"...probably the low point of my music-listening career": Mississippi bluesmen Skip James and John Hurt trying to perform a version of "Waiting for a Train" with one playing waltz time and the other 4/4 - David Evans quoted in Nolan Porterfield's biography of Jimmie Rodgers
Chris Smith has transcribed the lyrics for the two new Son House tracks (Yazoo release date is today! Anyone got it yet? ). Here they are with a correction or two.
MISSISSIPPI COUNTY FARM BLUES
Wish I was a babe in my mama's arms, Wish I was a babe in my mama's arms, Wish I was a baby in my mama's arms, Wouldn't-a been here working on the County Farm.
I'd rather be broke and out of doors, I'd rather be broke and out of doors, I'd rather be broke, lord, and out of doors, Than to be here working on the police roll.
Some got six months and some a year, Some got six months and some a year, Some got six months, lord, and some a year, Poor me, poor me got lifetime here.
They put me in jail, wouldn't let me be, They put me in jail, wouldn't let me be, Put me in jail, would not let me be, They said I killed old Leroy Lee.
(Moaning)
Yeah, lord, oh lordy lord, Oh lord, oh lord, lordy lord, Oh lord, oh lord, oh lordy lord, The gal I love treat me like a dog.
(Moaning)
And I hate to hear that big bell dong, I hate to hear that big bell dong, I hate to hear, lord, that big bell dong, 'Poor boy, poor boy, you're going on.'
CLARKSDALE MOAN
Clarksdale's in the South, and lays heavy on my mind, Clarksdale's in the South, lays heavy on my mind, I can have a good time there, if I ain't got but one lousy dime.
Clarksdale, Mississippi always gonn' be my home, Clarksdale, Mississippi always gonn' be my home, That's the reason you hear me set right here and moan.
(Moaning)
Every day in the week, I goes to Midtown Drugs, Every day in the week, I goes to Midtown Drugs, And get me a bottle o' snuff, and a bottle o' Alcorub.
Nobody knows Clarksdale like I do, Nobody knows Clarksdale like I do, And the reason I know it, I follows it through and through.
I've heard the two tracks -- they're both excellent. County Farm is particularly good -- he plays so fast and mutes all the strings so he gets a really sharp sound.
Also worth noting:
None of the lyrics, IIRC, in Miss. County Farm pop up in the LOC recording.
Also, I'm about 99.9% sure that Clarksdale Moan is in open E minor tuning. What does everyone else think? That slide ending after the whole track w/o slide is just great.
Hi all, I just picked up these recordings today, wow! I've listened very hard to "Clarksdale Moan", and I don't think it is in open E minor, Chris. I can hear Son House hitting the low IV note on the fifth string throughout the song, which wouldn't be available in open E minor. What I cannot hear is any note other than the root on the fourth string. I couldn't hear him playing any major VII or flat VII notes on the fourth string at all. And with the main accompaniment figure moving rapidly from the seventh fret of the first string with the bent eighth fret of the second string down to the base of the neck and a hammer to the first fret of the third string, for him to keep the I note an octave above the sixth string going the way he does, he would have to be franticly moving that octave note from the seventh fret of the fifth string to the second fret of the fourth string. I don't see that as being technically feasible. For that reason, I think this song is a great candidate for the tuning you cited on the Furry Lewis--"Creeper's Blues" thread: EAEGBE. With that tuning, you get the low IV note in the bass, and you also get the octave I note that you don't have to fret, along with the hammer to the major third at the first fret of the third string. I think "Clarksdale Moan" is the best bet for this tuning of any pre-War Country Blues recording I have ever heard--even more than the Furry tunes for which it has been suggested. All best, Johnm
I'd rather be broke and out of doors, I'd rather be broke and out of doors, I'd rather be broke, lord, and out of doors, Than to be here working for my board and clothes.
