...I can think that, well... my voice will change, I'll be John Hurt on this song, I'll be Skip James on that one, I'll be Tommy McClennan on that one. How many voices you got? They're going one style, one kind of sound from their area, and singing in their voice - Jerry Ricks, Port Townsend 97
Hi all, Little Buddy Doyle recorded "Hard Scufflin' Blues" at his first session, in Memphis on July 1, 1939, backing himself out of Spanish, and accompanied by a harmonica player who has been identified as probably being a very young Walter Horton. The duo's collective sense of time is very strong, and Buddy's playing is reminiscent of a combination of qualities to be heard in the playing of Jack Kelly, Big Joe Williams and Robert Johnson. The harmonica playing on the cut, whether or not it is Walter Horton, is sensational, with a sizzling bright tone and very well-conceived and executed ideas. Buddy sings well, but I'm having a hard time catching some of his lyrics for sure, so I'd really appreciate help with any of the bent-bracketed portions of the transcription. Here is "Hard Scufflin' Blues":
Scufflin' have got so hard, seem like I can't even make a dime Scufflin' have got so hard, seem like I can't even make a dime I musta had the wrong woman, seem like gangsters on me all there now
I never wants another woman that she don't do nothin' but hang around for be in a gang I never wants another woman, that she don't do nothin' but hang around for be in a gang She will all drive you to your weakness, she will keep you with a turned-down hand
Life have got miserable, seem like no more happiness to be made Life have got miserable, seem like no more happiness to be made But life is really too short to be worried about some old no-good babe
SOLO
Good Book, don't it tell us, where there's a will there's a way Lord, the Good Book kindly tell us, where there's a will there's a way But it seem like to me the way it's jivin', now to me, more and more every day
Edited 4/5 to pick up corrections from banjochris and Johnm
All best, Johnm
« Last Edit: April 22, 2020, 01:00:03 PM by Johnm »
Thanks so much for the help, Chris--those catches are great. I found some things I had missed in 1.3 and 2.1 and 2.2 in my first try at the song, too. I have made the changes and I think it's there now. All best, Johnm
Hi all, Little Buddy Doyle and his harmonica-playing partner also recorded "Grief Will Kill You" at Doyle's first session, and like "Hard Scufflin' Blues", it was accompanied by Doyle in Spanish tuning. This song was later covered by Memphis Willie B., but he really only used the first verse, either inventing his other verses or getting them from other sources (or from Doyle in person, singing verses that he didn't record). The duo accelerates markedly over the course of the rendition and it is really exciting. Little Buddy Doyle shows himself to have been in Louis Hayes' class in terms of being able to squeeze an impressive number of words into a blues line. Here is "Grief Will Kill You":
Lord, grief will kill you, it will get you down to skin and bones Lord, grief will kill you, it will get you down to skin and bones And I said, no broad will be advertisin', Lord, after you are dead and gone
I once grieved so hard, until I'd wake up weepin' in my sleep I once grieved so hard, until I'd wake up weepin' in my sleep But after you continue this life, boys, you'll be missin' down in some graveyard deep
SOLO
Women hollerin' 'bout nowadays they don't love nobody, don't worry about the man behind they left Women hollerin' nowadays they don't love nobody, and don't worry about the man behind they left Boys, you better watch them women, because they be strippin' it up between themself
All best, Johnm
« Last Edit: April 22, 2020, 01:02:07 PM by Johnm »
Hi all, Little Buddy Doyle recorded "Renewed Love Blues" at his second (of only two) recording sessions, on July 14, one day less than two weeks after his first session. For his second session, he was joined by, in addition to the harmonica player from his first session, a second guitarist who is conjectured to have been either Jack Kelly or Willie Tango, aka Willie Shaw, the son of Allen Shaw. Of the two guitarists, Willie Tango seems as though he might be the more likely playing partner, for the playing of the guitarist who is not Little Buddy does not sound all that much like Jack Kelly's playing from his own records.
Whoever the second guitarist was, the way he played with Little Buddy and the harmonica player was spectacular. Indeed, the duet sound of these two guitarists compares favorably with just about any country blues guitar duet playing I've heard. Little Buddy is playing in Spanish tuning again, but the mystery second guitarist is playing out of E position in standard tuning, capoed up to match Little Buddy's pitch. The ensemble's collective time grooves very intensely, and a lot of excitement is generated by their approach, which is just to pile on top of each other, play as loud, hard, and strong as they can, and let the devil take the hindmost. It's interesting, when in recent years there has been much talk of jamming etiquette, people taking turns being featured, listening to what the other musicians are playing, etc., to hear such galvanically exciting music in which everyone just seems to be blasting, not worrying about leaving space and playing right on top of each other. I know it won't always be the case, but in this instance the results more than justify the group's carefree approach--Wow!
