When Rockabilly Rocked The Be-Bop 1950s Night- “Rock This Town-Volume 2”- A CD Review

When Rockabilly Rocked The Be-Bop 1950s Night- “Rock This Town-Volume 2”- A CD Review

Rock This Town, Volume 2, various artists, Rhino Records, 1991


The bulk of this review was used to review Volume 1 as well:

The last time that I discussed rockabilly music in this space was a couple of years ago when I was featuring the work of artists like Elvis, Johnny Cash, and Jerry Lee Lewis who got their start at Sam Phillips’ famed Sun Records studio in Memphis. Part of the reason for those reviews was my effort to trace the roots of rock and rock, the music of my coming of age, and that of my generation, the generation of ’68. Clearly rockabilly was, along with country and city blues from the likes of Muddy Waters, Howlin’ Wolf, and Ike Turner and rhythm and blues from the likes of Big Joe Turner, a part of that formative process. The question then, and the question once again today, is which strand dominated the push to rock and rock, if one strand in fact did dominate.

I have gone back and forth on that question over the years. That couple of years ago mentioned above I was clearly under the influence of Big Joe Turner and Howlin’ Wolf and so I took every opportunity to stress the bluesy nature of rock. Recently though I have been listening, and listening very intently, to early Elvis Presley, Carl Perkins and Jerry Lee Lewis and I am hearing more of that be-bop rockabilly rhythm flowing into the rock night. Let me give a comparison. A ton of people have done Big Joe Turner’s classic rhythm and bluish Shake, Rattle, and Roll, including Bill Haley, Elvis, Carl Perkins, and Jerry Lee. When I listen to that song as performed in the more rockabilly style by them those versions seem closer to what evolved into rock. So for today, and today only, yes Big Joe is the big daddy, max daddy father of rock but Elvis, Jerry Lee, and Carl are the very pushy sons.

And that brings us to this treasure trove of rockabilly music presented in two volumes of which this is the second; including material by those who have revived, or kept the rockabilly genre alive over the past couple of decades. I have already done enough writing in praise of the work of Sam Phillips and Sun Records to bring that good old boy rockabilly sound out of the white southern countryside. There I noted that, for the most part, those who succeeded in rockabilly had to move on to rock to stay current and so the rockabilly sound was somewhat transient except for those who consciously decided to stay with it. Here are the examples that I used for volume one and they apply here as well:

“…the best example of that is Red Hot by Bill Riley and his Little Green Men, an extremely hot example by the way. If you listen to his other later material it stays very much in that rockabilly vein. In contrast, take High School Confidential by Jerry Lee Lewis. Jerry Lee might have started out in rockabilly but this number (and others) is nothing but the heart and soul of rock (and a song, by the way, we all prayed would be played at our middle school dances to get things moving).” Enough said.

Stick outs here on Volume 2 include: C’mon Everybody, Eddie Cochran (probably better known for his more bluesy, steamy, end of school rite of passage Summertime Blues, a very much underrated performer whose career was cut short when he was killed in a car accident; Let’s Have A Party, Wanda Jackson (one of the few famous women rockabilly artists in a very much male-dominated genre); Red Hot ( a cover of the famous one by Bill Riley featured in Volume 1), Robert Gordon and Link Wray; Rock This Town (title track from the group that probably is the best known devotee of the rockabilly revival), The Stray Cats.

When Rockabilly Rocked The Be-Bop 1950s Night- “Rock This Town”- A CD Review

When Rockabilly Rocked The Be-Bop 1950s Night- “Rock This Town”- A CD Review


Click on the headline to link to a YouTube film clip of Buddy Knox performing his classic Party Doll.

CD Review

Rock This Town, Volume 1, various artists, Rhino Records, 1991


The last time that I discussed rockabilly music in this space was a couple of years ago when I was featuring the work of artists like Elvis, Johnny Cash, and Jerry Lee Lewis who got their start at Sam Phillips’ famed Sun Records studio in Memphis. Part of the reason for those reviews was my effort to trace the roots of rock and roll, the music of my coming of age, and that of my generation, the generation of ’68. Clearly rockabilly was, along with country and city blues from the likes of Muddy Waters, Howlin’ Wolf, and Ike Turner and rhythm and blues from the likes of Big Joe Turner, a part of that formative process. The question then, and the question once again today, is which strand dominated the push to rock and roll, if one strand in fact did dominate.

