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

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

CD Review

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

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

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

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

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

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

The Centennial Of Pete Seeger’s Birthday (1919-2014)- *Once More Into The Time Capsule, Part One-The New York Folk Revival Scene in the Early 1960’s-Peggy Seeger

Click on title to link to YouTube's film clip of Peggy Seeger performing "First Time Ever I Saw Your Face".

CD Review

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

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

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

Peggy Seeger on “First Time Ever I Saw Your Face”. You know this is a very beautiful song but I keep hearing Roberta Flack’s voice very time I listen to it. Peggy (Pete’s half-sister and a great songwriter and singer in her own right) brings a much more folk mystical sense to the song. And she should. After all it was written by her life companion and husband Ewan McColl.

First Time Ever I Saw Your Face

The first time ever I saw your face
I thought the sun rose in your eyes
And the moon and stars were the gifts you gave
To the dark and the empty skies, my love,
To the dark and the empty skies.

The first time ever I kissed your mouth
And felt your heart beat close to mine
Like the trembling heart of a captive bird
That was there at my command, my love
That was there at my command.

And the first time ever I lay with you
I felt your heart so close to mine
And I knew our joy would fill the earth
And last till the end of time my love
It would last till the end of time my love

The first time ever I saw your face, your face,
your face, your face

Happy Birthday Jim Kweskin-The Max Daddy Of Jug- Out In The Kazoo-Driven 1920s Night- The Time Of The Cannon Jug Stompers- A CD Review

Click on the headline to link to a YouTube film clip of the Cannon Jug Stompers performing Big Railroad Blues to give a flavor of the old-time jug music.

Cannon’s Jug Stompers: The Complete Works: 1927-1930, The Cannon Jug Stompers, Yazoo Records, 1989

So Jim Kweskin took a few jugs, a few washboards, a few kazoos, a penny whistle, maybe a couple of fiddles, and a washtub with a string and pole, got some friends like Geoff Muldaur, and Maria Muldaur (nee something else like Donato) to play the damn stuff (and sing too) and created jug music from scratch in the 1960s folk minute night. No, one thousand times, no. The folk minute was about “discovering” roots music. You know stuff from the hills and hollows of Kentucky, or some old labor songs from the 1930s hard class struggle, or some sea island s congregation spirituals from god knows where in outer Georgia (the United States Georgia, okay). So like Bob Dylan, Eric Von Schmidt, hell even Dave Von Ronk, they all torn up the backwoods, or at least the dusty Greenwich Village old records stores, and went hunting for some sound that would satisfy their roots needs (and provide a little cash in the coffeehouse crazed night). And Cannon’s Jug Stompers along with the Memphis Jug Band (and, as it turned out, about seven different state Sheik bands, you know the Mississippi Sheiks, and so on) were must hears if you wanted to replicate any old time jug sound.

Of course the Cannon Jug Stompers didn’t work the Cambridge folk scene back in the day, way back in the day, or some cozy Village club and certainly not some North Beach blow-out be-bop joint but worked the carny shows, the juke joints and the back road houses of the south to very segregated audiences. So while some black guys (and a few women) were wilding the joint up in café society New York or New Orleans with the latest high white not jazz riffs these brothers were working cheap street. So be it. Listen up to Big Railroad Blues, Cairo Rag, Pretty Money Blues and a few others and you won’t worry so much why you don’t miss the jazz notes. And be glad, glad as hell, that Harry Smith, the great American Folk Music anthologist whose anthology all the old folkies (including the afore-mentioned Jim Kweskin Jug Band members) knew by heart including them in his work.

Happy Birthday Jim Kweskin-The Max Daddy Of Jug- On Memphis Minnie's Birthday-In The Beginning There Was……Jug- Songstress Maria Muldaur Goes Back Home

Click on title to link to YouTube's film clip of Maria Muldaur performing with the Jim Kweskin Jug Band back in the days.

CD Review

Maria Muldaur And Her Garden Of Joy, Maria Muldaur and the Garden of Joy Jug Band, Stony Plain, 2009

The last time that I featured the femme fatale blues torch singer reincarnate Maria Muldaur (at least that is the way that she, successfully, projected herself in her recent blues revival projects) was in a review of her 2007 CD tribute to the great singers of the 1920s and 1930s, Bessie Smith, Memphis Minnie, Sippy Wallace and the like. I might add that I raved on and on about the value of her project, the worthiness of the singers honored and her own place in the blues pantheon. Of course, for those in the know about the roots of the folk revival of the 1960s at least, the name Maria Muldaur is forever associated with another closely-related branch of roots music-the jug band. Maria was the very fetching female vocalist for the old time revivalist Jim Kweskin Jug Band (and an earlier effort in her home town, New York City, by John Sebastian of The Lovin’ Spoonful fame, The Even Dozen Jug Band).

Well, hold the presses please, because the red hot blues mama has come back home in her latest project, the CD under review, “Maria Muldaur And Her Garden Of Joy”. And if Maria was kind of thrown in the background somewhat in those days by the strong presence of Jim Kweskin and that of her ex-husband Geoff Muldaur she is front and center on this effort. One of the virtues of jug music back in the day was that it was basically zany, funny, send-off kind of music and full of, usually, high-spirited if coded sexual innuendos. This, on occasion, was a welcome break from the heavy political message songs that were de rigueur or the traditional ballads filled with tales of thwarted love, duplicity and murder and mayhem. In this CD Maria brings back the energy and just plain wistfulness of that type of music. And she does it on her terms.

