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

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

BOOK REVIEW

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

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

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

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

*Happy Birthday Robert Johnson- The King Of The Slide Guitar- Elmore James

Click on to the title to link to a "YouTube" film clip of Elmore James performing his classic rendition of "The Sky Is Crying".

CD REVIEW

The History of Elmore James: The Sky Is Crying, Elmore James, Rhino Records, 1993

When one thinks of the classic blues tune “Dust My Broom” one tends to think of the legendary Robert Johnson who along with his “Sweet Home, Chicago” created two of the signature blues songs of the pre-World War II period. However, my first hearing of “Dust My Broom” was on a hot LP vinyl record (the old days, right?) version covered and made his own by the artist under review, Elmore James. I have heard many cover versions since then, including from the likes of George Thorogood and Chris Smithers, and they all reflect on the influence of Elmore’s amazing slide guitar virtuosity to provide the "heat" necessary to do the song justice. Moreover, this is only the tip of the iceberg as such blues masters and aficionados as B.B. King and The Rolling Stones have covered other parts of James’ catalog.

Perhaps because Elmore died relativity young at a time when blues were just being revived in the early 1960’s as part of the general trend toward “discovering” roots music by the likes of this reviewer he has been a less well-known member of the blues pantheon. However, for those who know the value of a good slide guitar to add sexiness and sauciness to a blues number James’ is a hero. Hell, Thorogood built a whole career out of Elmore covers (and also, to be sure, of the late legendary Bo Didderly). I never get tired of hearing these great songs. Moreover, it did not hurt to have the famous Broomdusters backing him up throughout the years. As one would expect of material done in the pre-digital age the sound quality is very dependent on the quality of the studio. But that, to my mind just makes it more authentic.

Well, what did you NEED to listen to here? Obviously,” Dust My Broom". On this CD though you MUST listen to Elmore on "Standing At The Crossroads". Wow, it jumps right out at you. "Look On Yonder Wall" (a song that I used to believe was a key to early rock 'n' rock before I gravitated to Joe Turner's "Shake, Rattle and Roll" as my candidate for that role), "It Hurts Me Too" and the classic "The Sky is Crying" round out the minimum program here. Listen on.


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

Happy Birthday *The "Mac Daddy" Of Modern Blues- Robert Johnson

Click on title to link to YouTube's film clip of early Robert Johnson work.

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.

Happy Birthday Keith Richards *Walk on the Wild Side – Part One- The Rolling Stones, One More Time- The "A Bigger Bang" Tour

Click on the headline to link to a Wikipedia entry for The Rolling Stones 2005 A Bigger Bang Tour.

DVD Review

Shine A Light, The Rolling Stones and various musicians, directed by Martin Scorsese , 2008

Just when you thought it was safe to move on from the various Rolling Stone reviews in this space here comes another one, this time though through the directorial efforts of Martin Scorsese and the filming of the Stones 2005 international “Bigger Bang” concert tour (and I believe, as of today, their last one). Needless to say the day is long past when anyone, at least anyone that I know, will dispute the title of “the world’s greatest rock band” that has been attached to this group. In the old days an argument could be made, and rightfully so, that Jim Morrison and the Doors on their good nights secured that title but that was then. Moreover, off a viewing of this production it is easy to see why the Stones carry that undisputed title, without hype, even today.

Director Scorsese has made a very good decision to go light on the filler (early Stones interviews, press conferences, etc.) and the technical aspects of putting on such a tour (and the compounded problem of filming it). The center of the documentary is the Stones’ concert from Chicago (a Bill Clinton charity benefit concert) complete with all the classics, Sympathy For The Devil, Satisfaction, Brown Sugar, Girl With The Faraway Eyes, etc. Clearly these sixty-something guys still can rock and one best keep that AARP membership offer at arms length. But, to finish, here is the “skinny”, one must always remember that the Stones started, heart and soul, as a white blues cover band (Muddy Waters, Howlin’ Wolf, and so on) and so the scene that steals this production is when old Chicago bluesman, Buddy Guy, comes on to fire up Champagne and Reefer. Wow! That was worth the price of admission all by itself.

Happy Birthday Keith Richards- *The Hoochie Coochie Man- The Blues of Muddy Waters - Muddy Becomes Muddy

Click on title to link to YouTube's film clip of Muddy Waters in performance mode.

