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

Happy Birthday To You-

By Lester Lannon

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

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

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

 *************

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


CD REVIEW


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

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

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

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

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

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

Happy Birthday To You-

By Lester Lannon

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

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

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

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

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


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


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

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

Happy Birthday To You-

By Lester Lannon

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

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

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

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


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


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

*An Encore With John Prine- My Arky Angel-The Music Of Iris DeMent

Click on to title to link to YouTube's film clip of Iris Dement and John Prine performing "In Spite Of Ourselves".



DVD Review

John Prine At Sessions At West 54th, John Prine with Iris Dement and various artists, OnBoy Records, 2001



Over the last several months I have done more musically-oriented reviews that I had expected. One of the themes that keep cropping up is that for some folk/blues-oriented musical artists like Bob Dylan my attachment was immediate, long time and on-going. For other artists like John Prine it has been more of a recently acquired taste. I had, obviously, heard Bonnie Raitt do his "Angel From Montgomery" but I never associated his name with that song. Then a couple of years ago I happened to listen to his "Hello In There" and "Sam Stone". Yes, this guy has something to say that I wanted to (on some songs, needed to) hear.

This concert represents a small selection of some of his work, although with the exception of "Sam Stone", "Lake Marie" and "Hello in There" not much in the way of classics, at least that I am familiar with. This concert would thus only rate as a pretty fair performance except that on a few songs like "When Two World Collide" he is accompanied by Iris Dement ( a powerful folk singer/song writer in her own right. She is also the wife of the folksinger/songwriter Greg Brown whom I have also reviewed in this space). Iris is also a recent acquisition. I would travel very far to hear that voice of hers (and have done so). Incidentally, I have seen both these performers in person over the past couple of years- they still have it. Still this is not the DVD that YOU need to understand either talent, but you may want it.

***Tribute Album Potpourri- A Tip Of The Hat To Hank Williams- The Original Honky Tonk Man

Click On Title To Link To YouTube's Film Clip Of Hank William's Doing "Lovesick Blues".

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.

To The Original Honk-Tonk Man

Timeless; A 50th Anniversary Tribute to Hank Williams, various artists, UMG Recordings, 2001

In a review of a Hank Williams anthology in this space I noted that I have been listening to a local weekend folk, rock and contemporary music interview show here in Boston for years. The format of the show is to interview, in depth, contemporary well-known singers, songwriters and musicians as well as young unknowns looking to make their mark. One of the questions always asked of each interviewee is about formative influences on their musical development. Although I do not believe that I have ever heard what I would consider a country singer interviewed on the show the name Hank Williams has come up many more times than any other from young and old interviewees alike. That tells the tale of the importance of this man's work, beyond the obvious country influence.

Here some of those well-known musicians mentioned above pay tribute to Hank’s influence by covering his songs for a 50th Anniversary of his death edition. A strange occasion for a tribute one might say, although no so for the fast-living, hard-driving, hard drinking Mr. Williams. The likes of Bob Dylan (a subject of many tribute covers himself) on a rocking " Can't Get You Off Of My Mind", Johnnie Cash reciting the tearful "I Dreamed About Mama Last Night" and Beck on the mournful "You're Cheatin' Heart" do his memory honor with their own interpretations. I would note, however that, unlike a number of other artists such as the above-noted Dylan, that cover versions of Hank's songs do not usually measure up to the verve and imprint on the mind of his original renditions. The great exception here is Lucinda Williams (no relation, as far as I know) whose rendition of "Cold, Cold Heart" captured all the pathos, and more, of that tune. So long, one more time, Honky-Tonk Man. Listen on.


COLD COLD HEART Lyrics

I tried so hard my dear to show that you're my every dream.
Yet you're afraid each thing I do is just some evil scheme
A memory from your lonesome past keeps us so far apart
Why can't I free your doubtful mind and melt your cold cold heart

Another love before my time made your heart sad and blue
And so my heart is paying now for things I didn't do
In anger unkind words are said that make the teardrops start
Why can't I free your doubtful mind,and melt your cold cold heart

You'll never know how much it hurts to see you sit and cry
You know you need and want my love yet you're afraid to try
Why do you run and hide from life,to try it just ain't smart
Why can't I free your doubtful mind and melt your cold cold heart

There was a time when I believed that you belonged to me
But now I know your heart is shackled to a memory
The more I learn to care for you,the more we drift apart
Why can't I free your doubtful mind and melt your cold cold heart

Cool Water Lyrics


All [C] day I've faced the [G7] bar - ren waste
With [C] out the taste of [G7] wa-ter..... cool, [C] wa-ter.
Ole [F] Dan and I, with [G7] throats burned dry ,
and [C] souls that [F] cry
for [C] wa-ter.... [G7] cool, clear [C] wa-ter.

The [C] nights are cool and [G7] I'm a fool.
Each [C] star's a pool of [G7] wa-ter.... cool, clear [C] wa-ter.
And [F] with the dawn I'll [G7] wake and yawn
and [C] car-ry [F] on
to [C] wa-ter.... [G7] cool, clear [C] wa-ter.

