Topic: Irene Scruggs Lyrics

[banjochris]

I think it's cool he sings Johannesburg -- very unexpected. I listened to all the modern recordings of "No Special Rider" that I have, by the way, which is about seven, and he never sings either the wander to the door or the Johannesburg verse! Oh, well.




Here's the lyrics to "Good Grinding," which has Little Brother backing up Irene Scruggs for Paramount back in 1930. We did this with Sausage Grinder for a long time in kind of a Blind Boy Fuller/Josh White style.


I was standing in the door when my grandma cried,
"If good grinding kills grandma, let old grandma die."
I was standing in the door when I heard my grandma cry,
"If good grinding kills grandma, let old grandma die."

Well, I've got a meat grinder, it belongs to me,
It's got good movements, I use it constantly.
I've got a meat grinder, it belongs to me,
It's got good movements, I use it constantly.

You don't like good grindin', you ain't gotta bit of sense,
It's been going on ever since the world commenced,
If you don't like good grindin', ain't gotta bit of sense,
'Cause it's been going on, ever since the world commenced.

Well, it's good for what ails you, sure ain't no lie,
I want one last grindin' just before I die.
It's good for what ails you, sure ain't no lie,
I want one last good grindin' just before I die.

When I found my grinder, he was livin' in the sticks,
Didn't know nothin', I taught him lots of tricks,
When I first saw my grinder, livin' down in the sticks,
Well he didn't know nothin', I taught him lots of tricks.

Now he's learned how to grind me, one steady roll,
The way he does it satisfies my soul
Well he learned how to grind me, with one steady roll,
And the way he does it satisfies my very soul.

Now grind me, Mr. Grinder, till I lose my mind,
Don't mind goin' crazy over this steady grind.
Grind me, Mr. Grinder, till I lose my mind,
I don't mind goin' crazy, over this steady grind.

[banjochris]

And another accompaniment to Irene Scruggs, "Must Get Mine in Front." Little Brother recorded this one several times by himself in later years.

Must Get Mine in Front

Susie runs a bakery shop down the street,
Sells jelly cakes and always looks neat,
Sam hung around said, mama, give me a break,
I want you to credit me for some of that cake.
I'm going up the river, got a job loadin' sacks,
Pay you for that cake, when I get back.

She looked at him and said, don't be no ham,
What kind of fool do you think I am?

Some folks may trust you to come back and pay,
I must get mine in front.
I'll trust you tomorrow if you pay me today,
I must get mine in front.

Now you goin' up the river and you carry your sack,
This jelly roll will be here, when you get back.

I trusted the man, who lived next door,
Ever' since then he don't speak to me no more.

I trusted a man who said he'd be back again,
The very next day he took a trip to Spain.

I trusted your father, he ain't no good,
He owes every woman in the neighborhood.

Some folks may trust you to come back and pay,
I must get mine in front, hear me talkin?,
I must get mine in front.

(solo)

Now your uncle owes me, he sure is bad pay,
He must think I got this stuff to give away.

So I ain't puttin' out nothin' till you pay off,
I must get mine in front, I ain't jokin',
I must get mine in front.

[Johnm]

Hi all,
Irene "Chocolate Brown" Scruggs recorded "Itching Heel" at a session in Grafton, Wisconsin on May 26, 1930 for which she was accompanied by Blind Blake, working out of C position in standard tuning.  Blake's playing on the piece is staggering, and makes you realize the extent to which copying his pieces, transcribing them, playing them however you are able doesn't begin to get at what he was able to express in his own style in the moment.  Scruggs does a terrific job on the vocal, too, just as good as it possibly could be.  I'd very much appreciate help with the bent bracketed section in the third verse.  Here is "Itching Heel":



INTRO

The white folks is done started talkin', you better start walkin', they're talkin' 'bout my no-good man
They say he is shiftless, they say he is worthless, I know he ain't the worst in the land
He don't do nothin' but play on his old guitar, while I'm bustin' suds out in the white folks' yard
Now you know that's hard, and I'm getting sick and tired, you know I ain't satisfied, bring me a job,
And then I'll be satisfied, I ain't jokin', mean I'll be satisfied

Now, when his heel is itchin', he want to start driftin', and go a long, long ways from home
Now, when I first met him, he gave me a gold watch and chain, he caught the train today and left me out in the rain
Now, you know that's mean, and it won't be long, before you come driftin' home, maybe in the morning,
He'll come driftin' home, oh baby, he'll come driftin' on home

