Topic: Curley Weaver Lyrics

[banjochris]

Looks good to me, John, except for the obvious little typo in 3.2 – and he really does sound like Moss here, except obviously a little less sure of himself behind his singing, particularly in those licks going from the I to V and back again.

Makes me think that perhaps on "Leg Iron" that it's Curley playing the lead in Vestapol and Buddy playing the backup in E. The slide part in that tune has the "it's the vocalist playing and following his vocal" feel to it to me – I think it'd be quite a bit more difficult to play that meandering bass line while you were singing. Of course there's probably no way to be sure!
Chris

[Johnm]

Thanks for catching the typo, Chris, I've made the fix. You're right--Curley's playing here lacks the sparkling finish of Buddy's playing on similar numbers, though it's still great playing.

Re "Leg Iron", I've always considered that non-stop bass run commentary on Georgia duets to be Curley's sole province, but after hearing Curley play lead in what I had considered Buddy's sole province I'm having to re-think the whole issue of versatility, both in solo and duet playing. Usually the roles in duets are pretty consistently defined, but there's no real reason both players couldn't conceivably play either part. As you say, there's no way to know for sure, for "Leg Iron".

[banjochris]

There are quite a few duets with McTell where Weaver plays some very nice melodic slide. I’m trying to think of titles and “Lonesome Day” is the only one coming immediately to mind but I know there are quite a few others.

[Johnm]

Hi all,
Curley Weaver was once again joined by Buddy Moss for "Empty Room Blues", which the duo recorded for ARC at a session in New York City on September 19, 1933. Curley plays slide here, in Vestapol, with Buddy playing a spectacular seconding part in dropped-D tuning. In some ways, Buddy's part seems like a sketch for his own "New Loving Blues", recorded a year later. The performance was originally unissued, but Document put it out later. What a terrific piece! This one would be hugely fun to work out and play with a friend. I'm missing lyrics in a couple of places and would very much appreciate help. Here is "Empty Room Blues":



INTRO SOLO

Don't your room feel lonesome, gal pack up and leave?
Don't your room feel lonesome, when your gal pack up and leave?
You may drink your moonshine, but your heartache grieve

Mmmmmm, mmmm-mmm
I done drink so much whiskey, staggers in my sleep
That gal in Chicago, sure, Lord, worry me (Spoken: Play it low and lonesome, boy, 'cause I'm worried!)

SOLO

I got a new way lovin', green men can't catch on
I got a new way of lovin', green men can't catch on
When your woman get my lovin', you can't keep her at home

Mmmmmmm, mmmmmmmm
Mmmmmmm, mmmmm-hmmmmmm
Mmmmm-mmm, mmmmmmmm

CODA

Edited 10/3 to pick up correction from islandgal

All best,
Johnm

[islandgal]

Sounds to me like "That gal in Chicago,"

Jean

[Johnm]

Hi Jean,
At times I thought I heard "Chicago", too. But then it sounded like he preceded it with "left" sometimes. I'll re-listen. Thanks!

[Johnm]

I re-listened, Jean, and I think you're right with "in Chicago". I have made the change.

[Johnm]

Hi all,
"City Cell Blues" was recorded at the same New York City session for ARC as was "Empty Room Blues", and like that tune, I believe it had Curley Weaver playing slide in Vestapol and Buddy Moss playing in Dropped-D tuning. I think the title was a lazy mis-hearing by the record company of "sit in my cell". These two duets by Curley and Buddy are really spectacular, and I have never heard either of them covered by present-day players. They are pretty obscure tunes, I suppose, and Curley seems to be one of those people like Jesse Thomas, who seems to be forgotten a lot. Here is "City Cell Blues":



INTRO SOLO

It was all last night, I sit in my cell and cried
It was all last night, I sit in my cell and cried
Me and my buddy, layin' side by side

And I rolled and I tumbled, I rolled the whole night through
I rolled and I tumbled, I rolled the whole night through
It were worryin' me so bad, that I didn't know what to do (Spoken: Play it for me!)