The [C] sha - dows sway and [G7] seem to say
To- [C] night we pray for [G7] wa-ter.... cool, clear [C] wa-ter
And [F] way up there He'll [G7] hear our prayer
and [C] show us [F] where
there's [C] wa-ter.... [G7] cool, clear [C]wa-ter.

[C] Keep a-movin' Dan. Don't you [G7] listen to him Dan.
He's the [C] devil, not a man.
He [G7] spreads the burnin' sand with [C] wa-ter.
Say [F] Dan can't you see that [G7] big green tree,
where the [F] water's runnin' free.
It's [G7] waiting there for you and [C] me
and [G7] wa-ter.... cool, clear [C] wa-ter.

Dan's [C] feet are sore he's [G7] yearnin' for
Just [C] one thing more than [G7] wa-ter.... cool, clear [C] wa-ter.
Like [F] me I guess he'd [G7] like to rest
where [C] there's no [F] quest
for [C] wa-ter.... [G7] cool, clear [C] wa-ter.


HALF AS MUCH Lyrics

Written by Curley Williams 1952
Used by permission of Brent L. Weldon, Curley's grandson

If you love me half as much as I love you
You wouldn't worry me half as much as you do
You're nice to me when there's no one else around
You only build me up to let me down

If you missed me half as much as I miss you
You wouldn't stay away half as much as you do
I know that I would never be this blue
If you only loved me half as much as I love you
repeat both verses

Hey Good Lookin' Lyrics

Say hey good lookin'
whatcha got cookin'
how's about cookin' something up with me
Hey sweet baby
don't you think maybe
we could find us a brand new recepie

I got a hot rod Ford and a two dollar bill
and I know a spot right over the hill
There's soda pop and the dancin's free
so if you wanna have fun come along with me

Say hey good lookin'
whatcha got cookin'
how's about cookin' something up with me

[ steel - fiddle - steel ]

I'm free and ready
so we can go steady
how's about savin' all your time for me
No more lookin'
I know I've been tooken
how's about keepin' steady company

I'm gonna throw my datebook over the fence
and find me one for five or ten cents
I'll keep it till it's covered with age
cause I'm writin' your name down on every page

Hey good lookin,whatcha got cookin
how's about cookin something up
how's about cookin something up
how's about cookin something up with meee




HONKY TONKIN' Lyrics

Words and music by Hank Williams, Sr.

When [G] you are sad and lonely and have no place to go
come to see me baby, and bring along some dough
And we'll go Honky Tonkin', Honky Tonkin'
Honky Tonkin', Honey Baby
We'll go Honky Tonkin' [D7] 'round this [G] town.

When you and your baby have a fallin' out
Just call me up sweet mama and we'll go steppin' out
And we'll go Honky Tonkin', Honky Tonkin'
Honky Tonkin', Honey Baby
We'll go Honky Tonkin' 'round this town.

We're goin' to the city - to the city fair
If you go to the city then you will find me there
And we'll go Honky Tonkin', Honky Tonkin'
Honky Tonkin', Honey Baby
We'll go Honky Tonkin' 'round this town.

Repeat first verse


I'm a Long Gone Daddy Lyrics

All you want to do is sit around and pout
And now I got enough and so I'm getting out

I'm leaving now
I'm leaving now
I'm a long gone daddy I don't need you anyhow

I been in the doghouse so doggone long
That when I get a kiss I think that something's wrong

(chorus)

I'll go find a gal that wants to treat me right
You go get yourself a man that wants to fight

(chorus)

You start your jaws a-wagging and it never stop
You never shut your mouth until I blow my top

(chorus)

I remember back when you were nice and sweet
Things have changed, you'd rather fight than eat

(chorus)

I'm a-gonna do some riding on the midnight train
I'm taking everything except my ball and chain

(chorus)

JAMBALAYA Lyrics

1. [D]Goodbye Joe, me gotta go, me oh [A]my oh
Me gotta go pole the pirogue down the [D]bayou
My Yvonne, the sweetest one, me oh [A]my oh
Son of a gun, we'll have good fun on the [D]bayou

CHORUS:
[D]Jambalaya, a-crawfish pie and-a file [A]gumbo
'Cause tonight I'm gonna see my ma cher a[D]mio
Pick guitar, fill fruit jar and be [A]gay-oh
Son of a gun, we'll have big fun on the [D]bayou.

2. Instrumental Verse (Country Fiddle solo)

3. [D]Thibodeaux, Fontenot, the place is [A]buzzin'
Kinfolk come to see Yvonne by the [D]dozen
Dress in style, go hog wild, me oh [A]my oh
Son of a gun, we'll have big fun on the [D]bayou.

