*The Centennial Of Pete Seeger’s Birthday (1919-2014)- In Pete Seeger's House- "Rainbow Quest"-Sonny Terry And Brownie McGhee

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

Markin comment:

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

The Centennial Of Pete Seeger’s Birthday (1919-2014)- *Blues Legends Without The Frills- The Blues Of Sonny Terry And Brownie McGhee

Click on title to link to YouTube's film clip of Brownie McGhee and Sonny Terry on Pete Seeger's "Rainbow Quest " performing the classic "Key To The Highway".

CD REVIEW

Back To New Orleans, Sonny Terry and Brownie McGhee, Fantasy Records, 1989

Recently I reviewed in this space a DVD of “Rainbow Quest”, a 1960’s television show hosted by Pete Seeger, one of the premier folk anthologists, singers, transmitters of the tradition and “keeper” of the folk flame. One of the segments of that particular documentary (there are five in this series) featured Pete interviewing, playing along with and listening to the well-regarded folk/blues duo of Sonny Terry and Brownie McGhee. Needless to say after watching that performance I went scurrying for my Sonny and Brownie CDs. Mainly the work that I have of theirs is in compilations with other artists like Big Joe Williams but the present CD is a total solo Terry and McGhee effort. It is something of a greatest hits compilation. In any case, it can serve as a decent primer of the work of the pair, especially for those unfamiliar with their long careers.

Pete Seeger’s relationship with Sonny and Brownie went back to the days of the Almanac Singers (that included Woody Guthrie) and New York City in the early 1940’s. That above-mentioned segment gives some details about various goings on of those times and the genesis of some of the songs that are sung in the set. I have read elsewhere that at some point in their joint careers Sonny and Brownie stopped talking to each other even as they continued their professional lives together. Here, at least, they appeared to be civil to each other as the combination of Brownie’s guitar and vocals, Sonny’s smokin’ harmonica and accompaniment by Pete on the banjo is a rare treat.

The CD is in the same highly professional mode as that of the television performance. It is only necessary to add a few comments about what to listen for here. To highlight Brownie’s vocals and guitar playing and Sonny’s harmonica the traditional blues classic about a man who went over the edge to please his lady and paid the price you can hardly do better than “Betty and Dupree’s Blues” (also has been done in other variations by other artists under different titles, but the story line is the same). Elizabeth Cotton’s super classic “Freight Train” is well-covered. A couple of novelty-type songs round out this selection, “Let Me Be Your Big Dog” and “Fox Hunt”. Whether they talked to each other or not Sonny and Brownie were a potent combo spreading the blues gospel.

"Double Trouble"

Yes I got double trouble
What am I gonna do now?
Wanna leave here

Well you had trouble, I've got troubles too
Got double trouble, what am I gonna do?
I believe I'll leave here
I don't feel good no more
Well the woman I been lovin'
Don't love me no more

"Death of Blind Boy Fuller"

He's gone, Blind Boy Fuller's gone away
He's gone, Blind Boy Fuller's gone away
Well he heard a voice calling, and he knew he could not stay

Well he called me to his bedside one morning, and the clock was strikin' four
Called me to his bedside one morning, and the clock was strikin' four
Brownie take my guitar and carry my business on, I won't stay here no more

Blind Boy had a million friends, north, east, south and west
Blind Boy had a million friends, north, east, south and west
Well you know it's hard to tell, which place he was loved the best

Well all you women of Blind Boy's, how do you want your lovin' done?
All of you women of Blind Boy's, how do you want your lovin' done?
I'll do my best, I'll do my best, to carry Blind Boy's business on

Goodbye Blind Boy!


I was goin' down the street
Didn't have one dime
The woman I been lovin'
Didn't pay me no mind
I believe I'll leave here
I don't feel good no more
Ah the woman I been lovin'
Drove me from her door

Play it for me boys!

My father told me
When I was only a kid
What you gonna do son
Things happen like this
I believe I'll leave here
I don't feel good no more
Yeah the woman I been lovin'
Drove me from her door

Well must I had now
Your heart in my hand
I would teach you little woman
How to treat a man
I believe I'll leave here
I don't feel good no more
I'm blamin' you woman
Drove me from your door

Play it for me boys! Yeah double trouble!