Just as soon as that train rolls up in the yard, going to follow my man if I have to ride the rods
Was a mean old fireman, as mean as he could be, when I waved at my man, he blew his smoke back at me
Now, you know that's tough, and I don't want to get rough, he carried away my case of change, ain't it a shame?
You know I ain't satisfied, oh baby, you know I ain't satisfied

GUITAR SOLO (Spoken, Scruggs: Ah, play that thing, boy! Blake: I'm gon' try! Scruggs: But you know I ain't jokin', you got to bring me a job!  Blake: Well, I ain't gon' bring no job, 'cause I ain't starving!)

You know I give you your three hot meals every day, while you sit at home and pass the time away
Every time your heel itches, you want to go on strange ground, but if you don't stop chasin' women, you'll break your good thing down
You had a job down on the levee makin' a dollar ten a day, you give the dollar to a high yella and throwed the dime away
Now, you know I'm gonna get you, I mean without a doubt, baby, and put your taillight out, I don't mean maybe,
I meant to put your taillight out, ooh baby, I mean to put your taillight out

Edited 3/20 to pick up correction from Stuart
Edited 3/21 to pick up correction from Johnm
Edited 5/27/23 to pick up corrections from Blues Vintage

All best,
Johnm,     
   

[Stuart]

That's a tough one, John. I definitely hear the long A to start the bracketed section and perhaps chain(s) instead of change, but other than that, I'm at a loss. I did hear "up" before "in" in the "...train rolls in the yard," line though. You might want to give it another listen.

I can't even think of anything that would sound similar and make sense for the section in question. But I do hear Blake playing the guitar, which is mystifying in its own right.

[Johnm]

Thanks for the catch on "up" earlier in that same verse, Stuart.  I've made that change, and will keep listening to the other place.  Thanks!
All best,
John

[eric]

"ace of change" sounds somewhat, but not quite, like a variation of Stavin' Chain, which would make sense in this context.  Not to state the obvious here, but Blake pretty much owns playing out of C position, if you ask me.

[Stuart]

From the context she is definitely singing about her man being carried away by the train. But what are the words she's using? Stavin" Chain makes sense if it were a mispronunciation, but I don't think what she sings supports it. It doesn't sound even close. Could it have been a complete flub? Or perhaps some obscurity? 

[Johnm]

Hi all,
I think I have the mystery phrase in the third verse:
   he carried away my CASE OF CHANGE
In other words, when her man split he stole her penny jar that she kept her loose change in; it makes sense of the beginning of the line.  She not only lost her man, but he took her money, the bum.
All best,
Johnm

[Stuart]

It could very well be, John. Makes sense to me. It fits right in with the "Stole all my lovin', and my money too," theme we hear elsewhere, as well as the overall story line of the song.

Edited to add: "Case of chains" (jewelry box of necklaces, etc.) ran though my mental list of possibilities yesterday, but I didn't think it was correct based on my assumptions at the time. However, I thought I should at least mention it so you can dismiss it.

[Johnm]

Hi all,
Irene Scruggs recorded "Cherry Hill Blues" at a session in Grafton, Wisconsin on May 28, 1930, working under the name "Chocolate Brown". She was accompanied by Blind Blake, working out of, for him, the relatively uncommon playing position of E in standard tuning. I sure wish these two had recorded more titles, because they really worked well together. Deep Morgan was (is?) a neighborhood in St. Louis. Cherry Hill, as used in the song, appears to be a profession, or a professional who works in a particular location rather than the location itself. EDITED TO ADD: Blues Vintage's correction of the lyric to "Cherry Heels" makes it seem really likely that the record company misapprehended the title of the song.  Blake's rhythmic feel on this cut is very uncharacteristic for him; he sounds almost as though he was channeling Sylvester Weaver. See what you think. Here is "Cherry Hill Blues":



INTRO

Well, friends, do remember me
Well, friends, do remember me
I'm comin' back to Deep Morgan and to my old-time used-to-be

You can stand on the corner of 16th and Morgan Street
You can stand on the corner, 16th and Morgan Street
And see the Cherry Heels go by, like police on their beat

When you talk about them, even call them out of their name
When you talk about them, even call them out of their name
Well, no matter what you say, they'll come to see you just the same

Well, I'm gonna tell you what these boys will do sometimes
Well, I'm gonna tell you what these boys will do sometimes
They'll take all your money, come back when they change their minds

Well, Deep Morgan keeps on callin' me
Well, Deep Morgan keeps on callin' me
You see the boys on every corner, it ain't like it used to be

CODA

Edited 5/27 to pick up corrections from Blues Vintage

All best,
Johnm

[Blues Vintage]

Itching heel

Spoken Scruggs: -But- You know I ain't jokin'

4.4 Now, -you know- I'm gonna get you




Cherry Hill Blues

1.3 I'm comin' back to Deep Morgan and see -to- my old-time used-to-be

Morgan street?