REPEAT CHORUS

4. Instrumental Verse (Country Fiddle solo)

FINAL CHORUS:
[D]Jambalaya, a-crawfish pie and-a file [A]gumbo
'Cause tonight I'm gonna see my ma cher a[D]mio
Pick guitar, fill fruit jar and be [A]gay-oh
Son of a gun, we'll have big fun on the b[D]ayou.
Son of a [A]gun, we'll have big fun on the b[D]ayou.
Son of a [A]gun, we'll have big [A7]fun on the b[D]ayou.


YOU WIN AGAIN Lyrics

Recorded by Hank Williams, Sr.
Words and music by Hank Williams, Sr.

1st Verse:
[E] The [B7] news is [E] out - all over [A] town
That you've been [E] seen - a-runnin' [B7] 'round
I know that [E] I - should leave, but [A] then
I just can't [E] go - YOU [B7] WIN A- [E] GAIN.

1st Bridge:
This heart of [A] mine - could never [E] see
What ev'rybod - y knew but [B7] me
Just trusting [E] you - was my great [A] sin
What can I [E] do - YOU [B7] WIN A- [E] GAIN.

2nd Verse:
I'm sorry for - your victim now
'Cause soon his head - like mine will bow
He'll give his heart - but all in vain
And someday say - YOU WIN AGAIN.

2nd Bridge:
You have no heart - you have no shame
You take true love - and give the blame
I guess that I - should not complain
I love you still - YOU WIN AGAIN.


YOUR CHEATIN' HEART Lyrics

Your cheatin' heart,
Will make you weep,
You'll cry and cry,
And try to sleep,
But sleep won't come,
The whole night through,
Your cheatin heart, will tell on you...

When tears come down,
Like falling rain,
You'll toss around,
And call my name,
You'll walk the floor,
The way I do,
Your cheatin' heart, will tell on you...

Your cheatin' heart,
Will pine some day,
And crave the love,
You threw away,
The time will come,
When you'll be blue,
Your cheatin' heart, will tell on you...

When tears come down,
Like falling rain,
You'll toss around,
And call my name,
You'll walk the floor,
The way I do,
Your cheatin' heart, will tell on you...

*I Hear The Voice Of My Arky Angel-Once Again, The Music Of Iris Dement

Click on title to link to YouTube's film clip of Iris DeMent performing "Our Town". Every once in a while I NEED to hear that voice, especially her "These Hills" and "After You've Gone". Today is one of those days

CD REVIEW

Infamous Angel, Iris Dement, Rounder Records, 1992

Frankly, and I admit this publicly for the first time in this space, I love Ms. Iris Dement. Not personally, of course, but through her voice, her lyrics and her musical presence. This ‘confession’ may seem rather startling coming from a reviewer who is as likely here to go on and on about Bolsheviks, ‘Che’, Leon Trotsky, high communist theory and the like. Especially, as well given Ms. Dement’s seemingly simple quasi- religious themes and commitment to paying homage to her rural background in song. All such discrepancies though go out the window here. Why?

Well, for one, this old radical got a lump in his throat the first time he heard “These Hills”. Okay, that happens sometimes-once- but why did he have the same reaction on the fifth and twelfth hearings? Explain that. I can easily enough. If, on the very, very remotest chance, there is a heaven then I know one of the choir members. Enough said. By the way give a listen to “Sweet Forgiveness” and “After You’ve Gone” (with that great line about 'knowing' every line in her man's face. Then you too will be in love with Ms. Iris Dement. Iris, here is my proposal. If you get tired of fishing the U.P., or wherever, with Mr. Greg Brown, get bored with his endless twaddle about old Iowa farms or going on and on about Grannma's cellar just whistle. Better yet just yodel like you did on “Jimmie Rodgers Going Home” on that “Driftless” CD.

INFAMOUS ANGEL (Iris DeMent)
(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP

Last night before I went to sleep my knees dropped to the floor
I turned me eyes up to the sky and I prayed "Please help me, Lord,
you know I've sowed my wild oats and now the fun's all gone"
and then I heard these tender words
and I put them in my song:

"Infamous Angel come on home
to someone who loves you and knows you needed to roam
Grab your things, a ticket's waiting at the bus depot
for: Infamous Angel, Destination: Home"

I heard heaven's choir rejoicing as the tears broke from my eyes
and all at once it lifted the weight from my past life
I found a pen and I left a note on the dresser drawer
"Infamous Angel, she don't live here anymore"

Infamous Angel come on home
to someone who loves you and knows you needed to roam
Grab your things, a ticket's waiting at the bus depot
for: Infamous Angel, Destination: Home

Then I hurried out the back door as quickly as I could
I went flying down two flights of stairs 'til on the street I stood
and there I took that final look at my old neighbourhood
Then I ran down the street proclaiming "Angel gone for good"

Infamous Angel going home
to someone who loves her and knows she needed to roam
She grabbed her things and claimed the ticket at the bus depot
for: Infamous Angel, Destination: Home
Infamous Angel, Destination: Home



SWEET FORGIVENESS (Iris DeMent)
(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP

Sweet forgiveness, that's what you give to me
when you hold me close and you say "That's all over"
You don't go looking back,
you don't hold the cards to stack,
you mean what you say.

