Topic: Texas Alexander's Lyrics

[Johnm]

Hi all,
Thanks, dj, for that insight, and that's a wonderful quote from Son House, by the way, that I had never heard before.
In a slight change of topic, I wondered if any of you were who are more conversant than I with the Classic Blues knew whether the first verse of "I Am Calling Blues"--
   Listen here, woman, I'm calling on your name
   You've got me in trouble, and you say you ain't to blame
was originally sung by a woman blues singer, with "daddy" or whatever else might be appropriate, substituted for "woman".  I ask, because the lyric's stance seems more appropriately sung by a woman.  I'm just wondering.
All best,
Johnm

[Johnm]

Hi all,
"Range In My Kitchen Blues" is the first number ever recorded by Texas Alexander; he recorded it on August 11, 1927 , in New York City, backed by Lonnie Johnson.  Lonnie sounds like a million bucks and weathers whatever unexpected events that were encountered in the course of the tune with great aplomb.  Texas Alexander begins his repetition of the tag line of the first verse after a two-bar (!) guitar solo.  The ending of the song is just great.  Texas Alexander begins a pass humming with Lonnie playing answering runs.  After the first four bars of the pass Alexander stops humming and lets Lonnie play out the pass as a solo, concluding the whole thing with a pretty little coda.



   I've got a range in my kitchen, ain't doin' me no good
   I've got a range in my kitchen, and ain't doin' me no good
   I'm gon' get me a New York woman to burn my coal and wood

   SOLO:  2 bars

   I'm gonna get me a New York woman to burn my coal and wood

   I've got a brand new skillet, gonna get me a brand new lid (2)
   Gonna get me a New York woman for to burn my southern bread

   Mmmmm, Mmmm w/ guitar for 8 bars
   Gonna get me a New York Woman, gonna burn my Southern bread

   Lordy, Lordy, dear me, what am I to do?
   Oh Lordy, dear me, what am I to do?
   Tryin' to make some money for to bring back home to you

   Mmmm, Mmmm w/guitar for 4 bars
   Guitar finishes pass w/tag

All best,
Johnm

[Johnm]

Hi all,
Texas Alexander and Lonnie Johnson recorded "Section Gang Blues" on August 12, 1927, their second day in the studio together.  It immediately preceded the (I believe) better-known "Levee Camp Moan Blues", and in many ways is a companion piece to it.  Both share the freer phrasing and lack of chordal content of the work song, and it is in keeping with the origins of such songs, sung without instrumental accompaniment, that Lonnie Johnson came up with an inspired accompaniment approach:  to treat the guitar as another voice, responding to Texas Alexander's sung lines in kind, just as a work gang responds to the lead singer on the gang.  The approach works as well as it did, it must be acknowledged, in great part because of Lonnie's sumptuous tone on the guitar.  His beautiful vibrato, bends and sustain compliment Alexander's singing so well, whereas another accompanist with a more conventional tone production and way of making notes on the instrument probably could not have pulled it off.  Alexander sounds as though he is perfectly in his element.  Nothing against present-day musicians, or for that matter, musicians of the future, but this is one tune I hope fervently never to hear covered.
As for the lyrics, I assume in verse three that "What's the matter wit' you?" is the captain responding to the singer.  I assume Battle Axe was a chewing tobacco brand.  Otherwise, I guess I'm just hearing it wrong.  The way in which the repetitions in the lyrics work changes from verse to verse.



   I'm been workin' on the Section, Section 32
   I'll get a dollar and a quarter, I won't have to work hard as you
   Lord, I'll get a dollar and a quarter, I won't have to work hard as you

   Oh, nigger licks molasses, and the white man licks 'em, too
   I wonder what in the world is the Mexicans gonna do?
   Lord, the nigger licks molasses, the white man licks 'em too

   "Oh, Captain, Captain?"  "What's the matter wit' you?"
   "If you've got any Battle Axe, please, sir, give me a chew."
   "Lord, Captain, Captain?"  "What's the matter with you?"

