Topic: Arthur Crudup Lyrics

[Johnm]

Hi all,
Arthur Crudup accompanied himself out of cross-note for his 1941 recording of "If I Get Lucky".  His vocal is particularly intense on this song, and it seems like the song might be a precursor to his later hit "That's All Right, Mama", which Elvis Presley covered.  Here is Crudup's performance of "If I Get Lucky":



That's all right, mama, that's all right for you
That's all right, mama, that's all right for you
Treat me low-down and dirty, any old way you do

I been worried all night, mama, now I'm worried again today
I been worried all night, mama, now I'm worried again today
'Cause the woman I love done throwed me away

Babe, I wouldn't've been here, if it had not been for you
I wouldn't've been here, mama, if it had not been for you
Now away in Chicago, you treat me like you do-do

I'm leavin' town, mama, just to wear you off my mind
I'm leavin' town, mama, to wear you off my mind
Now, you treat me low-down and dirty, I b'lieve I'll lose my mind

'f I get lucky, mama, win my trainfare home
'f I get lucky, mama, win my trainfare home
I'm goin' back to Mis'sippi, Lord now, where I belong

All best,
Johnm

[Slack]

Wow, you can really hear how Crudup was an influence on J.B. Lenoir on that one. 

[Gumbo]

I'm hearing 'worry you off my mind' in verse 4. it's clearer in the first line but there's not much in it!

[Johnm]

I'll stick with "wear", Gumbo.  The vowel sound matches "wear" better following the "w" than does the vowel sound in "worry".
All best,
Johnm

[Gumbo]

No worries, mate

[Johnm]

Hi all,
Arthur Crudup's 1941 recording of "Black Pony Blues" has him once again accompanying himself out of cross-note tuning.  I have by no means heard all of Arthur Crudup's recordings, but based on what I have heard, I would agree with Frank that he always played in cross-note.  And for me, his sound in cross-note hasn't come close to palling or getting "old".  He always sounds as fresh as paint, and he has so much of his identity tied up in his sound that hearing the subtle variations he introduces on his different songs makes me appreciate the depth of his musical language all the more.  So I suppose I'd be no more inclined to complain of Crudup's "lack of versatility" than I would be to whine about Garfield Akers playing everything in A.
I think that the way Arthur Crudup uses the phrase "how they swear" in the taglines to verses two and three would mean something akin to "despite what other people say".  In the tagline to verse three, I think Arthur Crudup split the phonetic difference between "Ain't a horse in the country" and "Ain't a horse in Kentucky".  Here is "Black Pony Blues":



I got a coal black mare, oh Lord, how that horse can run
I got a coal black mare, oh Lord, how that horse can run
Well, she win every race, man, you don't see how it's done

I give her three gold teeth, I put earrings in her ear
I give her three gold teeth, I put earrings in her ear
Man, there ain't no use of worryin', how they swear, the stuff is here

I curl her mane, I put streamline shoes on her feet
I curl her mane, I put streamline shoes on her feet
Ain't a horse in the K'ucky, how they swear, my horse can't beat

Says, she fox-trot and pace, and I rode that horse today
Says, she fox-trot and pace, and I rode that horse today
Well, when mornin' come, she had never broke her gait

She go on the race track at midnight, and I rode her all night long
She go on the race track at midnight, and I rode her all night long
Well, when mornin' come, she had never changed her way

She's a coal black mare, she's got a long black curly mane
She's a coal black mare, she's got a long black curly mane
Well, I'll follow that horse, man, in any land

All best,
Johnm
 

[Johnm]

Hi all,
For Arthur Crudup's 1944 recording of "Cool Disposition", he was joined by Melvin Draper on drums.  Crudup takes a pretty wild solo on this one, hitting some mysterious sonorities that haven't been re-visited by any other players working in cross-note that I have heard.  The lyrics to this one keep making unexpected turns.  Here is "Cool Disposition":



This war is awful, it have upset so many homes
This war is awful, it have upset so many homes
It have cost me my baby, staying in the world alone

She's got a cool disposition and she drives my blues away
She's got a cool disposition and she drives my blues away
Now, when this war is over, maybe I'll come home someday

When she looks at me, Lord, and pulls me in her arms
When she looks at me, yes, and pulls me in her arms
I start to screamin' and cryin', Lord, I hope this war don't last too long (Spoken: Yeah, man!)

SOLO

Now, when I start to drillin', now with a gun, Lord, in my hand
When I start to drillin', with a gun, Lord, in my hand
I want to kill somebody, b'lieve my baby's got another man

All best,
Johnm

[Slack]

Damn, that's fantastic!  The coolest disposition is Arthur Crudup.   It makes you want to spend some time with cross-note.

Thanks for posting these Johnm, nice to re-visit Crudup!