SOLO

It was all last night, I sit in my cell alone
It was all last night, I sit in my cell alone
Thinkin' 'bout my good gal, that I left at home

When I was a free man, I had womens all over town
When I was a free man, had womens all over town
Now I'm in trouble, they can't be found

CODA

All best,
Johnm

[Johnm]

Hi all,
Curley Weaver and Buddy Moss joined forces for "Black Woman", recorded in New York City on September 19, 1933 at the same session they recorded "Empty Room Blues" and "City Cell Blues". What an exciting discovery these tracks have been--to my way of thinking some of the very best duet playing recorded featuring one slide player and one non-slide player, right up there with Sylvester Weaver and Walter Beasley. For this track, I believe that Buddy Moss was once again playing in dropped-D tuning and Curley was playing slide in Vestapol. The sheer amount of invention in these duets is quite surprising, for they have enough material in here for two or three normal songs, and never seem to run out of new ideas or licks to play. Here is "Black Woman":



INTRO SOLO

My gal, she's black and evil, and she wants to fight
My gal, she's black and evil, and she wants to fight
Now listen, sweet woman, you're not treatin' your daddy right

She fuss in the mornin', and she fuss at night
She fusses in the morning, and she fuss at night
Now listen, sweet woman, you're not treatin' your daddy right

SOLO (Spoken: Play it low and lonesome, boy!)

Don't want no woman, that stay out every night
Don't want no woman, that stay out every night
Just can't get the woman, to treat me right

Mmmmmm, mmmmm, mmmmm
Mmmmmm, mmmmm, mmmmm
Mmmmmm, mmmmm, mmmm, mmmm

CODA

All best,
Johnm

[Blues Vintage]

For 3.3 possibly,

Just can't get that a woman

[Johnm]

Hi Blues Vintage,
I think I did have that word wrong, but rather than "a", I think it is "the". I hear a strong "th" on the front end of it, but no clear "t" at the end. I will make that change.

[Johnm]

Hi all,
Curley Weaver was joined by Buddy Moss for "Dirty Mistreater", which was also recorded at the New York session on September 19, 1933. The song has Buddy Moss once again playing out of dropped-D tuning, but tuned quite low, so that he is sounding in Bb, a full major third low. It's very difficult to ascertain, Curley Weaver's playing position, but I believe it to be C position in standard tuning, tuned a full step low. Once again, the interplay of the two guitars is quite dense, with a great deal of activity. I am really stumped by the ending of the first two lines of verse two and would very much appreciate some help with them. Here is "Dirty Mistreater":



INTRO SOLO

And you're a dirty mistreater, you don't mean no one man no good
And you're a dirty mistreater, you don't mean no one man no good
I don't blame you, mama, I'd do the same thing if I could

Mmm, the woman I love, she's stayin' 'hind the cold iron bars
Aint it hard, ain't it hard? she's stayin' 'hind the cold iron bars
I ain't got nobody, to get my ashes hauled

HUMMED VERSE (Spoken: Aw, boy, it's low and lonesome! Play that thing now!)

And you mistreat me, baby, you drove me from your door
And you mistreat me, baby, you drove me from your door
And the Good Book tell you, baby, mmm, you're bound to reap just what you sow

When I used to love, baby, what a fool I used to be (Spoken: Well, you was a big fool, wasn't you?)
When I used to love, baby, what a fool I used to be
I don't love nobody, that the fool that do love me

CODA

Edited 11/26 to pick up corrections from Blues Vintage

All best,
Johnm
 

[Blues Vintage]

Im not sure but the mystery line verse 2 sounds like;

she stayin' 'hind the cold iron bar  so a very slurred cut off way of sayin'  "she stayin' (or stays) behind the cold iron bars"

I hear, you was a big fool instead of "you's a big fool" in that last spoken part.

[Johnm]

That is great hearing, Blues Vintage. Might he possibly be saying "She's stayin'"? It sounds like there are two separate "s"s, one at the end of "She's" and one at the beginning of "stayin'". I think you're right on with the sense of what you heard, and I'll make the change in the spoken comment in the last verse, too.Thanks!

[Blues Vintage]

I agree with "she's" especially for 2.1
I do hear a full "behind" now in 2.2.  "be" just before the crack and "hind" after the crack in the record.