The Centennial Of Pete Seeger’s Birthday (1919-2014)- ***The Roots Is The Toots-A Labor Of Love- Harry Smith's "Anthology Of American Folk Music"

Click on title to link to Wikipedia's entry for Harry Smith's "Anthology Of American Folk Music" and links to the 80 plus songs in the anthology. Wow!

CD Review

Harry Smith's Anthology Of American Folk Music, various artists, six CD set plus booklet, Smithsonian/Folkways, 1997

It is no secret that the reviewer in this space has been on something of a tear of late in working through a litany of items concerning American roots music, a music that he first ‘discovered’ in his youth with the folk revival of the early 1960s and with variations and additions over time has held in high regard for his whole adult life. Thus a review of musicologist (if that is what he though he was, it is not all that clear from his “career” path that this was so) Harry Smith’s seminal “Anthology Of American Folk Music” is something of a no-brainer.

Since we live in a confessional age, however, here is the odd part. As familiar as I am with Harry Smith’s name and place in the folk pantheon, his seemingly tireless field work and a great number of the songs in his anthology this is actually the first time that I have heard the whole thing at one sitting and in one place. Oh sure, back in the days of my ill-spent youth listening to an old late Sunday folk show I would perk up every time the name Harry Smith came up as the “discoverer” of some gem of a song from the 1920s or 1930s but to actually listen to, or even attempt to find, the whole compilation then just didn’t happen.

In 1997 Smithsonian/Folkway, as least theoretically in my case, remedied that problem with the release of a high quality (given the masters) six CD set of old Harry’s 80 plus recordings. Not only that but, as is usual with Smithsonian, a very nicely done booklet with all kinds of good information from the likes of Greil Marcus and the late folklorist Eric Von Schmidt (of songs like “Light Rain” and "Joshua’s Gone Barbados”, among others, fame) accompanies this set. That booklet is worth the price of admission alone on this one.

Here is the funny thing though after running through the whole collection. I mentioned above that this was the first time that I heard the collection as a whole. Nevertheless, over time I have actually heard (and reviewed in this space), helter-skelter, most of the material in the collection, except a few of the more exotic gospel songs. So I guess that youth was not so ill-spent after all. If the "roots is toots" for you, get this thing.

Note: For a list of the all the tracks in the entire collection just Google “The Harry Smith Collection” and click onto Wikipedia’s entry for Harry Smith. Or keep watching on this site over the next several days for entries for each one of the songs in the collection. Easy, right?

The Centennial Of Pete Seeger’s Birthday (1919-2014)- *In Pete Seeger's House- "Rainbow Quest"-Len Chandler

Click on title to link to YouTube's film clip of Pete Seeger's now famous 1960s (black and white, that's the give-away)"Rainbow Quest" for the performer in this entry's headline.

Markin comment:

This series, featuring Pete Seeger and virtually most of the key performers in the 1960s folk scene is a worthy entry into the folk archival traditions for future revivalists to seek out. There were thirty plus episodes (some contained more than one performer of note, as well as Pete solo performances). I have placed the YouTube film clips here one spot over four days, November 10-13, 2009 for the reader's convenience.

The Centennial Of Pete Seeger’s Birthday (1919-2014)- *In Pete Seeger's House- "Rainbow Quest"-Reverend Gary Davis Performing "Children Of Zion"

Click on title to link to YouTube's film clip of Pete Seeger's now famous 1960s (black and white, that's the give-away)"Rainbow Quest" for the performer in this entry's headline.

Markin comment:

This series, featuring Pete Seeger and virtually most of the key performers in the 1960s folk scene is a worthy entry into the folk archival traditions for future revivalists to seek out. There were thirty plus episodes (some contained more than one performer of note, as well as Pete solo performances). I have placed the YouTube film clips here one spot over four days, November 10-13, 2009 for the reader's convenience.

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

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

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

CD REVIEW

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


Did You, You Hear John Hurt?

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

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

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

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

Did You Hear John Hurt?