As fate would have it, or rather by a conscious act, I happened to see Maria and her very fine new jug band made up of younger, well, Jim Kweskin jug band-types (along with guest performer, now blues/ragtime guitar virtuoso John Sebastian) in Cambridge (one of her old stomping rounds and an important secondary center of the folk revival in the 1960s). And, like the last time I saw her a couple of years ago when she was that femme fatale blues singer, she did not disappoint. The woman carried the show with the energy of the old days (that you can get an idea of by going on "YouTube" in a click from 1966).

The line between jug music and flat out torch blues sometimes is not that wide and the switch over thus is not that dramatic. At least in Maria's hands. Witness her version of Mississippi John Hurt’s “Richland Woman” which she did jug-style at the concert (she did a more lowdown bluesy version on her “Richland Woman” album). The example on this album that comes to mind is the little known but, currently, very relevant 1929 song “Bank Failure Blues”. Also the classic jug tune “Garden Of Joy” and another one “Sweet Lovin’ Ol’ Soul” (also done blues-style on a previous album of the same name). This is good stuff but begs the question. Jim Kweskin is still performing. Geoff Muldaur is still performing. Geoff and Jim occasionally perform together. Wouldn’t it be a treat if...?

Blues Lyrics - Mississippi John Hurt Richland's Woman Blues

All rights to lyrics included on these pages belong to the artists and authors of the works. All lyrics, photographs, soundclips and other material on this website may only be used for private study, scholarship or research. by Mississippi John Hurt recording of 19 from

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 __________

Note 1: a woman's haircut with the hair trimmed short from the back of the head to the nape; Note 2: nickname for the Model T Ford automobile (1915), a small inexpensive first time mass- produced early automobile.

Happy Birthday Keith Richards- In Honor Of The Late Rocker Chuck Berry Who Helped Make It All Possible-*Chuck Berry Is In The House- "Roll Over Beethoven"

Click On Title To Link To YouTube's Film Clip Of Chuck Berry Doing "Roll Over Beethoven". Wow.


In Honor Of The Late Rocker Chuck Berry Who Helped Make It All Possible-*Chuck Berry Is In The House- "Roll Over Beethoven"

CD REVIEWS

Chuck Berry Gold, Chuck Berry, Gold Records, 1999

Long ago, in the mists of time, I was listening to my radio when Chuck Berry’s "Johnny B. Goode" came thundering across the airways. I have been a fan ever since and never looked back. As portrayed in the DVD documentary and labor of love by The Rolling Stones’ Keith Richards “Hail, Hail Rock and Roll” and this greatest hits CD compilation neither did Chuck Berry. There may be continuing controversy about the roots of rock and rock-whether it derived from rhythm and blues, rock-a-billy, jazzed-up country or all of them- but as the tribute covers by later performers across the musician and racial spectrum that are dotted throughout later rock history- Chuck Berry was at the center of the storm.

That said, not all Chuck Berry CDs are created equal. Partially, as with his live performances, this reflected his constant need for money to pay debts, the government, etc. Many are done haphazardly or are based on less than stellar performances. This Gold CD, as are others in this series ( I would note, for one , Hank Williams), is among the best as it seems that the compilers have gone out of their way to get the best versions available, even of the lesser material that completes this two-disc set. I would say this you need high quality performances on the following if you are to understand why Chuck Berry is a rock legend. “Maybelline”, “Roll over Beethoven”, “Back In The U.S.A.”, “Rock And Roll Music”, “Sweet Little Sixteen”, :Johnny B. Goode”, “Reelin’ and Rockin”, “Little Queenie” and “Memphis”. That is the case here. Take the others as a bonus.



Back In The USA Lyrics

Oh well, oh well, I feel so good today,
We touched ground on an international runway
Jet propelled back home, from over seas to the USA

New-York, Los Angeles, oh, how I yearned for you
Detroit, Chicago, Chattanooga, Baton Rouge
Let alone just to be at my home back in ol?St-Lou.

Did I miss the skyscrapers, did I miss the long freeway?
From the coast of California to the shores of Delaware Bay
You can bet your life I did, till?I got back to the USA

Looking hard for a drive-in, searching for a corner caf?
Where hamburgers sizzle on an open grill night and day
Yeah, and a jukebox jumping the records like in the USA

Well, I'm so glad I'm livin?in the USA.
Yes. I'm so glad I'm livin?in the USA.
Anything you want, we got it right here in the USA


It Hurts Me Too Lyrics

(by elmore james)

You said you was hurting, almost lost your mind,
And the man you love, he hurts you all the time.
When things go wrong, go wrong with you, it hurts me, too.

You love him more when you should love him less.
I pick up behind him and take his mess.
When things go wrong, go wrong with you, it hurts me, too.

He love another woman and I love you,
But you love him and stick to him like glue.
When things go wrong, go wrong with you, it hurts me, too.

Now you better leave him; he better put you down.
Oh, I won’t stand to see you pushed around.
When things go wrong, go wrong with you, it hurts me, too.

Johnny B. Goode Lyrics

Deep down in Louisiana close to New Orleans
Way back up in the woods among the evergreens,
There stood a log cabin made of earth and wood
Where lived a country boy named Johnny B. Goode,
Who never ever learned to read or write so well
But he could play a guitar just like a ringin' a bell.