The Centennial Of Pete Seeger’s Birthday (1919-2014)- *The Folk Historian On Camera- Pete Seeger Back In The Days

Click On Title To Link To YouTube's Film Clip Of Sonny Terry And Brownie McGhee Doing "Hootin' The Blues".

DVD REVIEW

Rainbow Quest: Sonny Terry/Brownie McGhee, Hedy West, Mississippi John Hurt, Paul Cardwell and hosted by Pete Seeger, Shanachie Entertainment, 2005

In a year that has featured various 90th birthday celebrations it is very appropriate to review some of the 1960’s television work of Pete Seeger, one of the premier folk anthologists, singers, transmitters of the tradition and “keeper” of the folk flame. This DVD is a “must see” for anyone who is interested in the history of the folk revival of the 1960’s , the earnest, folksy style of Pete Seeger or the work of Mississippi John Hurt, Sonny Terry and Brownie McGhee, Hedy West or banjoist Paul Cardwell.

This DVD contains some very interesting and, perhaps, rare television film footage from two Pete Seeger shows entitled “Rainbow Quest”. Each show is introduced (and ends, as well) by Pete singing his old classic “If Oh I Had A Golden Thread” and then he proceeds to introduce and play banjo along with the above-mentioned artists. No date is given (as far as I could find) but these shows must have been fairly early in the 1960’s because I believe that John Hurt died in about 1964 or 1965.

Pete’s relationship with Sonny and Brownie went back to the days of the Almanac Singers (that included Woody Guthrie) and New York City in the early 1940’s. That segment gives some details about various goings on of those times and the genesis of some of the songs that are sung in the set. I have read elsewhere that at some point in their joint careers Sonny and Brownie stopped talking to each other even as they continued their professional lives together. Here, at least, they appeared to be civil to each other as the combination of Brownie’s guitar and vocals, Sonny’s smokin’ harmonica and accompaniment by Pete on the banjo is a rare treat.

The second segment is a little less entertaining as Pete introduces the mountain banjo man Crawford doing traditional reels and jigs and Hedy West doing a couple of numbers . Then there is a magic moment. Mississippi John Hurt, with his clean, simple guitar picking, doing “ Lonesome Valley”. Wow. And then ending with his version of Lead Belly’s “Goodnight, Irene” (with the others joining in). These, alone, are worth the price of admission. Wow, again.

One final note. This is a piece of folk history. Pete Seeger is a folk legend. However, the production values here are a bit primitive and low budget. Moreover, for all his stature as a leading member of the folk pantheon Pete was far from the ideal host. His halting speaking style and almost bashful manner did not draw his guests out. Let’s just put it this way the production concept used then would embarrass a high school television production class today. But, Pete, thanks for the history lesson.

Ain't no tellin

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

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

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

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

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

Ain't nobody but you baby

Chorus:
Ain't nobody but you baby,
Ain't nobody but you,.
Ain't nobody but you,
Ain't nobody but you.

I got a letter last night,
I got a letter last night,
I got a letter last night,
How do you reckon it read?

chorus

I went down to the ball,
Went down to the ball last night.

chorus

Avalon Blues
written by: Mississippi John Hurt

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

Big Leg Blues
written by: Mississippi John Hurt

Raise up, baby, get your big leg offa mine
Raise up, baby, get your big leg offa mine
They're so heavy, make a good man change his mind
I asked you, baby, to come and hold my head
I ask you, baby, to come and hold my head
Send me word that you'd rather see me dead
I'm goin', I'm goin', your cryin' won't make me stay
I'm goin', I'm goin', cryin' won't make me stay
More you cry, the further you drive me away
Some crave
high yellow
, I like black and brown
Some crave high yellow, I like black and brown
Black won't quit you, brown won't lay you down
It was late at midnight and the moon shine bright like day
It was late at midnight and moon shine bright like day
I seen your
faror
goin' up the right of way