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

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

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

[Cho:]

[Repeat first verse and Chorus]


Ain't no tellin

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

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

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

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

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

written by: Mississippi John Hurt

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

written by: Mississippi John Hurt

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

written by: Mississippi John Hurt

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

written by: Mississippi John Hurt

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


Corrina, Corrina

traditional

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



Got The Blues, Can't Be Satisfied

written by: Mississippi John Hurt

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

I'm satisfied

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

Repeat first verse.

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

Repeat first verse.

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

Repeat first verse.
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Monday morning blues

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

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

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

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

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

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

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

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

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

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

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

written by: Mississippi John Hurt

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

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

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

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

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

Repeat first verse.

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

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

Repeat first verse.

Richland's Woman Blues

written by: Mississippi John Hurt

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

written by: Mississippi John Hurt

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

written by: Mississippi John Hurt

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

written by: Mississippi John Hurt

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

written by: Mississippi John Hurt

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

*“I Said, Who Do You Love”- The Raucous Music Of George Thorogood And The Destroyers

Click on the title to link to YouTube's film clip of George Thorogood and The Destroyers performing "Bad To The Bone".

CD Review

Anthology, George Thorogood And The Destroyers, 1999

A while back when Bo Diddley died I mentioned in a review of his work that many latter musicians, particularly white musicians were influenced by his songs, and covered them like crazy. That is the case with George Thorogood, with or without his Destroyers. Although he is probably best known for his bad boy anthem, “Bad To The Bone” Thorogood cut his teeth on doing covers of Bo, John Lee Hooker, Muddy Waters and the other greats of the blues and early rock and roll. That is how we should measure his work, as an exponent of a certain kind or of rock and R&B. This album delivers some of that although his best work is in other albums. The stick outs here are: “Nine Lives,” and “Rockin’ The Walk”.

George Thorogood & the Destroyers - Bad to the Bone Lyrics

On the day I was born, the nurses all gathered 'round
And they gazed in wide wonder, at the joy they had found
The head nurse spoke up, and she said leave this one alone
She could tell right away, that I was bad to the bone
Bad to the bone
Bad to the bone
B-B-B-B-Bad to the bone
B-B-B-B-Bad
B-B-B-B-Bad
Bad to the bone

I broke a thousand hearts, before I met you
I'll break a thousand more baby, before I am through
I wanna be yours pretty baby, yours and yours alone
I'm here to tell ya honey, that I'm bad to the bone
Bad to the bone
B-B-B-Bad
B-B-B-Bad
B-B-B-Bad
Bad to the bone

I make a rich woman beg, I'll make a good woman steal
I'll make an old woman blush, and make a young woman squeal
I wanna be yours pretty baby, yours and yours alone
I'm here to tell ya honey, that I'm bad to the bone
B-B-B-B-Bad
B-B-B-B-Bad
B-B-B-B-Bad
Bad to the bone

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

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



CD Review

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



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

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


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

"Black, Brown And White"

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

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

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

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

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

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

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

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

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

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

***From Out In The Be-Bop Blues Night- Sippie Wallace's "Women Be Wise"

Click on the headline to link to a YouTube film clip of Sippie Wallace performing her classic, Women Be Wise (also covered by Bonnie Raitt and Maria Muldaur among others).
Markin comment:

Well I will just let Sippie tell it like it is for once. Truth. Without further comment. Okay. lol in cyber-slang.
******
Wallace Sippi

Women Be Wise

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

Women be wise, keep your mouth shut
Don't advertise your man

Your best girlfriend
Oh she might be a highbrow
Changes clothes three time a day
But what do you think she's doing now
While you're so far away?
You know she's lovin your man
In your own damn bed...
You better call for the doctor
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
Now don't sit around girls
Telling all your secrets
Telling all those good things he really can do
Cause if you talk about your baby
Yeah you tell me he's so fine
Honey I might just sneak 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!

*Keeping The Blues/Folk Lamp Burning- Les Sampou's "Lonesomeville"

Click On Title To Link To YouTube's Film Clip Of Les Sampou performing.

