Hi all, Sister O. M. Terrell recorded six titles for Columbia Records in the period 1953--1955, accompanying herself on guitar, and by the sound of it, sometimes working a hi-hat or keeping time on a tambourine with her foot. NOTE: Bruce Nemerov has supplied information that Sister Terrell was joined on some tracks by a session bass player who played the percussion. She was originally from Georgia. What biographical information I have on Sister Terrell is courtesy of the research of musician and musicologist Bruce Nemerov, who frequents this site. A link to a piece he did for NPR around the time of Sister O. M. Terrell's death in 2006 can be found at: http://weeniecampbell.com/yabbse/index.php?topic=6431.msg51496#msg51496
For "The Bible's Right", Sister O. M. Terrell accompanied herself out of Vestapol tuning with a slide, also supplying percussive accompaniment as mentioned above. Her time and phrasing, both instrumentally and vocally, were so free, exciting and loose. The message of the song is pretty irresistible as she delivered it. Here is her performance:
Dashes in the transcription indicate places where Sister Terrell concluded a vocal phrase with the slide on the guitar.
SOLO
REFRAIN: You know the Bible right, somebody wrong The Bible right, somebody wrong The Bible right, somebody wrong God knows, you are wrong
REFRAIN: I know the Bible right, somebody wrong The Bible right-- You know the Bible right-- Well, well, well-a, you are wrong
Tell you once, tell you twice Can't get to Heaven with another man's wife
REFRAIN: The Bible right, whoo The Bible right, oh yes The Bible right, oh yes Somebody wrong
SOLO
Wait, let me tell you what you can't do Can't tell lies and go there, too
REFRAIN: I know the Bible right, somebody wrong The Bible right, somebody wrong The Bible right, somebody wrong Great God, somebody wrong
SOLO
You snuff dippers, tobacco chewers When you get to Heaven you won't have nowhere to spit
REFRAIN: I know the Bible right-- I know the Bible right, whoo The Bible right, somebody wrong I mean, you are wrong
SOLO
REFRAIN: I know the Bible right, somebody wrong The Bible right-- I know the Bible right, somebody wrong I mean, you are wrong
SOLO
All best, Johnm
« Last Edit: October 24, 2014, 06:42:51 AM by Johnm »
Hi all, Sister O. M. Terrell chose cross-note tuning for her accompaniment to "Life Is A Problem". What a ripping rendition this is! This is probably the strongest and most richly varied slide performance in cross-note that I've ever heard (not excluding Booker White's slide performances in that tuning). Sister Terrell's vocal delivery, phrasing and lyrics are every bit as strong as her instrumental work "You may not have the longest end of the rope"--there's a line to remember!
SOLO
Life is a problem to live If you haven't salvation within You may not have the longest end of the rope Long as you live, God knows, there's hope Long as you live, there's hope You may not have the longest end of the rope, ah Lord, You, you, you thank God for the life you live, My Lord, Long as you live, God knows, there's hope
SOLO
You may be poor, but there's hope You may be blind, but there's hope You may be lame, mmmmmm can not walk Long as you live, God knows, there's hope
SOLO
Long as you live, God knows, there's hope You may not have the longest end of the rope You, thank God for the life you live Well, as long as you live, God knows, there's hope
Hi all, Sister O. M. Terrell was back in Vestapol with her percussion accompaniment for "I'm Going to That City". She must be counted one of the very strongest players of time in the style. The spoken "no more"s are so punchy. She must have been amazing to see in person.
Sister Terrell's spoken words are shown in parentheses.
SOLO
I'm going to that City to die no more (no more) I'm going to that City to die no more I'm so glad my heart ain't alone and sad I'm going to that City to die no more
SOLO
Wait! Let me tell you what happened to a woman one day She was preaching the Word of God, fainted on the way She called me to her side, you oughta heard the woman cry, "I'm going to that City to die no more."
(No more, no more, no more, no more, no more) Whoo, (no more, no more, no more, no more) Well, I'm going to that City to die no more (no more) I'm going to that City to die no more I'm so glad my heart ain't 'lone and sad Going to that City to die no more
SOLO
These are the words of the woman, just before she died, "I been toiling now, a-crossing the swelling tide. I been 'buked and scorned, called everything but a Child of God I'm going to that City to die no more." (no more) (No more, no more, no more, no more, no more, oh yes!) (I mean, no more, no more) (Oh, no more) (I mean, no more, no more, no more)
Hi all, Sister O. M. Terrell performed "The Gambling Man" out of Vestapol with a slide. It is the most text-heavy of her songs thus far, and the guitar plays a much more subsidiary role on the song, mostly just keeping time, though she did that very admirably. Spoken words in the transcription are in parentheses.