I'm pretty sure that's what I hear
Logged
Charlie is the Father, Son is the Son, Willie is the Holy Ghost
John, listening again I think you may be right; although the only time he really plays a IV chord is in the second sung verse, I think I can hear a little of the A along with the low E when he hits it. This of course, makes the tune even more of a curiosity. By the way, speaking of that Furry Lewis thing, I think I read that about EAEGBE in the liner notes to the Yazoo Lewis album, which unfortunately I lent to a friend and never got back. Maybe someone with that album can look and see if my memory is playing tricks on me... Chris
By the way, speaking of that Furry Lewis thing, I think I read that about EAEGBE in the liner notes to the Yazoo Lewis album, which unfortunately I lent to a friend and never got back. Maybe someone with that album can look and see if my memory is playing tricks on me...
I have an LP copy of that record. Calt says (incorrectly) in the liner notes that Mean Old Bedbug & Jellyroll are both played out of "open E" tuning. Maybe it was revised when it was released on CD?
There is discussion on the Pre War Blues List, coming mostly from our friend David Evans, that there are two guitars, and that Willie Brown (clearly not Patton) is playing the bulk of the arrangement (in standard E position) with House playing primarily bass notes, then coming in for the slide tag at the end. Apparently House stated in an interview that Willie backed him on this recording. Here's the discussion:
Quote from: David Evans on PWBL
Am I crazy, or does "Clarksdale Moan" appear to have a second guitar on it (Willie Brown)? It sounds like something Son put together rather hastily. He seems to be working with guitar ideas that he would later solidify in his version of "Pony Blues," playing some slide, as he always did on his Paramounts. The other guitar would be in standard tuning, playing the frequently heard "hammering" figure in E position. Both guitars sound pretty sparse, as if they hadn't really worked out the arrangement, but it comes off quite well, much better than the two-guitar work on the test pressing that has been titled "Walking Blues," where I think the second guitar was Patton, not Brown.
These are some initial impressions that I might be inclined to revise later.
Quote from: Patrice Champarou on PWBL
I listened again (and again) but could not hear one. Several details make the accompaniment unusual compared to the later "Poney Blues", there seems to be some strong and regular foot-tapping which mostly doubles the bass and can still be heard behind the ending slide notes, but the most unexpected one is the appogiature on the the G string which makes me think he's using standard tuning! There is even a short and hesitating change to A7 at one time (the bass is not clearly A but I suppose he does not use a minor open E
Just impressions, of course... these tunes will keep my ears busy for a while!
Quote from: David Evans on PWBL
I still think I hear two guitars on "Clarksdale Moan." The difficulty in just one guitar is in reconciling Son's use of slide technique (at the end) with his hammered lick on the third (G) string (what Patrice calls appoggiatura). Son played slide in open G/A or D/E tuning, whereas this lick would have to be played in standard tuning E position or open D/E minor tuning. Bukka White in his rediscovery career played slide in this minor tuning, but he's the only one to have done so, as far as I know. Son never used the minor tuning in his rediscovery career. Alan Balfour notified me that in Son's interview with Julius Lester (Sing Out, July 1965, p. 41) he stated that Willie Brown accompanied him on "Clarksdale Moan." It's a strange fact to recall, since Son couldn't remember the song itself, but it does add weight to my thought that there are two guitars on the track.
Quote from: Patrice Champarou on PWBL
I've just found that you were right, there are at least two slide notes played on the G string and also one very discrete G/G# played on the D. This means open E like in Poney Blues, and also that most of the accompaniment is probably performed by Willie Brown (who else?). Unless they achieve a perfect unison I wonder what's left for Son to be playing until the end.
Quote from: David Evans on PWBL
Yes, I think Brown is providing most of the accompaniment. Possibly Son is just keeping time by playing bass notes or light chords until he unexpectedly comes in at the end with his slide figure. In any case, the two guitarists pretty much keep out of one another's way. It reminds me a bit of the pieces by Ishman Bracey with Charlie McCoy on second guitar, where the two artists seem to alternate in their playing. I really suspect Son composed this piece in Grafton. He had the singing together but doesn't seem to have worked out the accompaniment and may have requested Brown's help. I don't hear any of Patton's characteristic guitar playing here, by the way, so if there is a second guitar, it must be Brown.
Boy, that's the most discussion of the playing I can ever remember on the PWBL. Thought you guys would like to hear what they had to say.
All for now. John C.
