Topic: Big Joe Williams Lyrics

[Johnm]

Well, that would certainly make sense in these contexts.  Thanks for that information, Harriet.
All best,
Johnm

[Stuart]

Michael Taft quotes the lines with "dust my bed" on p.53 in The Blues Lyric Formula, so you're not alone in what you hear.

http://books.google.com/books?id=M78Mn3MNfv4C&pg=PA53&dq=dust+my+bed&hl=en&sa=X&ei=RjWzUb_SN8GBiwLSyIDYDw&ved=0CC0Q6AEwAA#v=onepage&q=dust%20my%20bed&f=false

And Big John Wrencher did a song by that name in 1969, I believe, according to a quick search.



It's another version/variant of "Dust My Broom," with lines borrowed from various "floating verse" sources.

[Bunker Hill]

Is it not covered in Calt's book Barrelhouse Words, which I don't have?

Back in the early days of blues internet groups (1996/97?) this topic was raised and one of the participants, Cat Yronwode I believe it was, came up with a dust my bed, dust my broom, dust my anything explanation. I've searched her website but in vain.

[Johnm]

Hi all,
It seems like context makes the meaning clear, derivation less so.
All best,
Johnm

[Johnm]

Hi all,
Big Joe recorded "My Grey Pony" at the February 25, 1935 first solo session, too.  It shows the same vocal-response approach as was employed on his other songs from that session, apart from the duet with Henry Townsend.  One thing interesting about Big Joe's playing at this first session is how un-indebted he was to Charlie Patton for his basic sound in Spanish tuning.  Even at that relatively early stage of his career, Big Joe was going for altogether different instrumental sounds than those employed by Charlie Patton in Spanish tuning.  Perhaps the bigger influence on Big Joe's sound was his cousin Jesse Logan, whom Joe credited with playing better in their shared style than Joe did himself (though this is really hard to believe).  In any event, many of the fills Big Joe played on this performance have never been surpassed--really, hearing is believing.  It would be hard to know how even to approach getting the same sorts of sound from the right hand.  If you've not listened to this rendition before or recently, check it out and listen in particular for the fill that follows the opening line to verse four.  Goodness gracious!
The lyrics here are drawn from the common pool of blues lyrics for the most part, though Joe puts his own spin on a few of the familiar lines.



I got me a pony, Lord, she's already trained
Well, I got me a pony, Lord she already trained
When I get in my bed, mama, baby tighten up on the reins

Well, I got somethin' to tell you, Mama, when I git a chance
Hoo-hoo, mama, I got somethin' to tell you, Lord, when I get a chance
Mm, well, I don't want to marry, baby, just want to be your man

I got a brownskin woman, she don't pay me no mind
I got a brownskin woman, she don't pay me no mind
And I know you're gwon miss me, baby, when I leave this town

And I know my woman, she gwon to scream and cry
Lord, I know my woman, she's gwon to scream and cry (spoken: Aw, shucks)
When she gets that letter, baby, Lord, I pass my few days out

I got me a grey pony, down in my pasture somewhere
I got me a grey pony, down in my pasture somewhere
I'm gwonna find my woman, baby, in this world somewhere

Fare you well, may be tomorrow day
Fare you well, mama, may be tomorrow day
I want you to know, babe, I didn't come here to stay

I ain't got nobody, talk baby talk to me
Well, I got nobody, mama, talk baby talk to me

Said, my Mama's getting old, Lord, her head done got grey (Spoken: Mam' breaks my heart)
Lord, my Mama, she got older now, and her head done got grey
Well, well, if I break her heart, you know, hoo, Lord, treated this-a-way

Fare you well, may be tomorrow day

All best,
Johnm

[Bunker Hill]

Perhaps the bigger influence on Big Joe's sound was his cousin Jesse Logan, whom Joe credited with playing better in their shared style than Joe did himself (though this is really hard to believe). 