CD Review

Lonesomeville, Les Sampou, 2009

The substance of this review was originally used in the review of Les Sampou’s “Borrowed And Blue” album. I have revised that review and most of the points made apply to the other three CD’s reviewed in this space as well, including this recent 2009 beauty, "Lonesomeville':

"The name Les Sampou most recently came up in this space, in passing, as part of a review of blues/folk stylist/ songwriter Rory Block’s work. I made the point there that Rory (and Les, Bonnie Raitt, Maria Muldaur and precious few others) were performing a great service by keeping the female blue singer tradition alive (and, for that matter, male-witness the songs covered by all four). And along the way doing the same for the more amorphous contemporary folk tradition with their own fair share of masterful songwriting efforts. Since I placed Les Sampou in such august company it was, thus, only a matter of time before I got around to giving her a few kudos of her own. The following paragraph from the Rory Block review can serve here for Les as well:

But more than that, thanks for this great album of country blues classics some famous, some a little obscure and known only to serious aficionados but all well worth placing in the album with the quirky little Rory Block treatment that makes many of the songs her own. Oh, did I also mention her virtuoso strong guitar playing. Well, that too. I have gone on and on elsewhere in this space about the old time women blues singers, mostly black, like Bessie Smith, Victoria Spivey and Ida Cox. I have also spilled some ink on more modern, mainly white, women blues singers like Bonnie Raitt, Maria Muldaur and a local talent here in Boston, Les Sampou, and their admirable (and necessary) efforts to carry on this proud tradition. Rory belongs right up there with these women.”

As For “Lonesomeville” here is the ‘skinny’:

I will make the same point I made in reviewing the previous albums, especially "Borrowed and Blue" because that same spirit pervades this effort. There are a lot of way to be “in” the contemporary folk scene. One way is to write some topical songs of love, longings for love, maybe, a little politics thrown in and maybe some snappy thing about the vacuity of modern life. Yes, that is the easy stuff and Les can, if the occasion calls for it, summon up some very powerful lyrics to make those points. Witness “Holy Land ” and “Home Again”. But, something more is going on here. This is a woman who has been through the emotional wringer, and survived. Listen up.

Who Will Fill The 2000s Blues Night Air, Part Two? - “Skunkmello” –A Guy Davis CD Review

Click on the headline to link to a YouTube film clip of Guy Davis performing Shaky Pudding.

Skunkmello, Guy Davis, Red House Records, 2000

A couple of years ago I spent no little cyberspace “ink” on the question of who would carry on the folk tradition that the folk revival artists of my generation, the generation of ’68, “discovered” back in the day. You know artists like Bob Dylan, Joan Baez, Tom Paxton, Eric Von Schmidt and Dave Van Ronk and others digging into the American song book provided by Harry Smith, the Lomaxes and the Seegers to preserve Woody Guthrie and stuff even further back down to the hills and hollows of Appalachia (I know I am supposed to write hollas but there you have it), down to the southern delta plantation moans, down to backwater Mississippi juke joint groans after a hard Saturday night of love, fights and headaches, and out west, out west where as Thomas Wolfe stated, the states are square to gather in the cowboy and farm traditions found in the great migrations to the coast, west coast of course. I came up with a few candidates like Keb Mo’ and Carol Hemmings then just to make my point.

I am now trying to take that basic point and pose the question here of who will carry out the great American blues night tradition started back in the early part of the 20th century (as least the part we know about from recordings and radio) and which produced great music from Charley Patton, Son House, Skip James, Mississippi John Hurt and the like on through to Muddy Waters, Howlin’ Wolf , Ike Turner, and Taj Majal. That last name mentioned not by accident as the artist under review, Guy Davis, consciously or not, and I think consciously, owns at least a debt of gratitude to Taj for breaking some ground for him in the blues milieu.

Needless to say Brother Davis (Guy, not the late great Reverend Gary, okay) plays a mean guitar as on Shaky Pudding and Natural Born, can use his vocal abilities to belt out such songs as Chocolate Man and Shooing Star and get down to that gospel church, Jehovah we are coming root of the blues on It Takes Love To Make A Homewith the best of them. Eric Clapton, Mick and Keith and the rest of the British invasion guys mad to the high heavens for American blues move over a little. Guy Davis is in the house. And make that the Red House always on the lookout for guys like Guy Davis.