Candy Man Blues

written by: Mississippi John Hurt

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


Casey Jones

written by: Mississippi John Hurt

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


Coffee Blues

written by: Mississippi John Hurt

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


Corrina, Corrina

traditional

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


Frankie

written by: Mississippi John Hurt

(spoken introduction:
"Frankie and Albert", the same thing as "Frankie and Johnnie")
Frankie was a good girl, everybody know,
she paid one hundred dollars for Albert's suit of clothes
He's her man, but he did her wrong
Frankie went down to the corner saloon, she ordered her a glass of beer,
she asked the barkeeper, "Gas my lovin' Albert been here?"
"He been here, but he's gone again"
"Ain't gonna tell you no story, Frankie, I ain't gonna tell you no lie"
Says, "Albert a-passed about a hour ago, with a girl you call Alice Frye
He's your man, and he's doin' you wrong
Frankie went down to the corner saloon, she didn't go to be gone long
She peeked through keyhole in the door, spied Albert in Alice's arm
He's my man, and you's doin' me wrong
Frankie called Albert, she shot him three or four times,
says, "Stand back, I'm smokin' my gun, let me see is Albert dyin'
He's my man, and he did me wrong"
Frankie and the judge walked outta the stand, and walked out side by side
The judge says, "Frankie, you're gonna be justified,
killin' a man, and he did you wrong"
Frankie was a good girl, everybody know,
she paid one hundred dollars for Albert's suit of clothes
He's her man, but he did her wrong
Said, "Turn me over, mother, turn me over slow,
it may be my last time, you won't turn me no more
He's my man, and he did me wrong"
Says, Frankie was a good girl, everybody know,
she paid one hundred dollars for Albert's suit of clothes
He's her man, but he did her wrong
go to top of page

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

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

CD Review

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

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

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

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


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

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

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

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

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

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



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

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

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

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

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

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

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

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


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

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

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

(instrumental)

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

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


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

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

(instrumental) slide guitar

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

(instrumental) slide guitar

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

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


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

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

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

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

(instrumental)

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

'Everybody, rock' 1:14

'Ah-ha, oh yeah, oh yeah'

'I hear ya talkin' to me'

(piano)

'I'm lookin' at that piano man'

'Ah-ha, yeah'

'Oh yeah'

(trumpet)

Ah-ha

That's it

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

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

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

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

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

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



CD Review

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



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

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


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

"Black, Brown And White"

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

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

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

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

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

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

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

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

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

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

Out In The 1960s Folk Revival Night- Sonny Terry And Brownie McGhee Hold Forth

Click on the headline to link to a YouTube film clip of Sonny Terry and Brownie McGhee doing, well justi doing what they do.

CD Review

The Best Of Sonny Terry And Brownie McGhee

One of the unanticipated results of the folk and blues revival of the early 1960’s was the re-discovery of many black blues, especially country blues, singers. John and Alan Lomax had recorded a number of them in the late 1930s and early 1940s and then they fell off of the map. The most famous ‘discovery’ of the early 1960’s was, of course, the reemergence of the legendary Mississippi John Hurt. On the fringes of that development came the new prominence of some working musicians who had previously fallen below the radar like the presently reviewed classic blues harmonica player Sonny Terry and driving guitar playing Brownie McGhee, one of the most productive duos of the period. This long time partnership developed and continued in spite of the fact that they had a fairly rocky personal relationship, especially toward the end of their careers. Well, stranger things have happened in the world of music.

In this compilation we get to see the range of musical talents that this pair had from the plaintive Let Me Be Your Big Dog through the pathetically sad Betty And Dupree’s Blues and a jaunty version of Freight Train. Along the way also listen to their version of Louise, Louise that has been recorded by many others including Mississippi Fred McDowell and Son House. There are also a couple of rousing songs like House Lady and The Devil’s Gonna Get You. And a couple that defy classification but will just make you feel good like I Got A Women. The total package is one that you will find yourself listening to much more than you would have thought.

*T For Texas- The Blues Of Lightnin' Hopkins

Click On Title To Link To YouTube's Film Clip Of Lightnin' Hopkins Doing A Couple Of Songs.

DVD/CD Reviews

This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.