Sweet forgiveness, you help me see
I'm not near as bad as I sometimes appear to be
When you hold me close and say
"That's all over, and I still love you"

There's no way that I could make up for those angry words I said
Sometimes it gets to hurting and the pain goes to my head

Sweet forgiveness, dear God above
I say we all deserve a taste of this kind of love
Someone who'll hold our hand,
and whisper "I understand, and I still love you"



AFTER YOU'RE GONE (Iris DeMent)
(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP

There'll be laughter even after you're gone
I'll find reasons to face that empty dawn
'cause I've memorized each line in your face
and not even death can ever erase the story they tell to me

I'll miss you, oh how I'll miss you
I'll dream of you and I'll cry a million tears
but the sorrow will pass and the one thing that will last
is the love that you've given to me

There'll be laughter even after you're gone
I'll find reason and I'll face that empty dawn
'cause I've memorized each line in your face
and not even death could ever erase the story they tell to me



MAMA'S OPRY (Iris DeMent)
[note: harmony vocals provided by Emmylou Harris]
(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP

She grew up plain and simple in a farming town
Her daddy played the fiddle and use to do the calling
when they had hoedowns
She said the neighbors would come
and they'd move all my grandma's furniture 'round
and there'd be twenty or more there on the old wooden floor
dancing to a country sound

The Carters and Jimmy Rodgers played her favourite songs
and on Saturday nights there was a radio show
and she would sing along
and I'll never forget her face when she revealed to me
that she'd dreamed about singing at The Grand Ol' Opry

Her eyes, oh how they sparkled when she sang those songs
While she was hanging the clothes on the line
I was a kid just a humming along
Well, I'd be playing in the grass,
to her what might've seemed obliviously
but there ain't no doubt about it, she sure made her mark on me

She played old gospel records on the phonograph
She turned them up loud and we'd sing along
but those days have passed
Just now that I am older it occurs to me
that I was singing in the grandest opry

And we sang Sweet Rose of Sharon, Abide With Me
'til I ride The Gospel Ship to Heaven's Jubilee
and In That Great Triumphant Morning my soul will be free
and My Burdens Will Be Lifted when my Saviour's face I see
So I Don't Want to Get Adjusted to This World below
but I know He'll Pilot Me 'til it comes time to go
Oh, nothing on this earth is half as dear to me
as the sound of my Mama's Opry

And we sang Sweet Rose of Sharon, Abide With Me
'til I ride The Gospel Ship to Heaven's Jubilee
and In That Great Triumphant Morning my soul will be free
and My Burdens Will Be Lifted when my Saviour's face I see
So I Don't Want to Get Adjusted to This World below
but I know He'll Pilot Me 'til it comes time to go
Oh, nothing on this earth is half as dear to me
as the sound of my Mama's Opry



HIGHER GROUND (Iris DeMent)
[note: lead vocal by Flora Mae DeMent, backing vocals by "The Infamous Angel Choir" (Iris, etc.)]
Traditional, public domain

[Spoken intro by Iris: "No voice has inspired me more than my mother's. She showed me that music is a pathway to higher ground".]

I'm pressing on the upward way
New heights I'm gaining every day
Still praying as I'm onward bound
Lord, plant my feet on higher ground

Lord, lift me up and let me stand
by faith on Heaven's table land
A higher plain than I have found
Lord, plant me feet on higher ground

My heart has no desire to stay
where doubts arise and fears dismay
Though some may dwell where these abound
my prayer, my aim, is higher ground

Lord, lift me up and let me stand
by faith on Heaven's table land
A higher plain than I have found
Lord, plant me feet on higher ground

I want to scale the utmost heights
and catch a gleam of glory bright
but still I'll pray 'til heaven I've found
Lord, lead me on to higher ground

Lord, lift me up and let me stand
by faith on Heaven's table land
A higher plain than I have found
Lord, plant me feet on higher ground

Lord, lift me up and let me stand
by faith on Heaven's table land
A higher plain than I have found
Lord, plant me feet on higher ground

*Singing The Blues For His Lord- The Reverend Gary Davis Is On Stage

Click On Title To Link To YouTube's Film Clip Of Reverend Gary Davis Performing On Pete Seeger's "Rainbow Quest".

CD Review

Twelve Gates To The City: Reverend Gary Davis: In Concert 1962-1966, Shanachie Records, 2000

I have mentioned many of the old time black male country blues singers in this space, for example, Son House, Bukka White and Skip James. I have also mentioned the close connection between this rural music, the routine of life on the farm (mainly the Mississippi Delta plantations or sharecropping) and simple religious expression in their works. The blues singer under review meets all of those criteria and more. The Reverend Gary Davis, although not as well known in the country blues pantheon, has had many of his songs covered by the denizens of the folk revival of the 1960's and some rock groups, like The Grateful Dead, looking for a connection with their roots. Thus, by one of the ironies of fate his tradition lives on in popular music. I would also mention here that his work was prominently displayed in one of the Masters Of The Blues documentaries that I have reviewed in this space. That placement is insurance that that the Reverend's musical virtuosity is of the highest order. As an instrumentalist he steals the show in that film. Enough said.