CD Review

Muddy Becomes Muddy

Muddy Waters: First Recording Sessions, 1941-1946, In Chronological Order, Document Records, 1991

I have spent very little ink over the past year as I go through some of the great acoustic and electric blues guitars and performers on the iconic Muddy Waters. I have explained elsewhere some of my reasoning for this as well as other personal preferences that I wanted to highlight first. Nevertheless when all is said and done no one who loves the blues in its various incantations can avoid the influence and importance of Muddy’s work.

I will argue here that this little compilation of early, mainly pre-Chicago electric blues Muddy is a worthy historical document on two counts. First, because it is in chronological order it shows the evolution of Muddy’s style from the traditional country blues sound of the Delta that was becoming passé. Secondly, because some of this pre-Chicago sound is, to this reviewer’s ear at least, better than many of his later pieces. As evidence I would point to the pure jam efforts on the classic “Joe Turner’s Blues” and “Pearlie May Blues”. Then move down to “Mean Spider Blues” and “Come To Me Baby”. None of these are in the league of “Mannish Boy” when he got it going but I think this is worthy Muddy. The argument continues.

Happy Birthday Keith Richards *Come See About Me, Indeed- The Driving Blues Of John Lee Hooker

Click on title to link to YouTube's film clip of John Lee Hooker and Bonnie Raiit performing "I'm In The Mood For Love". WOW!

DVD Review-August 18, 2008

Come See About Me: John Lee Hooker-The Definitive DVD, Eagle Rock Productions, 1992

In a recent entry in this space on July 18, 2009 entitled, "The Boogie Chillen” Man- The Boogie Blues Of John Lee Hooker", I made the following comments about this seminal blues artist:

“I have poured out kudos to the likes of Howlin’ Wolf, Skip James, Son House, Bukka White and an assortment of other legendary male acoustic and electric blues guitar players in this space. I have not, until now, mentioned the name of the legendary blues artist John Lee Hooker, although he belongs up there with those other above-mentioned names. Why? Well, frankly, it is a question of tastes. Other than an occasional song here or there John Lee Hooker does not “speak” to me, a term that means something to me in the blues context. Sure his guitar smokes when he is on. He always had more than enough black and white bands (Canned Heat, for one) clamoring to back him up and certainly his lyrics (with a few “politically incorrect” exceptions common to the genre) drove his message home. But we never connected at that “soul” level the way Wolf, Son House or the recently discovered (by me) Bukka White do. This happens. But I know enough about the blues to know that John Lee Hooker will “speak” to others. Legends are like that.

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

After viewing this DVD compilation (definitive or not, that after all is trade puffing) all I can say is oops, maybe I spoke just a little cavalierly above. Maybe it was because I viewed this DVD while we are having a heat wave here in the Northeast and his driving and sensuous blues riffs have come alive like in sultry old plantation and African roots days. Check out “I’m In The Mood For Love” in a duo with Bonnie Raitt to see what I mean. Or with Van Morrison on “Baby Please Don’t Go”. How about “Boom Boom”? Or “Hobo Blues" with the ubiquitous Ry Cooder. Or the masterpiece Hooker classic “Boogie Chillen” with Eric Clapton and The Rolling Stones”. Most of this is mature work so maybe that counts for its appeal to me now. Let me just say-WOW!

"Baby Please Don’t Go"

Baby, please dont go
Baby, please dont go
Baby, please dont go
Down to new orleans
You know I love you so
Baby please dont go

Baby, your mind done gone
Well, your mind done gone
Well, your mind done gone
Left the county farm
You had the shackles on
Baby, please dont go

Before I be your dog
Before I be your dog
Before I be your dog
To git you way down here
I make you walk alone
Baby, please dont go
Hey

Baby, please dont go
Baby, please dont go
Baby, please dont go
Down to new orleans
You know I love you so
Baby, please dont go

Before I be your dog
Before I be your dog
Before I be your dog
Git you way down here
Make you walk alone
Baby, please dont go

Know how I feel right now
My baby leavin, on that midnight train
And Im cryin

Baby, please dont go
Oh, baby please dont go
Baby, please dont go
Down to new orleans
You know I love you so
Baby, please dont go
Lets go

Before I be your dog
Before I be your dog
Before I be your dog
To git you way down here
I make you walk alone
Baby, please dont go, yeah

Alright

*Has He Got His Mojo Workin'? - The Blues Harmonica Of The Late James Cotton

Click On Title To Link To YouTube's Film Clip Of James Cotton Doing "Slow Blues". Yes, now you know why he played with Muddy Waters.