   Waterboy, waterboy, bring your water 'round
   If you ain't got no water, set your bucket down
   Waterboy, waterboy, bring your water 'round

   "Oh, Captain, Captain, what time of day?"
   Oh, he looked at me and he walked away

   Mmmmmm, mmmmmm w/guitar
   "Lord, Captain, Captain?"  "What's the matter with you?"
   "If you've got any Battle Axe, Battle Axe, please, sir, give me a chew."

   Mmmmmm, mmmmmm w/guitar
   Lord, ah Lord, oh Lord

Edited 1/3/21 to pick up correction from neville

All best,
Johnm

   

   

   

[Johnm]

Hi all,
I have merged an earlier thread, in which Hard Luck Child requested the lyrics to Texas Alexander's "Levee Camp Moan Blues" with this thread, so that all the Alexander lyrics will be in one thread.
All best,
Johnm

[Bunker Hill]

I assume Battle Axe was a chewing tobacco brand.  Otherwise, I guess I'm just hearing it wrong.  The way in which the repetitions in the lyrics work changes from verse to verse.

Indeed was. I remember that when the song appeared on a 1968 Roots LP somebody responding to the review noted that a shop in London's Charing Cross Road London, had a sign in its window stating they were stockists of Stockton Battle Axe Chewing Tobacco.

The shop, Smiths, then a snuff and tobacco specialist of longstanding, were still occupying the same premises a couple of years back. Don't know if they still sell Battle Axe though! Is this useless information, or is this useless information?

[Johnm]

Thanks for the information, Bunker Hill, from my point of view it is far from useless.  I have not yet caught on to doing searches on the internet, and so am glad to hear the way I heard the lyric corroborated
All best,
Johnm

[Bunker Hill]

I keep thinking about that "sign my initials down" line.  The last line of the verse makes it seem that Texas won't be around anymore after he signs his initials, which keeps making me think of military service - something that will take him far away, and possibly across the "deep sea".  I'm going completely on conjecture here, since I don't have a copy of "Deep Sea Blues" to listen to, but might the first two lines in the last verse actually be "I'm goin' to barracks, gonna sign my initials down"?

The late Keith Briggs in his Words, Words, Words column for Blues & Rhythm tackled this topic prompted by a reader who was interested in Blind Willie McTell's use of "I'm going to Savannah mama sign my initials down". I'll see if I can locate it.

[Bunker Hill]

I keep thinking about that "sign my initials down" line.  The last line of the verse makes it seem that Texas won't be around anymore after he signs his initials, which keeps making me think of military service - something that will take him far away, and possibly across the "deep sea".  I'm going completely on conjecture here, since I don't have a copy of "Deep Sea Blues" to listen to, but might the first two lines in the last verse actually be "I'm goin' to barracks, gonna sign my initials down"?

The late Keith Briggs in his Words, Words, Words column for Blues & Rhythm tackled this topic prompted by a reader who was interested in Blind Willie McTell's use of "I'm going to Savannah mama sign my initials down". I'll see if I can locate it.

I'm reliably informed that this appeared on pages 24-5 of Blues & Rhythm 198 (April 2005) but was more of a discussion of McTell's other verse concerning writing his initials on a wall. Unfortunately I don't possess the issue to ascertain what is what...

[Johnm]

Hi all,
Texas Alexander recorded "West Texas Blues" on March 9, 1928, in San Antonio, backed by Lonnie Johnson, in a particularly productive session that yielded 9 sides.  Like many of Alexander's songs, it is unclear why it was given the title it ended up with, since there is nothing in the lyric that pertains particularly to West Texas.  Perhaps the record company thought (rightfully, I would guess) that it didn't matter what title the song was given.
"West Texas Blues" is one of the smoother Alexander/Johnson collaborations and the first I have transcribed in which Alexander does not hum even a four-bar phrase.  Lonnie Johnson also takes no solo, a rarity for the records he made with Alexander.  Quite often, the songs Texas Alexander and Lonnie Johnson recorded together have three verses, "West Texas Blues" has five, so perhaps that left less time for soloing or humming.  Once again, many of these lyrics turned up quite often in later recordings.  That tag line on the third verse sure is a beauty.