(Chorus)
Go Go
Go Johnny Go Go (x4)
Johnny B. Goode

He used to carry his guitar in a gunny sack,
Oh sit beneath a tree by the railroad track
Oh the engineers would see him sittin in the shade,
Strummin with the rhythm that the drivers made,
Oh n' people passin' by they would stop and say
'Oh my but that little country boy could play'

(Chorus)

His mother told him 'some day you will be a man,
And you will be the leader of a big ol' band
Many people comin' from miles around,
To hear you play your music when the sun go down,
Maybe some day your name will be in lights sayin
'Johnny B. Goode' tonight

(Chorus)

Little Queenie Lyrics

I got lumps in my throat
When I saw her comin' down the aisle
I got the wiggles in my knees
When she looked at me and sweetly smiled
There she is again
Standin' over by the record machine
Lookin' like a model
On the cover of a magazine
She's too cute
To be a minute over seventeen
Meanwhile I was thinkin'
She's in the mood
No need to break it
I got a chance, I oughta take it
If she抣l dance we can make it
C'mon queenie let's shake it

Go, go, go, little queenie
Go, go, go, little queenie
Go, go, go, little queenie

Tell me who's the queen standin?over by the record machine
Lookin?like a model
On the cover of a magazine
She's too cute
To be a minute over seventeen

Meanwhile, I was still thinkin?br> If it's a slow song
We'll omit it
If it's a rocker, then we'll get it
If it's good, she'll admit it
C'mon queenie, let's get with it

Go, go, go, little queenie
Go go, go, go, little queenie
Go go, go, go, little queenie?

Maybellene Lyrics

Maybelline, why can't you be true
Oh Maybelline , why can't you be true
You done started doin' the things you used to do

As I was motorvaton over the hill
I saw Maybelline in a Coup de Ville
A Cadillac arollin' on the open road
Nothin' will outrun my V8 Ford
The Cadillac doin' about ninetyfive
She's bumper to bumper, rollin' side to side

Maybelline, why can't you be true
Oh Maybelline , why can't you be true
You done started back doin' the things you used to do

The Cadillac pulled up to a hundred and four
The Ford got hot and wouldn't do no more
It done got cloudy and started to rain
I tooted my horn for the passin' lane
The rainwater blowin' all under my hood
I know that I was doin' my motor good

Maybelline, why can't you be true
Oh Maybelline, why can't you be true
You done started back doin' the things you used to do

Oh Maybelline, why can't you be true
Oh Maybelline, why can't you be true
You done started back doin' the things you used to do

The motor cooled down the heat went down
And that's when I heard that highway sound
The Cadillac sittin' like a ton of lead
A hundred and ten a half a mile ahead The Cadillac lookin' like it's sittin' still
And I caught Maybelline at the top of the hill

Maybelline, why can't you be true
Oh Maybelline, why can't you be true
You done started back doin' the things you used to do

Rock'n'Roll Music Lyrics

Just let me hear some of that rock'n'roll music
Any old way you choose it
It's got a backbeat, you can't lose it
Any old time you use it
It's gotta be rock - roll music
If you wanna dance with me
If you wanna dance with me

I have no kick against modern jazz
Unless they try to play it too darn fast
And change the beauty of the melody
Until it sounds just like a symphony
That's why I go for that rock'n'roll music
Any old way you choose it
It's got a backbeat, you can't lose it
Any old time you use it
It's gotta be rock - roll music
If you wanna dance with me
If you wanna dance with me

I took my loved one over 'cross the tracks
So she could her my man a - whalin' sax
I must admit they have a rockin' band
Man they were goin' like a hurricane
That's why I go for that rock'n'roll music
Any old way you choose it
It's got a backbeat, you can't lose it
Any old time you use it
It's gotta be rock - roll music
If you wanna dance with me
If you wanna dance with me

Way down South they gave a jubilee
Them country folks they had a jamboree
They're drinkin' home - brew from a wooden cup
The folks dancin' got all shook up
And started playin' that rock'n'roll music
Any old way you choose it
It's got a backbeat, you can't lose it
Any old time you use it
It's gotta be rock - roll music
If you wanna dance with me
If you wanna dance with me

Don't care to hear 'em play the tango
I'm in no mood to dig a mambo
It's way too early for the congo
So keep a - rockin' that piano
So I can hear some of that rock'n'roll music
any old way you choose it
It's got a backbeat, you can't lose it
Any old time you use it
It's gotta be rock - roll music
If you wanna dance with me
If you wanna dance with me

Sweet Little Rock'n'Roller Lyrics

Yeah, nine years old and sweet as she can be
All dressed up like a downtown Christmas tree
Dancin?and hummin?a rock&roll melody
She抯 the daughter of a well-respected man
Who taught her to judge and understand
Since she became a rock& roll music fan

Sweet little rock'n'roller
Sweet little rock'n'roller
Her daddy don抰 have to scold her
Her partner can抰 hardly hold her
Her partner can抰 hardly hold her
She never gets any older
Sweet little rock抧抮oller

Should have seen her eyes when the band began to play
And the famous singer sang and bowed away
When the star performed she screamed and yelled "Hooray!"

Ten thousand eyes were watchin?him leave the floor
Five thousand tongues were screamin?揗ore and More!?br> And about fifteen hundred people waitin?outside the door

Sweet little rock'n'roller
Sweet little rock'n'roller
Sweet little rock'n'roller
Sweet little rock'n'roller
Sweet little rock'n'roller
Sweet little rock'n'roller
Sweet little rock'n'roller


Roll Over Beethoven Lyrics

Well, I'm-a write a little letter,
I'm gonna mail it to my local DJ
Yeah, It's a jumpin little record
I want my jockey to play
Roll Over Beethoven, I gotta hear it again today

You know, my temperature's risin'
and the jukebox blowin a fuse
My heart's beatin' rhythm
and my soul keeps on singin' the blues
Roll Over Beethoven, tell Tschaikowsky the news

I got the rockin' pneumonia,
I need a shot of rhythm and blues
I caught the rollin' arthiritis
sittin' down at a rhythm review
Roll Over Beethoven rockin' in two by two

Well, if you feel it 'n like it
go get your lover, then reel and rock it
Roll it over then move on up just
a trifle further then reel and rock with
one another.
Roll Over Beethoven dig these rhythm and blues

Well, early in the mornin' I'm a givin' you a warnin'
don't you step on my blue suede shoes
Hey diddle diddle, I am playin' my fiddle,
ain't got nothin' to lose
Roll Over Beethoven and tell Tschaikowsky the news

You know she wiggles like a glow worm,
dance like a spinnin' top
She got a crazy partner,
you oughta see 'em reel and rock
Long as she got a dime the music won't never stop

Roll Over Beethoven,
Roll Over Beethoven,
Roll Over Beethoven,
Roll Over Beethoven,
Roll Over Beethoven and dig these rhythm and blues

On Memphis Minnie's Birthday ***A Blues Potpourri-The Blues Is Dues, Part II-The Sky May Be Crying But You Won’t Be

Click on the headline to link to a "YouTube" film clip of "Big Mama" Thornton performing "Hound Dog." Elvis step back, way back, on this one.