I have gone back and forth on that question over the years. That couple of years ago mentioned above I was clearly under the influence of Big Joe Turner and Howlin’ Wolf and so I took every opportunity to stress the bluesy nature of rock. Recently though I have been listening, and listening very intently, to early Elvis Presley, Carl Perkins and Jerry Lee Lewis and I am hearing more of that be-bop rockabilly rhythm flowing into the rock night. Let me give a comparison. A ton of people have done Big Joe Turner’s classic rhythm and bluish Shake, Rattle, and Roll, including Bill Haley, Elvis, Carl Perkins, and Jerry Lee. When I listen to that song as performed in their more rockabilly style those versions seem closer to what evolved into rock. So for today, and today only, yes Big Joe is the big daddy, max daddy father of rock but Elvis, Jerry Lee, and Carl are the very pushy sons.

And that brings us to this treasure trove of rockabilly music presented in two volumes of which this is the first. I have already done enough writing in praise of the work of Sam Phillips and Sun Records to bring that good old boy rockabilly sound out of the white southern countryside. There I noted that for the most part those who succeeded in rockabilly had to move on to rock to stay current with the youth wave (the disposable income/allowance post World War II youth wave) and so the rockabilly sound was somewhat transient except for those who consciously decided to stay with that sound. Here the best example of that is Red Hot by Bill Riley and His Little Green Men, an extremely hot example by the way. If you listen to his other later material it stays very much in that rockabilly vein. In contrast, take High School Confidential by Jerry Lee Lewis. Jerry Lee might have started out in rockabilly but this number (and others) is nothing but the heart and soul of rock (and a song, by the way, we all prayed would be played at our middle school dances to get thing, you know what things going). Case closed.

Other stick-outs here include Ooby Dooby, Roy Orbison (although he has a ton of better songs); Blue Suede Shoes (the teeth-cutting, max daddy of rockabilly songs), Carl Perkins; Susie-Q (right at that place where rockabilly and blues meet to form rock and a classic come hither song), Dale Hawkins; Party Doll (another great middle school dance song), Buddy Knox;and, Come On, Let’s Go (bringing just a touch of Tex-Mex into the rockabilly mix), Ritchie Valens.

From The Pen Of Joshua Lawrence Breslin- Reflections On A Birth Of Rock And Roll Night-Take One

Rock and roll was (is) big, sweaty cities, hot time summertime and the living is easy cities, New York-sized outlandish skyscraper to the stars cities, Chicago big windy, sloppy hog butcher to the world cities, seven hills rolling to the golden pacific wash and Japan seas great American west night San Francisco cities, sprawling sun-sweated, be-fogged, brown hills and all swish and swirl coreless arroyo Los Angeles cities, be-bop cities okay, kids sitting around Washington Square, Central Park, Union Square, Lincoln Park, Grant Park, Russian Hill, Telegraph Hill, Golden Gate Park, Venice Beach, Santa Monica pier, Malibu surf run, name your square, park, hill, beach, run, what the hell is a run, or be square, be-bopping away, waiting, waiting impatiently, waiting out of their shoes, blue suede Carl Perkins shoe or not, maybe fearful Pat Boone, Pat Boone!!! white bucks, whatever, impatiently for the big freeze red scare (hell, no far away, big freeze red scare right down in big city New York Foley Square and dead commie Rosenburgs, stalinite jews for god’s sakes, why did they do it, Hollywood Ten cinematic villains writing up some Malibu night mare scenes to scare young children, future golden boy perfect wave surfers, to death Chi town Wobblies turned red never getting over Haymarket 1886 and doing hard time in Joliet, Longshoremen Harry Bridges and golden gate breach) cold war night to turn warm and provide some fresh air to breath, to breath a not parentcoppriestteacherauthority, not air raid shelter, head down, ass up breathe.