From Out Of The Blues In The Night- The Centenary Of Blue Master Robert Johnson's Birthday- Ya, Hellhound On His Trail

From Out Of The Blues In The Night- The Centenary Of Blue Master Robert Johnson's Birthday- Ya, Hellhound On His Trail
http://www.youtube.com/watch?v=3UVgH9JqSnQ

Click on the headline to link to a YouTube film clip of blues master and birthday boy  Robert Johnson performing his classic Hellhound On My Trail.

Markin comment:
I have noted in previous entries that I, unlike many others, am not a particular devotee of Robert Johnson. I prefer the likes of Skip James, Son House and Bukka White nevertheless I understand and support the notion of Robert Johnson as a key blues master. No question. Just personal preferences. Happy Birthday Brother Robert.
*****
Reposts On Robert Johnson

Wednesday, March 25, 2009
*The "Mac Daddy" Of Modern Blues- Robert Johnson

DVD REVIEW

Hell Hounds On His Heels- The Legendary Robert Johnson’s Story

Can’t You Hear The Wind Howl?: The Life And Music of Robert Johnson, Robert Johnson and various artists, narrated by Danny Glover, 1997

I have recently spent some little effort making comparisons between old time country blues singers. My winners have been Skip James and Son House. Apparently, if the story behind the Robert Johnson story presented here is right I am in a minority compared to the like of guitarists Eric Clapton and Keith Richards. So be it. After viewing this very informative bio, complete with the inevitable “talking heads" that populate these kinds of film efforts I still have that same opinion, except I would hold Johnson’s version of his “Sweet Home, Chicago” in higher regard after listening to it here. Previously many other covers of the song, including the trendy Blues Brothers version seemed better, a lot better.

The producers of this film have spend some time and thought on presentation. The choice of Danny Glover as expressive and thoughtful narrator was a welcome sign. Having Johnson road companion and fellow blues artist, Johnny Shines, give insights into Johnson’s work habits, traveling ways, womanizing, whiskey drinking and off-center personality make this a very strong film. Add in footage of Son House (an early Johnson influence) and various other Delta artists who met or were met by Johnson along the way and one gets the feeling that this is more a labor of love than anything else. For a man who lived fast, died young and left a relatively small body of work (some 20 odd songs)this is a very good take on Robert Johnson. I might add that if Johnson is your number one blues man this film gives you plenty of ammunition for your position.

Note: As is almost universally true with such film endeavors we only get snippets of the music. I would have liked to hear a full “Preacher’s Blues”, “Sweet Home, Chicago”, "Terraplane Blues” and “Hell Hounds On My Heels” but for that one will have to look elsewhere.

"Terraplane Blues" lyrics-Robert Johnson

And I feel so lonesome
you hear me when I moan
When I feel so lonesome
you hear me when I moan
Who been drivin my terraplane
for you since I've been gone
I'd said I flashed your lights mama
your horn won't even blow
I even flash my lights mama
this horn won't even blow
Got a short in this connection
hoo-well, babe, its way down below
I'm on hist your hood momma
I'm bound to check your oil
I'm on hist your hood momma mmmm
I'm bound to check your oil
I got a woman that I'm lovin
way down in Arkansas
Now you know the coils ain't even buzzin
little generator won't get the spark
Motors in a bad condition
you gotta have these batteries charged
But I'm cryin please
please don't do me wrong
Who been drivin my terraplane now for
you-hoo since I've been gone
Mr Highwayman
please don't block the road
Puh hee hee
ple-hease don't block the road
Casue she's restrin (?) a cold one hindred
and I'm booked I gotta go
Mmm mmm
mmmm mmmm mmm
You ooo oooo oooo
you hear me weep and moan
Who been drivin my terraplane
for you since I've been gone
I'm on get deep down in this connection
keep on tanglin with your wires
I'm on get deep down in this connection
hoo-well keep on tanglin with your wires
And when I mash down your little starter
then your spark plug will give me a fire.
******
Wednesday, March 25, 2009
*The "Mac Daddy" Of Modern Blues- Robert Johnson