Possibly Cherry Heels instead of "cherry hills". Name for a pimp in the late 20s early 30s?

[Johnm]

Hi Blues Vintage,
I re-listened to both songs, agree with all of your suggestions and have made the changes. That was a great catch on "Cherry Heels"! Thanks!

[Johnm]

Hi all,
I thought I'd keep going on the releases on which Blind Blake accompanied Irene Scruggs. "Stingaree Man Blues" was recorded in Grafton on May 26, 1930, a the same session at which the duo recorded "Itching Heel". Blake was accompanying Irene Scruggs out of G position in standard tuning, and at an extremely sedate tempo, he keeps things exciting and moving along by playing around with the time in his accompaniment fills. His sound here is so pianistic. Here is "Stingaree Man Blues":



INTRO

Stingaree man, why don't you let me alone?
Stingaree man, why don't you let me alone?
Well, I's tried to be good, and I, well I don't want to leave my home

Well, I can't eat a bite, I can't do a thing
Well, I can't eat a bite, I can't do a thing
'Cause everywhere I go, I can't feel your sting

Stingaree man keeps hanging around my door
Stingaree man keeps hanging around my door
Well, he's made me like it, I can't behave no more

Stingaree man, hear me cryin' for you
Stingaree man, hear me cryin' for you
Sting me one more time, I'll do anything you want me to

Lord, I'm sad and blue, sitting here cold in hand
Lord, I'm sad and blue, sitting here cold in hand
Well, I wouldn't mind being poor, if I could have my stingaree man

CODA

All best,
Johnm

[David Kaatz]

I thought I could contribute some lyrics, for once.
Unfortunately I no longer own the CD or lp this is on "I Can't Be Satisfied: Early American Women Blues Singers Vol. 1 - Country", so I cannot identify the guitarist backing Scruggs here, and I do not know the recording date.



My Back to the Wall

Everyone is screaming trouble, times ain't like they used to be
Everyone is screaming trouble, times ain't like they used to be
You can hardly hold your man, your job is uncertain, guaranteed

Well hard luck had me running, now my back is turned to the wall
Hard luck had me running, my back is turned to the wall
But no matter what you say, a good woman never falls

Well you talk about drunken women, the kind that walk the streets all night
Well you talk about drunken women, kind that walk the streets all night
But that's the only kind of woman, that you men are going to treat right

So don't be no idle woman, don't be no fanfoot clown
So don't be no idle woman, don't be no fanfoot clown
If your man is double crossin', don't you start to runnin' 'round

Now I tell you the reason I don't like a single man much
I tell you the reason I don't like a single man much
Well a single man's all right, but he ain't got that married man's touch

coda

edited 5/29 to pick up corrections from Blues Vintage and John Miller

[Blues Vintage]

Good stuff, David. Great so see one from you.

It's a fanfoot clown in verse 4.

Guitar player is unknown according to Document Records. He plays terrific if you ask me.

[Stuart]

Thanks for the post, Dave. It appears it was recorded on August 30, 1930 at the Gennett studio in Richmond, Indiana. I don't know if detailed records regarding Gennett recording sessions still exist. Perhaps someone at the Starr-Gennett Foundation might know.

I agree--Terrific guitar playing. It sounds familiar though, whoever it is.

FYI: Here's a link to a PBS doc that's been posted previously:

https://www.pbs.org/video/the-music-makers-of-gennett-records-gnqhpd/

[waxwing]

I think that is "sandfoot clown" similar to the common 'sandfoot women' who are usually 'raisin' sand'.

Wax

[David Kaatz]

I think "fanfoot" is correct, thanks. See this definition, referencing Curley Weaver's lyric. Although it also lists "sandfoot" with the same meaning.
https://greensdictofslang.com/entry/gpbt5ga

I'll make the correction.