Has He Got His Mojo Workin'? - The Blues Harmonica Of James Cotton

CD REVIEW

Got My Mojo Workin’, James Cotton and his band, Blu Mountain Records, 2003

I have, over the past year or so, spent some time tracing the roots of the blues from its southern country home, mainly on the plantations, farms and small towns that surround them, through its transition into the larger cities of the South where the crowds and hence the lyrics got more sophisticated and, ultimately, to the blues Mecca, Chicago, and other Northern cities where blacks migrated en masse between the two world wars and in the immediate post World War II period. As part of that exposition I have discussed not only the differences in the lyrics reflecting the changeover from the moaning and groaning of the plantation life to the hyper-intensity of city life. I have also mentioned the key change in the guitar going from some old acoustic instrument to the electric guitar of the cities.

Along the way I have failed to mention, or not mentioned enough, some of the other changes in instrumentation. For one, and this is relevant here, the harmonica. This instrument, as an accompanying sound, has a long history beyond its key place in the blues saga. However, with the citification of the blues its role in a blues band as back up to those electric guitars and drums became more central. In short, a strong harmonica player became necessary to fill in the spaces left by the reverberating guitar. Correspondingly, virtuosity on the harmonica brought its own rewards. I would argue that Sonny Boy Williamson's role in this change was key in the 1920's and 1930's followed by Lil' Walter of the early Muddy Waters Band. And who followed Walter - well, the artist under review here, James Cotton.

Like all talented musicians with any sense of leadership James Cotton, after serving his long apprenticeship with Muddy Waters, went on to form his own band. This CD is one of the results of those efforts. James, as always, plays the bejesus out of the harmonica. His backup band is a little more than adequate. The gruff-voiced Cotton does so-so a job on the vocals. However, this album left me drifting in and out. Some tracks are very fine like "Fanny Mae", "Good Morning Little Schoolgirl" and the title track "Got My Mojo Workin'". However, such numbers as "Goodbye My Lady", "Teenie Weenie Bit" and Help Me" seemed forced. I confess this is the only CD of Cotton's that I have reviewed but off of this performance I sure wish he had been back with Muddy wailing out on something like "Hootchie Gootchie Man".
Got My Mojo Working

by Preston Foster / McKinley Morganfield a.k.a. Muddy Waters

Got my mojo working, but it just won't work on you
Got my mojo working, but it just won't work on you
I wanna love you so bad till I don't know what to do

I'm going down to Louisiana to get me a mojo hand
I'm going down to Louisiana to get me a mojo hand
I'm gonna have all you women right here at my command

Got my mojo working
Got my mojo working
Got my mojo working
Got my mojo working
Got my mojo working, but it just won't work on you

Play on!

Got my mojo working
Got my mojo working
Got my mojo working
Got my mojo working
Got my mojo working, but it - uh uh - just won't work on you

__________
Note: the original version of Got My Mojo Working was sung in a jump blues style by Ann Cole. She performed the song on stage in 1956, which was how Muddy Waters found the song!. Muddy Waters adapted it to his style but the bassline is still the same. The song can be found on the 1999 Rhino Records anthology album Jump, Jive & Swing. These are the lyrics to the original version as sung by Ann Cole and written by Preston Foster:

FANNIE MAE

Well I want somebody to tell me what's wrong with me
I want somebody to tell me what's wrong with me
Oh I ain't in any trouble and so much misery
Now Fannie Mae, baby won't you please come home
Fannie Mae ae ae, baby won't you please come home
Yeah I ain't been in debt baby since you been gone
I can hear your name a ringin on down the line
I can hear your name a ringin on down the line
I want to know pretty love how do I win my time

MUSICAL INTERLUDE

I no o o o for me, I no-o-o-o for me
Well I ain't been in trouble and so much misery

Song Lyrics: Good Morning Little School Girl

Written and Recorded by: Sonny Boy Williamson II (1937)
--------------------------------------------------------------------------------
Good mornin' 'lil school girl,
can I go home, can I go home with you?
Tell your mother and your father,
I'm a little school boy too

Woke up this mornin',
woke up this mornin',
I didn't know what to,
I didn't know what to do
I didn't have no blues,
baby, bit I couldn't be satisfied