Stick out songs here are the much-covered "Samson and Delilah", "Cocaine Blues" (from when it was legal, of course), "Twelve Keys To The City" and the gospelly "Blow Gabriel" and “Who Shall Deliver Poor Me”

Some Biographical Information From the Back Cover

Durham, North Carolina in the 1930's was a moderate sized town whose economy was driven by tobacco farming. The tobacco crop acted somewhat as a buffer against the worst ravages of the Depression. During the fall harvest, with its attendant tobacco auctions, there was a bit more money around, and that, naturally, attracted musicians. Performers would drift in from the countryside and frequently took up residence and stayed on. Two master musicians who made Durham their home, whose careers extended decades until they become literally world famous, were Reverend Gary Davis and Sonny Terry.

REV. GARY DAVIS

Reverend Gary Davis was one of the greatest traditional guitarists of the century. He could play fluently in all major keys and improvise continually without repetition. His finger picking style was remarkably free, executing a rapid treble run with his thumb as easily as with his index finger and he had great command of many different styles, representing most aspects of black music he heard as a young man at he beginning of the century. Beyond his blues-gospel guitar, Davis was equally adept at ragtime, marches, breakdowns, vaudeville songs, and much more. Born in Lawrence County, South Carolina in 1895, Davis was raised by his grandmother, who made his first guitar for him. Learning from relatives and itinerant musicians, he also took up banjo and harmonica. His blindness was probably due to a congenital condition. By the time he was a young man he was considered among the elite musicians in his area of South Carolina where, as in most Southern coastal states, clean and fancy finger picking with emphasis on the melody was the favored style. Sometime in the early 1950's, Davis started a ministry and repudiated blues. In 1935, he recorded twelve gospel songs that rank among the masterpieces of the genre. In 1944, he moved to New York where he continued his church work, and sometimes did some street singing in Harlem. By the early 1960's, with the re-emergence of interest in traditional black music, Davis finally received the recognition and prominences he so richly deserved.

*******


- Blow, Gabriel, Blow Lyrics


[RENO]
Brothers and sisters, we are here tonight to fight the devil...
Do you hear that playin'?

[COMPANY]
Yes, we hear that playin'!

[RENO]
Do you know who's playin'?

[COMPANY]
No, who is that playin'?

[RENO]
Well, it's Gabriel, Gabriel playin'!
Gabriel, Gabriel sayin'
"Will you be ready to go
When I blow my horn?"

Oh, blow, Gabriel, blow,
Go on and blow, Gabriel, blow!
I've been a sinner, I've been a scamp,
But now I'm willin' to trim my lamp,
So blow, Gabriel, blow!

Oh, I was low, Gabriel, low,
Mighty low, Gabriel, low.
But now since I have seen the light,
I'm good by day and I'm good by night,
So blow, Gabriel, blow!

Once I was headed for hell,
Once I was headed for hell;
But when I got to Satan's door
I heard you blowin' on your horn once more,
So I said, "Satan, farewell!"

And now I'm all ready to fly,
Yes, to fly higher and higher!
'Cause I've gone through brimstone
And I've been through the fire,
And I purged my soul
And my heart too,
So climb up the mountaintop
And start to blow, Gabriel, blow

[ALL]
Come on and blow, Gabriel, blow!

[RENO]
I want to join your happy band
And play all day in the Promised Land.
So blow, Gabriel, blow!
Come on you scamps, get up you sinners!
You're all too full of expensive dinners.
Stand up on your lazy feet and sing!

[ALL]
Blow, Gabriel, blow, (Blow, Gabriel!)
Go on and blow, Gabriel, blow. (Blow, Gabriel!)
I've been a sinner, I've been a scamp,
But now I'm willin' to trim my lamp,
So blow, Gabriel, blow.

I was low, Gabriel, low, (Low, Gabriel!)
Mighty low, Gabriel, low.
But now since that I have seen the light
I'm good by day and I'm good by night
So blow, Gabriel, blow.

[RENO]
Once I was headed for hell,
Once I was headed for hell;
But when I got to Satan's door
I heard you blowin' on your horn once more,
So I said, "Satan, farewell!"

And now I'm all ready to fly,
Yes, to fly higher and higher!
'Cause I've gone through brimstone
And I've been through the fire,
And I purged my soul
And my heart too,
So climb up the mountaintop
And start to blow, Gabriel, blow

[ALL]
Go on and blow, Gabriel, blow!

[RENO]
I want to join your happy band
And play all day in the Promised Land.
So blow, Gabriel!

[ALL]
Go on and...
Blow, Gabriel, blow
Blow, Gabriel, blow
Blow, Gabriel, blow
I wanna join your happy band
And play all day in the Promised Land,
So blow, Gabriel, blow, Gabriel, blow, Gabriel, blow!