CD REVIEW

February Is Black History Month

As those familiar with this space know I have spent a good amount of ink touting various old time blues legends that I ‘discovered’ in my youth. My intention, in part, is to introduce a new generation to this roots music but also to demonstrate a connection between this black-centered music and the struggle for black liberation that both blacks and whites can appreciate. Like virtually all forms of music that lasts more than five minutes the blues has had its ups and downs. After becoming electric and urbanized in the immediate post-World War II period it was eclipsed by the advent of rock&roll then made a comeback in the mid- 1960's with the surge of English bands that grew up on this music, and so on. Most recently there was mini-resurgence with the justifiably well-received Martin Scorsese PBS six-part blues series in 2003. A little earlier, in the mid-1990’s, there had also been a short-lived reemergence spearheaded by the ‘discovery’ of urban blues pioneer Robert Johnson’s music.

The long and short of this phenomenon is that commercial record production of this music waxed and waned reflecting that checkered history. I have, in the interest of variety for the novice, selected these CDs as a decent cross-section of blues (and its antecedents in earlier forms of roots music) as to gender, time and type. The following reviewed CDs represent first of all an attempt by record companies to meet the 1990’s surge. They also represent a hard fact of musical life. Like rock&roll the blues will never die. Praise be. Feast on these compilations.

The Sky May Be Crying But You Won’t Be

Living The Blues: Blues Masters, MCA Records, 1995

Many of the artists on this compilation have received individual attention by this reviewer elsewhere in this space. Thus I will highlight some of the lesser known artists who were either one hit johnnies (or janies) and for some reason did not make the blues pantheon. First, however, I must note that any compilation that starts off with “I’m Your Hoochie Goochie Man” by Muddy Waters, an incredible version of “Hound Dog” by “Big Mama” Thornton and “Back Door Man” by Howlin’ Wolf is has already paid its way. Add in a laid back Jimmy Reed on “Baby What Do You Want Me To Do”, a ripping slide guitar by Elmore James on “The Sky Is Crying”, a young and hungry John Lee Hooker flailing away on “Boogie Chillun” and “So Many Roads, So Many Trains” by the smooth Otis Rush and you have not been cheated.

Now for the lesser lights that make this a virtually complete compilation of masters. How about a young but soon to be immortal Etta James on her classic “I’d Rather Go Blind”. Or the harmonica player extraordinaire, Little Walter, on “You’re So Fine”. And “The Things That I Used To Do” by the virtuoso guitarist Guitar Slim. And Lowell Fulsom rocking away on “Reconsider Baby. And…. Well, you get the picture. With the possible exception of Slim Harpo (who had a small body of work due to an early untimely death) all of these masters will be getting fuller treatment in this space later. For now this will give you an idea of what it was like when men and women played electric blues for real.

BIG MAMA THORNTON HOUND DOG LYRICS

You ain't nothing but a hound dog
Been snoopin' round my door
You ain't nothing but a hound dog
Been snoopin' round my door
You can wag your tail
But I ain't gonna feed you no more
You told me you was high class
I could see through that
You told me you was high class
I could see through that
And baby I know
You ain't no real cool cat
You ain't nothing but a hound dog
Been snoopin' round my door
You ain't nothing but a hound dog
Been snoopin' round my door
You can wag your tail
But I ain't gonna feed you no more
You made me feel so blue
You made me weep and moan
You made me feel so blue
You made me weep and moan
'Cause I'm looking for a woman
All your lookin' for is a home
You ain't nothing but a hound dog
Been snoopin' round my door
You ain't nothing but a hound dog
Been snoopin' round my door
You can wag your tail
But I ain't gonna feed you no more

*A Honky Tonk Man Encore- The Troubled Life And Musicial Genius Of Hank Williams

Click On Title To Link To YouTube's Film Clip Of Hank Williams And The Drifting Cowboys Doing "Cold Cold Heart".

DVD Review

Hank Williams-Honky Tonk Blues, Hank Williams and other artist and commentators, PBS Productions- American Masters Series, 2004

In a May 2009 review of a Hank Williams tribute album, "Timeless" , released in 2003(the 50th Anniversary of his death) I noted the following that is germane to a review of this very informative and balanced PBS "American Masters" production of the life and times of one of the legends of American roots music -country and western branch (and maybe more):

"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 that 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."

And that is the essential point that separates the musical greats like Hank Williams from the transitory stars of the day. Over fifty years after his death his songs, heartfelt, tragic, depressive, and on a few occasions whimsical still "speak" to musicians and modern listeners alike. His life`s story, as told here through commentary by those who knew and worked with him, including various members of his "Drifting Cowboys" back-up bands, his widow, his son and grandson Hank II and III respectively, his stepdaughter and various other hometown folks (Montgomery, Alabama although I swear he is a Cajun boy), musical collaborators and music historians unrolls very much like a... Hank Williams ballad. And that again is the point-here is a case where life and art are not so very far apart.