Clapping hands by twos and threes as some bopping horn, or better sexed-up sax, parent wary too sexed-up sax, make of that what you will, always sax wails, whales, wales, away with that big beat, beat down, beat around, beat six- ways-to- Sunday (the day exactly), some guitar riff out of Les Paul or some jazz Charlie Christian saint, maybe some Ike Turner Rocket 88 turbo-blast, trying to make sense of that off-beat Bill Haley and the Comets Rock Around The Clock beat that framed, hell, beat to hell that silly Asphalt Jungle j. d. (juvenile delinquent for the clueless squares, jack-rollers, corner boys, whip chain-slashers for those in the know also looking for that freeze to thaw in their own coping way) movie seen down at the Majestic on that cool off Saturday popcorn afternoon. Stag (stag, meaning no girl, not solo, but with full corner boy regiment in tow), later, intermission later, seeing she, Public School 63 sweet Madonna and then to Eddie Cochran Sitting in the Balcony,Zooey (maybe jewish and no madonna, no frozen irish Catherine Madonna, Muffy wasp Madonna , Rita italian Madonna , Greta german Madonna thing, thank god but not caring not caring a fig just following that Zooey ivory bath soap, could it be perfume smell that has hooked guys since, well Adam), and off to private upstairs balcony screenings.

Later, maybe four o’clock later, strolling (got to learn how to get the hang of that damn thing, the stroll, if you want to hang on to Zooey, boy) off to Schrafft’s corner lunchroom and quarters for jukebox, endless cadges; play this and that six, twelve, infinite times. And our father, Elvis, Elvis, all shakes, shiver, making girls, making Zooey (he heard) sweat (and Zooey, cool bath soap smell Zooey does not sweat even in sweaty New York/Chi Town/Frisco/LA LA land cities) and do things up in cloistered rooms (so he heard) when they (boys they in case you didn’t figure that out) ran Mr. Sam’s ragged looking for just the right look, and old Mr. Mack too benefited selling combs, gels, and six other things, except correctives for two left feet.

Rock was (is) small Podunk towns, every boy knows every girl (and maybe desires each too although that would cause a scandal in monogamous protestant-driven podunk), small , sweaty towns and villages, hell, one street main street crossroads down in Texas, pass throughs for Greyhound buses and oil tankers, summertime and the living is easy crossroads, Podunk outlandishly named towns, Boise, Helena, Ponticello, Big Sur (before the invasion), Olde Saco filled with French-Canadian boys calling out the songs in patois French (no Arcadia here), be-bop (okay, half be-bop towns, dusty old towns soon, how soon, to be de-populated by every boy and girl and off to the big sweaty rock and roll cities). Kids sitting around the village green, the fourth of july bandstand, the monument to the civil war, maybe on ocean edge towns down some salty beach, be-bopping away, waiting, waiting just like big sweaty city waiting ,for the big freeze red scare (hell, no far away, they ran those pink, red NAACP guys, white guys, students making strange noises, right out of town, right onto those Trailways buses, one way, pronto) cold war night to turn warm and provide some fresh air to breath to breath a not parentcoppriestteacherauthority, not air raid shelter (or under old time mahogany inkwell desks for real Podunk towns), head down, ass up breathe.

Clapping hands by twos and threes as some bopping horn, or better sexed-up sax, parent wary too sexed-up sax, make of that what you will, always sax wails, whales, wales, away with that big beat, beat down, beat around, beat six- ways-to- Sunday (the day exactly), some guitar riff out of Les Paul or some jazz Charlie Christian saint, maybe some Ike Turner Rocket 88 piano turbo-blast, trying to make sense of that off-beat Bill Haley and the Comets Rock Around The Clock beat that framed, hell, beat to hell that silly Asphalt Jungle j. d. (big city juvenile delinquent for the clueless squares, jack-rollers, corner boys, whip chain-slashers for those in the know also looking for that freeze to thaw in their own coping way) movie seen down at the Bijou (imitation big city Majestic, really doubling for Sunday morning pancake socials too), on that cool off Saturday popcorn (popcorn addicted same as in sweaty cities) afternoon. Stag (ditto, cities, maybe corner boys, some innocent when you dream Mama’s Pizza parlor corner, maybe no), but later, intermission later, seeing she, Olde Saco South Junior High School, for example, (no blank big city Public School X number here) sweet Madonna (same as big city on that) and then to Eddie CochranSitting in the Balcony, Betty (or Jane, Mary, nothing as exotic as big city, maybe jew, big city Zooey) and off to private upstairs balcony screenings.