   Don't the moon look pretty, shinin' down through the trees? (2)
   I can see my woman, but she can't see me

   I'm gonna build my house on Jackson Avenue (2)
   So I can see everything that my rider do

   I laid down last night, I was tryin' to take my rest
   I laid down last night, tried to take my rest
   Then my mind kept a-ramblin', like the wild geese in the West

   I ain't got nobody to talk sweet talk to me (2)
   And I ain't got nobody to jump me up and down

   I used to have a woman, good as an' in this town (2)
   Says, she quit me this mornin', don't want me hangin' around

All best,
Johnm

   

[Johnm]

Hi all,
Texas Alexander recorded "Don't You Wish Your Baby Was Built Up Like Mine?" later on in the same day he recorded "West Texas Blues".  The tempo Lonnie Johnson sets up is wonderfully suited to Alexander's singing; it's a slow-to-medium tempo, but with a terrific internal tension and snap.  Lonnie's playing here is just masterful.  A lot of his runs have quick little hitches in them that would make them very difficult to copy, and impossible to play better than he did, I would guess.  Texas launches into a humming pass, accompanying Lonnie's solo after the second verse.  As they reach the ninth bar, Lonnie resolves into the V chord just as Texas Alexander begins his third verse.  Oh well.  Texas Alexander switches to a different melody for the final verse, with a heightened emotional feel, and phrases way in front of the beat, as well as short.  The way Lonnie follows him is nothing short of miraculous. 
God, Alexander had some good lyrics!  The second verse is a killer, that I have not heard elsewhere.  Any help with the bent bracketed phrase in verse three would be appreciated.



   Don't get mad at me, woman, because I stays by myself
   Don't get mad at me, woman, I stays by myself
   Say, you know by that I can't use me no one else

   Don't get mad at me, woman, I kicks in my sleep
   Don't get mad at me, woman, 'cause I kicks in my sleep
   Says, I may dream things, cause your heart to weep

   Mmmm, mmmmmm w/guitar for 8 bars

   Don't you wish your woman built up just like mine? (2)
   She look chunky and squatty, built up from the ground

   Did you ever wake up in the mornin', found out just a little 'fore day?
   Did you ever wake up in the mornin', just a little 'fore day?
   Look on your pillow where your mama used to lay

Edited 10/11 to pick up correction from Bunker Hill

All best,
Johnm

   

[Bunker Hill]

   Don't you wish your woman built up just like mine? (2)
   She low [charchy] and squatty, built up from the ground

I've only got this on a 60s TA Fontana EP, the transcription given there is:

She look chunky and squatty, built up from the ground

and, fwiw, on listening I tend to agree.

over to you...

[Johnm]

Thanks for the help, Bunker Hill.  Your suggestion works for me.  I will make the change.
All best,
Johnm

[Johnm]

Hi all,
Texas Alexander recorded "Sittin' On A Log", backed by Lonnie Johnson, on March 10, 1928, in San Antonio, Texas.  The song is based on a pretty slim lyric concept, expressed in the first verse.  I reckon songs have been built on less than that.  Alexander's second verse turned up all over the place after he recorded it--Skip James' version of "Catfish Blues", several Lil' Son Jackson songs and numerous other places.
Lonnie Johnson takes up a lot of solo space on this number, starting and ending it with solos that complete a full pass through the form.  His concluding solo is particularly masterful, especially in it's first four bars, when he plays the following progression, fingering partial chordal positions on the top three strings (the song is played out of D).

    |      D      |   G7flat9   |      D      |  Daug/F#      |

Lonnie's chordal positions are as follows:

   D:  X-X-X-X-7-5
   G7flat9: goes from X-X-X-X-6-4 to X-X-X-X-6-7
   D augmented:  X-X-X-X-7-6
   F#:  X-X-X-6-7-6

Give them a try (in D-G-D-G-B-E tuning).  They sound great!  Here is the performance's lay-out.