I'm gettin' me an airplane,
I'm gettin' me an airplane,
get in my airplane
Gon' fly all oh-oh, gon' fly all over this land
I'm gonna find my little school girl,
find her in the world somewhere

Good mornin' 'lil school girl,
good mornin' 'lil school girl
Can I go home with, can I go home with,
can I go home with you?
Tell your mother and your father,
Johnny little school boy too

Come be my baby, come be my baby,
I buy you a diamond, I buy you a diamond ring
You don't be my little baby,
I ain't gonna buy you a doggone ring

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

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

Honeydripper, starring Danny Glover, Anarchist Connection Productions, 2007

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

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

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

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

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

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

CD Review

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

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

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

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


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

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

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

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

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

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



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

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

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

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

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

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

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

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


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

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

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

(instrumental)

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

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


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

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

(instrumental) slide guitar

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

(instrumental) slide guitar

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

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


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

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

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

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

(instrumental)

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

'Everybody, rock' 1:14

'Ah-ha, oh yeah, oh yeah'

'I hear ya talkin' to me'

(piano)

'I'm lookin' at that piano man'

'Ah-ha, yeah'

'Oh yeah'

(trumpet)

Ah-ha

That's it

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

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

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

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

'Big Mama' Thornton Is In The House- Blues Raw and Unchained

CD REVIEWS

The Original Hound Dog Album, Big Mama Thornton, Vanguard, 1964






Yes, Big Mama sang the original "Hound Dog" well before Elvis made it a classic rock & roll hit. Yes, he went on to make millions (although not off of that song as such but as a fresh sex symbol at a time when the youth of my generation were in desperate need of our own icons) while she made about five hundred dollars off of it. But that is not the whole story. Big Mama had a career of her own beyond that song that while not as financially rewarding (due in part to her race but also to her drinking problem) as Elvis's nevertheless placed her in the pantheon of female blue singers like Bessie Smith and Memphis Minnie- no little accomplishment in itself.

That is what is being celebrated here. Other classics in this CD collection include "How Come", "Nightmare", "They Call Me Big Mama" and "I Smell a Rat". Is this her best compilation? No, I believe that the "Ball and Chain" CD is but this has a nice selection. Big Mama belts out the tunes but, as a rule, does not try to overpower them with that big voice. But, big or small, Mama means the electric blues raw and unchained and that ain't no lie.

Blame It On The Late Sam Phillips, Okay?

CD REVIEWS

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



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

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

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

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


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

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

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

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

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

Once Again On Sun Records

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

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

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

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

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

When The Blues Was The Dues- Chess Records

CD REVIEW



Chess Records 50th Anniversary Tribute, various artists, Chess 1997



I have recently done a few commentaries on the legendary Sun Records that produced more than its share of both black blues and white rockabilly stars as well as a galaxy of early rock and roll idols ands classic songs. If one were to ask what other record company might have had such influence in those days the natural response should be Chicago’s Chess Records that caught many of the black blues artists as they headed North to reach their own stardom once the limits of what Memphis had to offer a black recording artist gave out. This album is a 50th Anniversary tribute to many of those who made stardom or at least were one-shot johnnies (and janes) on that label.

No Chess Record tribute can be complete, can even be considered as such, unless the name Howlin’ Wolf is mentioned. He is represented here by one of the all time great blues songs (and maybe rock and roll, as well) Little Red Rooster. I know I flipped out the first time I heard it covered by Mick Jagger and The Rolling Stones in the early 1960’s. When I heard the Wolf do it I went crazy. Others who stand out here are a litany of blues greats- Etta James, Koko Taylor, Little Milton, and on and on. But here is the tip of the day. What you are getting this CD for is the Wolf’s Little Red Rooster and that is just fine.

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

Click On Title To Link To YouTube's Film Clip Of John Lee Hooker Doing "I'm Bad Like Jesse James"".

John Lee Hooker: The Definitive Collection, John Lee Hooker, Union Square Music, 2000

So given the above comments what is classic here, according to my tastes. Well, hell “Boogie Chillen” is one of those here or there songs Hooker songs I mentioned above that I liked. How about the power of “Boom Boom” and “Hard Headed Woman” and the classic Hooker lines of “She’s Long, “She’s Tall”.