Later, maybe four o’clock later, strolling (got to learn how to get the hang of that damn thing, the stroll, if you want to hang on to Betty/Jane/ Mary, boy) off to Doc’s corner drugstore and quarters for jukebox, endless cadges, play this and that six, twelve, infinite times. And our father, Elvis, Elvis, all shakes, shiver, making girls, making Betty (he heard) sweat (and Betty, Zooey-like, cool Betty does not sweat even in sweaty summer midday corn-picking fields) and do things, universal do things, private girl things, up in cloistered rooms (so he heard) when they (boys they in case you didn’t figure that out) ran the Sears catalogue (and Ma) ragged looking for just the right look, and old Doc and his fuddy-duddy drugstore with odd medicines for sick people what-a- drag- to-be-old-and- it- ain’t- never- going- to- come- to- that- for- me benefited selling combs, gels, and six other things, except correctives for two left feet.

Rock was (is)…

Out In The Be-Bop 1950s Night- Shake, Rattle and Roll- Big Joe Turner Is In The House- A CD Review

Click on the headline to link to a YouTube film clip of Big Joe Turner performing hi classic birth of rock ‘n’ roll song, Shake , Rattle and Roll.

CD Review

Big Joe Turner’s Greatest Hits, Big Joe Turner, 1991

A few years ago there was a little controversy about whether songs like Joe Turner’s Shake, Rattle and Roll or some early Elvis Presley tunes like Hound Dog or It’s All Right, Mama represented the genesis of rock and roll. That might be an interesting discussion for musicologists with time on their hands but if you really want to know the answer listen here. If you do not find the base line here for all later classic rock then I am afraid it is lost in the mist of time. Musical trends draw from many influences but the rhythm and blues of the early 1950’s seems to have been the real jump point for the turn to rock. Just look who covered th ething-ya,Elvis, Jerry Lee and Bill Haley.

This compilation, that is moreover technically competent, is a case study for the above stated propositions. It all comes together here on Blues in the Night. The two parts of Around the Clock Blues are nice. As is Blues on Central Avenue.

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

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

CD Review

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

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

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

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

"This Little Girl's Gone Rockin'"

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

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

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

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

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

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

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

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


"(Mama) He Treats Your Daughter Mean"


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

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

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

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

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

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

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

*Jump Blues Jumping- The Blues Masters Series

Click On Title To Link To YouTube Clip Of Big Joe Williams Doing "Shake, Rattle and Roll". The Birth Of Rock At Your Fingertips. Nice.

CD REVIEW

Blues Masters: More Jump Blues,Volume 14, various artists, Rhino Records, 1993

I have tried in this space over the past period to get a hook into the roots of certain kinds of American popular music centered on the key role of the blues in creating the modern rock sound. Once the blues moved north from the Mississippi Delta and other southern ports of call and got electrified in the post-World War II period reflecting a more urban, urbane style the possibilities became almost endless. The confluence of jazz, scat, rhythm and blues and swing developed the first notable type of urban blues that deserved a name-jump blues. To pay homage to that early trend that, arguably, ultimately went on to form the core beat to the rock & roll revolution the producers here have put out a second CD (Volume 5 was the first) in this "Blues Masters Series" dedicated to the makers and shakers of that music.

I have, seemingly endlessly, touted the virtues of Big Joe Turner and especially his seminal "Shake, Rattle and Roll" elsewhere so I need spend little time on "Boogie Woogie Country Girl" that is a just lesser tune in that same genre. I do need to note an early Little Richard classic, "Little Richard's Boogie", which goes a long way to showcasing his wild talent and incidentally providing another strand in that complex of beats that created rock & roll. Laverne Baker, of later "Jim Daddy" fame, not given nearly enough credit as a key voice in the golden age of rock does a lively "Voodoo Voodoo". Finally, take a listen to an earlier pre-Bill Haley version of "Later Alligator". Jump blues, rock and rock? Ya, they fit together.