FWIW  the Logan family were grandfather, Bert and uncles Bert and Russ, all musicians. The latter two were recorded by Pete Welding. I think they are discussed in Jim O'Neal's BJW Mississippi Blues Trail entry.

As usual I depart from the topic.....

[Johnm]

Thanks, Bunker Hill!  I don't see it as a departure, but as an expansion.  It fills out the picture nicely.
All best,
Johnm

[Johnm]

Hi all
For Big Joe Wiliams' second session, in Chicago on October 31, 1935, he was joined by Dad Tracy on violin and Chasey Collins on washboard.  The three of them created an ensemble sound that particular suited Big Joe's material and style.  Their first song together, "Baby Please Don't Go", probably ended up being Big Joe's most well-known song and was almost certainly the one picked up and covered the most.
The lyrics phrasing for "Baby Please Don't Go" is unusual, consisting of a short line followed by instrumental response, a repetition of the short line and instrumental response, followed by a lengthening of the short line and a final instrumental response.  The song which is closest to it in terms of the way the lyrics flow is John Hurt's "Monday Morning Blues", but "Monday Morning Blues" is a 12-bar blues and "Baby Please Don't Go", except to the extent that the instrumental responses may vary in length, is an 8-bar blues.  In any case, the song's basic sound is simple and strong, and it is not surprising that it became so popular.  Some of my favorite versions of it are the ways in which Cajun/Zydeco bands have performed it.  I've heard Suzy Thompson do terrific versions of it on many occasions.



Now baby, please don't go
Now baby, please don't go
Baby, please don't go back to New Orleans, and get your cold ice cream

I b'lieve little man done gone
I b'lieve little man's done gone
I b'lieve little man's done gone to the county farm, now, with his long chain on

Turn your lamp down low
You turn your lamp down low
Turn your lamp down low, I cried all night long, now baby, please don't go

I begged you the night before
I begged you night before
Begged you the night before, "Turn your lamp down low", now baby, please don't go

I b'lieve my baby done lied
I b'lieve my baby done lied
I b'lieve my baby she lied, says she didn't have a man, now while I had my time

'Fore I'd be your dog
Now, 'fore I'd be your dog
'Fore I'd be your dog, I'd pack my trunk this morning, baby, go back to Rolling Fork

I b'lieve I'll leave you here
I b'lieve I'll leaves you here
I b'lieve I'll leave you here, 'cause you got me way up here, and you don't feel my care

Now baby, please don't go
Aw baby, please don't go
Now baby, please don't go, back to New Orleans, you know I love you so

I b'lieve you'd kind of leave me here
Gonna leave your daddy here
Gonna leave your daddy here, you got me way down here, and you don't feel my ---

All best,
Johnm

[Johnm]

Hi all,
At the same session at which they recorded "Baby Please Don't Go", Big Joe, Dad Tracy and Chasey Collins recorded "Wild Cow Blues", a sensational cover of Kokomo Arnold's hit, "Milk Cow Blues".  Big Joe's playing on this cut, and particular his slides to the twelfth fret sound very much like they might have influenced the playing of Robert Johnson, as banjochris mentioned earlier in this thread.  The song is sort of a variable chorus blues; some verses have refrains, others do not.  One interesting trend that can be observed in Big Joe's early recorded performances is that they tended to run long.  "Wild Cow Blues" clocked in at 3'11'', I believe, and almost every track from Joe's first session was over three minutes long.  The interplay between Joe, Dad and Chasey is really a treat on "Wild Cow Blues".