Since the music is what is eternal in this troubled man's life let me finish up here with a reposting of that "Timeless" tribute album review mentioned above. It is that simple yet profound music that gives the essence of the man, his seemingly eternal marriage troubles (and some joys too, I think), his losing battle against drugs and alcohol and his search back for the happier days of his poor boy roots in Alabama after fame and fortune proved too narrow to satisfy whatever was eating at him inside.

"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 ("Gold", a two disc CD of most of the best known songs) 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 (recital or maybe, better, talking blues being a Williams speciality) 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."

And watch this documentary.

******************

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...

*The "Wang Dang Doodle" Lady Passes On- The Chicago Blues Queen Koko Taylor Is Gone

Click on the title to link to "The New York Times" obituary for legendary Chicago Blues Queen Koko Taylor.


Markin comment:

This is a belated tribute to Koko, although I have done a review of her work in thi space previously. The raw energy that she brought to a blues song probably will not be equaled again. She is also probably the last of that incredible crowd, like Muddy Waters and Howlin' Wolf, that headed north out of the South and gave Chicago, and Chess Records, that great 1950s blues sound. They will be crying on Maxwell Street on this one. Hell, I am crying too.

Wang Dang Doodle
Howlin' Wolf, Koko Taylor

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 etc.

by Willie Dixon

***Preserving The Roots Anyway We Can- The Saga Of A Desperate Man’s Blues- Roots Music Preservationist Joe Bussard- A CD Review

Click on title to link to a YouTube film clip of the trailer for Desperate Man's Blues.

CD Review

This CD review complements a DVD review of the same name: Desperate Man's Blues: Discovering The Roots Of American Music, Joe Bussard and a cast of thousands of old 78 speed records, Cubic Media, 2006

Desperate Man’s Blues, various artists from American roots songbook, Dust-to-Digital Records, 2006

In reviewing the DVD of Desperate Man’s Blues I mentioned the following which applies here as well:

“Recently I went to great lengths, and rightly so, to tout the Antone’s: House Of The Blues DVD that chronicled the trials and tribulations of the late Austin, Texas blues club owner Clifford Antone and his efforts to keep the blues tradition alive by keeping old time Chicago blues legends like Huber Sumelin, Eddie Taylor, Sunnyland Slim and Jimmy Reed gainfully employed. So they could pass the torch to the next generation of aficionados…”

“…Well, apparently running music clubs is not the only way to go in preserving American roots music, as this ‘reality’ film documentary of the saga of a fifty plus years journey by record collector Joe Bussard rather strikingly points out.”

“Joe Bussard‘s trial and tribulations are however of a different order than Clifford Antone’s. Joe has taken on the task of traveling many a mile to find rare old roots music wherever he could find it. In short, he has some of the same obsessive, traits that we saw in the Antone film. And that is to the good. Plus old Joe has an engaging, if definitely old-fashioned, sense of collecting. Nevertheless when he ‘played the platters’ of Clarence Ashley, Robert Johnson, Son House , Uncle Dave Mason, and a few I really didn’t know I was right there with him…”

And this compilation, sampler compilation really, just proves the point, again. Much of this esoteric material formed the old time American songbook that got passed on to modern blues guys like Muddy Waters and Howlin’ Wolf, modern country guys like Hank Williams, modern bluegrass guys and gals like the late Doc Watson and the late Hazel Dickens. In short, the definition of what one commentator summed up rather neatly in one line-“the roots are the toots.”

A list of just the most recognizable names puts paid to that sentiment: Robert Johnson, the totally underrated Joe Hill Louis (incredible on When I ‘m Gone), fantastic Lonnie Johnson, Blind Willie McTell, Clarence Ashley, The foundational Carter Family, and heaven-bound Blind Willie Johnson.

Note on exclusion:

As I also noted in my commentary on the DVD and I will repost here as an aside I did have one problem with the DVD and now with the CD as well but I will get over it with a couple more listens:

“The only problem I have, a big problem I must confess, is old Joe’s dismissal of “rock and roll” music. Part of that is generational, his against my generation of ’68 rock break-out, to be sure. But part is a different understanding of the nature of American roots music. Jerry Lee Lewis when he was in high swamp redneck form, Elvis when young, hungry and tired of driving truck, Carl Perkins, Ike Turner, Chuck Berry and on and on in the rockabilly and rhythm and blues traditions that served as the foundation of the best of rock relied heavily on those very roots. No, I do not agree that rock break-out was all junk, as he put it. For the rest though, Joe I am right with you.”

*The Roots of Bluesgrass Back In The Day- The Bluegrass Music Of Charlie Poole, The North Carolina Ramblers, and The Highlanders

Click on title to link to YouTube's film clip of Charlie Poole and his band performing "White House Blues"

CD Review

Charlie Poole: The North Carolina Ramblers and The Highlanders, 4 CD set, JSP Records, 2004

The roots of American folk music are not depleted by Child ballads, the blues, city or country, mountain music, cowboy songs or topical Tin Pan Alley tunes as the artist under review, Charlie Poole and his various bands, proved conclusively. Old Charlie took a little from each tradition and created some very nice sounds and arrangements that have been called the direct precursors to what we today call bluegrass music. I agree.

Some of the melodies are very familiar and repeated in various renditions on this four disc CD compilation of Charlie's "greatest hits". It is interesting to compare some different versions of the same song, like "Bill Mason", that are compiled here. While this CD is hardly strictly for the aficionado both that type of listener and novices to bluegrass music will be tapping their feet on many of the tracks on this one. Googling a list of Charlie Poole's lyrics indicated that almost all of them are contained in the songs here, in one form or another. Thus, this may be the definitive collection, although as noted by others more familiar than I with the intricacies of record production the technical quality of this compilation is uneven.