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

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

CD REVIEW

John Lee Hooker: The Real Folk Blues, Chess Records, 1987

I have poured out kudos to the likes of Howlin’ Wolf, Skip James, Son House, Bukka White and an assortment of other legendary male acoustic and electric blues guitar players in this space. I have not, until now, mentioned the name of the legendary blues artist John Lee Hooker, although he belongs up there with those other above-mentioned names. Why? Well, frankly, it is a question of tastes. Other than an occasional song here or there John Lee Hooker does not “speak” to me, a term that means something to me in the blues context. Sure his guitar smokes when he is on. He always had more than enough black and white bands (Canned Heat, for one) clamoring to back him up and certainly his lyrics (with a few “politically incorrect” exceptions common to the genre) drove his message home. But we never connected at that “soul” level the way Wolf, Son House or the recently discovered (by me) Bukka White do. This happens. But I know enough about the blues to know that John Lee Hooker will “speak” to others. Legends are like that.

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

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

John Lee Hooker: The Definitive Collection, John Lee Hooker, Union Square Music, 2000

So given the above comments what is classic here, according to my tastes. Well, hell “Boogie Chillen” is one of those here or there songs Hooker songs I mentioned above that I liked. How about the power of “Boom Boom” and “Hard Headed Woman” and the classic Hooker lines of “She’s Long, “She’s Tall”.


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

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

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


"Boogie Chillen'" : John Lee Hooker

(John Lee Hooker)

Well my mama she didn't 'low me, just to stay out all night long, oh Lord
Well my mama didn't 'low me, just to stay out all night long
I didn't care what she didn't 'low, I would boogie-woogie anyhow

When I first came to town people, I was walkin' down Hastings Street
Everybody was talkin' about, the Henry Swing Club
I decided I drop in there that night
When I got there, I say, "Yes, people"
They was really havin' a ball!
Yes, I know
Boogie Chillen'!

One night I was layin' down,
I heard mama 'n papa talkin'
I heard papa tell mama, let that boy boogie-woogie,
It's in him, and it got to come out
And I felt so good,
Went on boogie'n just the same


"Tupelo Blues"

(John Lee Hooker)

[Spoken:]
Did you read about the flood?
It happened long time ago, in a little country town, way back in Mississippi
It rained and it rained, it rained both night and day
The people got worried, they began to cry,
"lord have mercy, where can we go now?"
There were women and there was children, screaming and crying,
"lord have mercy and a great disaster, who can we turn to now, but you?"
The great flood of Tupelo, Mississippi
It happened one evenin', one Friday evenin', a long time ago,
It rained and it started rainin'
The people of Tupelo, out on the farm gathering their harvest,
A dark cloud rolled, way back in Tupelo, Mississippi, hmm, hmm

Wasn't that a mighty time,
Wasn't that a mighty time?
Wasn't that a mighty time,
A mighty time, that evenin'?
It rained, both night and day
The poor people that had no place to go, hmm,hmm
A little town, called Tupelo, Mississippi
I never forget it and I know you won't either

"I'm In The Mood"

(John Lee Hooker / Bernard Bessman)

I'm in the mood baby, I'm in the mood for love
I'm in the mood baby, I'm in the mood for love
I'm in the mood, I'm in the mood, baby, I'm in the mood for love

I said night time is the right time, to be with the one you love
You know when night come baby, God know, you're so far away
I'm in the mood, I'm in the mood baby, I'm in the mood for love
I'm in the mood, in the mood, baby, in the mood for love

I said yes, my mama told me, to leave that girl alone
But my mama didn't know, God know, girl was puttin' down
I'm in the mood, I'm in the mood baby, in the mood for love
I'm in the mood, I'm in the mood, baby, in the mood for love

One Bourbon, One Scotch, One Beer lyrics

One bourbon, one scotch, and one beer
One bourbon, one scotch, and one beer
Hey mister bartender come here
I want another drink and I want it now

My baby she gone, she been gone two night
I ain't seen my baby since night before last
One bourbon, one scotch, and one beer

"I'm Mad Again"

(John Lee Hooker)

I had a friend one time, at least I thought I did
Taken that man in my house, give him my food,
Over my table, that I couldn't afford

He come to me, he said 'Johnny, ain't got no place to stay'
I said 'Yes man, come to my house'
I get you a place to stay, and a bed to sleep in,
That I couldn't afford

When I found out, you with my wife,
Now I'm mad, like Al Capone
Well I warned you one time,
Next time I warn you,
I'm gonna use my gun on you
'cause I'm mad with you, hahaha
I'm mad with you, like Al Capone