I can't figure out why Little Buddy's songs tend to have so few verses, because he favored quick tempos and shouted his words out with gusto. Probably it is that the amount of solo space accorded the very excellent harmonica player ended up leaving space for fewer verses. Here is "Renewed Love Blues":
Now baby, let's stop our foolishness, and try to renew love over again Now baby, let's stop our foolishness, and try to renew love over again Because I can't stay in this world happy, in this condition my poor heart's in
Now, baby, Im gonna make you this promise, I'll make home happy for you in every way Baby, I'm gonna make you this promise, I'll make home happy for you in every way But I want you to take care of my money, baby, and please don't give my belongings 'way
SOLO
Now, baby, you know I love you, now why we can't get along? Now, baby, you know I love you, now why we can't get along? Maybe some day you will consider, baby, Lord, and acknowledge that you have done wrong
SOLO
All best, Johnm
« Last Edit: April 22, 2020, 01:01:07 PM by Johnm »
and a lot of excitement is generated by their approach, which is just to pile on top of each other, play as loud, hard, and strong as they can, and let the devil take the hindmost.
Hi all, "Bad In Mind Blues" was recorded at the same session as was "Renewed Love Blues", and the trio's instrumentation was employed in the same fashion. The song is tremendously driving again. One reason there are few verses in Little Buddy Doyle's songs is that the takes were short, often just over two-and-a-half minutes long. It's too bad, because Buddy was an excellent lyricist. In verse two, he pronounces "slip" like "sleep". I'm not certain of the places where the lyrics are in bent brackets and would appreciate corroboration or correction. Here is "Bad In Mind Blues":
Boys, I ain't doin' no good, this slow death is killin' me Boys, I ain't doin' no good, this slow death is killin' me And instead of me goin' down swingin', I'm just as blue as I can be
My mind in such a condition until I hardly know the days in the week Lord, my mind in such a condition until I hardly know the days in the week Baby, you give me plenty trouble, but someday you bound to slip
SOLO
When I'm sleepin' deep down in my grave, don't let no high-priced flowers worry you When I'm sleepin' deep down in my grave, don't let no high-priced flowers worry you You can just step out in the area of the yard, and old jimpson weed or dogsbane, it will do
Now boys, you can be too sweet to your woman, and see won't she do you a dirty act Now boys, you can be too sweet to your woman, and see won't she do you a dirty act She'll forever keep you workin', workin' with your coffin on your back
All best, Johnm
« Last Edit: April 22, 2020, 01:07:20 PM by Johnm »
One reason there are few verses in Little Buddy Doyle's songs is that the takes were short, often just over two-and-a-half minutes long.
Getting a little bit off topic:
Both of Doyle's appearances in the studio were in July of 1939. One of the things I've noticed, being able to sort my iTunes tracks by time, is that record company field trips in the summer tended to record shorter takes than their field trips in the winter, I guess because the wax got softer faster.
Also, I'm not sure who the recording supervisor was on that ARC trip to Memphis. Since it was an ARC trip, it might have been Don Law. When I was looking at recording times during the "were Robert Johnson records sped up?" discussion, I realized that Don Law usually cut shorter takes than normal, and on that trip to Dallas in June of 1937 he limited Black Boy Shine and Robert Johnson's takes to about 2 minutes and 15 seconds.
Thanks for that information, dj. It's interesting that the lengths of recorded renditions could show a pattern based on who the A & R guy running the session was, and it makes a lot of sense. Certainly the capacity was there to record much longer takes than Little Buddy Doyle was being given. It seems sort of like a vote of non-confidence in the music to make the takes so short. All best, Johnm
I think takes got shorter as the '30s went on because that's what jukebox operators wanted. Shorter takes = more nickels to keep the music going. Some of the country blues recorded in the '40s has the same issue - Lightnin' etc.
Maybe a concern for quality? One rotation on the outer edge contains the same audio information as the inner groove but spread over a much wider distance. Perceived quality progressively diminishes as the needle tracks inward due to the tighter tolerances. If you think about it it makes perfect sense, and is why 78 recordings sound better in the first two thirds, IMO. I will see if I can find a reference to this. Anyway, just a thought.