CD REVIEW

Martin Scorsese Presents; The Blues, Robert Johnson, Sony Records, 2003

I have heard the name Robert Johnson associated with country blues as long as I have been listening to the blues, and believe me that is a long time. I would venture to guess that if an average blues (or just music) fan was asked to name one blues artist the name that would, more probably than not, come up is Robert Johnson. Partially that is because his influence on later artists has been nothing short of fantastic, particularly the English blues aficionados like Eric Clapton. That said, Brother Johnson’s work leaves me cold. While I can appreciate some of his lyrics his guitar playing is ordinary, his singing can be tedious and his sense of momentum over the course of an album is very mundane.

His contemporaries, or near contemporaries like Charlie Patton, Howlin’ Wolf or Son House, to name just a few, are better in one or all these categories . Needless to say there is an element of subjectivity here but when the occasion arises I am more than willing to gush over a talent that makes me jump. Brother Johnson just does not do so. The source of his fame as an innovator is centered on his role of breaking the pattern of country blues established by Son House and other and giving the first hints of a city blues idiom, particularly as a forerunner to the Chicago blues. Okay, we will give the ‘devil’ his do on that score. Still, on any given day wouldn’t you give your right arm to see and hear Howlin’ Wolf croon "The Red Rooster" (and practically eat the microphone) or any of his other midnight creeps rather than Johnson on "Sweet Home, Chicago"? Here I will rest my case.

So what do you have to hear here? Obviously, “Sweet Home, Chicago". Beyond that “32-20 Blues” is a must listen as is his version of “Dust My Broom” (but isn’t Elmore James’ slide guitar souped-up version much better?) and “Hellhound On My Trail”. Keb’ Mo' (who I will review separately at a later time) does a nice cover here of “Last Fair Deal Gone Down”.


Lyrics to "Dust My Broom"

I'm gonna get up in the mornin',
I believe I'll dust my broom (2x)
Girlfriend, the black man you been lovin',
girlfriend, can get my room

I'm gon' write a letter,
Telephone every town I know (2x)
If I can't find her in West Helena,
She must be in East Monroe, I know

I don't want no woman,
Wants every downtown man she meet (2x)
She's a no good doney,
They shouldn't 'low her on the street

I believe, I believe I'll go back home (2x)
You can mistreat me here, babe,
But you can't when I go home

And I'm gettin' up in the morning,
I believe I'll dust my broom (2x)
Girlfriend, the black man that you been lovin',
Girlfriend, can get my room

I'm gon' call up Chiney,
She is my good girl over there (2x)
If I can't find her on Philippine's Island,
She must be in Ethiopia somewhere

Robert Johnson

*In The Time Of The Chicago Blues Explosion- The Blues Of Earl Hooker

Click on title to link to Earl Hooker's lyrics and rendition of "You Shook Me Baby"

CD Review

Blue Guitar, Earl Hooker, Blues Interactions, 2001

I have spent a fair amount of time in this space running through the legends of the Chicago blues explosion that hit its high point in the period just after World War II and continued to the advent of serious rock ‘n’ roll in the mid-1950s, a period that saw the mass migration from the southern farms and plantations of blacks (and poor whites) to the north in search of better paying, and mainly, unionized industrial jobs. Thus, such names as Howlin’ Wolf, Muddy Waters, Buddy Guy, Junior Wells and so on have gotten plenty of ink here. But those names hardly exhaust the sheer mass of blues artists who fled the South (with a stopover down river in Memphis in many cases) to make their names on Chicago's Maxwell Street. The name Earl Hooker, under review here figures prominently, if not famously, as part of that plethora of talent.

Naturally, in my attempts in this space to link up the names of the blues artists who I fell in love with in my youth I have used many sources, or have been led to them in various ways. The case of Earl Hooker is illustrative. I, some time ago, did a review of a documentary on the late Clifford Antone’s Club Antone down in Austin, Texas where many of the great then still standing blues artists, who came of age in the 1950s, found a second home, and an extended career. As part of that documentary coverage the name Earl Hooker, naturally enough, came up. And hence I went scurrying back to my archives to check his work out again. This, unfortunately, is the only album of his that I still possess after all these year but it is rather indicative of his style and is a good primer.