Lightning Hopkins & The Blues Summit, Lightning Hopkins, Sonny Terry, Brownie McGhee, Big Joe Williams, EMI-Capitol Records, 2001

I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.

*T For Texas- The Blues Of Lightnin' Hopkins

Click On Title To Link To YouTube's Film Clip Of Lightnin' Hopkins Doing "Mojo Hand".

DVD/CD Reviews

This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.

Blue Lightning, Lightning Hopkins, Paula Records, 1995

I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.

*T For Texas- The Blues Of Lightnin' Hopkins

Click On Title To Link To YouTube's Film Clip Of Lightnin' Hopkins Doing "Goin' Down Slow".

DVD/CD Reviews

This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.

Free Form Patterns, Lightning Hopkins, Fuel 2000 Records, 2003

I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.

*T For Texas- The Blues Of Lightnin' Hopkins

Click On Title To Link To YouTube's Film Clip Of Lightnin' Hopkins Doing "Baby Please Don't Go".

DVD/CD Reviews

This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.

Lightnin'!, Lightning Hopkins, Arhoolie Records, 1993

I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.

*T For Texas- The Blues Of Lightnin' Hopkins

Click On Title To Link To YouTube's Film Clip Of Lightnin' Hopkins Doing "Lonesome Road".

DVD/CD Reviews

This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.

Lightnin'!, Lightning Hopkins, Arhoolie Records, 1993

Free Form Patterns, Lightning Hopkins, Fuel 2000 Records, 2003

Blue Lightning, Lightning Hopkins, Paula Records, 1995

Lightning Hopkins & The Blues Summit, Lightning Hopkins, Sonny Terry, Brownie McGhee, Big Joe Williams, EMI-Capitol Records, 2001

I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.

If the blues is synonymous with the black struggle to get by day to day, to make ends meet and to make it to Saturday night and some relieve then the very big locale of Texas and its harsh hard scrabble life and strict Jim Crow laws hardly seems out of place as a key blues outpost. From the days, in the 1920's and 1930's, of Blind Lemon Jefferson working the streets of rural small town Texas, cup in hand, up to the artist under review, Lightning Hopkins, working the small black clubs and "juke joints" of the cities (like Houston) and beyond to the sounds of blues revivalists like Stevie Ray Vaughn and his brother there has been more than enough misery to create a separate Texas blues tradition.

Moreover, Brother Hopkins brings a distinctive guitar pick of his own to the "dance". He is famous, above all, for what is called the E shuffle sound as he works the guitar to create a sound that is a little "happier" than the forlorn one of the Delta or the "amped up" one of Chicago. I, unfortunately, did not get a chance to hears Lightning live until late in his career in the early 1970's when he had lost a little of his fine-toned edge. One can recapture some of that though through some of these earlier recordings from a tie when he was in full blown Lightning form. Listen up if you want to learn a different way to run a guitar from that of Muddy Waters, Bukka White, B.B. King or, for that matter, Eric Clapton

Needless to say Lightning had covered most of the known blues classics of his time as well as his own material. The borderlines of what is one's own material and what one has reworked from the blues pool is not always clear but you need to hear, for starters, "Mojo Hand", "Hello Central", "Little Girl" and "Rock Me Baby" to get a feel for his sound. Add on such classics as "Wig Wearing Woman", "Lonesome Dog Blues" (with an eerie dog bark included free), "Back Door Friend" and you are ready to become an aficionado. Throw in the talking blues-styled "Mr. Charlie", "Baby Child" and "Cooking Done" for good measure. Finally, team up Lightning with the likes of Sonny Terry and Brownie McGhee and the amazing Big Joe Williams (especially on Hopkins' "Ain't Nothing Like Whiskey" and "Chain Gang Blues") at the famous 1960"blues summit" and you are ready for the graduate course.