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

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

DVD REVIEW

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

I have spent some considerable effort in this space reviewing various trends in the blues tradition, including both the country blues and the later electrified urban sound most closely associated with places like Memphis and Chicago. As is fairly well known country blues got its start down in the South during the early part of the 20th century (if not earlier) as a way for blacks (mainly) to cope with the dreaded, deadly work on the plantations (picking that hard to pick cotton). The electric blues really came of age in the post World War I period and later when there was a massive black migration out of the south in search of the, now disappearing, industrial jobs up north (and to get out from under old Jim Crow racial segregation). In this volume (and similarly in a couple of other previously reviewed volumes in this series) Stefan Grossman, the renowned guitar teacher and performer in his own right, has taken old film clips and segments from an Alan Lomax experiment at the Newport Folk Festival of putting exemplars of both traditions together under one roof and has produced an hour of classic performances by some masters of the genre. Wow.

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

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

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

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



Devil Got My Woman lyrics

You know, I'd rather be the ol' devil
Well, I'd rather be the devil
Then to be that woman' man
You know, rather be the devil
Than to be that woman' man

You know, I'm so sorry
You know, so sorry
That I ever fell in love wit' you-ooo-hoo-oo
Because you know you don't treat me
Baby, like you used ta do-hoo

You know, I laid down last night
You know, I laid down last night
And I thought to take me some rest
But my mind got to rambling
Like a wild geese from the west

You know the woman that I love
The woman that I love
I stol't her from my best friend
But you know he done got lucky
An he done got her back, again

You know, I used to cut your kindleing
You know, I used to cut your kindleing
Baby, then I made you some fire
Then I would tote all your water
Way, way, way, from the bogy brier

You know, my baby she don't drink whiskey
My baby, she don't drink no whiskey
An I know she ain't crazy about wine
Now, it was nothin' but the ol' devil
He done changed my baby's mind

You know, I could be right
You know, I could be right
Then again, I could be wrong
But it was nothin' but the ol' devil
He done got my baby
Now he done gone.

I'm So Glad lyrics

Eee, an I'm so glad
Yes sir, I'm glad
Until I just don't know
What to do

An I am tired a-weeping
I'm so tired a-moanin'
I'm so tired of groanin' for you

(guitar)

Eee, an I am so -
Yes, I am mighty glad
Until I just don't know what -

Would you be my little darlin'?
Would you be my dear?
Would you be my darlin'
Be my dear?

Then I would be mighty -
I would be mighty glad
Then I just wouldn't know
What to do

When I say, 'Coo-coo-coo'
Just like a little baby, do
I would love to have
A lovely kiss from you

Then I would be mighty -
Then I would be so -
Until I just wouldn't know -

You know, I'm tired a-weeping
I'm so tired of a-moanin'
I'm so tired of groanin' for you

(guitar)

Eee, an I am so glad
Yes, I'm so glad
Until I just don't know
What to do-ooo-woo-ooo-ooo.

Cherry Ball Blues lyrics

I love my little cherry ball
Better than I love myself
I love my cherry ball
Better than I love myself
Then if she don't love me
She can't love nobody else

Cherry ball, she quit me
Quit me in a nice, good way
Cherry ball, she quit me
Quit me in a nice, good way
You know, what it take to get her back
I carries it ev'ryday

Now, I left cherry ball standin'
Standin' in the back do' cryin'
Now, I left cherry ball
Standin' in the back do' cryin'
Of course, I feel her condition
But her trouble ain't none a-mine

She's just like a spider
She's hangin' on the wall
She's like a spider
She's hangin' on the wall
You know, she done quit me
She quit me without a cause

Now, when she left me
She left tears in my eye
Now, when she left me
She left tears in my eye
You know, that I love her
But her disposition I do dispise

Now, you can take the Southern
I'm 'on take the Sante Fe
Now, you take the Southern
I'm 'on take the Sante Fe
I'm gon' ride an gon' ramble
'Till cherry ball come back to me

She got to come on back home to me-ee-ee.

Son House - Death Letter lyrics

Lyrics to Death Letter :

I got a letter this mornin, how do you reckon it read?
It said, "Hurry, hurry, yeah, your love is dead"
I got a letter this mornin, I say how do you reckon it read?
You know, it said, "Hurry, hurry, how come the gal you love is dead?"