« Last Edit: April 09, 2006, 12:38:21 AM by waxwing »
Logged
"People who say it cannot be done should not interrupt those who are doing it." George Bernard Shaw
“Just because you're paranoid doesn't mean they aren't after you.” Joseph Heller, Catch-22
Apparently House stated in an interview that Willie backed him on this recording.
The interview in Sing Out is entitled "I Can Make My Own Songs" and covers 8 pages (36-44). It is published as one long monologue but I'm guessing it's had all the questions extracted to make it flow. On page 41 House talks about his Paramount recordings saying that "I recorded Preachin' Blues, Black Mama, Mississippi County Farm and Clarksdale Moan. Willie Brown and I played that last one together. I think that's about all. Close as I can get to it. It's been so long"
I have an LP copy of that record. Calt says (incorrectly) in the liner notes that Mean Old Bedbug & Jellyroll are both played out of "open E" tuning. Maybe it was revised when it was released on CD?
I guess my memory is playing tricks. I know I didn't imagine it. I don't even necessarily hold that Furry's playing in that weird tuning. I just want to remember where I read it.
As for the idea of a second guitar on "Clarksdale Moan," let's remember that Son is the same man who "remembered" meeting Blind Lemon Jefferson six months after his death. I also think Evans is wrong about "Walking Blues," because the backing on that sounds a lot like Brown's backing of House on the Library of Congress sides. If House remembered playing with Brown on a tune he may understandably be mixing up titles. Chris
« Last Edit: April 09, 2006, 12:09:36 PM by banjochris »
Hi all, I agree with Chris that "Clarksdale Moan" is a solo piece. If Willie Brown is playing, what the heck is he playing? Son is just raking his bass strings when he plays. Often when he hits his upbeats on the fourth string he gets a lot of the fifth string in his attack as well. It's in the raking of the bass that I am most often hearing the low IV note, not so much that Son goes to a IV chord in any regular sort of way--he barely suggests it. And at the point when Son launches into the slide playing, where does Willie Brown go? Did they arrange in advance for him to drop out there? When Willie Brown seconded someone, at least on the cuts where we know with certainty that he was playing, there were two real parts, not some kind of "stick in a note here, now stick in a note there, now drop out". After having heard this piece, I am amazed at some of the early reports on the performance suggesting that it was second-tier Son House in some way. I think it is right up there with everything else he did for Paramount. All best, Johnm
After listening to the piece, I agree that there's one guitar, and I'm just about sure that Son is playing in std. tuning. For one thing, when he's playing the bass notes, it sounds like he's double-thumbing - rolling from the 6th string to the 5th/4th string. The chord he's playing through most of the piece is a partial E chord in 1st position, not fingering the 5th string at the 2nd fret, but leaving it open. The result is not exactly dissonant, but gives a weird, unresolved feel. The rule here is that rhythm takes precedence over harmony - you can hear an example of the same kind of thing in Lemon's 'Lectric Chair Blues.
Since Son is playing mostly in 1st position, he's fretting the 4th string at the 2nd fret (and 3rd string at the 1st fret). He rolls from the 6th to a brush across the 5th and 4th strings, and that tends to pull your ear back to the tonic. Sometimes he plants a big fat bass pulse by brushing across the open 6th and 5th strings. It's definitely a weird effect - rhythmically, you know exactly where the beat is, but your ear just kind of has to assume "E."
If I were to try and play this, I think that's the kind of thing I'd want to keep in the tune. I like the way it totally avoids tying up the harmonic "loose ends." It's possible that he's using the EAEGBE tuning, I guess, but I'd put my money on std. At any rate, it's a tuning that has the 5th string tuned to a 4th relative to the 6th string and the tonic of the piece. There's only a whiff of a IV chord in the song, but that IV note is all over the place, just not where you'd expect it.
The slide break at the end is just great!
« Last Edit: April 12, 2006, 09:30:15 PM by frankie »
I don't have the recording handy at the moment, but I've always heard it (and used to sing it) as "a brownskin woman will make a rabbit move to town", keeping the animal analogy with the mule in the second line. And the reverend would be living in town already, but rabbits wouldn't be likely to.