Look man, I told you one time before
But this time, I'm gonna teach you,
A little lesson, you won't forget
Take this man, right down by, the riverside
I might drown you,
I might shoot you,
I don't know
Gonna tie your hands, gonna tie your feet
Gag you so you can't talk to nobody
I'm mad, rrrrr, I'm mad with you
You're sinkin', I'm mad


"It Hurts Me So"

(John Lee Hooker / Bernard Besman)

That man don't love you, he told me so
He's only doin' that, baby, to break up your home

When things go wrong, so wrong with you,
It hurts me so, it hurts me so

That man don't love you, no he don't
He's only jivin' you little girl, lovin' the girl next door

When things go wrong, so wrong with you,
It hurts me so, it hurts me so Yeah!.

You know you don't love him, you know you don't
Go ahead and leave me baby, don't make me cry

When things go wrong, so wrong with you,
It hurts me so, it hurts me so

That man don't love you, he told me so
Only jivin' you, baby, breaking up your home

When things go wrong, so wrong with you,
It hurts me so, it hurts me so

When things go wrong, so wrong with you,
It hurts me so, it hurts me so

So long, baby, I've got to go
Because you don't love me now, darlin', I know you don't

When things go wrong, so wrong with you,
It hurts me so, it hurts me so

"How Long Blues"

(Leroy Carr, arranged by John Lee Hooker)

Standin' at the station when the train come by
Deep down in my heart, baby, feel an achin' pain
How long, oh, baby how long?
Baby how long, baby how long,
Has that evenin' train been gone,
How long, oh, baby how long?

If I could holler like a mountain jack,
I'd go up on the mountain, call my baby back
How long, oh, baby how long?

I could see the green grass,
Growin' up on the hill
But you can't see a green-black drawin' on a,
On a dollar bill
Baby, how long?
Baby how long?

How long, baby how long,
Has that evenin' train been gone?
Baby how long, oh baby how long?
Baby how long, oh baby how long?

*In The Shadow Of The Great Blues Guitarists- Joe Louis Walker & His Bosstalkers

Click on title to link to YouTube's film clip of Joe Louis Walker's cover of the Big Joe Turner sassy classic "Rebecca".


DVD Review

Joe Louis Walker & His Bosstalkers: In Concert, Joe Louis Walker and various sidemen, Gema Productions, 2003



I have gone through the repertoire of blues great-John Lee Hooker, Muddy Waters, Freddie King, Lightnin’ Hopkins and so on in this space over the last period. I have not included the artists under review, Joe Louis Walker & His Bosstalkers and with reason. Although Joe Louis played with all of the above named artists of the electric blues pantheon he, off of this performance, does not belong there. On the second or third level, yes. No question that he is a virtuoso guitar player-behind someone else. Nothing wrong with that, right? Here in this 1991 concert the stick outs are “I Didn’t Know”, “The Gift’ and “One Time Around”. Good solid blues but nothing to turn your head or stop what you are doing like Howlin’ Wolf, Muddy or John Lee REQUIRE you to do.

***********

Blues Survivor
This is the title track from his Verve/Gitanes CD, recorded in 1992 in California. In this funky song he tells of the obstacles he had to overcome in his career; keeping the blues alive, as it were, while the blues were keeping him alive.

True blues survivor

I'm a true blues survivor, I'm proud I am
I tried a little bit of this and a little bit of that
Searching for something that would be right for me
Tryin' to find some place where I belong at
I tried a little rock, I tried a little roll
I tried a little top hit(?) and I tried a little soul
Hey hey you don't know what it's like
Fightin' the powers all of my life
I've got my own way of walkin'
My own way of talkin'
I'll do what I want and I'll do what I like
Yeah yeah

Sixteen years old, I'm fresh outa school
Tryin' to figure out what I wanna do
I couldn't find no work and I couldn't stay at home
The only thing to do was to sing the blues
I practise every day, go travellin' every night
Tryin' not to get it wrong, I'm still tryin' to get it right
Hey hey you don't know what I've done
All my life I've beren under the gun
I wanna do my own drivin'
I'm true blues survivin'
And that's what's keepin' me strong strong strong
Yeah yeah

(solo)

