Topic: Frank Stokes Lyrics

[Johnm]

Hi all,
I've changed Frank Stokes' rhythmic place-keeper from "uh" to "a" in the last couple of transcriptions.  The sound is the same, but "a" looks better, and is used a lot like a-runnin' or a-flyin'.  I'm probably chewing more than I've bit off.
All best,
Johnm

[Johnm]

Hi all,
Frank Stokes recorded "Take Me Back" with Dan Sane at a session in Memphis on August 30, 1928.  The song is one that has been played and recorded by a host of other musicians:  Lemon Jefferson (as "Beggin' Back"), Henry Thomas, with just a verse or two at the tail end of "Bob McKinney", Mance Lipscomb and Lightnin' Hopkins, among others.  Stokes' and Sane's version would not be counted among the most exciting ones.  I think Frank Stokes was incapable of a boring rendition, but this was probably the closest he came to one.  Both Stokes and Sane play out of C position, and the repetitive nature of the song's melody and lyrics begins to pall long before the end of their performance.  Stokes seems to try to generate some excitement towards the end by speaking some lines and drawing some words out comically, but is overcome by the song's sheer force of repetition. . . and I like repetition!

Now, take me back, take me back
Take me back, I'll treat you right
Now what I mean 'bout treatin' you right
I'll bring you my money every Saturday night

Now, that old girl that stayed in town
She called me a fool and turned me around
Now take me back, take me back
Take me back, I'll treat you right
Now what I mean 'bout treatin' you right
I'll bring you my money, babe, every Saturday night
Ah, take me back, take me back
Take me back, I'll treat you right

SOLO

Now, if you love me, mama, you'll treat me right
You'll bring me that money every Saturday night
Now take me back, I'll treat you right
Now, I bring that money, mama, every Saturday night

Now take me back, back, back, take me back, back (spoken: oh back)
Take me back, mama, I'll treat you right
Now take me back, back (spoken: mama, oh take me back)
I'll bring you that money every Saturday night

SOLO

Now if you will, mama, take me back
I'll be good as any man can act
Now take me back, take me back
Take me back, I'll treat you right

Now what I mean, mama, 'bout treatin' you right
I'll bring you the money every Saturday night
Take me back, ba-a-ack, back
Take me back, mama, I'll sure gonna treat you right

SOLO

All best,
Johnm

[Johnm]

Hi all,
Frank Stokes recorded "Wasn't That Doggin' Me" with Dan Sane at a session in Chicago in March of 1929.  The song features Stokes playing out of G position in standard tuning, capoed way up and Sane accompanying him out of C position in standard tuning.  Their playing together on the number is spectacular, even by their standards, with lots of variation and dynamics.  The song has a very deep back-beat, and beautiful straight-up-and-down time.
Vocally, Frank Stokes is in fine form here, and for some reason, almost every song from this session has lots of spoken asides (including some from Sane), many of which are quite difficult to hear, which is a shame, because they're really entertaining.  The versions I have of the songs from this session all have pretty noisy and distant sound, too, which may contribute to the fact that the songs from this session are almost never covered.  It's worth hanging in there to figure the songs out, though, because they're all prime material.

Now look here, baby, I been treatin' you good and kind
And when I found out you tippin' another man all the time
REFRAIN: Wasn't that doggin' me?  Yes, she's doggin' me
And I'm gettin' sick and tired, the way my baby's doggin' me

Now I worked for you, mama, even pawned my clothes
Now you wrote me a letter, couldn't use me no more
REFRAIN: Wasn't that doggin' me?  Yes, she's doggin' me
And I'm gettin' sick and tired, the way my baby's doggin' me
(Spoken: Y'oughta quit doggin' me too, black gal)

SOLO (Spoken during solo: Oh, quit doggin' me!)

Ain't but one thing made me think when I got ready to go
I caught her standin', huggin', kissin' the man next door
REFRAIN: Wasn't that doggin' me?  Yes, she's doggin' me
And I'm gettin' sick and tired, the way my baby's doggin' me

SOLO (Spoken during solo: Ain't that been doggin' me, what I'm talkin' about!)

Now you dog me in the Summertime, you won't wait 'til Fall
You gon' dog your man he ain't come back home at all
REFRAIN: Gal, quit that doggin' me!  Yes, she's doggin' me
And I'm gettin' sick and tired, the way my baby's doggin' me

SOLO (Spoken during solo: Oh, quit that!)