I got the blues so bad until it hurt my tongue to talk (2) I had the walkin' blues, ah & it hurt my feet to walk
I woke up this mornin' feelin' 'round for my shoes (2) Ya oughtta know by that people I musta got the walkin' blues
I woke up this mornin' just 'bout the break o' day (2) Huggin' the pillow where my good gal use to lay
& I started to walkin', I'm gonna walk from town to town (2) I ain't gonna quit walkin' until my . . . . . (?)
My only listening source for this is the 1988 Document LP on which it first appeared (Delta Blues vol.1, DLP 532) but what I hear is:
I'VE got the blues so bad TILL it hurtS my tongue to talk (2) IF I had the walkin' blues, SWEAR IT'LL hurt my feet to walk
and
I woke up this mornin' feelin' 'round for my shoes I GOT up this mornin' feelin' 'round, ooo, ooo, for my shoes Ya oughtta know by that people I must HAVE got the walkin' blues
and
I woke up this mornin' just 'bout the break o' day I GOT up this mornin' just 'bout the break o' day I WAS huggin' the pillow where my good gal usta to lay
and
When I start to walkin', I'm gonna walk from sun to sun (2) Ain't gonna quit walkin' until my journey's done
I must admiit to not having really followed this threard, but part of the Walking Blues lyrics were used by Tampa Red, I can't rmemeber which song though, errr..... umm......, maybe it's time for another drink I think !!!!!!
Here's my take on some of the missing lines from Preachin' the Blues:
Said I'm goan' *fold my arms*, goan' kneel down in prayer (2) When I get up I'm goan' leave my Preachin' blues laying there fold my arms is right
Now there ain't nothin' now baby, Lord that's goan worry my mind (2) *I'm satisfied I got the longest run* . . . Last line is "I'm satisfied, I got the longest line" -- I assume this means either the longest line of people in his church (line to be baptized) or the longest line of BS.
Oh I'm goan preach these blues & go to my seat & sit down (2) When the spirit comes I want you to jump straight up & down! . . . this is "choose my seat and sit down" (I think he says this in his '60s recordings too), and When the spirit comes, sister, I want you to jump straight up and down.
For Dry Spell, I'll put all the words as I hear them (with some cutting and pasting from Uncle Bud)
The dry spell blues have caused me to drift from door to door (2) the dry spell blues has put everybody on the killin' floor . . .
Now the people down south soon won't have no home (2) Cause this dry spell have parched all the cotton & corn . . .
[I got this next verse from the big Revenant Patton box set, and I agree with their transcription] Hard luck's on everybody, ain't missin' but a few Now besides a shower, ain't got a heavy dew.
Done got foldin' my arms & I walked away Oh I fold my arms and I walked away Just like god tell you, somebody got to pay
Pork chops 45 cents a pound, cotton is only 10 (2) [If] I can't keep no women, lord lord lord what then?
So dry ol' boll weavil, turn up his toes and die (2) Now ain't nothin to do, [but] bootleg moonshine & rye . . .
DRY SPELL BLUES P. 2 ** Son House
Lord it have been so dry, you could make a powder house out [of] the world (2) And all them money men like a rattlesnake in his coil [According to Calt and Wardlow's Patton biography, "rattlesnake in his coil" meant a cheapskate, and the phrase is in the first line of Patton's "Rattlesnake Blues"]
I done throwed up my hands Lord & solemnly swore (2) It ain't no need of me changing towns, it's a drought everywhere I go . . .
It's a dry old spell everywhere I been . . .(2) I believe to my soul this old world is 'bout to end . . .
Well I stood in my backyard, I wrung my hands & scream (2) & I couldn't see nothin', couldn't see nothin' green
Oh Lord, have mercy if you please (2) Make your rain come down & give our poor hearts ease
These blues, these blues is worthwhile to be heard Oh these blues worthwhile to be heard
[The Patton box set has "God sent Elijah, but there ain't no word" -- I hear it more as "God spared Elijah, but there ain't no more or no mud. I don't think any of them make a great deal of sense, though.] Chris
If think that the discovery of this recording last year is one of the greatest thing ever happened, absolutley a miracle.