Jim Dandy

LaVern Baker & the Gliders

Jim Dandy to the rescue!
Jim Dandy to the rescue!
Jim Dandy to the rescue!
Go, Jim Dandy! Go, Jim Dandy!

I was sitting on a mountain top.
30,000 feet to drop.
Tied me on a runaway horse
Uh huh, that's right, of course.
Jim Dandy to the rescue!
Go, Jim Dandy! Go, Jim Dandy!

One day, I met a girl named Sue.
She was feeling kind of blue.
I'm Dandy, the kind of guy
Who can't stand to see a little girl cry.
Jim Dandy to the rescue!
Go, Jim Dandy! Go, Jim Dandy!

Jim Dandy to the rescue!
Jim Dandy to the rescue!
Jim Dandy to the rescue!
Go, Jim Dandy! Go, Jim Dandy!

I was riding on a submarine
Got a message from my mermaid queen.
She was hanging on a fishing line.
Mr. Dandy didn't waste no time!
Jim Dandy to the rescue!
Go, Jim Dandy! Go, Jim Dandy!

Once upon a time, I went to Maine.
Got a ticket on a DC plane.
Mr. Dandy didn't need no chute!
I was high and ready to boot!
Jim Dandy to the rescue!
Go, Jim Dandy! Go, Jim Dandy!

Jim Dandy to the rescue!
Jim Dandy to the rescue!
Jim Dandy to the rescue!
Go, Jim Dandy! Go, Jim Dandy!

Annotated & Submitted by Leon Sanchez
chezzy2@yahoo.com

Tweedlee Dee

LaVern Baker and The Gliders
(Scott)

Tweedlee tweedlee tweedlee dee
I'm as happy as can be
Jimminy cricket jimminy jack
You make my heart go clickety-clack
Tweedlee tweedlee tweedlee dee

Tweedlee tweedlee tweedlee dot
How you gonna keep that honey you got
Hunkies hunkies fishes bite
I'm gonna see my honey tonight
Tweedlee tweedlee tweedlee dot

Tweedlee dee tweedlee dee
Give it up give it up
Give your love to me
Tweedlee dot tweedlee dot
Gimme gimme gimme gimme
Gimme all the love you got
Hump-be-ump-bump-bump

Tweedlee tweedlee tweedle doe
I'm a lucky so-and-so
Hubba hubba honey dew
I'm gonna keep my eyes on you
Tweedlee tweedlee tweedlee doe

Tweedlee doe tweedlee doe
Give that kiss to me before you go
Tweedlee dum tweedlee dum
Lookie lookie lookie lookie
Look at that sugar plum
Hump-be-ump-bump-bump

Tweedlee tweedlee tweedlee dum
You're as sweet as bubble gum
Mercy mercy pudding pie
You've got something that money can't buy
Tweedlee tweedlee tweedlee dum
Owww, tweedlee tweedlee dum
Owww, tweedlee tweedlee dum
FADE:
Owww, tweedlee tweedlee dum
Owww, tweedlee tweedlee dum
Owww

Transcribed by Little John.
These lyrics were transcribed from the specific recording referenced
above, and are for personal use and research interest only.

I Cried A Tear

LaVern Baker

I cried a tear because of you
I cried a tear because we're through
I cried a tear what else could I do
But cry and sigh for love of you

I felt a tear fall in my heart
You fooled me so I wasn't smart
I can't believe that we must part
Come back to stay let's make a new start

Music interlude

I cried a tear because of you
I cried a tear because we're through
Please make my dream of you come true
Don't make me cry a tear for you

*When The Blues Was Dues- The "Second Coming"

Click on title to link to YouTube's film clip of Sippy Wallace performing "Women Be Wise". Wow!

DVD REVIEW

The American Folk Blues Festival: 1962-1966: Volume 1, Reelin’ In The Years Production, 2003

You know when we were listening to all those folkies like Bob Dylan, Dave Van Ronk and Joan Baez or starting to pick up on the Beatles or The Rolling Stones the American home grown blues was traveling to Europe to be appreciated by those audiences. Well, what goes around comes around. Here we have a ‘second’ chance to see what we missed from the legends that were just winding down their careers.