I just stopped by here, mama, to try to get you told,
You ain't the onliest woman got a sweet jelly roll
REFRAIN: Now, why don't you quit that doggin' me?  Yes, she's doggin' me
And I'm gettin' sick and tired, the way these women doggin' me
(Spoken: You know, I'm so tired, I don't know what to do

SOLO: (Spoken during solo:  Oh, ain't that awful!  It's so terrible!)
And I'm gettin' sick and tired, the way my honey's doggin' me

SOLO

Edited 5/14 to pick up corrections from uncle bud and Johnm

All best,
Johnm

[Johnm]

Hi all,
Frank Stokes and Dan Sane recorded "Half Cup of Tea" as the Beale Street Sheiks at their first session, in Chicago in August of 1927.  Wow, what a song and performance!  It is one of their most driving up-tempo numbers, and with Stokes playing out of G position in standard tuning and Sane out of C position in standard tuning, it introduced the basic G lick that Frank Stokes would end up using for "Downtown Blues" and many more of their songs.  The song starts with a full solo as did most of their recorded performances, but after that, it is all Frank Stokes singing, and he has a lot to say.  He really belts it out, just busts a gut, and it is some of his strongest singing.  Dan Sane completely out-does himself on his back-up guitar, too; he's an ocean of ideas.  It's worth it to listen through the song multiple times, focusing one time on Stokes' vocal, another time on Sane's fills, some of which are so cool they'll make you happy for a month.

The song obviously has a ton of verses, and Stokes sings many that he never used elsewhere in his recorded repertoire.  I've listened a great deal to the song, and think I have it right, but I generally get something wrong.  In verse six, Stokes pronounces "valise" "vay-liss", with the emphasis on the first syllable.  I think the implication in verse seven is that if she complains too much, he'll leave.  Seek this performance out if you've not heard it or listened to it recently--it really is one of their greatest performances.

SOLO

Hey, what do you want your man to do?
Hey, what do you want your man to do?
Said, I'll rob and steal to make every day for you

And now, it's for my breakfast, give me a half a cup of tea
Hey, it's for my breakfast, give me a half a cup of tea
About half past nine, sing the same old song to me

Ah, I ain't gon' work for you no more
Ah girl, I ain't gon' work for you no more
Every time I work for you, carried from door to door

And now your wife get to trailin', don't want to stay at home
And now your wife get to trailin', don't want to stay at home
Let another one walk, and let the first old gal go  (Spoken, Sane:  That's it.)

Hey, somethin' really worryin' me
Hey, somethin' really worryin' me
It's not my present filly, but she's the gal that I would like to see

I'm gon' grab my valise, I'm goin' away from home
I'm gonna grab my valise, I'm goin' 'way from home
You don't like my treatment, you sure can leave me 'lone

Hey, mama, what's the matter now?
Hey, mama, what's the matter now?
There's a midnight train in the world, and I sure know how

And I feel like hollerin' murder in the first degree
And I feel like hollerin' murder in the first degree
You didn't have no business, gal, startin' this deal with me

Hey, what do you want your man to do?
Hey, what do you want your man to do?
Gal, I rob and steal, I make every day I save for you

I ain't gonna stay wit' you no more
I ain't gonna stay wit' you no more
Every time I stay wit' you, carried from door to door

All best,
Johnm

[uncle bud]

Hi John -

Here's a few suggestions for Wasn't That Doggin' Me.

2.5 Y'oughta/Y'all quit doggin' me, go [black gal]

2.6 Oh, quit doggin' me

3.5 Ain't THAT been doggin' me

5.1 I JUST stopped by HERE, mama, to try to get you [told]

Not sure about the TOLD there.

5.5 You know, I'm so tired, I DON'T KNOW WHAT TO DO

[Johnm]

Thanks very much for the help, Andrew.  All of your suggestions sound right to me, so I've made the changes.  I think the spoken asides from that session are harder for me to hear than the lyrics, though none of it is real easy.  You did great on the spoken parts.
All best,
Johnm

[uncle bud]

Thanks John. I found it helpful to go back and forth between the version on the JSP Memphis set and the version on the out-of-print (I think) Creator of the Memphis Blues on Yazoo (Doggin' from that attached for reference). I think there are still a couple spots to be refined in this one but it's damn close and a hard one to hear, that's for sure.

[Johnm]

Hi all,
Frank Stokes and Dan Sane recorded "Beale Town Bound" at their first session, in August of 1927.  For the song it sounds as though they reversed their normal roles, with Sane taking the high part out of G position and Frank Stokes flat-picking the low part, out of C position (and it does sound flat-picked, not played with a thumb pick).  Stokes' sound is huge on the guitar on this one, and he plays really well, though not with the spiffy clarity of touch in the right hand that Sane had operating in that role.

Stokes is in a pretty garrulous mood on "Beale Town Bound", and has lots of spoken asides.  He recycles several verses he used for "Half Cup of Tea".  I'd appreciate some help with the tagline to the next-to-last verse.

   SOLO X 2 (Spoken during solo: On my way--I'm Beale Town bound!

   Said, I'm leavin', mama, I'm goin' to leave you now
   And I'm goin' away, mama, I'm goin' to leave you now
   Every time I think, I think of downtown bound

   Hey, listen at me, mama, what I'm 'bout to say to you
   Hey, listen, mama, what I'm 'bout to say to you
   Ain't a thing's in the world, mama, that I want you to do

   SOLO (Spoken during solo: Every time I feel like rockin', I feel like rockin' downtown!)