I'm curious, did people know about this recording and looked for it, or did someone just find it by accident? And who found it, and where? What's the story of this discovery?
The story of how this record came to light is related in a brief essay by John Tefteller in the Blues Images 2007 calendar (available through WeenieCampbell by following the links further down on the left-hand menu, under User Menu - and always recommended!).
Paramount had assigned a release number to the record but since it had never been found, some thought it had been recorded but never released. Tefteller writes that in October 2005, "Chicago record collector Mark Blaesing revealed to Richard Nevins of Shanachie/Yazoo Records that he had the long-lost Son House record. This surprise announcement came during a discussion with Nevins about the wild and wooly aftermath of an eBay auction of a similarly scarce country record. Country music collectors were abuzz over the reappearance of a long-lost record by the Georgia Pot Lickers and out of that came the news that 'Clarksdale Moan' had been unearthed. Blaesing, a very nice low key guy, would not reveal where or how he obtained the record except to say that he did indeed get it from someone who wished to remain anonymous. He also hinted that the record was found 'in the South'. Nevins was blown away by the news and immediately made arrangements with Blaesing to have the record remastered at his studios in New Jersey."
There you go. Amazing that it would resurface after 75 years.
The Blues Images calendar includes both sides of this rarest of 78s with the 16-track CD that accompanies the calendar. Recommended to all Weenies!
« Last Edit: January 10, 2007, 03:44:45 PM by uncle bud »
Very interesting...when I first heard "Clarksdale" I thought it was in standard tuning. But since I was sick and sleep-deprived, I didn't trust my own judgment.
Logged
Puttin' on my Carrhartts, I gotta work out in the field.
I am pretty certain there are two guitars on this track. House in vestapol and Brown in standard. The ending slide lick points to vestapol as you can hear Son sound the III-V-I on the three high strings.
If you listen VERY carefully to the "moaning verse" - where it comes out of the IV chord and Son concludes his vocalized phrase - at 1:30 into the song, the two guitars are momentarily out of sync with one another.
« Last Edit: February 20, 2007, 12:40:45 PM by bighollowtwang »
I've always had difficulty with this first verse, but I like Uncle Bud's take on the "door to door". In the past I thought maybe "dusk to dawn". A lead-in lyric of "touching/touch me" might make sense phonetically as "touch me from door to door". I say this because I hear his tongue hitting the roof with the T. Wait it gets better!!! Then I read what banjochris was thinking... I like this idea banjochris, on the second line of the first verse, I don't hear the caused as much as I hear an L as in the more evident "calling". Cause makes sense too as in "causin", the L and Z have a close sound if you think of the pronunciation kaw zed, but i swear I hear the L stronger in the second line. Regardless, I think you got it, fantastic ear man [men].
Dry spell blues have causin' [callin'] me to drift from door to door
I also agree with the Revenant transcription. My only curiosity with the pork chops verse is if he ends with a did or didn't since he's sustaining the NNNN. As for the final verse, sometimes I hear him singing Po', but I can't decide if I'm hearing the softer "so". Po' would make sense lyrically as an adjective, but "so" is also a typical way of concluding a tune i.e., So the moral of the story is... Using the adverb so could also be seen as a means to amplify how dry it was.
Dry Spell Blues (Part 1)
Them dry spell blues have callin' me, to drift from door to door Dry spell blues have callin' me, to drift from door to door They dry spell blues has put everybody on the killing floor
Now the people down south, soon won't have no home Oh the people down south, soon won't have no home Cuz this dry spell has parched all this cotton and corn
Hard luck's on everybody ain't missin' but a few Hard luck's on everybody ain't missin' but a few
Now besides a shower ain't got a heavy dew
Done got foldin' my arms and I walked away Oh I fold my arms lord I walked away Just like I tell you somebody's got to pay
Pork chops 45 cents a pound, cotton is only 10 Pork chops 45 cents a pound, cotton is only 10 I can't keep no women lord and I never did
Po' dry old boll weevil turn up his toes and die Po' dry old boll weevil turn up his toes and die
Now I nothin' to do, bootleg moonshine and rye
« Last Edit: March 12, 2012, 03:25:26 AM by Michael Cardenas »
The story of how this record came to light is related in a brief essay by John Tefteller in the Blues Images 2007 calendar (available through WeenieCampbell by following the links further down on the left-hand menu, under User Menu - and always recommended!).