(I'm a true blues survivor)
I've been left in distress up sky high
(I'm a true blues survivor)
I've been busted and mistrusted, left by myself
(I'm a true blues survivor)
I've been up, I've been down, left all around
(I'm a true blues survivor)
I been busted, mistrusted, I been up, I been down,
locked in, left out, kept me hangin' around
(I'm a true blues survivor)
(I'm a true blues survivor)
(I'm a true blues survivor)




Mama Didn't Raise No Fool
This song can be found on the CD "The Gift" (Hightone Records, 1988)

Mama didn't raise no fool (D. Walker - J. L. Walker)


If I was a fool, it would sure be easy
I could fall, oh baby, for your wicked smile
Buy you a drink, whisper some lie, oh no
And we could go somewhere quiet, for a little while

But my mama she didn't raise no fool
She said, you be careful what you do
Don't let no-one take advantage of you
But my mama she didn't raise no fool
No fool

If I was a fool, I'd forget those promises I already have made
Wipe my woman from my mind, so we could play, oh baby
If I was a fool, I'd follow you home
I would hug you, kiss you and squeeze you, all night long

But no...
My mama she didn't raise no fool
She said, you be careful what you do
Don't let no-one take advantage of you
Cause my ma she didn't raise no fool


Moanin' News
From his Hightone Records CD "Cold Is The Night", a J. L. Walker composition with an intriguing, suggestive title.

There once was a man, who loved to sing the blues
He'd two pair of pants and just one pair of shoes
But when he's moan that lowdown dirty blues
People come a-runnin' from miles around
Just to hear what he was puttin' down
That is why they call him
The moanin' news
The moanin' news

Late at night, when he start to make his move
He irons his pants, and shines those pair of shoes
And then he moan that gutbucket downhome blues
People would begin to jump and shout
After they had heard what he was talkin' about
That is why they call him
The moanin' blues
The moanin' blues

He starts to moan
He said "A-hoo... A-hoo..."
He start to moan
He said "A-hoo... A-hoo..."
People come a-runnin' from far away
Just to hear what the man had to say
That is why they call him
The moanin' blues
The moanin' blues

Later on, when he finally found success
He come back home, and tried to get some rest
And he could moan, that funky urban blues
Now that you're in, you turn on your TV
You never guessed who you might see
The man they used to call
The moanin' blues
The moanin' blues
The moanin' blues
The moanin' blues


Shade Tree Mechanic
This song was written by Henry Oden, Joe Louis' long-time bass player. It's on the CD "The Gift".

I want you to put me under your shade tree
Please get me out of the sun
I want you to put me under your shade tree
Please get me out of the sun
Cause I'm your shade tree mechanic
And heaven knows that I'm the one

I can oil and lube you
And not lose a single drop, no no
I can cool you down
When you start to runnin' hot
I'm your shade tree mechanic
I never leave my shady spot

I can check your battery baby
With my special pressure gage
My work is guaranteed
Guaranteed for thirty days
I want you to put me under your shade tree
Please get me out of the sun
Cause I'm your shade tree mechanic
And heaven knows I'm the one

(guitar solo)

I want you to put me under your shade tree
Please get me out of the sun
I want you to put me under your shade tree
Please get me out of the sun
Cause I'm your shade tree mechanic
And heaven knows I'm the one

You say your drive shaft may misfire
Your piston rod is running flat
Don't you worry about a thing
I got the tools for that
I want you to put me under your shade tree
Please get me out of the sun
My work is guaranteed
I've got just what you need
You can call me day or night
I'll always treat u right
I am the one

Ten More Shows To Play
Another blues about being a blues singer, from the CD "Cold Is The Night" (Hightone Records, 1986)

Ten More Shows To Play (D. Walker - L. Fulson)

Tonight I'm in Houston, then Dallas and L.A.
My woman need me with her but I got ten more shows to play
How long 'fore she'll ask me to choose
Between her lovin' and these ever lovin' blues

I've hit the road before, she never once complained
This time she was cryin' when I got on the plane
I'm hopin' and I'm prayin' she can wait and be true
And not be discouraged without the things we used to do
How long 'fore she'll ask me to choose
Between her lovin' and these ever lovin' blues
All right...

I'm sittin' here in misery, you know I'm on the spot
That woman and this guitar is all I've really got
How long 'fore she'll ask me to choose
Between her lovin' and these ever lovin' blues

Tonight I'm in Houston, then Dallas and L.A.
My woman need me with her but I got ten more shows to play