*A Mixed Bag Musical Potpourri-Jazz, Blues, Gospel, Rock And Rockabilly-David Bromberg

Click On Title To Link To YouTube's Film Clip Of David Bromberg's Cover Of Blind Willie McTell's Classic "Statesboro Blues".

He Ain’t No Wallflower

David Bromberg, The Player: A Retrospective, David Bromberg, Sony Music, 1998

The last time that I had mentioned the name of the artist under review, the well-regarded highly-skilled guitarist David Bromberg, was in a review of Rosalie Sorrels "The Last Go Round" album. That work was a recording of her last concert at Harvard in 2002. Originally the late Dave Van Ronk was to be on the program but he passed away a few weeks before the concert. David Bromberg was brought in as a replacement on short notice and wowed the house. I am sorry that I do not remember his play list and his work was not produced on the Sorrels CD. Not to worry though you can be sure that it included some of the tracks on this CD that represent some of his best work over a long career going back to the 1960's.

Virtually everyone I know has commented on Bromberg's extraordinary command of the guitar, his knowledge of what is called the American songbook and his, let's face it, at times thin and reedy voice. Forget that last part of the comment though because what you get in return are very innovative Bromberg presentations of well-known material. Obviously, Bromberg, having played with legendary cowboy Jerry Jeff Walker, needs to give us his version of "Mr. Bojangles". But how about a talking "Statesboro Blues", the Blind Willie McTell classic that most cover artists try to go up tempo on. The he goes 1950's on us with "Mr. Blue". And then gets down and dirty honky-tonk with "Wallflower". See what I mean, the guy knows his stuff. Get this thing and find out for yourself.


Song Lyrics: Statesboro Blues
Written by Blind Willie McTell
Recorded in (1928)
--------------------------------------------------------------------------------
Wake up mama, turn your lamp down low
Wake up mama, turn your lamp down low
Have you got the nerve to drive papa McTell from your door

My mother died and left me reckless, my daddy died and left me wild, wild, wild
Mother died and left me reckless, daddy died and left me wild, wild, wild
No, I'm not good lookin', I'm some sweet woman's angel child

You're a mighty mean woman, to do me this a-way
You're a mighty mean woman, to do me this a-way
Going to leave this town, pretty mama, going away to stay

I once loved a woman, better than I ever seen
I once loved a woman, better than I ever seen
Treat me like I was a king and she was a doggone queen

Sister, tell your Brother, Brother tell your Auntie, Auntie, tell your Uncle,
Uncle tell my Cousin, Cousin tell my friend
Goin' up the country, Mama, don't you want to go?
May take me a fair brown, may take me one or two more

Big Eighty left Savannah, Lord, and did not stop
You ought to saw that colored fireman when he got that boiler hot
Reach over in the corner, hand me my travelin' shoes
You know by that, I got them Statesboro blues

Sister got 'em, daddy got 'em
Brother got 'em, mama got 'em
Woke up this morning, we had them Statesboro blues
I looked over in the corner,
Grandpa and grandma had 'em too.

Out In The 1920s Jazz Age Blues Night- Blind Lemon Is In The House- A CD Review

Click on the headline to link to a YouTube film clip of Blind Lemon Jefferson holding forth on one of his signature blues tunes, Black Snake Moan.

Blind Lemon, Blind Lemon Jefferson, 1978

Yah, I know it is hard to keep the names of all these blind blues singers straight. Blind Willie, Blind Lemon, Blind Blake, etc. but there are differences. It is interesting that so many of these blind black singers, probably otherwise unemployable, gave the blues (and sometimes their root music, gospel, also) a tryout on the streets and seemingly thrived on this market niche. The just mentioned gospel roots of many of these performers shows the tension between the godly church music of their youth and the ‘devil’s’ music of their maturity and I believe added to the authenticity of the music. This compilation, although technically not the best due more to problems with the old time recording material than anything else, highlights Blind Lemon’s most enduring songs. The classic Black Snake Moan is included here. Not included here but a must listen for anybody interested in this music is another Jefferson classic See That My Grave is Kept Clean that has been covered by many, many artists, including Bob Dylan.