Paramount had assigned a release number to the record but since it had never been found, some thought it had been recorded but never released. Tefteller writes that in October 2005, "Chicago record collector Mark Blaesing revealed to Richard Nevins of Shanachie/Yazoo Records that he had the long-lost Son House record. This surprise announcement came during a discussion with Nevins about the wild and wooly aftermath of an eBay auction of a similarly scarce country record. Country music collectors were abuzz over the reappearance of a long-lost record by the Georgia Pot Lickers and out of that came the news that 'Clarksdale Moan' had been unearthed. Blaesing, a very nice low key guy, would not reveal where or how he obtained the record except to say that he did indeed get it from someone who wished to remain anonymous. He also hinted that the record was found 'in the South'. Nevins was blown away by the news and immediately made arrangements with Blaesing to have the record remastered at his studios in New Jersey."
There you go. Amazing that it would resurface after 75 years.
The Blues Images calendar includes both sides of this rarest of 78s with the 16-track CD that accompanies the calendar. Recommended to all Weenies!
Do you have the direct link to the Tefteller article? And was the record ever released when it was recorded?
Hi jostber - As far as I know, the text only appeared in the 2007 Blues Images calendar. Unless it's somewhere on the Blues Images website.
Paramount did assign a release number and the record appeared on a release sheet according to the Tefteller text. But no advertising has ever been found, and until this copy of the record showed up, some thought the record had never in fact been released. But it must have been, since we now have a recording, label scan and all. Just a rarity. Lucky for us it was found (I think it's one of House's coolest songs).
« Last Edit: March 12, 2012, 07:57:54 AM by uncle bud »
Hi all, Son House recorded "Louise McGhee" in the '60s, backing himself out of E position in standard tuning and using substantially the same accompaniment as he used for "Depot Blues" in his Library of Congress recordings. Talk about heavy time--this could be used as a dictionary definition of it. Here is his performance of "Louise McGhee":
You see a little girl they call, Louise McGhee, please do me a favor and shake, her little hand for me, I say if you See a little girl, her name Louise McGhee, you know Please do me a favor, shake her little hand for me
I love the little girl, like a cow like to chew her cud, her little low-down ways, I wish she'd, had a-quit it if she would, you know I Love little thing, just like a cow like to chew her cud, well, Her little low-down ways, I sure wish she'd quit it if she would
Mmm, look-a here, if I don't go crazy, look-a here, if I don't go crazy, yeah, Look-a here, I'm gonna lose my mind, you know 'cause I Stays bothered and worried all the time
You know, it's a shame, a dirty shame, I's so sorry the day I ever knowed Louise's name Yes, it's a shame, I say it's a low-down dirty shame, you know I'm so sorry, day, that I ever knowed Louise's name
I said, don't come here, little girl, throwin' up your doggone hands, 'cause I been your dog ever since, that I knowed your name Don't come here, little girl, I said, throwin' up your doggone hands, you know I been your dog, honey, ever since that I knowed your name
You know when I leave, honey, I don't want you to cry no more, I say When I leave, I don't want you to cry no more, I said But when I leave this time, honey, I'm gonna hang crepe on your door
Mmm, I gets up in the mornin' with the blues, three different ways, I have two mind to leave here, I didn't have but one says, "Stay." I say, I gets up in the mornin', I said, with the blues three different ways Yeah, I have two mind to leave here, I didn't have but one says, "Stay.", yeah
Honey, now if I don't never more see you, you forever be on my mind If I don't never no more see you, I say, you'll forever be on my mind You know, every time I think about you, girl, I just can't keep from cryin'
No, it's in E standard, Chris. Listen to Son hit the low root of the IV chord on the open fifth string in the first verse, at :27 and :31 as well as in subsequent verses. It's in E standard for sure. That note is not available in cross-note. EDITED TO ADD: Oops, just realized you were using Son's own parlance, Chris. All best, Johnm