Here are the stick outs on each disc: Disc One -“Wild Horse”, “Budded Rose”, “Goodbye Booze”; Disc Two “Bill Mason”, “Don’t Let Your Deal Go Down”,“Blue Eyes”; Disc Three- "George Collins”, “ I Once Loved A Sailor”, “Baltimore Fire”, “Sweet Sunny South”; and, Disc Four- “Under The Double Eagle”, “San Antonio”, “If The River Was Whiskey”


Baltimore Fire

It was always through a falls by a narrow.
That I heard a cry I ever shall remember,
The fire sent and cast its burning embers
On another fated city of our land.

Fire, fire, I heard the cry
From every breeze that passes by,
All the world was one sad cry of pity
Strong men in angry praise,
Calling loud to Heaven for aid,
While the fire in ruin was laying
Fair Baltimore, the beautiful city

Amid an awful struggle of commotion,
The wind blew a gale from the ocean,
Brave firemen struggled with devotion,
But they after all proved in vain.


Bill Mason

Bill Mason was an engineer
He'd been on the road all of his life
I'll never forget the morning
He married himself a wife
Bill hadn't been married more than an hour
'Till up came a message from Kress
And ordered Bill to come down
And bring out the night express

While Maggie sat by the window
A waiting for the night express
And if she hadn't a done so
She'd have been a widow, I guess
There was some drunken rascals
That come down by the ridge
They come down by the railroad
And tore off the rail from the bridge

Well, Maggie heard them working
"I guess there's something wrong
In less than fifteen minutes
Bill's train would be along"
She couldn't come near to tell it
A mile it wouldn't've done
She just grabbed up the lantern
And made for the bridge alone

By Jove, Bill saw the signal
And stopped the night express
And found his Maggie crying
On the track in her wedding dress
Her crying and laughing for joy
Still holding on to the light
He came around the curve a-flying
Bill Mason's on time tonight


Budded Rose

Little sweetheart, we have parted
From each other we must go
Many miles may separate us
From this world and care and woe

But I treasure of the promise
That you made me in the lane
When you said we'd be together
When the roses bloom again

Now this parting gives us sorrow
Oh, it almost breaks my heart
But say, darling, will you love me
When we meet no more to part?

Down among the budded roses
I am nothing but a stem
I have parted from my darling
Never more to meet again

Will this parting be forever?
Will there be no coming day
When our hearts will be united
And all troubles pass away?

Darling, meet me up in heaven
That's my true and earnest prayer
If you loved me here on earth, dear
I am sure you'll love me there


If The River Was Whiskey

If the river was whiskey and I was a duck
I'd dive to the bottom and I'd never come up

Oh, tell me how long have I got to wait
Oh, can I get you now, must I hesitate?

If the river was whiskey and the branch was wine
You would see me in bathing just any old time

I was born in England, raised in France
I ordered a suit of clothes and they wouldn't
send the pants

I was born in Alabama, I was raised in Tennessee
If you don't like my peaches, don't shake on my tree

I looked down the road just as far as I could see
A man had my woman and the blues had me

I ain't no doctor but the doctor's son
I can do the doct'rin' till the doctor comes

Got the hesitation stockings, the hesitation shoes
Believe to my Lord I've got the hesitation blues

White House Blues

McKinley hollered, McKinley squalled
Doc said to McKinley, "I can't find that ball",
From Buffalo to Washington

Roosevelt in the White House, he's doing his best
McKinley in the graveyard, he's taking his rest
He's gone a long, long time

Hush up, little children, now don't you fret
You'll draw a pension at your papa's death
From Buffalo to Washington

Roosevelt in the White House drinking out of a silver cup
McKinley in the graveyard, he'll never wake up
He's gone a long, long time

Ain't but one thing that grieves my mind
That is to die and leave my poor wife behind
I'm gone a long, long time

Look here, little children, (don't) waste your breath
You'll draw a pension at your papa's death
From Buffalo to Washington

Standing at the station just looking at the time
See if I could run it by half past nine
From Buffalo to Washington

Came the train, she's just on time
She run a thousand miles from eight o'clock 'till nine,
From Buffalo to Washington

Yonder comes the train, she's coming down the line
Blowing in every station Mr. McKinley's a-dying
It's hard times, hard times

Look-it here you rascal, you see what you've done
You've shot my husband with that Iver-Johnson gun
Carry me back to Washington

Doc's on the horse, he tore down his rein
Said to that horse, "You've got to outrun this train"
From Buffalo to Washington

Doc come a-running, takes off his specs
Said "Mr McKinley, better pass in your checks
You're bound to die, bound to die"

*Yes, The Max Daddy Of Be-Bop- The Life of Thelonious Monk- A Guest Review

Click on title to link to a "The Boston Globe", Sunday October 25, 2009, book review of the life and hard times of one of the max daddies of be-bop (Charlie Parker and Dizzy Gillespie being the two others)pianist Thelonious Monk.

Markin comment:

I am not a hard-core jazz man by any stretch of the imagination but anytime the Monk played in Boston I tried to get to see him at the old Jazz Workshop, Pall's Mall or some other venue. If you know "Round Midnight" you know Brother Monk.

*In Search Of The Roots, One More Time- The Music Of Louis Jordan and His Tymphany Five

Click on title to link to Wikipedia's entry for Louis Jordan.