Blues Lyrics - Lightnin' Hopkins

Back Door Friend

What you gonna do with a woman, yeah, when she got a
back do' friend
What are you gonna do with a woman, yes, when she got a back do' friend?
She just prayin' for you to move out, so her back do' friend can move in
Yes, it's hard to love a woman, yes, you know she got a back do' friend
Yes, it's hard to love a woman, oh Lord, yes, you know she got a back do' friend
Yes, when she prayin' for you to move out, so her back do' friend can move in
Yeah, you know I bought that woman a diamond ring, I thought that she would change
I went home one morn' and I caught her doin', whoa, that same old thing
Now what you gonna do with a mad woman, oh, when she got a back do' friend
When she prayin' all the time for you to move out, so her back do' friend, he can move in
__________
Note: this song is also known under the title "Letter To My (Back Door Friend)" on Charly Blues Masterworks Vol. 8, recording of 1963, Houston

Blues Lyrics - Lightnin' Hopkins
Coffee Blues

Mama got mad at papa 'cause he didn't bring no coffee home
Mama got mad at papa 'cause he didn't bring no coffee home
She begin to wonder what is going on wrong
Papa said, "Mama, I ain't mad with you, now, don't you get mad with me
Baby, I ain't mad with you, now, don't you get mad with me"
Papa must have been teasing mama 'cause she said, "I ain't mad with you"
Papa must have been teasing mama 'cause she said, "I ain't mad with you"
She said, "Everything's all right; don't make no difference what you do"
(Spoken: You know papa got good with mama somehow)
And I was crying for bread, and yes, I,
baby, I was crying for bread; and these are the words I said
(Spoken: Now look at mama, just trying to shout)
It was early one evening but papa came home late at night
It was early one evening but papa came home late at night
That's when mama was mad and her and papa began to fight

Blues Lyrics - Lightnin' Hopkins

Little School Girl

Little school girl,
let me tote
your books to school today
Please, little school girl,
let me tote your books to school today
She said, "I says you's a bad boy,
mama said please keep you away"
(spoken: That's what she said about Lightnin')
Mama want to know what you're doin',
yes, after you get out of her sight
She said "If I let you tote my books,
still I know, Sam, that ain't right"
When I get back home with my mother and dad,
that's where I might have a fight
I told the school teacher,
little school girl carryin' too heavy a load
Yes, I told that school teacher,
little girl was carryin' too heavy a load
She say, "You better get your big, bare feets,
Lightnin', make it down the road"
(spoken: That little school girl was all right in her place,
but she got me, so I walked away and I say...)
Good mornin', little school girl,
how have you been today?
Good mornin' little school girl,
how have you been today?
I say I'll tote your books, I'll tote your books,
darlin', 'cause you are goin' my way
__________
Note 1: tote, to carry by hand.

Blues Lyrics - Lightnin' Hopkins

One Kind Favor I Ask Of You

There's one kind favor I'll ask of you
There's one kind favor I'll ask of you
There's one kind favor I'll ask of you
See that my love will come thru
I was down last night on my bended knee
I was down last night on my bended knee
I was down last night on my bended knee
No people in the world seems to care for me
That's all I know darlin' what to do
That's all I know darlin' what to do
That's all I know darlin' what to do
I wouldn't be here worryin' if it hadn't been for you
Wish I had-a died when I was young
Wish I had-a died when I was young
Wish I had-a died when I was young
Wouldn't be here today with my head hung

*Going Up Country, Blues Country That Is- Reverend Gary Davis And Sonny Terry Are In The House

Click on title to link to YouTube's film clip of Reverend Gary Davis performing "Children of Zion" on Pete Seeger's 1960s television show "Rainbow Quest"

DVD Review

Masters of the Country Blues: Reverend Gary Davis & Sonny Terry, Reverend Gary Davis, Sonny Terry, Yazoo/Shanachie Productions, 2001

The names Reverend Gary Davis and Sonny Terry are no strangers in this space. Anytime one wants to speak “country blues” those names along with those of Son House, Bukka White and Sonny’s long time, if estranged, playing partner come easily to mind. I first heard the Reverend Gary Davis at one of the early Newport Folk Festivals. Now listen up. I didn’t like him that much them. Of course in those days it was Son House, Mississippi John Hurt and Skip James that got my attention. But Reverend Gary Davis grows on you, especially when he gets a righteous song to tear into for about ten minutes like “Twelve Gates Of The City” (actually performed by Sonny here in his segment). Here “If I Had My Way” (aka "Samson and Delilah"), although not that long fills the bill. As for Sonny, needless to say when he is hot on his harmonica, as he is here on “Hootin’ The Blues”- watch out. Hey, the producers who went back to the 1960s vaults in putting together this DVD knew these guys were the masters, Taj Mahal, a great bluesman in his own right, who introduces the segments, knew they were masters, I know they are the masters and now you will too? Enough said.