*A Mixed Bag Musical Potpourri-Jazz, Blues, Gospel, Rock And Rockabilly-Legends Of The Blues

Click On Title To Link To YouTube's Film Clip Of Roosevelt Sykes Doing "Gulfport Boogie".

Legends Of The Blues, Indeed

Legends Of The Blues: Volume Two, various artists, Sony Music, 1991

I recently noted in reviewing a CD containing the work of legendary early acoustic blues guitarists in this same series that sometimes a review, especially a review of old time blues artists, is a very easy chore. That is certainly the case here with this CD, another Columbia Legacy series production, highlighting most of the known names from the early days of the genre. I have spilled some ink here previously discussing the impact of the early acoustic blues artists on the post-World War II explosion of electric blues, most notably the Chicago blues sound. Well, here they are all together in one place guitarists, vocalists, harmonica players and pianists for the beginner and for the aficionado.

A role call of honor here tells the tale. The “Honeydripper” Roosevelt Sykes on the salacious “Henry Ford Blues” (if you can believe that). Guitarist extraordinaire Tampa Red on “Turpentine Blues”. Brownie McGhee on “Goodbye Now”. Harmonica man “Jazz” Gillum on “Is That A Monkey You Got?”. Lucille Bogan on “Bo-Easy Blues”. I think I have made my point. Right?

Tampa Red - Turpentine Blues lyrics

Turpentine's all right, provided that wages are good
Turpentine's all right, provided that wages are good
But I can make more money now, by somewhere choppin' hardwood

Turpentine business ain't like it used to be
Turpentine business ain't like it used to be
I can't make enough money now, to even get on a spree

I ain't gonna work no more, I tell you the reason why
I ain't gonna work no more, tell you the reason why
Because everybody wants to sell, and nobody wants to buy

You can work in the field, you can work at the sawmill too
You can work in the field, you can work at the sawmill too
But you can't make no money, at nothin' you try to do

So Lordy please tell me what we turpentine people are gonna do
Lordy please tell me what we turpentine people gonna do
We may work one week, but we got to lay off a month or two

Turpentine is like dice, to shoot you up on the loose
Turpentine is just like dice, to shoot you up on the loose
That's the reason why, I've got those turpentine blues

*Finding The Roots Of The Roots-The Country Blues Experience

Click ON Title To Link To YouTube's Film Clip Of Mississippi John Hurt doing "Spike Driver's Blues".

CD REVIEW

Before The Blues: Volume 3, Yazoo, 1996

I have been harping away lately on the various trends in the blues that started to appear in America as an indigenous music form in the early 20th century. However, as a good historical materialist it is worth noting (and incidentally adding another reason to the use of this methodology) that, as the producers of this CD make clear that the roots of the roots go back some way, perhaps, even to the old country traditions (British Isles) of a few centuries ago. I take special note that in the 19th century there was basically one common ‘folk’ music and that it only split into its black and white racial components later (and then, certainly not fully).

This argument is presented in greater depth in the always informative liner notes booklet that accompanies Yazoo productions and make virtually any purchase of their CDs worthwhile. I also note that the distinctive blues sound comes into its own once its sheds the old country fiddle and banjo and is replaced by guitar and piano as instrumentation. From personal experience my ear has always been more prone to pick up that mesmerizing guitar or piano-driven blues beat than the earlier reel, jig and breakdown sound. Thanks, blues forebears for that shift.

Several of the performers included in this CD compilation (one of three which I will ultimately review) I have mentioned previously in this space. Memphis Minnie is fresh and saucy on “Frisco Town”, John Hurt rings out smoothly, as always, on his version of the John Henry saga, “Spike Driver’s Blues”. Furry Lewis is just fine on his part one of “Kassie Jones (you really need to get a CD that has the two parts together, by the way). Blind Boy Fuller gives “Thousand Woman Blues” a workout as does Blind Blake on “Champaign Charlie Is My Name”. Barbecue Bob surprises with his “Black Skunk Blues”. However, the “king of the hill” on this one is an incredible version of “Levee Camp Moan Blues” (a Son House specialty) by Texas Alexander. Wow.

The liner notes mention that record companies in the 1920’s (when most of this stuff was recorded), catering to the new found commercial popularity of the blues sound, labeled anything and everything that was not nailed down otherwise as the blues. Clearly some of this material is not the blues in any recognizable musical sense and some hits the sources right on the head (think Furry Lewis on that “Kassie Jones” track) but that is what makes looking for the roots of the roots interesting.