Outstanding here are the smoking “Will My Man Be Home Tonight”, the classic “Calling All Blues”, his signature and title track “Blue Guitar”, and another smoking “Off The Hook”. For a close look at one of the guys who jammed with the likes of Muddy and Howlin’ Wolf, after hours when they got down and serious and played the music for keeps, here is a your first look.

Song Lyrics: Sweet Home Chicago
Written and recorded by: Robert Johnson (1936)
--------------------------------------------------------------------------------
Oh baby don't you want to go
Oh baby don't you want to go
Back to the land of California
to my sweet home Chicago

Oh baby don't you want to go
Oh baby don't you want to go
Back to the land of California
to my sweet home Chicago

Now one and one is two
two and two is four
I'm heavy loaded baby
I'm booked I gotta go

Cryin baby
honey don't you want to go
back to the land of California
to my sweet home Chicago

Now two and two is four
four and two is six
You gonna keep monkeyin round here friend-boy
you gonna get your business all in a trick

But I'm cryin baby
honey don't you wanna go
Back to the land of California
to my sweet home Chicago

Now six and two is eight
eight and two is ten
Friend-boy she trick you one time
she sure gonna do it again

But I'm cryin hey hey
baby don't you want to go
back to the land of California
to my sweet home Chicago

I'm goin to california
from there to Des Moines Iowa
Somebody will tell me that you
need my help someday

cryin hey hey
baby don't you want to go
back to the land of California
to my sweet home Chicago

© (1978) 1990, 1991 Lehsem II, LLC/Claud L. Johnson
Administered by Music & Media International, Inc.

Robert Johnson
(Robert Leroy Johnson)
May 8, 1911 - August 16, 1938



--------------------------------------------------------------------------------
Also recorded by:
Johnny Shines, Foghat, Lonnie Pitchford,
Peter Green with Nigel Watson Splinter Group,
The King, Status Quo, Rocky Lawrence, Pyeng Threadgil,
Eric Clapton, Jim Belushi and The Sacred Hearts

*It Ain’t Always About Politics- The Recorded Topical Folk Song in American History- Man Versus Nature

Click On Title To Link To YouTube's Film Clip Of Charlie Patton Performing "High Water Everywhere, Part 2".

CD Review

People Take Warning!: Murder Ballads& Disaster Songs, 1913-1938, Three CD Set, Tompkins Square, 2007


Yes, for the umpth time, I am deep in research of the roots, the many roots of American folk music. As part of this search I have spilled plenty of ink over the folk revival of the 1960’s, and its links to today’s folk scene, that I have the most intimate knowledge about. But that is hardly the end of the story. In fact the 1960’s folk revival is something of the tail end of a vast exploration done by a few musicologists, most famously the father and son team of John and Alan Lomax. While the revival itself explored many kinds of music from the mountains of Appalachia to the plains of Texas and beyond the “rage” for roots then, exploited most effectively by the likes of Bob Dylan, centered on the topical songs of the day done by in the age old manner of the traveling troubadours of yore.

While the subject matter of the 1960’s scene, naturally, tendered toward the overtly political around the issues of conventional war, nuclear disarmament, the fierce civil rights struggle in the American South that dominated all serious talk, social isolation, the rebellion against social conformity and the like historically the “singing” newspaper tradition was far from those “deep” concerns. The tendency was to be more personal either with songs of love. longing for love or of thwarted love or on a more mundane level disaster, manmade or natural, murders and other sensational crimes and whatever other local gossip could be turned into a ballad. But beyond that, as this compilation bears witness to every song seemingly had to provide a cautionary note.