   SOLO:

   I was sittin' on a log, just like a doggone dog (2)
   Says, the mean old woman come and crossed my heart

   Says, I went to church and they called on me to pray (2)
   I fell down on my knees and forgot just what to say

   Mmmm, mmmmm w/guitar, 8 bars
   I fell down on my knees and forgot just what to say

   Oh, Lawdy, Mama, what am I to do?
   Lawdy, mama, what am I to do?
   I'm gonna stay right here, wait on somethin' new

   SOLO:

Edited 10/12 to correct chord positions

All best,
Johnm
   



     

[Johnm]

Hi all,
Texas Alexander recorded "Work Ox Blues" in New York City on November 15, 1928, backed by both Lonnie Johnson and Eddie Lang.  The song starts with Lonnie working in a support capacity and Eddie playing fills and soloing.  As the song goes along the roles reverse.  Texas Alexander has some of his characteristic early entrances, but his accompanists roll through the bumps very smoothly.



   Mama, I ain't gon' be your old work ox no more. (2)
   You done fooled around, woman, and let your ox get bored

   SOLO:

   She'll get up early in the morning, just a while 'fore day
   She get up early in the morning, just a while 'fore day
   Then cook your breakfast, man, rush you away

   "Come in, daddy, know my ox is gone." (2)
   You can never tell when your ox is comin' back home

   You can never tell what these double-crossing women will do (2)
   Says, they will have your buddy, then play sick on you.

   SOLO:

All best,
Johnm
   

[Johnm]

Hi all,
Texas Alexander recorded "Mama, I Heard You Brought It Right Back Home" in New York City on August 16, 1927, backed by the stellar pianist Eddie Heywood.  The song has an unusual  two-part structure.  It opens with a complex 16-bar progression backing the song "Fare Thee", in which only the third four-bar phrase varies lyrically from verse to verse.  After the second pass through this 16-bar form, Alexander and Heywood switch to a 8-bar "break blues" for three stanzas.  It is this break blues section that contains the title phrase.  After three of these breaks, the duo goes back to the opening 16-bar structure and repeats the first two verses.  This is the Poppiest-sounding song I have heard yet from Texas Alexander and it suits him really well--surprisingly well, in fact.  I suspect that Heywood's complete comfort and familiarity with the song had a grounding effect, though for all I know, Alexander may have introduced Heywood to the song.  This is an exceptionally pretty song, with a host of good ideas for anyone interested either in piano blues or piano blues adapted for guitar, and I will discuss the progression in more detail on the Rag Blues and Circle of Fifths thread on the Main Forum.



   Fare thee, my babe, fare thee
   It's fare thee, my babe, fare thee
   I've done everything that a poor old man could do
   Well it's fare, thee, my babe, fare thee

   Well, it's fare, thee, my babe, fare thee
   It's fare, thee, my babe, fare thee
   Said I bought you a new pair shoes and you left me with those blues
   Well, it's fare thee, my babe, fare thee

   Way last summer, times was tough
   You was on the corner, mama, struttin' your stuff
   Mama, mama, mama, I heard you brought it right back home

   Way last winter, times was good
   You was on the corner, mama, catchin' what you could
   But mama, mama, mama, I heard you brought it right back home

   Now I'm young and in my prime
   I can get a woman most any time
   Mama, mama, mama, I hear you brought it right back home

   It's fare thee, my babe, fare thee
   Well, it's fare thee, my babe, fare thee
   I've done everything that a poor old man could do
   Well, it's fare thee, my babe, fare thee
   
   Well, it's fare thee, my babe, fare thee
   Well, it's fare thee, my babe, fare thee
   Said I bought you a new pair shoes and you left me with those blues
   Well, it's fare thee, my babe, fare thee

All best,
Johnm