   If the blues get away from me, mama, I'm goin' back home with you
   If the blues get 'way from me, mama, goin' back home with you
   Every time I see you, think about the things I want you to do

   Well, I'm goin', I'm goin', mama, what you want me to bring you back?
   And I'm goin', I'm goin', mam', what you want me to bring you back?
   Mama, I think about the things in the world that your good friend lacks

   SOLO: (Spoken during solo: Say, fella, don't you know she's mine, she's yours, she's somebody else's, too?)

   And I'm goin' to my wife's house, set down on the floor
   And I'm goin' to my wife's house, set down on the floor
   And if the times don't get better I ain't goin' back home no more

   And I feel like hollerin' murder, baby, in the first degree
   And I feel like hollerin' murder, mama, in the first degree
   You didn't have no business, mama, startin' this deal with me

   OUTRO: (Spoken during outro: Leave it now, son.)

Edited 5/20 to pick up correction from Gumbo, corrections from uncle bud

All best,
Johnm
 

 

[Gumbo]

Stokes really does sound pissed off in this track

my guess is ...

"and every time I get better I ain't goin back home no more"?

[Johnm]

Thanks, Gumbo, I reckon you nailed it!  I've made the fix.
All best,
Johnm

[uncle bud]

John, I hear a couple things slightly different:

1.1 SAID I'm leavin' mama, I'M goin' to leave you now

The I'M is sung as a sort of an extension of "mama", not very distinct.

2.3 is possibly

MANY things in the world, mama, that I want you to do

And I hear 5.3 different from Gumbo:

5.3 And if the time(s) don't get better, I ain't going back home no more.

[Johnm]

Hi uncle bud, I agree with the 1.1 and 5.3 fixes--the 5.3 makes real sense out of the line for me for the first time.  I think I had 2.3 right.  I think what Stokes is saying, is that he's making no demands, though the syntax "Ain't a thing is in the world", with "thing's" is a little odd.  I've made the corrections.  Thanks!
All best,
Johnm

[Johnm]

Hi all,
Frank Stokes and Dan Sane recorded "Blues in "D"" at a session in Chicago in September of 1927.  For the song, Stokes accompanied himself out of D position in standard tuning and Sane was playing out of G position.  The version I have of the song, on the JSP "Masters of the Memphis Blues" set, is frequently throwing a high tonic harmonic in a place on the neck on that would not be accessible to either Stokes or Sane, given what they were playing.  The duo allows a lot of space in their rendition for soloing, pretty much equal to the space allotted for singing.  I'd appreciate corroboration/correction of the bent bracketed section at the front end of the tagline to the last verse.

And I'm goin', I'm goin', and your crin' won't make me stay
And I'm goin', I'm goin', your cryin' won't make me stay
Baby, the more you cry, the further you will drive me 'way

SOLO

And I'm leavin', baby, what you want me to bring you back?
And I'm leavin', baby, what you want me to bring you back?
Mama, think of what I'm leavin', somethin' that your good gal likes

SOLO: (Spoken by Sane during solo: Ah, shet that door!)

Hey, hey, mama, what's the matter now?
Hey, yeah, mama, what's the matter now?
I would be your friend in the world but I don't know how

SOLO

Take me in your arms, mama, rock me good and slow
Take me in your arms, mama, rock me good and slow
So I can take my time and do my work everywhere I go

SOLO

How you can tell a good man--lookin' in his face
How you can tell a good man--Great God, lookin' in his face
Above the heavy broad shoulders and nice and cute through the waist

Edited 10/29 to pick up corrections from uncle bud

All best,
Johnm

[maddoggirl]

Hiya, fellas. There's a Stokes tune I really love which, according to my quick search, doesn't seem to have been attempted: Ain't Nobody's Business (Take 1)
It's a doozy in places, but it also has a fantastic bounce and what is Stokes' most extraordinary singing, in my opinion. Here's my own rough attempt, one real poser and a few places where I'm doubtful...


My old lady took and wrote me a letter
She told me she gwine treat me better
Nobody's business but mine
Now, she wrote this letter and she wrote in haste
Said if you gonna do better, girl, you better make [??]  (sounds like it starts with a 'c' but that may be a run-on from 'make', which makes it sound more like 'make haste'. I don't like that idea, because of the identical rhymes, but it seems most likey).
Nobody's business but my own.

chorus

I laid my head just between 'em
Swore to the world I had never seen 'em
Nobody's business but mine
Now, she ain't got a rooster, ain't got no corn
Poor roustabout ain't got no home.

Said I'm going back to the sunny South
Where the sun shines in my baby's house
Where I can get my three square meals a day
Said I'm going back to Tennessee
Where the gals round town take a like to me
So I won't have nothing else to do


It aint nobody's business, baby
How I treat my lady
Nobody's business but mine
It ain't nobody's business, honey
How in the world I make my money
Nobody's business but my own

[banjochris]

It does sounds like "haste" both times to me in verse 1. Also, at the end of verse 2 the lines are

Now a Shanghai rooster ain't got no comb,
Poor roustabout ain't got no home.

This is a traditional line that pops up in other songs - it's in one or two Uncle Dave Macon songs, for instance.

I'd suggest transcribing the full choruses since they're somewhat different each time, plus you're missing one verse altogether "Say baby you oughta been told me..."
Chris