SOLO
I wonder where's that gambler, that gambling man I wonder where's that gambler, I wonder where that poor man's gone Ain't it a awful pity? Very, very sad Mother's son was a gambler, lost all the son she had I wonder where that gambling man I wonder where, I wonder where that poor man's gone The poor man said to his friends, "Come, come and take me home. I feel sick and very bad, I don't want to go alone." I wonder where, Lord, the gambling man, my Lord, I wonder where that gambler, I wonder where that poor man gone
SOLO
Taken, the poor man to the door, he said, "Stop, let me rest. Praise, Lord been through me, Seem like it's gonna take my breath." Well I wonder where that gambler I wonder where that poor mans' gone Well they taken the poor man in his room Well, they laid him on the bed He called for a cool drink of water, "Put a towel to my head." I wonder where that gambling man I wonder where that gambler, well, I wonder where the poor man gone
SOLO
Well, mother, she ran out of the door Hollering, screaming and crying "My son's been gambling all night long, Now I believe he's going to die." I wonder where that gambling man I wonder where, I wonder where the poor man's gone (My Lord, oh yes, My Lord, whoo, yes Lord)
All best, Johnm
« Last Edit: October 24, 2014, 05:44:54 AM by Johnm »
Hi John, I am in Perthshire just now and don't have access to my folder on Sister Terrell. As I recall Columbia producer Frank Walker had Ernie Newton play on the session. Newton, as you may know, was the Nashville session bassist with the drum pad affixed to the upper bout of his bass violin. He plucked the bass note and then hit the drum pad with a brush held between his ring and middle fingers. He did a lot of sessions before full kits were used in Nashville, Bill Monroe among them. I think this is what you are hearing on Sister Terrell's sides. I can check my copies of Walker's session sheets after I get home. best, Bruce
Thank you for that information, Bruce. I'll edit my previous post to indicate that Sister Terrell did not supply the percussion on the tracks where it can be heard. An interesting thing about it is that on those tracks where percussion can be heard, no bass is audible, to me, at least. That really must have been an experience to meet Sister Terrell and talk with her! Thanks for making the information about her that you found available. All best, Johnm
Hi all, For "Swing Low Chariot", Sister Terrell is working out of Vestapol again, with percussion. This rendition is probably the most trancey of the songs we've looked at thus far, with the most repetition in the lyrics. Sister Terrell sounds to be working with religious ecstasy.
Hi all, Sister Terrell used cross-note tuning to accompany herself on "How Long", as she did on "Life Is A Problem". She really seemed to expend a special energy when playing in cross-note, though it just may have been the sound of the tuning coinciding with the texts that brought her out so vigorously. In many ways, her music seems strongest when she is operating in a "scolding" mode.
SOLO
Mmmmmmm How long Great God, how long How long you gon' live in your sin? Great God, how long
SOLO
Wait a minute, woman Tell you what's in your mind Slippin' and dodgin' with the other woman's husband Leaving yours behind How long Great God, how long How long you gonna live in your sin? Great God, how long
SOLO
Well, how long Great God, how long How long you gon' live in your sin? Great God, how long
SOLO
Well, wait a minute, man I'll tell you what's not right Slippin' and dodgin' all night long Playin' numbers and shootin' dice How long Great God, how long How long you gon' live in your sin? Great God, how long
SOLO
Well, how, I mean, how long How long you gon' live in your sin? Great God, how long
Hi all, Sister O. M. Terrell was back in Vestapol for her accompaniment to "God's Little Birds", and was joined once again by the studio percussionist. This is a beautiful set of lyrics. One striking thing I learned in listening to all of Sister Terrell's songs in relatively rapid succession--she never played any chord changes, and all of her songs were one-chorders. I wish there had been films made of Sister Terrell as there were of Sister Rosetta Tharpe.
SOLO
In the dark In the dark If you're down and all outcast in the dark Just remember in His words How He fed those little birds If you're down and all outcast in the dark
In the dark, in the dark, in the dark, are you livin' in the dark? If you're down and all outcast, mmmm, in the dark Just remember in His words How He fed those little birds If you're down and all outcast in the dark
SOLO
Little birds flew to the sky Well, to the sky, so high Back to the ground did they fly, I know My Lord looked down He fed those little birds on the ground Well, the same way He'll feed you if you leave the dark
In the dark, in the dark, well, dark If you're down and all outcast in the dark Just remember in His word How He fed those little birds If you're down and all outcast in the dark
The little birds on the ground With their heads bobbin' up and down Switchin' their little tails as they fly See that they were glad-uh, by the food, you know, they had Well, the same way He'll feed you if you leave the dark
Hi all, Nothing to add here, really, but Sister O. M. Terrell came up on the quote generator, and I thought I'd bring folks' attention to this thread which has links to all of her recorded performances. If you haven't heard them before or would like to re-listen, check them out. God, she was good--one of the rippingest slide players and religious singers ever. Enjoy! All best, Johnm