So what do we have here? A sizzling T-Bone Walker. Sonny and Brownie. Memphis Slim. The underrated Otis Rush. John Lee Hooker, Junior Wells, Willie Dixon, Muddy Waters and on and on. The stealers of the show- Lonny Johnson and Sippy Wallace (doing her classic “Don’t Advertise Your Man”. Wow.). Those who follow the blues will be familiar with all the line up here. Practically every one of these performers has been reviewed by this writer elsewhere in this space (with the exception, I think, of Otis Rush). So here you get them all under one roof while they are ‘hot’. For those who are unfamiliar with the performers or with classical acoustic and electric blues here’s your primer. Get working.

Women Be Wise

Sippy Wallace

(Additional lyrics by John Beach)
Olwen Music- BMI

Women be wise, keep your mouth shut, don't advertise your man
Don't sit around gossiping, explaining what your good man really can do
Some women nowadays, Lord they ain't no good
They will laugh in your face, Then try to steal your man from you
Women be wise, keep your mouth shut, don't advertise your man

Your best girlfriend, she might be a highbrow, she changes clothes 3 times a day
What do you think she's doing now, while you're so far away
She's loving your man in your own damn bed
You better call for the doctor, mama, try to investigate your head
Women be wise, keep your mouth shut, don't advertise your man

Women be wise, keep your mouth shut, don't advertise your man
Don't sit around, girl, telling all your secrets,
telling all those good things he really can do
If you talk about your baby, you tell me he's so fine
Lord honey, I just might sneek up and try to make him mine
Women be wise, keep your mouth shut, don't advertise your man

Don't be no fool, don't advertise your man (baby don't do it)



"The Red Rooster" by Willie Dixon

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

Oh the dogs begin to bark, and the hound begin to howl
Oh the dogs begin to bark, hound begin to howl
Ooh watch out strange kind people, cause little red rooster is on the prowl

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


Bukka White - Aberdeen, Mississippi blues Lyrics
Album: Parchman Farm Blues

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)

*When The Blues Was Dues- A Wrap-Up

Click on title to link to YouTube's film clip of Sister Rosetta Tharpe performing "Above My Head".

DVD Review

Those who follow the blues will be familiar with all the line up here. Practically every one of these performers has been reviewed by this writer elsewhere in this space (with the exception, I think, of Memphis Slim). So here you get them all under one roof while they are ‘hot’. For those who are unfamiliar with the performers or with classical acoustic and electric blues here’s your primer. Get working.

The American Folk Blues Festival: The British Tours 1963-1966, Reelin’ In The Years Production, 2003

You know when we were listening to all those folkies like Bob Dylan, Dave Van Ronk and Joan Baez or starting to pick up on the Beatles or The Rolling Stones the American home grown blues was traveling to Europe, in this volume to Britain, to be appreciated by those audiences. Well, what goes around comes around. Here we have a ‘second’ chance to see what we missed from the legends that were just winding down their careers.

So what do we have here? A sizzling Sonny Boy Williamson. The primordial Howlin’ Wolf. Big Joe Williams. The underrated Big Joe Turner. The underrated Sister Rosetta Tharpe. Junior Wells, Otis Rush, Willie Dixon, Muddy Waters and on and on. The stealer of the show- Lightnin’ Hopkins. Those who follow the blues will be familiar with all the line up here. Practically every one of these performers has been reviewed by this writer elsewhere in this space (with the exception, I think, of Otis Rush). So here you get them all under one roof while they are ‘hot’. For those who are unfamiliar with the performers or with classical acoustic and electric blues here’s your primer. Get working.

Women Be Wise

Sippy Wallace

(Additional lyrics by John Beach)
Olwen Music- BMI

Women be wise, keep your mouth shut, don't advertise your man
Don't sit around gossiping, explaining what your good man really can do
Some women nowadays, Lord they ain't no good
They will laugh in your face, Then try to steal your man from you
Women be wise, keep your mouth shut, don't advertise your man

Your best girlfriend, she might be a highbrow, she changes clothes 3 times a day
What do you think she's doing now, while you're so far away
She's loving your man in your own damn bed
You better call for the doctor, mama, try to investigate your head
Women be wise, keep your mouth shut, don't advertise your man

