creep.
Yes in the morning, the rooster crow.
Something tell me, I got to go.

I am a back door man.
I am a back door man.
Well the men don't know, but little girls understand.

They take me to the doctor. Shot full o' holes.
Nurse cried, please save the soul.
Killed him for murder, first degree.
Judge's wife cried. Let the man go free.

I am a back door man.
I am a back door man.
Well the men don't know, but little girls understand.

Stand out there. Cop's wife cried.
Don't take him down. Rather be dead.
Six feets in the ground.
When you come home you can eat pork and beans.
I eats mo' chicken any man seen

I am a back door man.
I am a back door man.
Well the men don't know, but the little girls understand.


HOWLIN' FOR MY BABY

Pretty baby. Come on home. I love you.
If you hear me howlin', calling on my darlin'.

She's hot like red pepper. Sweet like cherry wine.
I'm so glad she love me. Love me all the time.
She's my little baby, sweet as she can be.
All this love she's got, do belongs to me.
If you hear me howlin', calling on my darling.

My baby. Come on home. I love you. Come on home.
If you hear me howlin', calling on my darling.

Every time she kiss me, she makes the lights go out.
From early in the morning, she makes me jump and shout.
This bad love she got, makes me laugh and cry.
Makes me really know, that I'm too young to die.
If you hear me howlin', calling on my darling.

Come on. I love you. Pretty baby.

Reverend Pearly Brown doing Blind Willie Johnson - In My Time Of Dyin' lyrics

Lyrics to In My Time Of Dyin' :

Well, in my time of dyin', don't want nobody to moan
All I want for you to do is take my body home
Well, well, well, so I can die easy
Well, well, well, well, well, well, so I can die easy
Jesus goin' make up
Jesus goin' make up
Jesus goin' make my dyin' bed

Well, meet me, Jesus, meet me, meet me in the middle of the air
If these wings should fail me, Lord, won't you meet me with another pair
Well, well, well, so I can die easy
Well, well, well, well, well, well, so I can die easy
Jesus goin' make up
Jesus goin' make up
Jesus goin' make my dyin' bed

Lord, in my time of dyin', don't want nobody to cry
All I want you to do, is take me when I die
Well, well, well, so I can die easy
Well, well, well, well, well, well, so I can die easy
Jesus goin' make up
Jesus goin' make up
Jesus goin' make my dyin' bed


Reverend Pearly Brown doing Blind Willie Johnson - It's Nobody's Fault But Mine Lyrics to It's Nobody's Fault But Mine :

Nobody's fault but mine,
nobody's fault but mine
If I don't read it my soul be lost

I have a bible in my home,
I have a bible in my home
If I don't read it my soul be lost

Mmm, father he taught me how to read,
father he taught me how to read
If I don't read it my soul be lost, nobody's fault but mine

Ah, Lord, Lord, nobody's fault but mine
If I don't read it my soul be lost

Ah, I have a bible of my own,
I have a bible of my own
If I don't read it my soul be lost

Oh, mother she taught me how to read,
mother she taught me how to read
If I don't read it my soul be lost, nobody's fault but mine

Ah, Lord, Lord, nobody's fault but mine
If I don't read it my soul be lost

And sister she taught me how to read,
sister she taught me how to read
If I don't read it my soul be lost, nobody's fault but mine

Ah, mmm, Lord, Lord, nobody's fault but mine
If I don't read it my soul'd be lost, mmm


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)