Yes, I got up this mornin', I was feelin' awful bad
I was thinkin' 'bout the good times, mama, hmmm, Lord, me and my baby once have had

Well, I woke up this mornin', I looked down the road
Think I heard my wild cow, mama, when she begin to low
If you see my wild cow, buddy, please tell her "Hurry home"
Lord, I ain't had no milk and butter since my wild cow been gone

I'm gwine to the border, just to hear my wild cow moan (Spoken: Play it, man!)
Lord, I'm gwine to the border, just to hear my wild cow moan
Yes, she moans so lonesome, I'm gonna bring my wild cow home

My wild cow got a horn, just long as your right arm
Gives so much milk and butter that I hate to see my wild cow leave home
If you see that wild cow, please tell her "Come back home"
Lord, I ain't had no milk and butter, since my wild cow been gone

It take a rubber ball to roll, and a rockin' chair to rock
the girl I'm lovin' to talk that old baby talk
Lord, I don't feel welcome, I said, please, nowhere I go
Lord, that good girl I'm lovin', she done drove me away my door

You can read out your hymnbook, preach out your bible, too
Fall down on your knees, ask the Good Lord to help you, 'cause you're gonna
Need, you's gwine need my help someday
You won't quit your runnin' around, woman, please, quit your low-down ways (Spoken: Play it, man!)

Lord, I went home last night, I looked out my door
There was some other man had my wild cow, she couldn't low
If you see my wild cow, please drive her back home
Lord, I ain't had no milk and butter, since he stole my wild cow and gone

Mmmm, "Good mornin', blues, how do you do?"
Mmmm, "Good mornin'", I said, "Blues, how do you do?
I cried all night long, though and I can't get along with you."

All best,
Johnm

[Johnm]

Hi all,
Big Joe recorded "Jivin' Woman" at a session in St. Louis from 1949, working, at least according to the discographical notes, with the inaudible Singleton Palmer on bass.  Joe plays electric here, and sounds terrific on it, and his playing approach is very uncharacteristic for him, with almost no time-keeping or strumming, but instead just playing single lines until right near the end of his rendition.  In a way, his playing is almost like Lonnie Johnson's accompaniment strategy for backing Texas Alexander on "Levee Camp Moan" or "Section Gang Blues", though, of course, Joe's touch and tone were nothing like Lonnie's.  Joe delivers his lyrics with a certain kind of wry wit.



I don't want no woman, home in Arkansas
I don't want no woman, man, yeah, home in Arkansas
Yeah, you know the first thing she wanta do, marry, second thing, wanta be your boss

You can't jive me, baby, you done jived ev'y man in town (Spoken: Yeah, I can't stand no more of that jive!)
You can't jive me, baby, woman, you done jived ev'y man in town
Yes, you ain't doin' nothin', woman, carryin' your poor self down

If your woman wanta go streetcar riding, don't bring her down on Franklin Street
If your woman wanta go streetcar riding, don't bring her down on Franklin Street
If you do, you'll be worried and bothered, every man you meet

Yes, Mr. Streetcar Motor, can I ride out Easton way?
Yes, Mr. Streetcar Motor, can I ride out Easton way?
I got a woman in sixty-three hundred, 'way out on Kingshighway

All best,
Johnm

[Johnm]

Hi all,
Joe Williams recorded "Peach Orchard Mama" at a session in Chicago on March 27, 1941--the same session at which he recorded "I'm Getting Wild About Her"  For this song he was, according to the discographical information, joined by the inaudible "imitation bass" player, William Mitchell.  Big Joe was absolutely on top of his game on this cut; he has more than enough ideas for about three normal renditions.  His playing is about as crisp and assured as it ever was on record, and his confidence comes through on his spoken asides.  This one is worth seeking out, especially by folks who are interested in picking up some of Big Joe's strongest licks.



Peach orchard mama, you swore wasn't nobody gonna use your peaches but me
Peach orchard mam-hoo, swore wasn't nobody gonna use your peaches but me
Well, you want Joe Williams to work in your orchard, well, and I keep your orchard clean

You done got me to the place, I hate to see that evenin' sun go down (Spoken: Play it a long time, boy!)
Yeah, ma'am, I hate to see that evenin' sun go down
Well, well, get up in the mornin', hoo-well, peach orchard mama, she's on my mind

Got a man to buy your groceries and another joker to pay your rent
She's got a man to buy your groceries and another joker's payin' your rent
Well, you got me workin' in your orchard, hoo-well, well, and bringin' you every cents (Spoken: Play it a while)

SOLO (Spoken: I wonder what's the matter with that woman.  Play it!)