Hi all, For "Lost Baby Blues", the second guitarist, Willie Tango/Jack Kelly switched up and played out of G position in standard tuning. Like the other songs from that July 14, 1939 session, it has an intense driving groove, really, I've seldom heard its equal in that regard. The two solos are so exciting, they just about blow the lid off of the proceedings. Little Buddy's singing in no way takes a back seat to the instrumental excitement either; it's every bit as exciting as the fireworks going off around it. I'm having a tough time hearing a couple of places in the lyrics with any degree of certainty and would appreciate corroboration or correction of the bent bracketed passages. Here is "Lost Baby Blues":
I can't find my baby, I search around 'most everywhere I can't find my baby, I search around most everywhere I b'lieve I'll take a trip down to Shreveport Lou'siana, Lord, I b'lieve my baby's there
I try to be happy, but I can't get her off my mind Lord, I try to be happy, but I just can't get her off my mind Every time I wake up in the mornin', I can hear my baby whine
SOLO
Lord, I'm leavin' in the mornin', to take a chances as I may ride Lord, I'm leavin' in the mornin', to take a chance as I may ride Lord, I'm prayin' to the Good Lord, but I can't hear a V-8 Ford
SOLO
Way late last night, I could hear my baby call Way late last night, I could hear my baby call But I got up and I saw, but I couldn't see no face at all
Edited 4/8 to pick up corrections from dj
All best, Johnm
« Last Edit: April 22, 2020, 01:06:00 PM by Johnm »
Lord, I'm leavin' in the mornin', TO TAKE A CHANCE AS I may ride Lord, I'm leavin' in the mornin', TO TAKE A CHANCE AS I may ride Lord, I'm prayin' to the Good Lord, but I can't hear A V-8 FORD
I also hear the last line of the song as:
But I got up and I SAW, BUT I couldn't see no face at all
Thanks very much for the help, dj. I think you're right in both instances--"chance as" as opposed to "chances" is brilliant and makes sense of the line. I will make the changes. All best, Johnm
Hi all, "Three-Sixty-Nine Blues" was recorded at Little Buddy Doyle's second session and had the same personnel. It's another tremendously driving number in which solos are accorded the same amount of space, or a little bit more, than the vocals. The context of the lyrics does not make obvious the meaning of "three-sixty-nine". I found myself wondering if the band was being pressured to make the cut quickly, because Little Buddy makes a couple of early vocal entries, coming back in after solos. As usual, I'm having trouble hearing a couple of places, and help with the bent bracketed portions would be very much appreciated. Here is "Three Sixty-Nine Blues":
Baby, I'm tired of you layin' out all night long, comin' in bringin' your three, six an' nine Baby, I'm tired of you layin' out all night long, comin' in bringin' me your three, six an' nine Out messin' all of my money in pokino, loaded down with beer, whiskey and wine
SOLO
Now baby, you promised me you was gon' make a change, I'm quite sure you remember what you said Baby, you promised me that you was gon' make a change, I'm quite sure you remember what you said Now it's no need to tryin' to keep me around here, baby, you's puttin' yourself tight into my shed
SOLO
You make it in every mornin', every mornin' just 'bout sunrise Say, how can you make it in every mornin', baby, every mornin' just about sunrise You come in with a lot o' your three, six an' nine, and a whole list long of jive
SOLO
Edited 4/10 to pick up corrections from dj
All best, Johnm[/list]
« Last Edit: June 05, 2022, 12:06:43 PM by Johnm »
Hi, John. According to Paul Oliver in the Policy Blues section of Screening The Blues, 3-6-9 was a number combination that signified "excreta both animal and human". So to someone from 1939 familiar with policy plays, the line would be interpreted "Baby, I'm tired of you layin' out all night long, comin' in bringin' your s**t".