Women be wise, keep your mouth shut, don't advertise your man
Don't sit around, girl, telling all your secrets,
telling all those good things he really can do
If you talk about your baby, you tell me he's so fine
Lord honey, I just might sneek up and try to make him mine
Women be wise, keep your mouth shut, don't advertise your man

Don't be no fool, don't advertise your man (baby don't do it)


"The Red Rooster" by Willie Dixon

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

Oh the dogs begin to bark, and the hound begin to howl
Oh the dogs begin to bark, hound begin to howl
Ooh watch out strange kind people, cause little red rooster is on the prowl

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

*When The Blues Was Dues- Volume Three

Click on title to link to YouTube's film clip of Bukka White performing "Aberdeen Mississippi Woman". Wow!

DVD Review

The American Folk Blues Festival: 1962-1966: Volume 3, Reelin’ In The Years Production, 2003

You know when we were listening to all those folkies like Bob Dylan, Dave Van Ronk and Joan Baez or starting to pick up on the Beatles or The Rolling Stones the American home grown blues was traveling to Europe to be appreciated by those audiences. Well, what goes around comes around. Here we have a ‘second’ chance, thanks to these recently discovered archives rescued by German cinema, to see what we missed from the legends that were just winding down their careers.

So what do we have here? A sizzling T-Bone Walker. Sonny and Brownie. Memphis Slim, as always. Good solo performances by Roosevelt Sykes, a young Buddy Guy and “Big Joe” Turner. A nice section featuring the old country blues singers Skip James, Son House and Bukka White. A finale led by Helen Humes with an All-Star lineup including T-Bone, Willie Dixon, Jumping Jack and a host of others. For my money though the stealer of this show is Bukka White mentioned above. I might add that this is not the first time I have made mention of that fact, even against my favorites Son House and Howlin’ Wolf. Bukka’s long version of his classic “Cannonball” flipped me out. When he gets to flailing on that old National Steel guitar he “owns” it.

Women Be Wise

Sippy Wallace

(Additional lyrics by John Beach)
Olwen Music- BMI

Women be wise, keep your mouth shut, don't advertise your man
Don't sit around gossiping, explaining what your good man really can do
Some women nowadays, Lord they ain't no good
They will laugh in your face, Then try to steal your man from you
Women be wise, keep your mouth shut, don't advertise your man

Your best girlfriend, she might be a highbrow, she changes clothes 3 times a day
What do you think she's doing now, while you're so far away
She's loving your man in your own damn bed
You better call for the doctor, mama, try to investigate your head
Women be wise, keep your mouth shut, don't advertise your man

Women be wise, keep your mouth shut, don't advertise your man
Don't sit around, girl, telling all your secrets,
telling all those good things he really can do
If you talk about your baby, you tell me he's so fine
Lord honey, I just might sneek up and try to make him mine
Women be wise, keep your mouth shut, don't advertise your man

Don't be no fool, don't advertise your man (baby don't do it)


"The Red Rooster" by Willie Dixon

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

Oh the dogs begin to bark, and the hound begin to howl
Oh the dogs begin to bark, hound begin to howl
Ooh watch out strange kind people, cause little red rooster is on the prowl

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


Bukka White - Aberdeen, Mississippi blues Lyrics
Album: Parchman Farm Blues

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)

*When The Blues Was Dues- The "Second Coming"-Volume Two

Click on title to link to YouTube's film clip of Howlin' Wolf performing "Smokestack Lightning". Wow.

DVD Review

The American Folk Blues Festival: 1962-1966: Volume 2, Reelin’ In The Years Production, 2003

You know when we were listening to all those folkies like Bob Dylan, Dave Van Ronk and Joan Baez or starting to pick up on the Beatles or The Rolling Stones the American home grown blues was traveling to Europe to be appreciated by those audiences. Well, what goes around comes around. Here we have a ‘second’ chance, thanks to these recently discovered archives rescued by German cinema, to see what we missed from the legends that were just winding down their careers.