Sometime she make me happy, and again she makes me cry
Sometime she make me happy, and again she makes me cry
Ever again I want a peach orchard mama, hoo-well, well, I wish to God that she would die (Spoken: Play it a little while)

All best,
Johnm

[Oatmeal Jones]

Anybody who takes up transcribing the work of Big Joe Williams has their work cut out for them.

Reply to banjochris:

"The more I listen to his early records the more I think Robert Johnson was influenced by Joe big time, which I don't think usually comes up in discussions of Johnson. But something like "My Grey Pony" reminds me a lot of "Terraplane" et al.

Not sure if they ever met but I know Joe did versions of his songs later on..."

Big Joe covers not only Robert Johnson but Charley Patton on Classic Delta blues and interestingly is found here doing six string versions. The guitar part in Bird Nest Blues, big joe's version, has taxed my mind for years. We know he knew Charley, of course, from the Piney Woods Blues album, which I think was the first BJW album from Delmark - where Big Joe gives an aside on CP and Leadbelly.

Big Joe also has a great cover of Terraplane Blues on his live 63 Chicago album. Plus a lot of other great live tunes - 44 blues, Sugar Mama.

From David Evans CP bio

This was the case both about sex and about local characters and events. It was also the case about the subject of death itself. Charley had recently witnessed a horrible axe murder at a country supper at Four Mile Lake. According to Big Joe Williams, who claimed to have witnessed the event along with Patton, a gambler named Henry Freeman had killed another gambler named Quicksilver over a woman. Patton and Williams, who was playing music with him, were called as witnesses, and Charley made up a song about the event. This was probably the song he recorded entitled ?The Delta Murder,? which remained unissued.52 Big Joe Williams recalled one of the verses:53

I know poor Quicksilver gonna hear Gabriel when he sound. He gonna raise up in the grave, but the poor boy got to lay back down.

[banjochris]

Thanks, Oatmeal -- I definitely need to get some more "rediscovery" Joe.

[harriet]

Thanks for the story - Oatmeal.

[Johnm]

Hi all,
Thanks to all who have contributed information on Big Joe or links to performances by him.  It's great to get all this information on him coming together.
"Worried Man Blues" was the last song that Big Joe recorded at the Chicago session of October 31, 1935 with Dad Tracy on fiddle and Chasey Collins on washboard.  Like the other tunes from that session it is exceptionally strong, and Chasey Collins particularly shines on the cut, taking a much more dynamic and varied approach than is normally heard from washboard players.  I really wish Big Joe had had the opportunity to record more songs with this grouping.



I am a worried man, worried all day long
I am a worried man, I'm worried all day long
Yes, that woman I'm lovin', boys, she done done me wrong

Lord, I rambled and I wandered, cried the whole day long
Lord, I rambled and I wandered, cried the whole day long
Don't a man feel worried when you find your dough-roller gone?

Lord, I went home last night, baby, peeped out my window blinds
Lord, I went home last night, I peeped out my window blinds
Said, my good gal done quit me, boys, I'm down in my mind

I wanted to tell you women, how you keep your man at home
Wanted to tell you women, how you keep your man at home
You love him soon there in the mornin', start him rollin' in your arms

I am a worried man, he worries all night long (Spoken: Play it for Papa Joe!)
I am a worried man, he worries all night long
I'm gwonna leave here in the mornin', feel like my time ain't long

Malvina, don't get worried, when your good man done leave this
Malvina, don't get worried, when your good man done leave this town
Lord, I woke up this mornin', feelin' down in my mind

All best,
Johnm