Hi, John. I finally got a chance to listen closely to the lyrics of "Three-Sixty-Nine Blues", and I have the following suggestions:
Baby, I'm tired of you layin' out all night long, comin' in bringin' your three SIX AN' nine Baby, I'm tired of you layin' out all night long, comin' in bringin' me your three SIX AN' nine
Now it's no need to tryin' to keep me around here, baby, you's puttin' yourself TIGHT INTO my shed
You come in with a lot o' your three SIX AND nine, and a whole list long of jive
Hi all, "Slick Capers Blues" is the last remaining cut from Little Buddy Doyle's first session, with Walter Horton. Buddy accompanied himself out of D position in standard tuning for the song, and he sounds as though he flat-picked his accompaniment, much as Memphis Willie B., who covered the song on one of his albums from the '60s, appeared to accompany himself from time to time. Walter Horton plays very high-pitched on this song, and it sounds great, as though he was just squeezing the notes out. Lyrically, the song is of the "You'll get yours one of these days" type, like Sam Collins' version of "It Won't Be Long". Musically, the song is a chorus blues with a semi-stop time in the first four bars, very much in the "Shake 'Em On Down" mode. Here is "Slick Capers Blues":
SOLO
You can call me crazy, you can call me nuts Just keep on cuttin' them old funny capers you cut REFRAIN: Ah, your slick capers gon' get you tricked someday Ah, your slick capers, mama, gon' get you tricked someday
Every time I come in, mama, standin' in your gown Hair tangled up and your curtain all down REFRAIN: Ah, your slick capers gon' get you tricked someday Ah, your slick capers mama gon', gon' get you tricked someday
SOLO
Now, and the first thing I see, when I enter the door Wet towel on the bed and a bowl of water on the floor REFRAIN: Ah, your slick capers, mama, gon' get you tricked someday Ah, your slick capers mama gon', gon' get you tricked someday
All best, Johnm
« Last Edit: April 22, 2020, 01:04:46 PM by Johnm »
Hi all, For "Sweet Man Blues", recorded at Little Buddy Doyle's second session, it sounds as though both guitarist are playing out of G position in standard tuning (though one could be in Spanish). In this song, less space is accorded for the solos, and the lyrics dominate. There's a place in the third verse that I would appreciate some help with. Here is "Sweet Man Blues":
Baby, I bought you shoes, I bought you clothes to wear Even sent you to the beauty shop, baby, so you could have wavy hair REFRAIN: But now tell me who, baby, gonna be your sweet man when I'm gone Baby, I don't see why that you want to treat your daddy wrong
Now, you know I did for you, baby, I even missed doin' for myself Now you want to mistreat your sweet man for somebody else REFRAIN: But now tell me who, baby, gonna be your sweet man when I'm gone Baby, I don't see why that you want to treat your daddy wrong
SOLO
Now you know I was slippin', lookin' out for you, all through slim times and hard I been even takin' bad treatment, baby, tryin' to do my part REFRAIN: But now tell me who, baby, gonna be your sweet man when I'm gone Baby, I don't see why that you want to treat your daddy wrong
Now, baby, you know you don't even have to worry, baby, even about the date we made You've got groceries in your kitchen, baby, house rent already paid REFRAIN: But now tell me who, baby, gonna be your sweet man when I'm gone Baby, I don't see why that you want to treat your daddy wrong
All best, Johnm
« Last Edit: April 22, 2020, 01:10:08 PM by Johnm »
Hi all, The one remaining Little Buddy Doyle track is "She's Got Good Dry Goods", a 12-bar chorus blues in the "Tight Like That" family. Walter Horton (for I'm assuming he was the harmonica player on the sessions) really shines on the number, going different exciting places for each of his solos. The two guitarists achieve some of the crazed momentum that Big Joe Williams and Henry Townsend had on "Somebody's Been Borrowing That Stuff", a musical locale that has not been visited nearly often enough to suit me. Listening to this made me realize that I much prefer novelty material when it is wild and loose than when it is musicianly and meticulous. The general feeling of going wide around every curve in the road is greatly added to by Little Buddy's vocal, for he is consistently short on the back end of the form coming out of the solo, making his vocal entrance two beats before his bandmates expect him to. One of the results of his early vocal entry is that the front end of each of his verses is played over by the harmonica finishing his solo, making it pretty tough to catch the lyrics in that place. I find the very first verse particularly hard to hear and make sense of, and would sure appreciate some help with it. Little Buddy uses "customs" for "customers", and "custom" for serving customers. Here is "Shhe's Got Good Dry Goods":
SOLO
Baby, I can't drag to and fro She got good dry goods, everybody knows REFRAIN: Oh, she got good dry goods, oh, she got good dry goods Oh, she got good dry goods, mama, I wants to shop with you
SOLO
She got good customs, she treat 'em right She's been a-custom, both in day and night REFRAIN: Oh, she got good dry goods, oh, she got good dry goods Oh, she got good dry goods, mama, I wants to shop with you
SOLO
All the boys were estimatin' the other day How she keep so many custom, both night and day REFRAIN: Because she got good dry goods, oh, she got good dry goods Oh, you got good dry goods, mama, I wants to shop with you
SOLO
I've been spendin' around, all our dough Headin for dry goods after so-and-so's REFRAIN: Oh, she got good dry goods, oh, she got good dry goods Oh, you got good dry goods, mama, I wants to shop with you
SOLO
People is coming from miles around Because she estimate it has the best goods in town REFRAIN: Oh, she got good dry goods, oh, she got good dry goods She got good dry goods, mama, I wants to shop with you
Edited May 6 to pick up correction from Johnm
All best, Johnm
« Last Edit: April 22, 2020, 01:03:35 PM by Johnm »
Hi all, I have added links to performances of all of the songs in this thread. If you've never heard or listened to Little Buddy Doyle before, you're in for a treat. A couple of the duets are about as good as it ever got. Enjoy! All best, Johnm