DVD REVIEW

Louis Jordan And His Tymphany Five: Films And Soundies, Louis Jordan, Honey Carter and others, 2003

Okay, okay I admit that I have gone on and on in this recent quest to ‘find’ the roots of rock ‘n’ roll, the music of my youth. Early Sun Record recording artists like Elvis and Carl Perkins, of course, figure in the mix. Big Joe Turner and his seminal “Shake, Rattle and Roll”, naturally. The work of Little Milton, Ike Turner and others who came firing out of the R&B world in the early 1950’s, again a “no-brainer”. Hell, even some work like the later Bob Wills and His Texas Playboy are contenders. Today, though I am going back even a little further. Let’s try right after World War II and one Louis Jordan and His Tymphany Five.

If, as I believe, the critical mass for the evolution of rock ‘n’ roll comes primarily out of R&B and the blues tradition then Mr. Jordan and his “scat” message delivered in his own style has got to be, even if only archaeologically, part of the mix. This DVD under review only adds fuel to the fire as it provides us with music from three black audience-oriented films that featured the work of Jordan and His Tymphany Five (as well as some very fetching black women dancers, especially the frequently featured Honey Carter). Add some additional material from other sources labeled “soundies” here and you have a fairly complete repertoire of 35 pieces to work from.

Clearly some of the material from the films is strictly novelty stuff like the cowboy get ups, the military uniforms and other props in the various clips. Moreover, the strong sexual undertone provided by the appearance of those very fetching dancers (and assorted other female hangers-on) plays to something sexual and racial that would (and should not) not go down well with today’s audiences. The exploitation of black entertainers back in the day (or now, for that matter) as well as some very conscious stereotyping (like the rolling eyes, dreamy smiles, the Step-n-Fetchit-like routines, etc.) mars the effect of the music on some of these clips. However, pay attention to Mr. Jordan’s sax, the work of his band and the “jump” of his music. That is HIS legacy to the world of music. If you are interested in “roots” music, an archival slice of black musical history, well or poorly done, on film or why Louis Jordan is considered a major musical influence in some quarters look here.


Louis Jordan
Beans And Corn Bread lyrics

Beans and Cornbread,
Beans and Cornbread had a fight.
Beans knocked Cornbread out of sight.
Cornbread said, "Now that's alright, meet me on the corner tomorrow
Night."
"I'll be ready, I'll be ready tomorrow night,"
That's what Beans said to Cornbread . "I'll be

Louis Jordan
Roamin' Blues lyrics

Left Chicago in the summer, New York in the fall,
Detroit in the winter didn't prove a thing at all
I got those roamin' blues
Yes I got those roamin' blues
Can't find no place to settle
Woo I got those roamin' blues
Joined a club in old Saint Louis, that G.I. free loot club
Stood in line so long man, wore my legs down to a nub
I hit the road again
Yes I hit the road again
Can't find no place to settle
So I hit the road again
I thought I'd made it Jack in good old Albuquerq'
I was on the wrong track, you know they tried to make me work
- ain't that a killer?
I hit the road right quick
Yes that judge was much too slick
Can't find no place to settle
Woo I hit the road right quick
Then Las Vegas was the next stop, that fast town left me weak
The dice man made twelve passes and I was up the well-known creek
Those gamblers put me down
Yes I had to walk right out of town
Mm-mm, that ain't no place to settle
Mmm, I had to walk right out of town
Ah but I hit the greatest town of all, Frantic Frisco
Got me a gal with plenty gold and she just won't let me go
I think I've found a place
Yes I got my boots all laced
Found me a home, don't have to roam, it's good news,
I've lost those roamin' blues


Louis Jordan
But I'll Be Back lyrics


I'm goin' ,
But I'll be back!
Look for me,
You'll see that I'll be back!
Gonna bring my mom and pop,
And I'm gonna bring a cop,
Gonna make you give me back my love
Before I blow my top!
I'll get ya
Before I stop
Baby, you can't take my love and let me drop!
I've decided you must know
That I can't let you go;
It's time for me to blow,
But I'll be back!
I'll get ya
Before I stop;
Babe, you can't take my love and let me drop!
I've decided you must know
That I can't let you go;
It's time for me to blow,
But I'll be back!

Louis Jordan
Away From You lyrics

It made me cry
To say good-bye,
I'm sad and blue;
Now that you've gone
I can't go on
Away from you.
I smile to hide
The tears inside,
It's hard to do;
My happiness,
My life's success
Depends on you.
The hours seem long,
The world goes wrong,
When we're apart;
My skies are gray,
What can I say
To soothe my heart?
It is the end;
I can't pretend
That I'm not blue;
Oh, can't you see
Life's misery
Away from you!
The hours are long,
The world goes wrong,
When we're apart;
My skies are gray,
What can I say
To soothe my heart?
It is the end;
I can't pretend
That I'm not blue;
Oh, can't you see
Life's misery
Away from you!
Away from you!

Louis Jordan
But I'll Be Back lyrics

I'm goin' ,
But I'll be back!
Look for me,
You'll see that I'll be back!
Gonna bring my mom and pop,
And I'm gonna bring a cop,
Gonna make you give me back my love
Before I blow my top!
I'll get ya
Before I stop
Baby, you can't take my love and let me drop!
I've decided you must know
That I can't let you go;
It's time for me to blow,
But I'll be back!
I'll get ya
Before I stop;
Babe, you can't take my love and let me drop!
I've decided you must know
That I can't let you go;
It's time for me to blow,
But I'll be back!