So, I grabbed up my suitcase, and took off down the road
When I got there she was layin on a coolin' board
I grabbed up my suitcase, and I said and I took off down the road
I said, but when I got there she was already layin on a coolin' board

Well, I walked up right close, looked down in her face
Said, the good ol' gal got to lay here 'til the Judgment Day
I walked up right close, and I said I looked down in her face
I said the good ol' gal, she got to lay here 'til the Judgment Day

Looked like there was 10,000 people standin' round the buryin' ground
I didn't know I loved her 'til they laid her down
Looked like 10,000 were standin' round the buryin' ground
You know I didn't know I loved her 'til they damn laid her down

Lord, have mercy on my wicked soul
I wouldn't mistreat you baby, for my weight in gold
I said, Lord, have mercy on my wicked soul
You know I wouldn't mistreat nobody, baby, not for my weight in gold

Well, I folded up my arms and I slowly walked away
I said, "Farewell honey, I'll see you on Judgment Day"
Ah, yeah, oh, yes, I slowly walked away
I said, "Farewell, farewell, I'll see you on the Judgment Day"

You know I went in my room, I bowed down to pray
The blues came along and drove my spirit away
I went in my room, I said I bowed down to pray
I said the blues came along and drove my spirit away

You know I didn't feel so bad, 'til the good ol' sun went down
I didn't have a soul to throw my arms around
I didn't feel so bad, 'til the good ol' sun went down
You know, I didn't have nobody to throw my arms around

I loved you baby, like I love myself
You don't have me, you won't have nobody else
I loved you baby, better than I did myself
I said now if you don't have me, I didn't want you to have nobody else

You know, it's hard to love someone that don't love you
Ain't no satisfaction, don't care what in the world you do
Yeah, it's hard to love someone that don't love you
You know it don't look like satisfaction, don't care what in the world you do

Got up this mornin', just about the break of day
A-huggin' the pillow where she used to lay
Got up this mornin', just about the break of day
A-huggin' the pillow where my good gal used to lay

Got up this mornin', feelin' round for my shoes
You know, I must-a had them old walkin' blues
Got up this mornin', feelin' round for my shoes
Yeah, you know bout that, I must-a had them old walkin' blues

You know, I cried last night and all the night before
Gotta change my way a livin', so I don't have to cry no more
You know, I cried last night and all the night before
Gotta change my way a livin', you see, so I don't have to cry no more

Ah, hush, thought I heard her call my name
If it wasn't so loud and so nice and plain
Ah, yeah
Mmmmmm

Well, listen, whatever you do
This is one thing, honey, I tried to get along with you
Yes, no tellin' what you do
I done everything I could, just to try and get along with you

Well, the minutes seemed like hours, hours they seemed like days
It seemed like my good, old gal outta done stopped her low-down ways
Minutes seemed like hours, hours they seemed like days
Seems like my good, old gal outta done stopped her low-down ways

You know, love's a hard ol' fall, make you do things you don't wanna do
Love sometimes leaves you feeling sad and blue
You know, love's a hard ol' fall, make you do things you don't wanna do
Love sometimes make you feel sad and blue

Son House - Preachin' Blues lyrics
Lyrics to Preachin' Blues :

Oh, I'm gonna get me a religion, I'm gonna join the Baptist Church
Oh, I'm gonna get me a religion, I'm gonna join the Baptist Church
I'm gonna be a Baptist preacher, and I sure won't have to work

Oh, I'm a-preach these blues, and I, I want everybody to shout
I want everybody to shout
I'm gonna do like a prisoner, I'm gonna roll my time on out

Oh, I went in my room, I bowed down to pray
Oh, I went in my room, I bowed down to pray
Till the blues come along, and they blowed my spirit1 away

Oh, I'd-a had religion, Lord, this every day
Oh, I'd-a had religion, Lord, this every day
But the womens and whiskey, well, they would not set me free

Oh, I wish I had me a heaven of my own
Hey, a heaven of my own
Till I'd give all my women a long, long, happy home

hey, I love my baby, just like I love myself
Oh, just like I love myself
Well, if she don't have me, she won't have nobody else

Son House - Pony Blues lyrics
Lyrics to Pony Blues :

Why don't you catch my pony, now saddle up my black mare?
...my pony, saddle up, up my black mare?
You know, I'm gonna find my baby, well, in the world somewhere

You know, he's a travelin' horse, an' he's too black bad
He's a travelin' pony, I declare, he's too black bad
You know, he got a gait, now, no Shetlan' ain't never had

You know, I taken him by the rein an' I led him around and 'round
I say, I taken him by the reins an' I, I led him, him 'round and 'round
You know, he ain't the best in the world, but he's the best ever been in this town

You know, he's a travelin' horse and he don't deny his name
He's a travelin' pony and he don't deny his name
You know, the way he can travel is a low-down, old, dirty shame

Why don't you come up here, pony, now come on, please let's us go
I said, "Come up, get up now, please pony, now let's us go"
Let's we saddle on down on the Gulf of, of Mexico

You know, the horse that I'm ridin', he can fox-trot, he can lope and pace
I say, the pony I'm ridin', he can fox-trot, he can lope and pace
You know, a horse with them many gaits, you know, I'm bound to win the race

He's a travelin' horse an' he don't deny his name
He's a travelin' pony, he don't deny his name
the way he can travel is a low-down, old, dirty shame

Howlin' Wolf

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

SHAKE FOR ME

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

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

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

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


THE RED ROOSTER

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

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

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


YOU'LL BE MINE

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

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

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

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

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

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


WHO'S BEEN TALKIN' *

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

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

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

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


WANG DANG DOODLE

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

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

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

SPOONFUL

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

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

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

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

That spoon, dat spoon, dat spoonful.