[Johnm]

I'm with you on that, Slack.  I keep thinking, "What would it be like to open your mouth and have that sound come out?"  He really had the whole package.

[Stuart]

I wrote the following years ago, but it didn't come up in a search of the current site--just the archive:

"I was fortunate to meet Arthur Crudup at a workshop and see him in concert in 1972. He sure impressed me as somebody who knew how to sing, play, and to entertain. He wasn't flashy, but solid and nuanced. And as you say, he had a powerful voice. I remember that most of the concert goers were young, but he had no problem connecting with the audience. He did a "Gather ye rosebuds" themed intro to a tune called, "Nobody Loves You When You're Old and Gray," that was priceless.

He's someone who deserves to be closely listened to."

Looks like the correct  title is "Nobody Wants You When You`re Old And Grey"



I also remember that during the workshop he looked at us and told us to enjoy our youth and all that it holds, along with our health, because it wasn't going to last forever. It wasn't part of an act, just straight up sage advice.

[Johnm]

Hi all,
Arthur Crudup's 1944 recording of "Rock Me Mama" has him joined by Melvin Draper on bass and a drummer whose name I don't know.  Crudup once again hits some striking and unusual chords in cross-note tuning.  Here is the song:



INTRO

Rock me, mama, rock me slow, rock me one time, rock me 'fore I go
REFRAIN: I said, rock me, mama, hey-hey-hey rock me, mama
Now, rock me, mama, one time before I go

I been wonderin', all night long, why don't you rock me, takes you all night long?
REFRAIN: I said, rock me, mama, hey-hey-hey rock me, mama
Now, rock me, mama, one time before you go

Don't leave me, baby, don't leave me, please, if you leave me, Lord, give my poor heart ease
REFRAIN: I said, rock me, mama, hey-hey-hey rock me, mama
Now, rock me, mama, one time before you go

I know you women wonderin' what it's about, if you rock Crudup, girl, you gonna soon find it out
REFRAIN: But just rock me, mama, hey-hey-hey rock me, mama
Now, rock me, mama, one time before you go

All best,
Johnm

[Johnm]

Hi all,
Arthur Crudup was joined by a bass player and drummer for his recording of "Hoodoo Lady Blues".  Check out Arthur Crudup's fill from :53--:59--wow!  Here is the song:



B'lieve I'll drop down in Lou'siana, just to see a dear old friend of mine
B'lieve I'll drop down in Lou'siana, just to see a dear old friend of mine
You know, maybe she can help me turn my hard, hard times

You know, they tell me in Lou'siana there is hoodoos all over there
Now, they tell me in Lou'siana, there is hoodoos all over there
You know, they'll do anything for their money, man, in the world, I declare

SOLO (Spoken, leading into solo:  Yeah, man, play it for me!)

Now, Miss Hoodoo Lady, please give me a hoodoo hand
Now, Miss Hoodoo Lady, please give me a hoodoo hand
I wanta hoodoo this woman of mine, I believe she's got another man

Now, she squabbles all night long, she won't let me sleep
Lord, I wonder what in the world this woman done done to me?
Now, Miss Hoodoo Lady, please give me a hoodoo hand
I wanta hoodoo this woman of mine, I believe she's got another man

All best,
Johnm

[alyoung]

Hi all,
Arthur Crudup was joined by a bass player and drummer for his recording of "Hoodoo Lady Blues"....

Ransom Knowling, bass; Lawrence "Judge" Riley, drums.

[Johnm]

Thanks for that personnel information, Al.  I will add it to the transcription in Weeniepedia.  Thanks!
All best,
Johnm

[Johnm]

Hi all,
Arthur Crudup was in good form, as usual, for his recording of "Give Me A .32-20", a song often covered later as "Questionnaire Blues" or "I Got My Questionnaire".  Listen to what he plays behind his singing of the second verse--whew!  Here is the song:



INTRO

I've got my questionnaire, and they needs me in the war
I've got my questionnaire, and they needs me in the war
Now if I feel murder, don't have to break the county law

All I want is a .32-20 made on a .45 frame
I want a .32-20 made on a .45 frame
Yes, and a red, white and blue flag, wavin' in my right hand

Then you could tell my baby, oh Lord, I said, "Wait for me."
Then you could tell my baby, oh Lord, I said, "Wait for me."
Tell her I'll meet her one mornin', down by that old Red Sea

Now if I go down, put a red, white and blue flag in my hand
Now if I go down, put a red, white and blue flag in my hand
Say, you can bet your life, poor Crudup sent up many men

Mmmmmmmmmm, hero is all I crave
Mmmmmmmmmm, hero is all I crave
Now, when I'm dead and gone, write "HERO" on my grave

All best,
Johnm