*Continuing The Bluegrass Tradition- A Documentary

Click on title to link to YouTube's film clip of the bluegrass group Nickel Creek in the film documentary "Bluegrass Journey"

DVD Review

Bluegrass Journey: A Documentary, various artists, 2004

If someone was to ask me quickly of f the top of my head to name a bluegrass group I would probably jump on the name Bill Monroe and his various bands. After that it would be the figures from the 1960s folk revival like The New Lost City Ramblers and the Greenbriar Boys. They while not , for the most part, raised in the country and thus bred to this type of music saw it as an important form of roots music and did as much as anyone to publicize it to urban audiences back then . I think, however, that most people who are not aficionados would have stopped at Bill Monroe. This film documentary, while paying due tribute to the pioneer efforts of Monroe and his combing of various genres to form what has since come to be called bluegrass, concentrates on the apparently thriving modern “real” (meaning people from the country are playing it) bluegrass music movement. So of you are trying to orient yourself to bluegrass music, what is currently good (and not good) this is not a bad place to start. Moreover, the bluegrass festival (rain and all) that forms the centerpiece for this exploration of the music features some very proficient guitar, fiddle, and above all mandolin players. You will feel right at home, especially with Tony Rice on "Shenandoah" and the Nickel Creek band (with a great fiddle player)on several tunes.


Man Of Constant Sorrow

Im a man of constant sorrow,
Ive seen trouble all my days.
Ill say goodbye to colorado
Where I was born and partly raised.

Your mother says Im a stranger;
My face youll never see no more.
But theres one promise, darling,
Ill see you on gods golden shore.

Through this open world Im a-bound to ramble,
Through ice and snows, sleet and rain,
Im a-bound to ride that mornin railroad,
Perhaps Ill die on that train.

Im going back to colorado,
The place that Ive started from.
If Id knowed how bad youd treat me,
Honey I never would have come.

***Enough of Mountain Music, Already –Almost

Click on title to link to YouTube's film clip of Kilby Snow performing "May I Sleep In Your Barn Tonight, Mister?"

DVD Review

Traditional Music Classics, Doc Watson, Roscoe Holcomb, Buell Ezell and Kilby Snow with Mike Seeger, Yazoo productions, 2002

The music of the mountains, in this case the mountains of Appalachia, down in coal country in eastern Kentucky, as I have seemingly endlessly noted in the recent past, is the music of my father and his forbears, although I am a city boy and came to an appreciation of that music by a very circuitous route. But it must be in the genes, right? Well, genetic disposition or not when I view the first parts of this “Traditional Music Classics DVD even I was ready to disown my heritage. Why?

Well, partly it was due to the weak performances of the first performer, Doc Watson (and ensemble). While I can take old Doc in small doses he does not generally speak to me. He certainly did not here. Then there was the problem with mountain banjo player extraordinaire Roscoe Holcomb. His previously viewed performances in other venues were the reason I wanted to see him on this one. Maybe, it is a matter of overexposure but old Roscoe’s performance here seemed weak and tinny (unless his performance on the 1960s Pete Seeger television show “Rainbow Quest” where he wowed me). And then...


And then, indeed. Up comes Kilby Snow, a performer who I had heard of previously but whose music I had not heard, with his very own Montgomery Ward-purchased autoharp (with some personally done refinements), aided and abetted by the late Mike Seeger of the New Lost City Ramblers (and Pete Seeger’s half-brother), and blew me away. Mike hardly needed to coax Brother Snow to strut his stuff but remember that point I made above about the genetic connection. Old Kilby and his autoharp-driven songs called me back to the hills of home. This is why you want to view this one.

Lyrics To "Streets Of Laredo" as performed by Doc Watson on this DVD (there are many other versions, as noted below)

As I walked out in the streets of Laredo
As I walked out in Laredo one day,
I spied a young cowboy, all wrapped in white linen
Wrapped up in white linen and cold as the clay.
"I see by your outfit, that you are a cowboy."
These words he did say as I slowly walked by.
"Come sit down beside me and hear my sad story,
For I'm shot in the breast, and I'm dying today."
"'Twas once in the saddle I used to go dashing,
'Twas once in the saddle I used to go gay.
First to the dram-house, and then to the card-house,
Got shot in the breast, and I'm dying today."
"Oh, beat the drum slowly and play the fife lowly,
And play the dead march as you carry me along;
Take me to the valley, and lay the sod o'er me,
For I'm a young cowboy and I know I've done wrong."
"Get six jolly cowboys to carry my coffin,
Get six pretty maidens to bear up my pall.
Put bunches of roses all over my coffin,
Roses to deaden the sods as they fall."
"Then swing your rope slowly and rattle your spurs lowly,
And give a wild whoop as you carry me along;
And in the grave throw me and roll the sod o'er me.
For I'm a young cowboy and I know I've done wrong."
"Go bring me a cup, a cup of cold water.
To cool my parched lips", the cowboy then said.
Before I returned, his soul had departed,
And gone to the round up - the cowboy was dead.
We beat the drum slowly and played the fife lowly,
And bitterly wept as we bore him along.
For we loved our comrade, so brave, young and handsome,
We all loved our comrade, although he'd done wrong.

[edit] Origin
The song is widely considered a traditional ballad, and the origins are not entirely clear. It seems to be primarily descended from an Irish/British folk song of the late 18th century called "The Unfortunate Rake", which has also evolved (with a time signature change and completely different melody) into the New Orleans standard "St. James Infirmary Blues". The Bodleian Library, Oxford, has a copy of a nineteenth-century broadside entitled "The Unfortunate Lad", which is a version of the British ballad.[1] Some elements of this song closely parallel those in the "Streets of Laredo":

Get six jolly fellows to carry my coffin,
And six pretty maidens to bear up my pall,
And give to each of them bunches of roses,
That they may not smell me as they go along.
Muffle your drums, play your pipes merrily,
Play the death march as you go along.
And fire your guns right over my coffin,
There goes an unfortunate lad to his home.
However, the cause of the Unfortunate Lad's demise is not a bullet wound but a sexually transmitted disease, as is clear from the verse:

Had she but told me when she disordered me,
Had she but told me of it at the time,
I might have got salts and pills of white mercury,
But now I'm cut down in the height of my prime.