So what do we have here? A sizzling T-Bone Walker. Sonny and Brownie. Memphis Slim, as always. A nice performance by Victoria Spivey (with those dazzling eye movements of hers giving expression to her song). “Big Mama” Thornton leads an All-Star cast of harmonica players (including John Lee Hooker) in one of the most outlandish outfits I have seen in a while. But, Big Mama rocks here. However, the performer who steals this show is the ever great Howlin’ Wolf. I commented in a previous review of his work that in a video clip that I had seen he practically devoured the microphone performing “The Red Rooster”. Here he practically obliterates his small (for him) guitar when he gets rolling. Wow.

Those who follow the blues will be familiar with all the line up here. Practically every one of these performers has been reviewed by this writer elsewhere in this space (with the exception, I think, of Memphis Slim). So here you get them all under one roof while they are ‘hot’. For those who are unfamiliar with the performers or with classical acoustic and electric blues here’s your primer. Get working.

Note: Check out the bonus track section for a couple of ‘hot’ guitar efforts by the great Earl Hooker, another underrated artist who deserves (and will receive)
separate consideration in this space later.

Women Be Wise

Sippy Wallace

(Additional lyrics by John Beach)
Olwen Music- BMI

Women be wise, keep your mouth shut, don't advertise your man
Don't sit around gossiping, explaining what your good man really can do
Some women nowadays, Lord they ain't no good
They will laugh in your face, Then try to steal your man from you
Women be wise, keep your mouth shut, don't advertise your man

Your best girlfriend, she might be a highbrow, she changes clothes 3 times a day
What do you think she's doing now, while you're so far away
She's loving your man in your own damn bed
You better call for the doctor, mama, try to investigate your head
Women be wise, keep your mouth shut, don't advertise your man

Women be wise, keep your mouth shut, don't advertise your man
Don't sit around, girl, telling all your secrets,
telling all those good things he really can do
If you talk about your baby, you tell me he's so fine
Lord honey, I just might sneek up and try to make him mine
Women be wise, keep your mouth shut, don't advertise your man

Don't be no fool, don't advertise your man (baby don't do it)


"The Red Rooster" by Willie Dixon

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

Oh the dogs begin to bark, and the hound begin to howl
Oh the dogs begin to bark, hound begin to howl
Ooh watch out strange kind people, cause little red rooster is on the prowl

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

The Birth of Rock and Roll- Big Joe Turner

CD REVIEW

Big Joe Turner’s Greatest Hits, Big Joe Turner, Atlantic Records, 1989

A few years ago there was a little controversy about whether songs like Joe Turner's Shake, Rattle and Roll or some early Elvis Presley tunes like Hound Dog or It's All Right, Mama represented the genesis of rock and roll. That might be an interesting discussion for musicologists with time on their hands but if you really want to know the answer listen here. If you do not find the base line here for all later classic rock then I am afraid it is lost in the mist of time. Musical trends draw from many influences but the rhythm and blues of the early 1950's seems to have been the real jump point for the turn to rock.

This compilation, that is moreover a technically competent one unlike others from this period, is a case study for the above stated propositions. It all comes together here on Shake, Rattle and Roll- the rest just complete the argument.


Jazz Legends: Rhythm and Blues At The Apollo Theater, Storyville Films AB, 1989

One of the questions that I have been posing to myself over the past several months as I trace the roots of rock ‘n’ rock, the music of my youth is to see what prior musical trend was most influential in its development. An argument can be made for old country black blues, for black city blues and for white rockabilly. However I am coming more and more to a view that rhythm and blues of the late 1940’s and early 1950’s was critical. Furthermore, one of the performers here, Big Joe Turner and his Shake, Rattle and Roll of 1954 was probably is the most influential in driving that form of music. Thus there is no accident that Jerry Lee Lewis, Bill Haley, Elvis and many others covered the song.

So much for that. Here we have an all-star cast of jazz, rhythm and blues and just plain blues artists at New York City’s fame black musical Mecca- The Apollo Theater. We get full-bore performances from Big Joe, Dinah Washington and the legendary Ruth Brown, among others. A little old time humor is thrown in by the Emcee and some novelty songs as one would expect in a variety musical show. One interesting sidelight is that repeated scans of the audience show it is to an integrated but from the looks of it mainly white. This is one time that composition is good- that is the transmission belt to bringing that taste for black music to white audiences. If you need to see one aspect of the history of our common musical experiences look here. Rock on.