« Last Edit: March 18, 2020, 04:40:25 PM by Johnm »
Hi all, Son House was recorded by Alan Lomax in Robinsville, Mississippi for the Library of Congress on July 17, 1942. This version of "The Pony Blues" comes from that session. Son played the song in Vestapol, and used a slide sparingly, but oh so effectively. The integration of his vocal phrasing with his accompaniment is of great complexity, and delivered with absolute assurance. I've tried to capture the stop-and-go nature of his vocal phrasing with the commas in the transcription. Of course, they're just an approximation of what Son sang. Here is "The Pony Blues":
Why don't you, catch my pony, now saddle, up my black mare Ohh, my pony, saddle up, up my black mare You know, I'm gon' find my baby, well, in, the world somewhere
You know, he's a travelin' horse, and he's too black bad He's a travelin' pony, I declare, he's too black bad You know, he's got a gait, now, no Shetland ain't, ain't never had
You know I, taken him by the reins, and I led him around and around I say I, taken him, by the reins, and I, I led him, around and around You know, he ain't the best in the world, but, he's the best ever, in this town
You know, he's a travelin' horse, and he don't, deny his name He's a travelin' pony, and he don't, deny his name You know, the way he can travel, is a low-down, old dirty shame
"Why don't you, come up here, pony, now come on, please let's us go." I say, "Come up, get up now, please pony, now let's us go. Lest we, saddle on down on, the Gulf of, of Mexico."
You know, the horse that I'm ridin', he can fox trot, he can lope and pace I say, the pony, I'm ridin', he can fox trot, he can lope and pace You know, a horse with that many gaits, you know, I'm bound to, win that race
Mmm-mm, he's a travelin' horse, and he don't, deny his name He's a travelin' pony, he don't, deny his name You know, and the way he can travel, is a low-down, old dirty shame
CODA
Edited 9/14 to pick up corrections from lyndvs
All best, Johnm
« Last Edit: September 14, 2020, 06:11:10 AM by Johnm »
You know, HE ain't the best in the world, but, he's the best ever, in this town
Why don't you, COME up HERE pony, "Now come on, please let's us go." I say, "Come up, get up now, please pony, now let's us go. Lest we, saddle on down on, the Gulf of, of Mexico."
Harry, I'll take the "he" in verse two and reject the others. He says "taken" both times in that verse, though he swallows one of them a bit. Same with the second "around". I wouldn't call it whining--more not having enough to do.
Hi all, Son House recorded "Depot Blues" in 1941 for the Library of Congress, accompanying himself in E position in standard tuning. I'd very much appreciate help with the tagline to the last verse, which I've never heard well. Here is his performance:
INTRO
Uhhhhh, well, Look-a-here, honey, I ain't gonna cry no more
I went to the depot and I, I looked up on the board I went to the depot, I looked up on the board Well, I couldn't see no train, I couldn't hear no whistle blow
Engineer blowed the whistle, and the, fireman, he rung the bell Ohh, ohh, the fireman, he rung the bell You know my woman is on board, she's a-wavin' back "Fare you well"
I had the strength I would, set this train off the track Mmm-mmm, I would set this train off the track Lest she make me a promise she, gon' bring my baby back
Mmm-mmm, she ain't comin' back no more I don't believe, you ever comin' back no more Mm, you leavin' now, baby, but you hangin' crepe on my door
Mmm-mmm, I'm gon' miss you from rollin' in my arms Mmm-mmmm, I'm gon' miss you from rollin' in my arms Well, I can't get no reception, baby, I'm gonna sit down and telephone
CODA
Edited to pick up corrections from Stuart, banjochris and Blues Vintage
All best, John
« Last Edit: October 03, 2022, 06:09:43 PM by Johnm »
This is a tough one, John. I think you have what Son pronounces correct, but the word he had in mind is less than clear--not to me, anyway. It could be "reception" (other "--ception" words don't seem to fit the context), but we've also heard "satisfaction" in lines like this one, although the pronunciation doesn't strongly suggest it. --Just another exercise in futility by yours truly, I guess.
Thanks, Stuart, banjochris, and Blues Vintage. I made the changes you suggested. I never noticed before, he does pronounce the first syllable of "reception".