Reverend Gary Davis lyrics

Death Don't Have No Mercy

Death don't have no mercy in this land
Death don't have no mercy in this land
He'll come to your house and he won't stay long
You'll look in the bed and somebody will be gone
Death don't have no mercy in this land

Well Death will go in any family in this land
Well Death will go in every family in this land
Well he'll come to your house and he won't stay long
Well you'll look in the bed and one of your family will be gone
Death will go in any family in this land

Well he never takes a vacation in this land
Well old Death never takes a vacation in this land
Well he'll come to your house and he won't stay long
Well you'll look in the bed and your mother will be gone
Death never takes a vacation in this land

Talk
Great God
Yeah

Well he'll leave you standin' and cryin' in this land
Well Death will leave you standin' and cryin' in this land
Well he'll come to your house and he won't stay long
You'll look in the bed and somebody will be gone
Death will leave you standin' and cryin' in this land

Old Death always in a hurry in this land
Old Death always in a hurry in this land
Well he'll come to your house and he won't stay long
You'll look in the bed and your mother will be gone
Death always in a hurry in this land

Well he won't give you time to get ready in this land
Well he won't give you time to get ready in this land
Well he'll come to your house and he won't stay long
Well you'll look in the bed and somebody will be gone
Death won't give you time to get ready in this land

Make your last talk
Talk to me Death
Talk to me


transcribed by Cheryl Rhodes, who wrote, "from Blind Gary Davis/Harlem Street Songs recorded in Englewood Cliffs, NJ August 24, 1960 (according to the liner notes) and released on CD under the Prestige/Bluesville Records (Fantasy) label



Samson and Delilah

by Reverend Gary Davis
©Chandos Music

(From the album - Gospel, Blues and Street Songs)



If I had my way
If I had my way
If I had my way
I would tear this old building down

Well Delilah, she was a woman fine and fair
She had good looks, God knows and coal black hair
Delilah, she came to Samson's mind
The first he saw this woman that looked so fine
Delilah, she set down on Samson's knee
Said tell me where your strength lies if you please
She spoke so kind, God knows, she talked so fair
'til Samson said 'Delilah, you can cut off my hair
You can shave my head, clean as my hand
And my strength 'come as natural as any a man'

If I had my way
If I had my way
In this wicked world
If I had my way
I would tear this old building down

Talk, Yeah
Yeah, Talk to me
Yeah, Yeah, talk to me
Yeah, what happened then?

If I had my way
If I had my way
If I had my way
I would tear this old building down

Yeah you read about old Samson, told from his birth
He was the strongest man that ever had lived on Earth
So one day while Samson was-a-walkin' along
He looked on the ground and saw an old jawbone
He stretched out his arm, God knows, it broke like flint
When he got to movin' ten-thousand was dead, Mmm

If I had my way
If I had my way in this wicked world
If I had my way
I would tear this old building down

Well old Samson and the lion got attacked
Samson he jumped up on the lion's back
So you read about this lion had killed a man with his paws
But Samson got his hand in the lion's jaws
He rid that beast until he killed him dead
And the bees made honey in the lion's head

Good God!

If I had my way
If I had my way
If I had my way
I would tear this old building down

If I had my way
If I had my way in this wicked world
If I had my way
I would tear this old building down

Good God

Let Us Get Together

by Reverend Gary Davis
©Chandos Music


Let us get together
Right down here 4x

Let us walk together
Right down here 4x

Let us do our living
Right down here 4x

Let us have our heaven
Right down here 4x

break

Let us walk together
Right down here 4x

Let us do our rejoicing
Right down here 4x