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

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

That spoon, dat spoon, dat spoonful.


BACK DOOR MAN

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

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

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

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

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

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

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


HOWLIN' FOR MY BABY

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

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

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

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

Come on. I love you. Pretty baby.

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

Lyrics to In My Time Of Dyin' :

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

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

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


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

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

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

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

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

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

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

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

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

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


Aberdeen Mississippi 2:33 Trk 9

Bukka White (Booker T. Washington White)
Bukka White - vocal & guitar
& Washboard Sam (Robert Brown) - wshbrd.
Recorded: March 7th & 8th 1940 Chicago, Illinois
Album: Parchman Farm Blues, Roots RTS 33055
Transcriber: Awcantor@aol.com


I was over in Aberdeen
On my way to New Orlean
I was over in Aberdeen
On my way to New Orlean
Them Aberdeen women told me
Will buy my gasoline

Hey, two little women
That I ain't ever seen
They has two little women
That I ain't never seen
These two little women
Just from New Orlean

Ooh, sittin' down in Aberdeen
With New Orlean on my mind
I'm sittin' down in Aberdeen
With New Orlean on my mind
Well, I believe them Aberdeen women
Gonna make me lose my mind, yeah

(slide guitar & washboard)

Aber-deen is my home
But the mens don't want me around
Aberdeen is my home
But the men don't want me around
They know I will take these women
An take them outta town

Listen, you Aberdeen women
You know I ain't got no dime
Oh-oh listen you women
You know'd I ain't got no dime
They been had the po' boy
All up and down.

(guitar & washboard to end)


Fixin' To Die Blues lyrics

I'm lookin' funny in my eyes
And I believe I'm fixin' to die
Believe I'm fixin' to die
I'm lookin' funny in my eyes
Now, I believe I'm fixin' to die, yeah
I know I was born to die
But I hate to leave my children around cryin'
Yeah

Just as sho' we live
It's a, sho' we's born to die
Sho' we's born to die
Just as sho's we live
Sho' we's born to die
Yeah
I know I was born to die
But I hate to leave my children around cryin'
Yeah

Yo mother treated me, children
Like I was her baby child
Was her baby child
Yo mother treated me
Like I was her baby child
That's why's I sighed
Sighed so hard
And come back home to die
Yeah

So many nights at the fireside
How my chillen's mother would cry
How my chillen's mother would cry
So many nights at the fireside
How my chillen's mother would cry
Yeah
'Cause I told the mother I had to say, goodbye

Look over yon-der
On the buryin' ground
On the buryin' ground
Look over yonder, on the burying ground
Yon' stand ten thousand
Standin' still to let me down
Yeah

(washboard & guitar)

Mother, take my chillen back
Before they let me down
Before they let me down
Mother, take my chillen back
'Fore they let me down
Ain't no need a-them screamin' an cryin'
On the graveyard ground.

(washboard & guitar to end)


Shake 'em On Down lyrics

Yes, you're a nice girl, mama
And little girl
Night before day
We gonna
Shake 'em on down

I need some time holler, now
Oh, must I shake 'em on down
I done shout hollerin', now
Must I shake 'em on down

Too much is debted to me
Through the week
Save these chili peppers
Some ol' rainy day, here

Best I'm hollerin', now
Ooh, must I shake 'em on down
I done shout hollerin', now
Must I shake 'em on down, now

Fix my supper
Let me go to bed
This white lightnin' done gone
To my head

Oh, must I holler now
Ooh, must I shake 'em on down
I done shout hollerin', now
Must I shake 'em on down

I ain't been in Georgia, babe
I been told
Georgia women got the best
Jellyroll

These nights time holler, now
Oh, must I shake 'em on down
I done shout hollerin', mama
Must I shake 'em on down

See See mama, heard
You, done-done
Made me love you, now I know
Man done coming

Best I'm hollerin', now
Oh, must I shake 'em on down
I done shout hollerin', mama
Must I shake 'em on down

Pretty girl's got
They don't know
What it is
Make me drunk at that old
Whiskey still

It's best I'm hollerin', now
Oh, must I shake 'em on down
I done shout hollerin'
Must I shake 'em on down.

Poor Boy Long Way From Home by Bukka White Lyrics

Poor boy a long way from home
Poor boy I'm a long way from home
Poor boy I'm a long way from home
I don't have no happy home to go home to

When I left my home my baby's in my arms
When I left my home my baby's in my arms
When I left my home my baby's in my arms
She wanna know, 'Daddy, when you comin' back home?'

(guitar)

They got me down here on the farm
Got me down here on old farm
I don't have no one to come and go my bail
Baby, I wanna come back home to you

(guitar)

Sorry, baby I can't call you over the phone
Sorry, I can't call you over the phone
'Cause they got me down here long distance phone
But I can't call you baby over the phone.

(guitar to end)