"FRISCO TOWN"-Memphis Minnie

That old 'Frisco train makes a mile a minute
That old 'Frisco train makes a mile a minute
Well, in that old coach, I'm gonna sit right in it
I'm on my way, to 'Frisco town

You can toot your whistle, you can ring your bell
You can toot your whistle, you can ring your bell
But I know you been wanting it by the way you smell
I'm on my way to 'Frisco town

There's a boa constrictor and a lemon stick
There's a boa constrictor and a lemon stick
I don't mind being with you but my mama's sick
I'm on my way to 'Frisco town

I would tell you what's the matter, but I done got scared
I would tell you what's the matter, but I done got scared
You got to wait now, until we go to bed
I'm on my way to 'Frisco town

If you was sick, I wouldn't worry you
If you was sick, I wouldn't worry you
I wouldn't want you to do something that you couldn't do
I'm on my way to 'Frisco town

Well, if you want it, you can get it, and I ain't mad
Well, if you want it, you can get it, and I ain't mad
If you tell me this is something that you ain't never had
I'm on my way to 'Frisco town

Look-a here, you get mad everytime I call your name
Look-a here, you get mad everytime I call your name
I ain't never told you that you couldn't get that thing
I'm on my way to 'Frisco town

I woke up this morning about half past five
I woke up this morning about half past five
My baby turned over, cried just like a child
I'm on my way to 'Frisco town

I got something to tell you, I don't want to make you mad
I got something to tell you, I don't want to make you mad
I got something for you, make you feel glad
I'm on my way to 'Frisco town

Look-a here, look-a here, what you want me to do
Look-a here, look-a here, what you want me to do
Give you my jelly when die for you
I'm on my way to 'Frisco town

I got something to tell you, gonna break your heart
I got something to tell you, gonna break your heart
We been together so far, we gotta get apart
I'm on my way to 'Frisco town

Memphis Minnie - BUMBLE BEE


Bumble bee, bumble bee, please come back to me
Bumble bee, bumble bee, please come back to me
He got the best old stinger any bumble bee that I ever seen

He stung me this morning, I been looking for him all day long
He stung me this morning, I been looking for him all day long
Lord, it got me to the place, hate to see my bumble bee leave home

Bumble bee, bumble bee, don't be gone so long
Bumble bee, bumble bee, don't be gone so long
You's my bumble bee and you're needed here at home

I can't stand to hear him buzz, buzz, buzz
Come in, bumble bee, want you to stop your fuss
You're my bumble bee and you know your stuff
Oh, sting me, bumble bee, until I get enough

Bumble bee, bumble bee, don't be gone so long
Bumble bee, bumble bee, don't be gone so long
You's my bumble bee and you're needed here at home

I don't mind you going, ain't going to stay so long
Don't mind you going, don't be gone so long
You's my bumble bee and you're needed here at home

I can't stand to hear him buzz, buzz, buzz
Come in, bumble bee, I want you to stop your fuss
You's my bumble bee and you know your stuff
Oh, sting me bumble bee, until I get enough

"Mean Old Bedbug Blues"- Furry Lewis

Mean old bedbug sho' is evil, he don't mean me no good
Mean old bedbug sho' is evil, he don't mean me no good
He thinks I'm a woodpecker and he takes me for a chunk o' wood

When I lay down at night I wonder how can a poor man sleep
When I lay down at night I wonder how can a poor man sleep
With one hole in your head while the other one in your feet

Bedbug's big as a jackass, he will bite you, stand and grin
Bedbug's big as a jackass, will bite you and stand and grin
Drink a bowl of bedbug poison, come back and bite you again

Saw one morn' in a corner, Lord I tried so hard to see
Saw one morn' in a corner, Lord I tried so hard to see
It was a mother bedbug Lord, prayin' for some oat to eat

I had to sit up all night long, my feet can't touch the floor
I had to sit up all night long, my feet can't touch the floor
Cause the mean old bedbug told me I can't live there no more