[Johnm]

Thanks for posting those lyrics, Dave. I think in the third verse she sings:
   . . . THE KIND THAT walks the streets all night
It's a bit easier to hear in the first line than in the second line, where she omits "THE" prior to "KIND".

[David Kaatz]

Irene Scruggs also recorded The Voice of the Blues. Again, no data on when, where, and who accompanied her. But based on the info Stuart supplied for the lyric I posted for My Back to the Wall, this was probably on, Gennett around 1930, and I suspect the guitar is being played by Sam Collins, who also recorded for Gennett.
This tune has an unusual last verse that breaks out of the standard 12 bar form for an extended run on the I chord.



A different YouTube video of this, from Bottleneck Guitar Masterpieces, lists Sam Butler as the composer.

The Voice of the Blues

Oh, stop look and listen, I hear somebody calling me
Oh, stop look and listen, I hear somebody calling me
It's the voice of the blues, calling me back to my used to be

In the cool of the evening, when the lights are soft and low
In the cool of the evening, when the lights are soft and low
It's the voice of the blues, calling me everywhere I go

Oh, that voice is calling me again
Oh, that voice is calling me again
And if it keeps on calling, it's going to drive my heart insane

solo
spoken: Play that thing boy

Well I know it ain't my mother, she call the other day
I know it ain't my brother, 'cause he don't talk that way
I know it ain't my father, for his voice I know
I know it ain't my lover, he died one year ago
and it keeps on calling, it must be the voice of the blues

[Johnm]

I think the unnamed accompanist might be Bumblebee Slim. If you listen to "No Woman, No Nickel" at https://weeniecampbell.com/yabbse/index.php?topic=7820.msg62894#msg62894 , he is similarly playing in Vestapol with a slide there, kind of, but not altogether nifty, and has the same unusual mannerism of playing in rhythmic unison on the open fourth string when he is playing repeated notes with the slide on the first string. There is some similarity to the early slide playing of Ramblin' Thomas, too, but it might just as well be someone who only ever recorded at this session. I see Dave has suggested Sam Collins, who is a good candidate, too.

[David Kaatz]

Thanks for posting those lyrics, Dave. I think in the third verse she sings:
   . . . THE KIND THAT walks the streets all night
It's a bit easier to hear in the first line than in the second line, where she omits "THE" prior to "KIND".

Thanks John, those sound so obvious when you point it out. I've made that change.

[Stuart]

Thanks, Dave for the post. Some more info:

https://weeniecampbell.com/yabbse/index.php?topic=1339.0

http://www.honkingduck.com/discography/artist/irene_scruggs

It appears that "Back To The Wall" and "The Voice Of The Blues" were both recorded on August 30, 1930. It also appears the songs were released on various labels at different times. For example, "The Voice Of The Blues" was released on Champion 16756-A with Clara Burston's "Good And Hot" on the B side (16756-B). Here's Stefan Wirz' page:

https://www.wirz.de/music/baylrose.htm

It was also issued on Superior (2591-B)

https://www.78discography.com/Superior.htm

n.b. The different recording dates given for "You've Got What I Want" which was also released on the Varsity label in 1940 (Varsity 6050 [G 16970])

FYI: https://adp.library.ucsb.edu/index.php/mastertalent/detail/107426/Scruggs_Irene

Trivia to some, but it gives us an insight into the business side of music at the time. It continued with the reissue LP and CD collections.

Thanks for the suggestions re: the guitarist, John and Dave. I was tempted to say we're late to the party given the date of the earlier post, but I think it's more the case that the party (or daily struggle) continues.

[Johnm]

According to DG&R the guitarist on "No Woman, No Nickel" is unknown, rather than being Bumblebee Slim. Whether it's the same unknown as on the Irene Scruggs cuts is the question.

[Stuart]

Hi John:

I agree. I think we're in the territory of "best guesses" with this one. I was tempted to survey various guitarists who I think might be good candidates, but I'll leave that to the experts. I wish we had more information to go on, but Gennett's records re: recording session personnel were probably and unfortunately relegated to the dustbin of history. It's just another case of the priceless being deemed worthless.

[Blues Vintage]

I got the Gennett book from Agram (New York Recording Laboratories) but it doesn't go further than 1929.