Whether that note was to beware of getting to dependent on the emerging whirlwind of the newest technologies like the airplane or “unsinkable” ships, the mysteries of natural disasters like floods and fire or the hazards of pre-martial sex, being a vexing wife or coveting another man’s the hand of “God” was written all over these things. People take warning was not only, or merely, a convenient metaphor to set the parameters of the song. That is what this three CD set is all about. So if you want to know about train wrecks ship wrecks, grizzly murders, the sorrows of the Great Depression and other obscure tales from the early 20th century then here is your chance to those subjects all in one place. And, incidentally, with a very nice and informative booklet of liner notes included, a grand piece of the puzzle of roots musical history and a small capsule of American everyday history.

Disc Two: Man Versus Nature. Although the marvels of modern technology have provided an increasing share of stories about the vagaries of the machine age old “Mother Nature”, especially when observed up close as is the case down on the farm or out on the prairies still confounds us with her fury. We need only go back a few years to Hurricane Katrina to get very quickly reminded of our sometimes precarious position in the scheme of things. Floods and fires are center stage in this disc and no such compilation on this subject can be complete without the work of the “pre-blues” man Charlie Patton here on several tracks, most importantly those two parts of “High Water Everywhere”. Uncle Dave Mason deserves a nod for “Tennessee Tornado” as does a young Son House for “Dry Spell Blues”. Also of note is Charlie Poole’s “Baltimore Fire” that Kate and Anna McGarrigle covered several years ago.

*A Mixed Bag Musical Potpourri-Jazz, Blues, Gospel, Rock And Rockabilly-Great Blues Guitarists

Click On Title To Link To YouTube's Film Clip Of Lonnie Johnson Doing "Another Night To Cry".

Acoustic Blues Extravaganza

Great Blues Guitarists: String Dazzlers, various artists, Sony Music, 1991

Sometimes a review, especially a review of old time blues guitar artists, is a very easy chore. That is certainly the case here with this 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 for the beginner and for the aficionado. The CD is weighted heavily toward the instrumental side to show virtuosity, although most of the performers here were well known for their vocals as well. A role call of honor here tells the tale. A young Lonnie Johnson, Blind Willie McTell, Blind Willie Johnson and his religiously oriented blues, the well-traveled Big Bill Broonzy, the legendary Blind Lemon Jefferson, Tampa Red, Joshua White at home in the “juke joint” as well as the New York café, and so on. I think I have made my point. Right?

Jelly Roll Baker Lyrics

She said, 'Mr. Jellyroll Baker
Let me be your slave
When Gabriel blows his trumpet
Then I'll rise from my grave

For some-a your jellyro-oll
Yes, I love a good jellyroll'
It is good for the sick
Yes, and it's good for the old'

I was sentenced for murder
In the 1st degree
*The judge's wife called up and says
'Let that man go free'

He's a jellyroll baker
He's got the best jellyroll in town
He's the only man can bake jellyroll
With his damper down

Once in a hospital
Shot all full-a holes
The nurse left the man dyin'
An says he's got to get her jellyroll

His good old jell-e-e-y
She says, 'I love my good jellyroll'
She says, 'I ruther let him lose his life
Than to miss my good jellyroll'

Lady asked me who learnt me
How to bake good jellyroll?
I says, 'It's nobody, Miss
'It's just a gift from my soul'
To bake good jellyro-oll
Mmm-mmm, that good ol' jellyroll

She says, 'I love your jellyroll
It do's me good deep down in my soul
She says, 'Can I put in a order
For two weeks ahead?
I'd ruther have your jelly-roll
Than my home-cooked bread'

I love your jell-e-e-y
I love your good jellyroll
It's just like Maxwell House Coffee
It's good, deep down in my soul.


*(he was a brown eyed handsome man)

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

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

DVD REVIEW

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

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

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

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

“Night Time Is The Right Time”

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

Roosevelt Sykes
Ice Cream Freezer lyrics

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

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

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

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

'Let it roll on a while in the night'

'Ho, til the break of day'

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

'Ho while'

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

More cream to freeze.

Roosevelt Sykes
She's Got It lyrics

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

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

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

Whoa (alittle right here)

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

Oh yeah
My, my (another one left)

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

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

'Oh yeah' (another there)

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

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

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