A Tribute To The Blues Blinds- Johnson, Jefferson, McTell, Blake

CD REVIEWS

The Complete Collection of Blind Willie Johnson, Blind Willie Johnson, Sony 1993

Blind Willie Johnson

A tradition developed early, and I am not sure how, but it was very early in the 1900’s of blind black men with musical ability (and probably some with none) going to the small town Southern street and singing for their dinner, so to speak. I, for one, am glad that they did because an inordinate part of early blues music would be missing without their collective contributions. Here we start our tribute with Blind Willie Johnson; this is Reverend Blind Willie Johnson, by the way. What makes Reverend Johnson a shade bit different from other blues singers of the period, with the partial exception of Skip James, is that the vast bulk of his music is religious in orientation unlike the more traditional moaning and groaning about work, women and whiskey.

For those who saw part of Martin Scorcese’s PBS Blues Project a few years back you might remember that Blind Willie (along with Skip James) was highlighted in Wim Wender’s section. You might also know then that Johnson’s Soul of A Man is traveling the universe as a selection of one of humankind’s musical expressions. Take that and You Have Friend In Jesus with female accompaniment and you are at the height of Blind Willie’s talent. As for the rest you will have to listen for yourself.

Blind Blake-Ragtime Guitar's Foremost Finger Picker, Blind Blake, Yahoo, 1989

Before the blues began to dominate the black Southern country music scene there was a transition period where the previously dominant ragtime commingled with the emerging blues picking sound. That is where Blind Blake comes into view. This CD shows off his masterly picking style but also shows that he gets the new blues country beat. This CD has liner notes that are very informative (as are most Yahoo liner notes) about these evolutionary moves and Blake's innovations. As to the music highlights here are Southern Rag, Hard Pushing Papa, Sweet Papa Low Down and a classic rendition of Rope Stretching Blues (about the thoughts of a black prisoner just before his scheduled hanging- legal this time- with the great line 'in a couple of days I will not be singing this song'. Reason enough, right there to get rid of the death penalty.). Get this if you need a nice clean country blues pick.


CD REVIEW

When The Sun Goes Down, Blind Willie McTell, BMG Music, 2003

Recently I have been doing a run of reviews on old time country blues players that have included the likes of Mississippi John Hurt and Son House. Here we are getting a little slice of what the acoustic blues looked like when it went to the Southern cities in the 1920’s and 1930’s. Hurt and House stayed on the farm, so to speak, but McTell, blind from birth I believe, went to the streets of the cities to sing his songs and make his daily bread. Along the way he worked with women singers and sometimes with the legendary Tommy Dorsey (no, not the bandleader from the forties). But mainly he worked the streets and joints alone.

A close listen immediately tells you that this artist is different from the country blues singers. The guitar work is more polished (check it out on Statesboro Blues, if you want a treat) but the whole presentation is also different. The lyrics are more polished and the presentation is clearly for an audience that can walk out the door if it does not like what it hears. Hell, there are seven other guys or gals down the street to listen to. This is really the first manifestation, in song, of the changeover in the blues from the chant like quality of the pace of the cotton field to the rhythms of urban life. It changes again latter when it goes north and gets electrified but here McTell and a little later Big Bill Broozey (and, as always, Robert Johnson) are pushing the work in new directions.

The Best of Blind Lemon Jefferson, Blind Lemon Jefferson, Yahoo, 1990

Yes, I know it is hard to keep the names of all these male blind blues singers straight. Blind Willie, Blind Lemon, Blind Blake, etc. but there are differences in their styles from Willie Johnson's more gospel -oriented work to McTell's barrel house renditions. It is interesting that so many of these blind black singers, probably otherwise unemployable at the time due to their impairments, gave the blues (and sometimes their root music, gospel, also) a tryout on the streets and seemingly thrived on this market niche. The just mentioned gospel roots of many of these performers shows the tension between the godly church music of their youth and the `devil's' music of their maturity and I believe added to the authenticity of the music. It is the backdrop of Blind Lemon's works, as well.

This compilation, although technically not the best due more to problems with the old time recording material than anything else, highlights Blind Lemon's most enduring songs. The classic Easy Rider and Black Snake Moan are included here. Also included here and a must listen for anybody interested in this music is another Jefferson classic See That My Grave is Kept Clean that has been covered by many, many artists, including Bob Dylan.