Wax, I believe "fanfoot" is what Scruggs sang in this song. Stephen Calt has "fanfoot" listed in his "Barrelhouse Words" and gives Blind Willie McTell's "Your Time to Worry" as a example.

https://weeniecampbell.com/yabbse/index.php?topic=312.msg109288#msg109288

Robert Cremer in his recent "Secret Language of the Blues: What the Lyrics Really Mean" lists "sandfoot" and gives both the McTell song and Scruggs song as examples.
I believe this is incorrect.

[Stuart]

I listened several times and I hear "fanfoot" as well.

I checked the liner notes to the Yazoo LP "Bottleneck Blues Guitar Classics 1926-1937" (L-1026) and they give the guitarist on "My Back To The Wall" as "unknown." This is also the case for "The Voice Of The Blues" on Yazoo L-1046 "The Voice of the Blues: Bottleneck Guitar Masterpieces."

Looking for something that just isn't there seems to be my stock-in-trade. I'm opting for cremation so no one can put it on my tombstone.

[Johnm]

Hi all,
Irene Scruggs recorded "You've Got What I Want", accompanied by Blind Blake at the May 28, 1930 session at which the duo also recorded "Cherry Hill Blues". Blake played the song in G position in standard tuning. This performance is plenty cute, with Irene Scruggs singing and Blake interjecting spoken responses; they just sound like they're having so much fun. I'd very much appreciate help with anything I've gotten wrong or that is missing, especially in Blake's spoken responses. Unless otherwise indicated, assume that Irene Scruggs is singing and Blake, shown in parentheses, is talking. Here is "You've Got What I Want":



INTRO (Blake scats at the beginning)

Daddy, I'm broke and I'm down and out (Sho' 'nough), I know you got money and you can help me out (I sure is!)
REFRAIN: Say, you've got what I want (Sho' 'nough?) oh, you've got what I want (I b'lieve I have)
Now give it to me, daddy, 'cause you've got what I want (I bet a man I got it)

Now, my love come down and I'm all alone (Uh-huh), I want the kind of lovin' that'll make me moan
REFRAIN: Says, you've got what I want (Sho' 'nough, the Lord help us), oh, you've got what I want (For sho'!)
Now, give it to me, daddy, 'cause you've got what I want (Ooh, Lord help me!)

Oh, talk to me, daddy, so nice and sweet, you've got something that can't be beat
REFRAIN: And it's just what I want (Oh, I gots everything!), oh, it's just what I want (Lord, help us!)
You can give it to me, daddy, 'cause it's just what I want

Now, you've got a little house, sets over on the hill (Sho' is!), you gets all your whiskey straight from the still (Good!)
REFRAIN: And it's just what I want (Oh, a little drink wouldn't hurt right now, you know), oh, it's just what I want (plenty soda water in it, you know)
Now, you give it to me, daddy, 'cause you've got what I want (Scruggs, spoken: Ah, play that thing now!)

SOLO: Scruggs scats (Now I know I got everything! Oh, sing it to me, chil'!)

Well, you ain't good-lookin', but I don't care (No?), you got what women crave 'most everywhere
REFRAIN: And you got what I want (I knowed, I, I knowed I had something, yes), oh, you got what I want ( You the man!)
Now, you give it to me, daddy, 'cause you've got what I want (Lord have mercy on me!)

Now don't keep me cryin' for you so long (Oh, no!), You know I want it, what are you waitin' on? (Nothin', nothin'!)
REFRAIN: Oh, you've got what I want (I'm gonna give it to you, I'm gonna try!), Oh, you know what I want (Lord, have mercy!)
You can give it to me, daddy, 'cause you've got what I want (Blake harmonizes on "You've got what I want")

Edited 6/8 to get corrections from Doug, Blues Vintage, Stuart, David Kaatz and banjochris

All best,
Johnm

 
 

 
 

[Doug]

They do sound like they're having fun! 

I'm hearing:

2.2: "(For sho'!)" instead of "(Oh, sho'!)"
4.1: "you gets all your whiskey straight from the still..."

And I was surprised to see "You the man!" in verse 5, thinking it was more recent slang (and not sure quite how it makes sense in the context)... but it sounds like what Blake says.

[Blues Vintage]

1.2 Babe, say or sayin' you've got what I want

Agree with Doug;
you gets all your whiskey straight from the still

[Johnm]

Thanks for the help, Doug, I have made both the changes you suggested. I think that with "You the man!" Blake was engaging in a little ironic self-admiration.
All best,
Johnm

[Johnm]

Thanks for the help, Blues Vintage. I made the change to "say".

[Stuart]

At the end of verse two, I believe he says, "Ooh, Lord help me" with "me" being very faint.

In the solo, where you have "Oh, sing it to me Darlin'" I hear "Oh, sing it to me Child" (With the final "d" of "Child" dropped).

I listened to the recording on the Blues Images Vol 12 CD which is a little cleaner using VLC Media Player.

She also recorded it with piano accompaniment (but it's not nearly as much fun):

[Johnm]

Thanks for the help, Stuart. I re-listened and made both the changes you suggested.

[David Kaatz]

A typo in the second verse, last line that says "go" instead of "got"

[banjochris]

Few more little suggestions, John (and I'm listening to the Blues Images version also):

3.3 should end with 'cause IT'S just what I want

4.1 ...SETS over on the hill
4.2 the vocal aside is (PLENTY soda water in it, you know)

5.2 REFRAIN starts AND you got...

[Johnm]

Thanks, Dave and Chris, for the catches. I've incorporated them all in the transcription.

[Blues Vintage]

Edited 6/8 to get corrections from Doug, Blues Vintage, Stuart, David Kaatz and banjochris

Talk about a team effort.

[Johnm]

Hi all,
There are three takes of Irene Scruggs singing "Married Man Blues" with Blind Blake accompanying her out of dropped-D tuning up on youtube, and none of them appear in DG&R. This is the second take. As the rendition goes along, Blake gets increasingly rambunctious and ends up delivering vocal obligato responses that are simultaneously comical and jazzy. I'd appreciate help with Blake's spoken comment at the end of verse two, and I'm not certain about "borrowed" vs. "foreign" love. Here is "Married Man Blues, Take 2:



INTRO

When a man says he loves you better than he loves himself
When a man says he loves you better than he loves himself
He don't mean you no good, he's told that same lie to somebody else

For just plain old love don't run this wicked old world today
For just plain old love don't run this wicked old world today (Spoken, Blake: You're right about that, sister.)
If you've got troubles and no money, nobody wants you when you're old and gray (Spoken, Blake: Sure don't, honey, plenty don't!)

Borrowed love ain't nothin' but you single women lovin' married men (Blake hums)
Borrowed love ain't nothin' but you single women lovin' married men (Blake scats)
It may do for a while, but it's bound to jam you at the end (Blake scats)

If I could only see my married man today (Blake trumpet impression)
If I could only see my married man today (Blake scats)
I'd catch the first train going anywhere, even to Atlanta, GA (Blake scats)

You say bad luck and trouble, times ain't like it used to be (Blake scats in double time)
You say that bad luck and trouble, times ain't like they used to be (Blake scats in double time)
Borrowed love has jammed everybody, and now it's 'bout to jam poor me (Blake harmonizes with end of line)

Edited 6/27 to pick up corrections from Stuart and MarkC
Edited 6/29 to pick up corrections from banjochris
All best,
Johnm
 

[Stuart]

Hi John: Re: Married Man Blues Take 2

It sounds like he might possibly be saying, "Put it on, Honey, Spread it on." But again, it's unclear, even at lower speeds.

As an FYI, here's a link to take 3. Take 2 and take 3 are on Blues Images Vol. 7.

[MarkC]

Married Man:

Sounds more like “borrowed” to me.

Borrowed love has jammed everybody, and now it's ‘bout to jam poor me

[Johnm]

Thanks, Stuart and MarkC for the help. I agree, Stuart, that the second missing word in Blake's spoken comment is "spread" and have made that change. I also agree with both of your changes in the last verse, Mark, and have made those changes. Any other thoughts for the word that begins Blake's second spoken comment? 

[MarkC]

Throw it on? Show it on?

[Johnm]

I think it is "show it on", Mark. Thanks! I've made that change.

[banjochris]

Sorry I've been away for a couple days. Pretty sure the start of that comment is "Sure don't, honey" and the end of it might be "plenty don't."
Chris

[Johnm]

Thanks, Chris. I re-listened and will make those changes.

[Johnm]

Hi all,
I split the Little Brother Montgomery Lyrics thread to get out the two songs that banjochris transcribed there for which Little Brother accompanied Irene Scruggs, and moved them to this thread, where they now begin the thread, by virtue of being the earliest transcribed Irene Scruggs lyrics here. How's that for a run-on sentence?
All best,
Johnm